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Copyright © 2021 by Wendy Waszut-Barrett

Chauncey D. Baker worked at Sosman & Landis during the 1890s. He was credited as the electrical engineer for the firm’s two electric scenic theaters at the newly-constructed Masonic Temple in Chicago.

On February 10, 1894, an article in “Scientific American,” entitled “A City Under One Roof – The Masonic Temple,” described the new building at the corner of Randolph and State streets.  The article reported, “Of all the buildings of our Western sister Chicago, none is more remarkable than the Masonic Temple, a structure which, in its functions, dimensions and construction, is one of the unique buildings of the world. In spite of its name, it is proudly claimed to be the “highest commercial building in the world.” In it we find exemplified the union of Freemasonry and commerce, a four and one-half-million-dollar building supplying beautiful halls and parlors for Masonic rites, as well as an unequaled collection of business offices.”

Atop of the massive structure was the Masonic Temple Roof Garden. In 1894, Sosman and Landis Scene Painting Studio designed, installed and managed two electric scenic theaters, situated at the roof garden level. The firm was diversifying, investing profits from Columbian Exhibition projects. New business endeavors included the establishment of the American Reflector & Lighting Co. and the theatrical management firm of Sosman, Landis & Hunt. The Masonic Temple roof garden was a culmination of the two; their first management theatre project before branching out and leasing other theaters throughout the region.

Sosman & Landis’s 1894 catalogue includes advertisements for both the Masonic Temple Roof Garden and the American Reflector & Lighting Co.

Embracing electrical potential, Sosman & Landis began to expand the scope of their projects to electrical services and equipment. Already in 1889 company catalogues had offered a wide range of lighting equipment for performance venues, including the Eclipse.

By the 1890s, Sosman & Landis employed a full team of electricians, and leading their team electrical engineer, Chauncey D. Baker. Baker was considered a genius in his field, with four patents already filed.

Baker’s Masonic Temple project, however, was a game-changer for the firm. It highlighted the potential of electrical lights for the stage and scenic possibilities, using a very public, popular and accessible platform. The two electric scenic theaters were designed to accommodate seventy-five patrons each. They both featured a scenic metamorphosis that was aided by electrical lighting equipment. Although the firm only managed the venue for a year, it was a massive undertaking at the time.

When the Columbian Exposition closed, work slowed down at many scenic studios. It was at this time that Sosman & Landis planned an entertainment venue for the Masonic Temple Roof Garden. Sosman was a well-known Scottish Rite Mason and heavily involved with the production of new scenery for fraternal stages in the building. Joseph S. Sosman was a Scottish Rite Mason, and had been involved with the Fraternity in Chicago for years. Sosman & Landis were well known for specializing in of painted settings for fraternal productions and other activities. They even took out advertisements in a variety of Masonic periodicals. Including “The American Mason,” noted as a “Weekly Journal for the Craft.” The publication boasted a 10,000 circulation among Masons. Sosman & Landis placed an advertisement in the Dec. 3, 1892, issue that featured the new Masonic Temple in Chicago.  They advertisement stated, “We make a specialty of Scenery for Illustrating the Different Degrees in Masonry. Nothing adds so much to the impressiveness of degrees as appropriate scenery. Much superior in every way to magic lantern or stereopticons.”

Sosman & Landis decided to replicate two experiences from the Columbian Exposition: “A Day in the Alps” and “Court of Honor.” Articles about the new Masonic Temple noted that “A Day in the Alps” went beyond a mere imitation and included “extended improvements,” with more attention paid to detail.

The electric theaters at the Masonic Temple were located 302 feet up from street level, providing an added incentive the visit the new performance venue. Even the journey to the top floor was an adventure worth taking. On Feb. 10, 1894, an article in “Western Electrician” described the ascent to the rooftop performance venue: “Upon entering the building a visitor’s attention is attracted by a large sign composed of incandescent lamps in the form of a hand pointing upward and the words ‘Electric Scenic Theaters.’ From the tip of the forefinger of the hand a row of lights extends upward the entire height of the building to the garden. This is called a “chaser,” and the lamp globes are of different colors. By means of a switch light passes along the line, changing in hue as it ascends, until it reaches the glass roof of the building.” This switch, as well as with all of the electrical devices for the electric scenic theater was credited to C. D. Baker, the electrical engineer for Sosman & Landis.

Images posted to Chicagology. Here is the link: https://chicagology.com/goldenage/goldenage026/

I am going to include details of Baker’s work for the Masonic Roof Garden stages, as it gives some context for his position at Sosman & Landis during the 1890s.

The first electric scenic theatre replicated “A Day in the Alps” from the Columbian Exposition’s Midway Plaisance. 1893 World Fair guidebooks described the production in detail: “The stage picture is a beautiful Swiss Alpine scenery, depicting in a realistic way every change of nature shown from dawn to night, as each gradually appears, and representing some of the most wonderfully realistic light effects ever produced by electric lamps. It is almost beyond belief that the visitor is not looking at a marvelous production of nature itself, instead of a picture created by an ingenious and artistic display of electric lights.”

Similarly, the Masonic rooftop production also presented a transformative alpine scene. The mountain stream running through the miniature painted setting was actually a motion picture screen, adding increased realism to the running water and activities of the townspeople. Upon the river’s banks were miniature houses, a chapel and mill. A castle was nestled high above in the snow-capped mountains, overlooking the village scene. Down below, villagers crossed a bridge – their projection on the central river screen. The show started with the midnight toll of the bell, and the gloaming of dawn gradually transitioning to a brilliant sunlit scene. Midway through the production, a thunderstorm approached the mountain valley, passing by with loud thunder and vivid flashes of lightning. The calms and the sun sets, with the moon rising high above in the night sky. There is a moment of tranquility as the clock strikes midnight. Lighting effects for the production necessiated focusing lamps, rheostat boxes, switches, reflectors and other devices placed behind the scene.

The second electric scenic theater depicted the “Court of Honor,” presenting a view from the Columbian Exposition’s agricultural building. Like “A Day in the Alps,” the scene transitioned from morning to night, changing the appearance of the neoclassical buildings that surrounded the central lagoon. In front of the administration and electricity buildings, gondolas and electric launches shifted position, underscored with band music in the background. As evening approached, electrical lights outlined the White City, beautifully reflected in the tranquil lagoon. The February 24, 1894, issue of “Western Electrician” described, “Searchlight effects flash from one building to another, and the administration building, with its handsome decorative lighting scheme, shines resplendent under these streams of light.” The article also noted that some of the illumination was achieved using a Packard mogul lamp (300-candle power).

The two electric scenic theaters also incorporated Steele MacKaye’s luxauleator, also known as “a curtain of light.” The luxauleator consisted of a border of incandescent lights around the four sides of the stage opening. An invention credited to MacKaye, newspapers described it as “a peculiar optical illusion” originally created for his Spectatorium. Unfortunately, the construction of this massive scenic electric theater was never completed for the Columbian Exposition and the project was abandoned (see past installment #187: https://drypigment.net2017/08/24/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-187-hardesty-g-maratta-and-the-spectatorium/).

MacKaye’s original patent for his curtain of lights claimed, “In combination with the proscenium opening, a series of lamps bordering the same and provided with backings adapted to throw the space back of the lamps and the opening into complete shade, while flooding the opposite portion of the space with light so as to form in effect a vivid curtain or screen of light that will intercept all sight of persons or things occupying the shaded portion of the space, substantially as described.” On May 26, 1893, “The Wichita Eagle” described how the luxauleator used rows of lamps that were placed in conical shaped reflectors. The newspaper article reported, “The modus operandi was very simple, the mere turning of a switch being all that is necessary; the same movement of the switch that throws the current of electricity into the lamps of the luxauleator, also turns out all the lights upon the stage and the effect produced the same as if one were sitting in a brilliantly lighted room and endeavored to look out into darkness” (page 6). MacKaye’s lighting effects were detailed in an article for the February 24, 1894, issue of “Western Electrician” (Vol. XIV, No. 8). Here is a link to the article in Google Books, as it has some really wonderful images and information: https://www.google.com/books/edition/Western_Electrician/N3Q2AQAAMAAJ?hl=en&gbpv=1&dq=%22luxauleator%22&pg=PA86&printsec=frontcover

This lighting effect was incorporated by Sosman & Landis into the two electric scenic theaters. The firm heavily relied upon the skills of Baker at this time for many of their electrical offerings and projects. Unfortunately, beyond four patents and a couple directory listings, little is known about this electrical engineer. Here is what I have located to date about Baker:

Chauncey D. Baker was born in Vermont on March 26, 1848 in Vermont. One would think that the name “Chauncey” would help refine and limit the search; it did not. There were an unbelievable number of Chauncey Baker’s running around America during the late nineteenth century. The earliest listing that I have for Baker in Chicago is from 1887, but he was already living there in 1886. In 1887 the “Chicago Directory” listed Chauncey D. Baker as an electrician working at 114 Wabash and living at 41 236 State. In 1887, 114 Wabash av. was listed for rent by L. E. Crandall & Co.  On Sept. 18, 1887, the “Chicago Tribune” listed, “TO RENT – VERY LOW, FOR MANUFACTURING or storage, part or whole of lot 100×50; elevator, large windows; centrally located” (page 22). I believe that Baker rented a portion of this space in 1886, when he was working on his Electrical resistance coil patent (No. 368,804. Aug. 23, 1887), governor for incandescent lights on arc circuits patent (No. 371,915. Oct. 25, 1887), and the commutator or electric circuit-breaker patent (No. 375,328. Dec. 27, 1887).

Chauncey D. Baker later partnered with Lewis G. Bronson of Chicago in 1888. They applied for an Electrical Apparatus patent on April 30, 1888 (No. 417,217. Dec. 17, 1889). Here is a brief excerpt from the patent’s description: “Our improvement is primarily designed to be used with relay-instruments – such as used with burglar-alarms and other electrical devices – for the purpose of bringing into operation an independent set of electrical devices when there is material derangement of, or change in the current of, the main circuit. Such derangement or change may occur either as a consequence of the opening of the circuit, or by short-circuiting the main circuit of grounding part of it.”

In 1890, Baker was still listed in the “Chicago Directory” as an electrician, living at 1320 Indiana. By the next year, his title transitioned to “electrical engineer,” living at 1089 W. Monroe in 1891. I have uncovered very little about Chauncey’s life in Chicago during the 1890s beyond his work at Sosman & Landis. However, in 1898 he was still listed as an electrical engineer in the city, now living at 225 S. Morgan.

Multiple family genealogies cite that he was married to Charlotte Wilson (b. 1823-?). This would make her 25 yrs. his senior, so I am a little skeptical. Not that it was unheard of, just unusual. Baker was definitively married, but I have yet to locate any marriage certificate to date.  At the time of death, he was still listed as a married man. I am basing this off of his death record, as I have been unable to locate an obituary that was published in a newspaper.

 Baker died 20 Nov. 1917 in Chicago at the age of 69. He was buried at Mt. Hope. His death certificate reported that he was still working as an electrician at the time of his passing.

For additional context, I want to provide a bit of history about the American Reflector and Lighting Co., as well as the company’s link to both Joseph S. Sosman and Perry Landis. The company was featured in their 1894 catalogue, stating “The American Reflector & Lighting Co. manufacture a full line of improved Lighting fixtures for electricity, gas or oil, specially adapted for the lighting of Theaters, Halls, Assembly Rooms and Churches.”

On March 24,1893, the “Inter Ocean” listed the American Reflector and Lighting Company of Chicago as a newly formed business under the heading “Licensed To Do Business.” The company’s incorporators were listed as Perry Landis, William A. Toles and Robert Latham, Perry’s brother, Charles Landis, as the treasurer. The companies official incorporation date was April 5, 1893. The firm’s  salesroom was located at 271-273 Franklin Street in Chicago. They stocked approximately 150 styles of reflectors for use with electricity, gas and oil. The company advertised that both their indoor and outdoor reflectors “promised that the power of light was fully utilized, as its rays are saved from waste, strengthened and thrown in the desired direction.” Their lighting fixtures used crystal glass lined with pure metallic silver to provide “the best practical reflecting surface.”

The officers of the company, however, were Joseph S. Sosman and the three Landis Brothers – Perry, Joseph and Charles. They simply rotated the positions of president, vice-president, secretary and treasurer. In regard to the original incorporators, one man stands out, William A. Toles. Toles had a history with the reflector business in Chicago, having helped establish and manage the Wheeler Reflector Company of Chicago, along with Willard L. Gillam and George E. Plumb. The Wheeler Reflector Company sold the reflector designs of civil engineer and inventor, William Wheeler (1851-1932). By the way, Wheeler was widely known for his innovative patents that included not only lighting, but also water and sewage systems. In 1880, Wheeler filed a patent for a novel form of lighting and commercialized his invention through the Wheeler Reflector Company of Boston, Massachusetts. The company was extremely profitable and remained an important manufacturer of street lighting until the mid-twentieth century. Interestingly, an ex-employee in Chicago later accused Toles of bribing city officials to select their company when contracting work for streetlights during 1886 (“Inter Ocean,” 4 April 1887, page 1). This accusation contributed to the end of one business and the start of another; Toles established the Western Wheeler Reflector Company.

The Western Wheeler Reflector Company was located at No. 88 Lake Street in Chicago. On April 13, 1888, the “Inter Ocean” listed the company’s incorporators as William A Toles, Willard L. Giliman, and George E. Plume. Same individuals, just slightly different spelling of names in the newspaper announcement. The American Reflector and Lighting Company was Toles third reflector company, and at the time of its establishment, he was still actively involved with the Western Wheeler Reflector.

Baker and other electrical engineers were critical to the success of not only Sosman & Landis, but also the American Reflector & Lighting Co.  It was the combination of their innovations and expertise that put them ahead of competitors. Featuring their electric lighting equipment and the work electrical engineer Baker at the Masonic Temple in 1894 was a fantastic marketing opportunity. Despite the short duration or financial outcome, this project pushed Sosman & Landis to the forefront of electrical effects for the stage by the mid-1890s.  They would continue to offer a variety of stage equipment until the 1920s, when both Sosman & Landis and the American Reflector & Lighting Co. changed hands; each firm entering the second iteration of the company.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Today, Frank H. Atkinson is best known for his sign painting books, available from a variety of distributors. Although recent editions were published in 2018, his life and career remain primarily unknown. It has taken an incredible amount of time to track down information hidden in census reports and city directories. My search has been ongoing for a few decades now.  Years ago, I purchased “Scene Painting and Bulletin Art,” an original copy from 1916. Though the book was stained and paint-smattered, I instantly fell in love with my new acquisition before I ever turned a page.  The primary purpose of my purchase was to get a better view of one particular image: Victor Higgins posed in front of a drop curtain at the Sosman & Landis main studio.

Although Atkinson’s association with the Chicago-based firm was obvious, there was no concrete evidence to link Atkinson with Sosman & Landis. I finally made the connection while researching the story of Frank M. Lewis. Lewis was fondly recalled by retired scenic artist John Hanny in a series of interviews with Dr, John Rothgeb from 1976 to 1983.  In a letter, dated July 14, 1976, Hanny wrote, “[Sosman & Landis] was a wonderful place to work – especially for young and hopeful painters where they could get fine training and experience working with such men as Thomas G. Moses. David Strong, Fred Evans, Frank Lewis, Fred Scott, and William Nutzhorn and others.”

Lewis entered the scenic art scene in Chicago in 1890. At the age of 25 yrs. old, Lewis was listed in the 1890 Chicago Directory as a scenic artist, living at 104 Newberry av. The next year, Atkinson and Lewis briefly partnered to establish their own studio at 382 W. Madison. At the time, the two men were also living together, boarding at 432 Randolph. Their primary focus was advertising curtains for theaters, billboards and painted signage. Perfect timing to establish a business like this, especially considering the 1893 Columbian Exposition. Lewis & Atkinson scenic studio soon morphed into F. M. Lewis & Co. advertising firm.

A decade later, they were still working and living together. Lewis and Atkinson were more than colleagues; they were family. Lewis was Atkinson’s brother-in-law. In fact, in 1900 Atkinson was living with four of his wife’s brothers.

Here is what I have pieced together in regard to Atkinson’s life and career:

Franklin H. Atkinson was born in Illinois, on Oct 22 1871 – yet other records suggest 1865. Although some will cite his birth city as Chicago, I am a little suspicious. Yes, there were quite a few well-known Atkinson scenic artists working in Chicago during the nineteenth-century. Unless “Frank H.” was an alias, he is not connected to any of the families; and I have dug deep.  His close friendship and familial ties to the Lewis family suggest a more modest start, such as a smaller farming community in Whiteside County, Illinois. Maybe Garden Plain or Newton, where dozens of Lewis and Atkinson families thrived in the late nineteenth century. Interestingly, the first employee and final president of Sosman & Landis, Thomas G. Moses, was also from Whiteside County, Illinois. Moses grew up on a farm near the town of Sterling.

Atkinson married Lula L. Lewis in Whiteside County, Illinois, USA, on June 20, 1895. This was four years after living with her brother in Chicago and establishing the partnership of Lewis & Atkinson. In 1896, Atkinson was again listed in the Chicago Directory as a painter, living at 121 Lafflin with his new bride. Lewis was also working in the Chicago, listed in the directory as an artist and living at 700 W. 13^th.

The 1897 and 1898 Chicago Directories listed Frank H. Atkinson as a painter, residing at 292 S. Paulina with his brother-in-law Melvin D. Lewis, who was also a painter. 1897, Frank M. Lewis was listed as a painter too, living at 44 Vernon Park Place, with another brother. Charles Lydon Lewis soon followed and was also listed as a painter and living at 223 Mecca flats. It was quickly becoming the family business.

By 1900, Atkinson was again living with Frank Lewis; Atkinson was listed as a painter and Lewis as the president of F. M. Lewis ad sign company 55 W. Jackson Boulevard. In 1901, the Atkinson household was located at 303 S. Winchester Ave. The household included: Frank Atkinson (Designer, b. Oct 1871), Lula L. Atkinson (b. Oct 1867), Frank M. Lewis (Advertiser, b. Jan 1865), M. D. Lewis (Melvin Dell Lewis, traveling man, b. July 1871), Charles L. Lewis (Traveling man, b. May 1878) and Fred S. Lewis (Student, b. Oct 1880.).  Despite their listing in the census that year, all of the men were scenic artists, working as painters in a variety of industries. In 1900, however, they were all working together on a common endeavor, F. M. Lewis & Co. Advertising Signs.

When the fledgling company failed to make it, they all went back to freelance work. It is also very likely that each man worked in the Sosman & Landis studio at this time.

In 1901 Frank was still listed at the president of F. M. Lewis ad sign company, but the business offices changed from 55 W. Jackson Blvd. to 42, 92 LaSalle. By 1902, F. M. Lewis is listed in the “Chicago Directory” as “sign painter,” now living at “42 Merchants’ B.  M. 22498.” This is when Frank Lewis began to work full-time at Sosman & Landis, where he remained until 1912.

Between 1909 and 1916, Atkinson not only worked as a sign painter at a variety of companies, but also wrote three educational books on scenic art and sign painting. They were: “Sign painting Up to Now” (1909), “A Show at Sho’ Cards; Comprehensive, Complete, Concise,” (co-authored with G. W. Atkinson, 1912), and “Scene Painting and Bulletin Art” (1916). Although I would like to think that he took the necessary time off from painting to write, it was unlikely; he was the sole provider for a growing family.

In all of his publications, “Atkinson” is prominently featured on the cover and title page. After all, he was the author. Unfortunately, he did not own the intellectual property; his works were copyrighted and published by Frederick J. Drake & Co. of Chicago. This publishing firm specialized in self-education books, buying the manuscripts from individuals and securing all copyrights to the writings.

In 1909 Atkinson wrote: “Sign painting up to now: a complete manual of the art of sign painting, contains ninety-six designs or layouts and accompanying color notes, seventy-five alphabets embracing all standard styles, their modifications and alternates, comprehensive text covering all practical phases of the art, for every day reference in the shop”  This work included a collection of model alphabets, sample layouts, and numerous examples of sign painting projects across the country.” 

In 1912 he co-authored “A Show at” Sho’ cards; Comprehensive, Complete, Concise” with G. W. Atkinson. At this time, I remain unsure of the relation between the two.

In 1916 Atkinson wrote, “Scene Painting and Bulletin Art,” copyrighted and published by Frederick J. Drake & Co. of Chicago, publishers of Self-education Books.

In addition to working and writing, the Atkinson family moved from Chicago to Des Moines. Sign design and painting remained his focus when he relocated to Iowa. The 1910 US Federal Census records that Atkinson was living in Chicago with his wife Luna [Lula] L. and their 2-yrs.-old daughter, Virginia Frances. The Atkinson home was listed as 610 452^nd Ave, Chicago, with Atkinson’s occupation noted as “Artist in Signs.” Three years later, the family was living in Des Moines. In 1913 he was working as a designer for the outdoor advertising and sign company, Stoner-McCray System, 1244 29^th Street. Atkinson continued to work for the firm until 1915. The 1915 census provides a little more personal information for Atkinson reporting Atkinson’s 1914 earnings as $1500 [$1500 in 1914 is the equivalent of $41,000 in 2021]. The 1915 census also lists that Atkinson attended school until the 10^th grade, that his parents were both born in New York State, and he was a Presbyterian.

Between 1916 and 1918, he wrote another a book and opened his own sign company in Des Moines. The 1918 Des Moines City Directory listed Atkins-Sno Co. as a partnership between Frank H. Atkinson and David A. Snow. The Atkin-Sno Studio specialized in “Electric Spectacular Signs” and “Outdoor Painted Displays.” The firm was located at 413, 12^th in Des Moines, and then relocated to 518-20 E. Walnut St.

David A. Snow was a sign painter who emigrated from England in 1900. Born in Leeds, Yorkshire, England, on January 17, 1889, Snow’s parents were actually from Austria and Hungary (Solomon Snow and Mary Rothman). Snow arrived in the United States during the fall of 1900, settling in New York and working as a sign painter. He married Regina Kuhn on June 16, 1915 and the couple celebrated the births of three children. It was before the birth of his first child that Snow petitioned for US Citizenship in 1915. It was not granted until 1918. During his wait Robert Herman Snow was born in New York on June 10, 1916 and Katherine Snow was born in Des Moines, Iowa, on Sept 26, 1918.  It was during the citizenship process when Snow moved from the Bronx in New York City to Des Moines, Iowa. His Midwestern home was located at 1529 N 16^th St. His third child, Judith Leona Snow, arrived on April 22, 1921 in Des Moines.

As Snow overcame the obstacles toward citizenship, Atkinson experienced a series of familial life changes. Atkinson’s  father-in-law, William Lewis, passed away in 1918. Frank’s wife Lula was named Executrix for the estate. Here is a small excerpt from the probate records mentioning Luna:  “I call attention to the fact that I have also made a Warrantee Deed on the 14^th day of October, 1918 to my daughter Luna L. Atkinson, of my home real estate located in the upper part of the Village of Albany, County of Whiteside and State of Illinois….I do nominate and appoint my daughter Luna L. Atkinson to be Executrix of this my last will and testament, nor shall she be required to give bond, but I would say here that she is the beneficiary named in my Modern Woodman Life Ins. Policy that it is my desire that she divided this insurance amount received by her, equally with my heirs-at-law, she sharing equal in same.” This is the last mention that I have located for Lula, sometimes misspelled as Luna.  It is possible that this event contributed to a separation. Frank began to spend an increasing amount of time on the road, returning to Chicago quite frequently. He even registered for the WWI draft in Chicago during 1918 at Local Board N. 86, 1513 Hyde Park Blvd. By the way, the WWI draft registration described Atkinson’s appearance as 5’-7” and slender, with grey eyes and brown hair. Interestingly, Snow also registered for the WWI draft in Chicago.

Snow and Atkinson’s business thrived for a few years between 1918 and 1920. On July 6, 1919, “The Des Moines Register” reported, “HUGE SIGN FOR THEATER. Des Moines Moving Picture House Said to Be Largest. The huge sign on the Des Moines Theatre, built by the Atkin-Sno company, 413 Twelfth Street, is said to be the largest in the state. The sign is 60 feet long and 12 feet wide and holds 2,000 electric lights. Around the border of the sign is an electrical design in the form of a serpent that runs constantly about the lettering. This sign will be on the center around which the other lighting of the theater is grouped.”

The Atkin-Snow enterprise expanded their operations and continued to increase their staff over the course of two years. On Feb 7, 1920 the “Des Moines Register” included the following advertisement: “Salesmen wanted on straight commission. Apply Atkin-Sno Co., 518-20 East Walnut.” 

In 1920, Snow was president of the firm, with Atkinson vice-president. Hymon Levich was listed as the secretary-treasurer, with offices at 518 E. Walnut.  It all collapsed by 1922 when the government cited them for failing to file corporate reports, By 1922 their business ends. Although Atkinson-Sno Studio was still listed in the Des Moines Directory that year, David Snow’s interests turned to other occupations. In 1922, Snow was listed in the Des Moines City Directory as a “real estate Insurance and Auctioneer,” with offices at 226 Flynn Bldg. By 1924 David Snow is listed as a lawyer in Des Moines. Meanwhile, Atkinson continued to be listed as a painter, now working at Oliver Work Co. in Des Moines. It appears that his wife and children are no longer in the picture.

This is where Atkinson’s own life gets a little murky, and his first family fades from the scene. By 1924, Atkinson remarries; I really have no idea what happened to his first wife Lula. She may have died, filed for divorce, or remarried; it remains a mystery at this time.

Frank H. Atkinson moves to Waterloo, Iowa, and the city directory listed his occupation as a designer for the Fowler Sign Service. He is also living with another woman named Belle, presumably his wife. His respite in Waterloo was very short-lived, and soon Belle existed the picture too.

Atkinson returned to Chicago by the fall of 1924, where he became associated with the Superior Sign School on 2139 Wabash Ave. His name appeared in numerous advertisements for the studio. There is an interesting marketing strategy too; the school places a series of “Want Ads” in the “Chicago Tribune” from 1923-1930. The marketing scheme is quite clever, and, my guess, more affordable than traditional advertisements. Atkinson is credited as the “famous expert” for Superior Sign School in 1924. The institution is also advertised as “the world’s largest school” with  W. A. Hicks was the manager. Here are a few of the Want ads:

For the week of September 20, 1924, the “Chicago Tribune” published the following Superior Sign School Want Ad:

“SIGN PAINTERS!

Frank H. Atkinson, famous expert has joined world’s largest school and announces LIFE CLASS starting Sept. 20. Learn sign, scene, and pictorial under world famous staff. Qualify quickly to  EARN $75 PER WEEK in this fascinating work. We also teach paperhanging, painting, decorating, marbling, graining, show card writing. Enroll now at low rates.  Write, phone or call SUPERIO SIGN SCHOOL, 2139 S. Wabash-av. Phone Calumet 4413” (page 103). 

Throughout the remainder of September and all of October, Superior Sign School Want Ads carry a similar theme. Another Want Ad asked:

“WANT BIG PAY?

Frank H. Atkinson, FAMOUS EXPERT will personally train you quickly in WORLD’S LARGEST SCHOOL, under actual working conditions to EARN $75 PER WEEK and up, in SIGN, SCENE, BULLETIN and POSTER ART. We teach DECORATING, PAINTING, PAPERHANGING, GRAINING, MARBLING. Earn while learning. No exp. Needed. Low terms. Open every day and evening, also Sundays. Write, phone or call SUPERIO SIGN SCHOOL, 2139 S. Wabash-av. Phone Calumet 4413” (page 34). 

From Sept. 28 until Oct. 8, 1924, the Want Ad suggested:

“GET OUT OF THE RUT.

Frank H. Atkinson, FAMOUS EXPERT will personally train you quickly in WORLD’S LARGEST SCHOOL, under actual working conditions to EARN $75 PER WEEK and up, in SIGN, SCENE, BULLETIN and POSTER ART. We teach DECORATING, PAINTING, PAPERHANGING, GRAINING, MARBLING. Earn while learning. No exp. Needed. Low terms. Open every day and evening, also Sundays. Write, phone or call SUPERIOR SIGN SCHOOL, 2139 S. Wabash-av. Phone Calumet 4413” (page 29).

On November 23, 1924, the Want A’s toned down their approach:

“Sign and Pictorial paperhanging, Painting, Calcimining, Decorating, Marbling, Graining, Scenic painting, show card writing. Life class Monday, Wednesday and Friday evenings. We assist you with employment while learning. FRANK H. ATKINSON. Internationally recognized as a leader in sign craft, gives Individual Instruction. There is no time limit on any course. THE SUPERIOR SIGN SCHOOL. 2139 S. Wabash-av. Calumet 4413 (page 93).”

In 1925 Atkinson disappeared for a bit and resurfaced as an art instructor at the Cincinnati University Art School by the late 1920s. I was unaware of Atkinson’s time spent in Ohio until one of his former student’s was featured in 1937. Kenneth Watkins received a write-up in a local Jackson, Mississippi newspaper on March 28, 1937 (page 16). The “Clarion -Ledger” reported that A. Kenneth Watkins, former resident of Jackson, joined Dixie Advertisers, Inc., an art director. The article continued, “For the past four years, Mr. Watkins operated his own art studio in Cincinnati, handling national advertising layout and illustrations for Kaeser & Blair, Inc., and the Davis Tailoring company of that city. Mr. Watkins graduated from Jackson Central High School, class of ’28, and attended the Cincinnati University Art School. He studied under Frank H. Atkinson, our well-known author and mural artist. Several years ago, Mr. Watkins handled the artwork for the Paramount Publix Theatres Corporation’s poster display work for Jackson theatres. He has recently won several awards for posters and pastel painting.”

So, sometime between 1929 and 1930, Atkinson moved from Cincinnati, Ohio, to Jackson, Mississippi. He would spend the remainder of his life in the south. Somewhere between Cincinnati and Jackson, Atkinson remarried for the third time: I think.

The 1930 US Federal Census lists Atkinson living with May and her daughter in Jackson, Mississippi. He is working as an artist and living 666 N. Jefferson Street with his wife May Isabelle Atkinson was from Ohio. It is possible that May Isabelle was wife #2, Belle; I just don’t have proof yet.

Atkinson completed quite a few painting projects during the 27 yrs. he spent in Jackson. On Nov. 10, 1934, the “Clarion-Ledger” reported, “Piercing Eyes Watch Actions of State Senators. When state solons convene at their next legislative session, they will be under the piercing eyes of Red Man Created By Pale-Face, an Indian of Chickasaw or Choctaw origin. From his position in the dome of the Senate Chamber, aided in his vigil by six twin brothers, he will be able to see every action made by the solons below. The red man is not yet in his place, but will be within the next few days, according to. Frank Atkinson, his creator. Mr. Atkinson expects to have his protégé completed very soon. The chief is a part of the decorative scheme of the new capitol building, which is being renovated under the direction of A. Hays Town, local architect, and supervision of A. C. Daniels, Jackson painter. Six likenesses of the red man’s face will be placed on the underside of the dome of the senate chamber, surrounded by decorative scrolls and volutes. Frank Atkinson, painter of the figures in the capitol chambers, is well known here, being the artist who painted Governor Mike Conner upon his election several years ago, and painter of several portraits of Jackson and state notables” (page 10).  This was part of a civil works project from 1933-1934. Atkinson’s “Indian faces” are still mentioned in the online virtual tour. Here is the link: (http://www.legislature.ms.gov/about-the-capitol/virtual-tour/).

On May 14, 1937, the “Clarion-Ledger” also described Atkinson’s mural work for the Nickel Store in Jackson, Mississippi. The article noted, “Impressed is the food shopper upon viewing the store with modern market taking in the entire rear of the store and extending from wall to wall. In addition to attractive Friedrich fixtures as artist has given his conception of the cross-country trip by covered wagon of Ed Friedrich on his way to Texas many years ago. This picture, an oil painting is the work of Frank H. Atkinson, nationally known artist. Mr. Atkinson came to Jackson especially to paint the picture which gives a touch of distinctiveness and takes in the entire wall of the rear of the store” (page 5). In Jackson he primarily focused on commercial art, decorative painting, and fine art commissions.

In 1939, Atkinson exhibited an oil painting of the hanging gardens of Babylon at the Buena Vista hotel in Biloxi, Mississippi. It was part of an event that featured garden clubs and proposed erection of the Garden of Gardens in Mississippi. Lecture by D. R. Smith, president of the Garden of Gardens, Natchez (Sun Herald, Biloxi, 3 July 1939, page 5).

The 1940 US Federal Census listed Frank H. Atkinson (69 yrs.) as an artist in the commercial painting industry, still working 48 hrs./week, “on account.”  It also showed his highest level of education was four years of high school, more than the previous record of 10^th grade. He was still living with May (also Mae), who was now 52 years old and working as an operator in the restaurant industry.  I located a little more information about his final wife: Mae Isabelle (also Isabell and Isabel) Sharpe was born in Ohio about 1887, the daughter of D. W. Sharpe and Mary Sinclair. At the age of sixteen-years-old she married Charles Brewer on Jan 28, 1903. I have no idea when or why her first marriage ended.

By 1945, Atkinson briefly returned to work as a sign painter at Dallas Perkins Sign Co. He continued to work until the ends of his days. A decade later. Mae predeceased him, but by only a year.

On Nov 16, 1955 the “Clarion-Ledger (Jackson, Mississippi), page 4: “Mrs. Mae Atkinson, 68, who resided at 2545 Livingston Road, died Tuesday afternoon at University Hospital after a brief illness. She had been a resident of Jackson for 26 years and was a member of the Capitol Street Methodist Church. She is survived by her husband, Frank H. Atkinson, Jackson, three daughters, Mrs. Frank Grimes, Spokane, Washington, Mrs. Virginia Bailey, New York, Mrs. Charles Kallmer, Osceola, Ind.; one sister, Mrs. Mary Britt, Seattle, Wash: six grandchildren and one great grandchild. Funeral arrangements are incomplete. Baldwin will have charge.”

On Nov. 22, 1955, Atkinson published an announcement in the “Clarion-Ledger,” writing, “Card of Thanks. ATKINSON-Frank H. Atkinson and family express their gratitude to everyone for their kindness, sympathy and flowers received during their recent bereavement.”

Frank passed the next summer. On July 14, 1956, the “Clarion-Ledger” published his obituary (page 5). Here it is his obituary in its entirety:

“F. H. Atkinson Dies; Rites Due Saturday. Was Artist Who Painted Capitol.

Frank H. Atkinson, 84, died at 7:15 p.m. Thursday at the University Hospital following a lengthy illness. He was a resident of 2545 Livingston Road and had lived in Jackson for the last 27 years. Mr. Atkinson was a native of Chicago and at a time of his death was a retired artist. He was the artist who was engaged to paint the pictures seen inside the dome of the new Capitol Building. He was a lifetime member of the Metropolitan Museum of Artists; member of the Masonic Lodge No. 100, and the Methodist Church. Mr. Atkinson had authored four books on art, all of which had been published during his lifetime. Final rites will be held Saturday at 2 p.m. from the Baldwin Funeral Chapel with Rev. John H. Morrow of the Galloway Memorial Methodist Church officiating. Interment will follow in Lakewood Memorial Park. Masonic rites will be conducted at the graveside. Survivors include three daughters, Mrs. Esther Grimes, Spokane, Wash., Mrs. Marjorie Kallmayer, Osceola, Ind/., and Mrs. T. P. Bailey of New Rochelle, N. Y., and one grandson, Daniel W. Brewer, Jr., U. S. Marine Corps. Pallbearers will be Charles Dennery, M. J. Morehead, Denny Click, Al Hughes and C. M. Mimms. Baldwin Funeral Home is in charge.”

Hopefully those who own an Atkinson book will now have a greater understanding of the author.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Frank Lewis was an advertising man who specialized in ad drops and billboards. He sporadically worked as scenic artist at Sosman and Landis Scene Painting Studio between 1905 and 1915

Frank Marshall Lewis was born on January 15, 1865, in Indiana, Pennsylvania. He was one of ten children born to William Robert Lewis (1836-1920) Amanda Shields (1844-1908). The growing family moved west, and by 1870 was living in Whiteside County, Illinois. Between the ages of 4 and 14, Frank grew up on a farm near Garden Plain, Whiteside County, Illinois. He and many of his siblings left the farm and headed to Chicago.

By the age of 25 yrs. old, Lewis was listed in the 1890 Chicago Directory as a scenic artist, living at 104 Newberry av. He focused on the creation of advertising curtains for theaters, billboards and painted signage. Five years later, he opened his own advertising firm F. M. Lewis & Co. On March 31, 1896, the “Chicago Tribune” reported “Flames Cause Big Loss” when the Walker Building, Nos. 338-344 on Wabash Avenue near the Auditorium, was destroyed by fire (page 5). Business losses included F. M. Lewis & Co., advertisers with “loss, $1,000; insurance, $1,500.” 

The business immediately bounced back, and was soon incorporated. “F. M. Lewis & Co. even established a regional branch in New York. By 1895 F. M. Lewis & Co., with offices in the Temple Building, Albany, NY, was advertised in the “Mural Signs and Painted Bulletins” section of the July issue for “Billboard Advertising.”

By 1900 Lewis was living at this brother-in-law’s home, with three of his younger brothers. His younger sister Lula had married another scenic artist from Whiteside county – Frank H. Atkinson. Atkinson later made a name for himself as an author of Sign Painting and Scenic Art instructional publications. In 1900, however, he was living with his wife, Lula Lewis Atkinson and four of the Lewis brothers at 303 Winchester Avenue in Chicago. Atkinson’s household included: Frank (Designer, b. Oct 1871), Lula (b. Oct 1867), Frank M. Lewis (Advertiser, b. Jan 1865), M. D. Lewis (Traveling man, b. July 1871), Chas. L. Lewis (Traveling man, b. May 1878) and Fred S. Lewis (Student, b. Oct 1880.).  I will explore the life and career of Atkinson tomorrow, as he also worked at Sosman & Landis during the early twentieth-century.

In 1904, Frank M. Lewis married Miss Roy Price, on Nov. 22, 1904, in Davenport, Illinois. Marriage records list Lewis’ occupation as an Advertising Contractor in St. Louis, Missouri. They were married by J. B. Donaldson, Pastor, witnessed by Martha Like and Flora Fairman. “The Daily Times” of Davenport, Iowa (Nov. 23, 1904, page 6) reported “Chicago Young Couple Wedded in Davenport. At the home of the bride’s sister, Mrs. Fred Fairman. 550 Esplanade avenue, Davenport at half after four o’clock yesterday afternoon occurred the marriage of Miss Roy Price of Chicago to Mr. Frank Marshall Lewis, also of Chicago. Rev. J. B. Donaldson of the First Presbyterian church of Davenport, officiated. It was a quiet wedding, the bridal couple being unattended, only a small company of the relatives being present. The house was beautifully decorated for the occasion with a profusion of cut flowers and greenery. An elegant wedding dinner followed the ceremony. The bride is a charming young woman who during her frequent visits in this city at the Fairman home and also her sister Mrs. M. S. Like, has been complimented by many friendships. The groom is a prominent advertising man of Chicago. The young couple departed last weekend for St. Louis from where they will embark in the private yacht of the groom for the river trip to New Orleans, where the honeymoon will be spent.”

Lewis continued work as a scenic artist in the advertising field, specializing in ad drops and painted billboards. In 1915, F. M. Lewis & Co. became associated with “Studies in Marble,” a very interesting vaudeville act that toured the Orpheum Circuit. On October 13, 1915, the “Lincoln Journal Star”  reported, “F. M. Lewis & Co. will present as one of the features of this week’s Orpheum bill ‘Studies in Marble Art,’ magnificent reproductions of the works of famous European and American masters, including such striking subjects as ‘The Charge,’ ‘Peter Pan,’ and ‘Roman Warriors.’ The audience will be treated to a unique and brilliant spectacle combining novel and beautiful water and lighting effects” (page 3).  On October 18, 1915. A brief review of the production appeared in the “Kansas City Globe.” It simply reported, “F. M. Lewis and company presented studies in marble art. Poses were difficult, but artistic, and gave a very pleasing effect” (page 2). The show seems to have only toured for a year.

By 1920, Frank M. and Roy were living at 113^th St. in Chicago. Lewis briefly left the advertising industry, listing his occupation as “automobile accessory.” The couple was living with Roy’s niece Helen Fairman. Sometime between the 1920 and 1944 Frank remarries Hester “Hettie” Elizabeth Slaymaker (1877-1946). I have yet to locate any death certificate or divorce papers for Roy Lewis. Frank M. Lewis married Hester E. Slaymaker in Chicago, Cook County, on Dec. 12, 1944. The 1940 census listed Hettie as an unmarried and unpaid worker, living with William and Elizabeth Ferguson in Erie, Whiteside County, Illinois.  At the age of 63 yrs. old, her relationship to the 73-yrs. old couple was listed as “housekeeper.” I would bet that after her mother died, she had nowhere to go. Like Frank Lewis, Hettie also grew up in Whiteside County. She was the daughter of Samuel and Mary Slaymaker. Like Frank, her parents moved west from Pennsylvania and each grew up on a farm. They must have had quite a bit in common, with many shared experiences of their youth. In her youth, Hattie worked as a school teacher in Albany, Illinois; the same town where Frank’s parents were laid to rest. Sadly, their marriage only lasted two years, with Hettie passing away in Mount Clemens, Michigan the fall of 1946.

On October 29, 1946, the “Daily Gazette” announced the death of Mrs. Frank Lewis.  The obituary reported:

“Sister Succumbs”
Erie relatives received word Tuesday morning of the sudden death of Mrs. Frank Lewis, 69, at 2 o’clock Tuesday morning at the home in Mt. Clemens, Mich. Her brothers, Albert, Harris, and George Slaymaker and her nephew Delbert Slaymaker left early for Chicago from where Albert and George accompanied their brother Charles to Mt. Clemens. Mrs. Lewis, the former Hettie Slaymaker of Erie was married to Mr. Lewis about two years ago and has since resided in Mt. Clemens. Surviving besides the brothers mentioned are a sister Mrs. Clyde Ford of Geneseo and a brother Jesse of Morgan, Minn.

On October 30, 1946, the “Daily Gazette” provided a little more information about Hattie’s life:

“Funeral of Mrs. Frank Lewis of Mt. Clemens, Mich., Here Saturday”
Funeral services for Mrs. Frank Lewis of Mt. Clemens, Mich., will be held Saturday afternoon at 2 o’clock in the Erie Methodist church. Interment will be in the Kingsbury cemetery in Newton township. The remains will arrive in Sterling Thursday night.
Mrs. Lewis, the former Miss Hettie Slaymaker, was born near Erie in Newton township Jan. 17, 1877, the daughter of Samuel and Mary Blean Slaymaker. She attended the Kingsbury school. the family later resided in Geneseo for a few years and then in Albany where she was a teacher in the school for a number of years. Several years ago, she and her mother and sister came to Erie to reside and she cared for her in her declining years. Mrs. Slaymaker’s death occurred here a number of years ago.
Hettie, as she was known to her many friends, was an active member in the Methodist church during her residence there transferring from the Kingsbury Presbyterian church. In November 1944 she was married to Frank Lewis of Mt. Clemens, Mich., and her home had since been in that city. She transferred her church membership to a Presbyterian church there but retained her membership in the Methodist Friendly Circle class here.
Surviving besides the husband are a sister, Mrs. Clyde Ford of Geneseo and five brothers, Albert, George and Harris Slaymaker of Erie and brothers Jesse Slaymaker of Morgan, Minn., and Charles Slaymaker of Chicago.

Lewis passed away on Aug. 27, 1953 and is buried in Kingsbury Presbyterian Cemetery in Newton Corners, Whiteside County, Illinois.  His obituary was published in “The Dispatch” of Moline, Illinois on August 29, 1953 (page 11):

“ALBANY- Frank Lewis, 88, formerly of Albany, died Thursday in Mt. Clemens, Mich., where he had been ill for some time. The body will be brought to the Fay Funeral Home in Fulton tomorrow night, and the funeral will be held at 2 Monday in the Fay Funeral home. Burial will be in Kingsbury Cemetery near here. He was one of 10 children of William and Amanda Lewis. He was married twice, the second time to Miss Hettie Slaymaker, and both wives preceded him in death. Surviving are four brothers, Fred of Crete, Lydon of Comanche, Ia., Ross of near Mobile, Ala., Earl of Denver. He was preceded in death by his parents, a sister, Luna Atkinson, and four brothers,- Clare, Will, Dell, and Paul.”

Lewis was last remembered by a fellow scenic artist forty-five years ago. The following was written by former Sosman & Landis scenic artist, John Hanny, to Dr. John Rothgeb at the University of Texas on July 14, 1976. Hanny wrote, “[Sosman & Landis] was a wonderful place to work – especially for young and hopeful painters where they could get fine training and experience working with such men as Thomas G. Moses. David Strong, Fred Evans, Frank Lewis, Fred Scott, and William Nutzhorn and others.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Frank Wright Thompson and his father, Thomas Edward “Ed” Thompson, were scenic artists at the Sosman and Landis Scene Painting Studio in the early twentieth century.  

Fred Thompson was mentioned by Randy Givercer Frank in her B.A. Thesis, “The Sosman & Landis Studio: A Study in Scene Painting in Chicago, 1900-1925” (University of Texas, Austin, 1979, page 91). She wrote, “Frank, born in 1880, did a little bit of everything, usually painting those things that other artists didn’t want to paint. After Sosman & Landis closed, he became a salesman for Oklahoma Scenic in Oklahoma City.” First of all, Frank was born in 1879, not 1880, and never worked for the Oklahoma Scenic Co. However, there was a Frank D. Thompson (1910-1980) who worked as a salesman for the Oklahoma Scenic Co. in 1937. Frank D. Thompson was the son of Frank A. and Marie J. Thompson, married to Elva Thompson and living at lived at 1300 Nebraska av.; completely different Frank Thompson.

In a 1976 interview conducted by Dr. John Rothgeb with John Hanny, a former Sosman & Landis scenic artist. Hanny remembered that the Ed and Frank Thompson specialized in Masonic scenery at Sosman & Landis. Thompson’s work on Masonic scenes is verified in a studio photograph, c. 1910. The image depicts two men industriously painting on palatial interior backdrop. Hanny indicated that Frank Thompson was  the one standing up and working on the drop. The backdrop has an identifiable composition, designed for an Ancient and Accepted Scottish Rite of Freemasonry degree production. It depicts King Solomon’s Apartments for the sixth and ninth degrees. This was a standard stock scene for Masonic theatre, and extant examples of the same design still exist at the Tucson Scottish Rite in Wichita, Kansas (1908), St. Paul, Minnesota (1910), Tucson, Arizona (1914) and Grand Forks, North Dakota (1915). Below is a similar drop still used at the Scottish Rite Theatre in Tucson.

Frank W. Thompson was the eldest of three sons born to Thomas E. Thompson and Rhonda Wright. His brothers were Fred (b. 1882) and Hiram (b. 1885). Frank was born in Indianapolis, Indiana on December 1, 1879. As a young boy, the family moved from Indianapolis, Indiana, to Cincinnati, Ohio, where his father worked as a scenic artist. In Cincinnati the elder Thompson studied with master scenic artist DeWitt C. Waugh at the Grand Opera House. Frank was five years old when his father started his two-year assistantship with Waugh. Ed Thompson was painting at a variety of theaters in Indianapolis, Cincinnati and St. Louis as Frank grew up.

The Thompson family moved to St, Louis, Missouri, in the early 1890s. This is where Frank came of age and trained as a scenic artist. It is very likely that Frank learned the scenic art trade from his father, and first began painting at Hagan’s Opera House when he was a teenager. In St. Louis, the Ed Thompson began working at Hagan’s in 1891; this was when Frank was eleven years old. From 1893 to 1897, the “St. Louis City Directory” listed “Edward Thompson” as stage manager for the Hagan Opera House. This would have been the time when Frank began focusing on the scenic art trade. By 1900, Frank was living on his own and working as a scenic artist in St. Louis. He married Emma J. Dietche in 1900 and moved in with his wife’s family, his mother-in-law’s home (Lena Dietche), that same year.

The 1900 Census lists newlyweds Emma J. Dietche Thompson (also Dietsche) and Frank Thompson living at 4337 Juniata Street in St. Louis, Missouri. This was the same address listed for Emma’s mother. Mrs. Dietche was 42 years. old at the time and recently widowed, losing her husband Charles Dietche (b. 1848) the year before to phthisis pulmonalis (intrathoracic tuberculosis). Carl Dietche’s occupation was listed as “drummer” when he passed. As a musician in St. Louis, he was part of the theatre scene, likely why Frank and Emma met. Emma J. Dietche was born in Missouri in 1880. She had an older brother named Adolphus Dietche, born the year before her.

Tragedy struck the Thompson family in 1904 when Frank’s younger brother drowned on August 12. At the time, he was attending law school in Indianapolis, Indiana. On August 15, 1904, the “Indianapolis News” reported, “Frederick Thompson, 21, 113 Hancock ave., accidental drowning” (page 8).

By 1910, the extended Thompson Family had relocated to Chicago, with Frank, Emma and their young son Robert living in York Township. York was due west of Chicago, approximately Eleven miles farther than Oak Park Thomas G. Moses and many scenic artists lived. The census that year listed Frank as a scenic artist, living on Stewart Ave.  Emma’s mother was still living with them.

Franks’ WWI Draft Registration listed “scenic artist” and “self” as employer; this meant that he was not a full-time employee at any one studio. This does not mean that he wasn’t working at Sosman & Landis, just not a full-time staff member. At the time, his address was 2414 Ems St. Chicago, Illinois. His “place of employment or business” was listed as 19 W 20^th St. Chicago. This address was a scenic studio operated by former Sosman & Landis president, Thomas G. Moses when he temporarily left the company that year. On Nov. 28, 1918, the “Chicago Tribune” posted the following want ad: “BOYS- WHO DESIRE TO LEARN SCENERY painting; good opportunity for advancement. Apply after 9 a.m. Friday. MR. MOSES, 19 W 20^th St. 2d floor” (page 26). Frank’s physical description on his WWI Draft registration card was noted as medium height, medium build, brown hair and brown eyes.

The 1920 Census still listed “F W Thompson” as a s scenic artist in the theatre industry. The Thompsons were living at 2414 Colvin St., still in Chicago. At this time, Emma was listed as an office worker for a nearby dry goods store.

By 1930, the Thompsons returned to the western suburbs of Chicago. The 1930 census listed Frank, Emma, Robert and Lena living at 190 Crescent Ave. in York, Illinois. Frank was still listed as a scenic artist in the theatre industry.  Robert’s occupation was listed, “will work with his father;” he was 22 years old. I have uncovered very little information about the Thompson family during the depression, yet he continued to work as an artist.

Frank W. Thompson passed away on May 18, 1940 in Elmhurst, Illinois. Elmhurst was a short distance north from his former home of York. At the time of death, he was listed as a mural artist. He is buried in Norwood (Cook County) Illinois

Frank’s son, Robert Frank Thompson, did not enter the theatre profession or work as an artist after his father passed away. His WWII draft registration card listed his employer as the Illinois State Prison in Joliet, Illinois. At  the time Robert was still living in Elmhurst at 190 E. Crescent Ave. Robert was described as 5’-11 ½”, 135 lbs. with brown hair, brown eyes and a dark brown complexion.

To be continued….

Copyright © 2021 by Wendy Waszut-Barrett

 “Ed” Thompson and his son, Frank W. Thompson, were scenic artists at Sosman & Landis. In later years, fellow scenic artist John Hanny recalled that they specialized in Masonic scenery. This may be true as they were both at the studio during a peak period of production for Scottish Rite scenery (c. 1905-1920). I have yet to locate any Masonic affiliation for either man.

I am going to start with the life and career of the father – Thomas Edward Thompson. His name varies in historic records: Ed Thompson, Thos. Edward Thompson, T. Edward Thompson, Edward T. Thompson and Edward Thompson. Despite the name changes, it is always the same artist, with same wife, and same career.  As a young man, he went by T. Edward. As an old man, he went by Thomas E. His middle life is all mixed up; as for most, life events may prompt us to change everything, especially how our names appear in print.

Thomas E. Thompson was born on October 19, 1854 in Indianapolis, Indiana. He was the eldest child of Eli Thompson (1831-1895) and Catherine A. Weir (1837-1910). His parents were married on Dec. 31, 1853, and their first child arrived the next year. The 1870 US Federal Census listed the following members of the Thompson household: Eli Thompson (head, 39), Catharine A. Thompson (wife, 33), Edward Thompson (son, 16), Mary Thompson (daughter, 14), John Thompson (son, 12), Fannie Thompson (daughter, 9), George Thompson (son, 2) and Mary Kellin (possibly a servant). Little is known of Thompson’s early childhood, but he was the first of the children to be apprenticed in a trade. I can only surmise it was some form of decorative arts or painting.

I am going to briefly describe the patriarch of the Thompson family, Eli, in Indianapolis. It helps set the stage for Thomas E. Thompson’s home and youth. His father Eli was the son of John Thompson, one of the earliest settlers in Indianapolis. The Thompsons were a very well-respected family in the region and Eli grew to be quite a popular public figure. Starting out as a carpenter, he soon entered the lumber business. As an active leader in several local organizations, Eli soon became a city marshal and later the Chief of Police. His obituary, published on Dec. 8, 1895, in the “Indianapolis Journal,” lists many of his accomplishments. Eli even built a workshop for Thomas A. Edison when Edison was only a telegraph operator.

As Thomas E. Thompson grew to adulthood, his father became a central figure in Indianapolis society, mixing with a variety of personalities and businessmen. I am fascinated that his eldest son soon entered the theatre profession, training as a scenic artist in nearby Cincinnati.

On Feb. 5, 1876, Thomas E. married Rhonda Wright (1859-1909) in Marion County, Indiana.  Rhonda (sometimes listed as Rhoda) was the daughter of Annie Galassyre Wright and Hiram N. Wright, a blacksmith. After the Civil War, the Wrights relocated from Pennsylvania to Indiana.  By 1874, the Wright family was living in Indianapolis, the city where Rhonda would meet her future husband Thomas Edward; they two were only two years apart in age. The year after Rhonda wed “Edward,” he was officially listed in the Indianapolis City Directory as an artist. This title quickly shifted to specify “scenic artist.” From 1879 to 1881, T. Edward Thompson was listed in the Indianapolis Directory as a scenic artist, living with his in-laws at 300 Bellefontaine.

The 1880 census listed Rhonda, Edward, and their six-month-old son Frank as part of the Hiram N. Wright household, 300 Bellefontaine Street. It was obviously a home full of people and professions, with very little space or privacy. The extended family included: Hiram N. Wright (head, blacksmith, 60) Frank M. Wright (son, attorney, 32), Henry Clay Wright (son, machinist, 30), Amada J. Wright (daughter-in-law, 29), Louise M. Wright (granddaughter, 3), Josephine Wright (daughter, 23), Rhonda Thompson (daughter, 21), Edward Thompson (son-in-law, scenic artist, 26), Frank M. Thompson (grandson, 6 months), Annie Thompson (daughter, 19) and Ruth (daughter, 10). In 1882, Thomas E. and Rhonda celebrated the birth of another son, Frederick (1882-1904). It was time for the growing family to move out and get their own place.

By 1884, Thomas E. and Rhonda relocated their small family to Cincinnati where their third son was born. Hiram Henry Thompson (Sr.) arrived on February 18, 1885.  Thomas E. continued to seek employment as a scenic artist, assisting DeWitt C. Waugh at the Grand Opera House.  This is an important connection as Thompson’s future success was likely based on this two-year assistantship at the Grand Opera House. Experienced scenic artists who were associated with a particular venue often took on a series of assistants; such was the case with Thompson began working at the Grand Opera House.  Waugh became associated with Cincinnati’s  Grand Opera House in 1879, working with various assistants over the years: Frank J. Duggy was his assistant from 1880-1881;  James B. Quinn was his assistant from 1882-1883; and Thomas E. Thompson was his assistant from 1884-1885. The Cincinnati City Directory also noted that Thomas and DeWitt lived in Elmwood Place, Ohio. The 1884 and 1885 Directory listed: “Thompson, Thos. E. Thompson, ass’t scenic artist, Grand Opera House, res. Elmwood Place.”

DeWitt C. Waugh was not only a regional legend, but also a national legend; known for his incredible skill set, precision and speed. His 1894 obituary remembered, “DeWitt Clinton Waugh, widely known as one of the most capable scenic artists of later years, died at his home in Cincinnati last Tuesday afternoon and was buried Friday.  He was born at Rock Island, Illinois, almost fifty-eight years ago, coming from a family prominent as artists, his father being a painter of no little distinction, and the latter’s brother one of the best panoramic artists the country has produced, “Waugh’s Picturesque Italy” being his masterpiece.  DeWitt was apprenticed to a house and sign painter at his parent’s death, but he was afterward taken care of by his uncle the panorama painter. DeWitt crossed the plains with a caravan during the Pike’s Peak gold excitement, and failing of success in his search for gold, he became the leader of a small string band, which traveled about playing at the small mining towns. He was a fine musician, and could perform on almost any instrument. Later he became a leader of the orchestra of the first theater opened in Denver. While in that capacity need for a special scenery arose for the old play “The White Horse of the Peppers.” He remarked that he could do better than the local artist had done, was given an opportunity, made a great hit with the Denver public, and stepped into the pathway that led to fame. Wishing to enlarge his field after three or four years, he moved to Chicago. The famous Voegtlin was artist of the old Globe Theatre. After a row with the manager, Voegtlin resigned, leaving an unfinished immense “Gothic Interior.”  Mrs. Waugh, who was playing at the theater, suggested that her husband could complete it and to the surprise of all, he did it to such satisfaction that no one could tell where the great Swedish artist had quit work and the American boy begun. From that day he rose to the front rank. His great drop curtain at Robinson’s and several at the Grand in Cincinnati gained the approval of the critics and scenic artists of the country.”

Waugh was the perfect mentor; one who shared both skills and connections. After working for Waugh in 1884-1885, Thomas E. struck out on his own. In 1886, T. Edward Thompson was listed in the “Cincinnati City Directory” as “artist, 92 Elm, res. Elmwood Place”. Other scenic artists listed in the City Directory that year included: Waugh’s previous assistant, James Quinn; John E. Leslie at Havlin’s Theatre; and local freelance artists E. T. Harvey, John Herfurth, Emil Bazzaine, Lewis Kreyehagen, Simon Frank, and George Federle. By 1887, the Cincinnati Directory listed “Edward Thompson” as a lead scenic artist at the Grand Opera House. He was still living in Elmwood Place.

Thompson continued to work throughout the region for the remainder of the decade and by 1889 relocated to St. Louis, Missouri. There, he was listed as an artist living at 20 Centre. However, there was incredible competition in St. Louis, especially the partnership of Thomas C. Noxon and Patrick Toomey who ran Noxon & Toomey. Noxon and Toomey morphed into Albert, Noxon & Toomey at this time, adding Ernest Albert.  In 1902 the successful scenic studio became Toomey & Volland, after Hugo R. Volland entered the picture. Volland had the Masonic connections.  

Thompson E. began to diversify his trade beyond scenic art; this was similar Waugh’s approach before settling in Cincinnati. Thompson became associated with the Hagan Opera House, located at Tenth and Pine Streets in St. Louis.

Now listed as “T. Edward Thompson” in  city directories, he began managing all backstage activities for the venue. This did not mean that he stopped painting; he just gained more control and responsibilities. From 1893 to 1897, the “St. Louis City Directory” listed “Edward Thompson, stage manager, Hagan Opera House.” During this time, his home residence was located on Wyoming St.

In 1900, the Thompsons were still living at 4173 Wyoming Street in St. Louis with their two youngest sons, Fred and Hiram. Their eldest son, Frank W. Thompson, was working as a scenic artist St. Louis and living with his wife Emma at 4337 Juniata Street. Both Frank and his father remained integrally connected to the scenic art scene in the region. Frank’s younger brother Hiram (1885-1958) was also an artist, first working as a plate printer and later a commercial artist. Brother Fred (1883-1904) worked as a clerk for the Missouri Railroad and then entered law school.

The three brothers were not destined to grow old together, sharing stories of their theatrical father. After Fred Thompson entered law school in Indianapolis, he drowned at the age of 21 yrs. old in 1904. This tragic event may have been a catalyst that prompted the family to relocate to other cities. The Thomas E. moved north to Chicago where he worked at Sosman & Landis, while Frank moved to Milwaukee, initially securing employment as a sign painter.

In 1905, Ed Thompson was working for Thomas G. Moses at Sosman & Landis. Moses records that Ed Thompson worked on Old Mill Scenery for a Luna Park Project. Moses wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park.  Ed Thompson went with me and J. H. Young went to do the properties and papier mâché work.  We also went to Pittsburg to do an old mill there for the same firm.  We also did two small stages in the Pittsburg Park.”

Thompson likely remained on staff at Sosman & Landis when work was plentiful for the firm. Sosman & Landis were notorious for cutting their staff as soon a work slowed down. In Chicago, information surrounding the life and career of Thomas E. dwindles. It is possible that scenic studio work swallowed up his name, as much art produced by a large firm seldom credits individual contributions to a project.

Thomas E. Thompson’s life and career become solely tied to census reports. A 1910 Census lists Edward Thompson living with his son Hiram and daughter-in-law Bertha “Birdie” Reichow Thompson (1887-1971). The census report noted that Hiram was a wholesale clerk and Edward was unemployed. This likely meant temporarily unemployed, yet there is no way to know if it was economic down turn, an accident, substance abuse, or something else.

Shortly after the census report, Hiram and his growing family relocated to Davenport, Iowa, and Thomas E. stayed behind in Chicago. By 1920 Hiram  was working as a commercial artist in Davenport; a career that he would continue for the remainder of his life. In 1920, their growing family included three children: Dorothy (6), Jeanette (3) and Hiram Jr. (2). Hiram’s brood remained in Davenport for at least another decade, with the 1930 Census listing Hiram’s occupation as “artist” in the “studio” industry. Hiram continued to work as a commercial artist, eventually moving back to Chicago in 1935 and on to New York by 1940. Hiram Sr. is even included in “Jacobsen’s Biographical Index of American Artists.” His son, Hiram Jr., became an assistant production manager for the Dictaphone Company, later working for the Abbott Kimball Company in Los Angeles. Artistry flowed heavily from one Thompson to another.

For Thomas E., it was a different story. The  1920 US Census listed Thomas E. Thompson living at 338 Morgan St. in Chicago. His occupation was still listed as a “painter” in the “shop” industry. As the head of a two-person household, he was listed as living with a boarder named Clara Smith. Smith was a 42-yrs. old teacher. She was still living with Thompson in 1930, both of them now residing at 69 Lexington St. in Chicago. At the time, Thompson listed his occupation as “painting” in the “scene” industry. He was still listed as the head of household, with lodger Clara Y Smith [also recorded as Clara G. Smith]. Smith was still working as a teacher.

Thomas E. Thompson died on May 15, 1931 in Chicago. He is buried at Waldheim Jewish Cemetery in Forest Park, Illinois. I have yet to locate his gravesite or any information about his cause of death.

Waldheim Jewish cemetery was founded during the second wave of Jewish immigration to Chicago in the late-19th century.  With immigrants insisting on their own Jewish cemeteries, these groups eagerly looked for a cemetery to sell its members plots in their own specially created sections. Beginning in 1870, over 280 cemetery sections representing various Chicago family groups, synagogues, vereins, landsmanshaften, and other organizations purchased sections in Waldheim Cemetery located in Forest Park, just 9 miles west of the Loop. Waldheim was unique in that, although it was one cemetery, it was comprised of 288 separate cemeteries with different owners, prices, rules, regulations and individual caretakers. Here is the link to the cemetery site:

https://jgsi.org/waldheim-cemetery

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

William “Willie” Nutzhorn was a scenic artist at Sosman & Landis Scene Painting Studio for approximately two decades, from 1894 until the early 1920s. He specialized in interior settings and took numerous assistants under his wing, including Art Rider and John Hanny.

Born on Nov. 23, 1873 in Chicago, Illinois, he was the fourth of nine children born of Gerhard Dietrich Nutzhorn and Antonie C. Wilnes (Wilms in some accounts). The couple emigrated from Germany in 1868 with their two young daughters, Amalia (1865-1951) and Augusta (1867-1925). Amelia later married an architect (Otto Runde, 1886), and Augusta later married a musical instrument merchant (Herman Sakrzewsky, 1889). When Gerhard, Antonie, Amelia and August relocated to the United States, they first settled in Manitowoc, Wisconsin. Shortly after their arrival, they celebrated the birth of Henry B. Nutzhorn (1868-1931). The family continued on to Chicago by the early 1870s.  

Gerhard also went by Gerhart or G. D. and opened ran a grocery store, Nutzhorn & Praeger. He was naturalized on Nov. 1, 1873. By 1874, local newspapers advertised, “ G. D. Nutzhorn (formerly Nutzhorn & Praeger), wholesale and retail dealer in groceries, flour, food, and provisions, 568 and 571 Elston-av.; goods delivered to any part of the city; prices as low as the market; satisfaction guaranteed” (“Chicago Tribune,” 6 Dec, 1874, page 14). At the time, the family was living at 724 Elston Avenue. In 1875, twins were born to the couple, but neither survived infancy. More children followed, including Arthur Carl (1876-1940), Clara (1878-1942) and George (1879-1880).

In 1876, The Nutzhorn family was living right next to their business; the Nutzhorn grocery store was 725 Elston Avenue and their home address was 723 Elston Avenue. Gerhard continued to run a grocery store for the remainder of the 1870s. but by 1880 was running a saloon.

The 1880 the Federal Census listed Gerhard’s occupation as “saloon,” an occupation that continued to be listed in the Chicago Directory in 1888. It was located at 241 W. Chicago Ave.

On March 1, 1894, Gerhard passed away at the age 56 yrs. old, with his eldest son Henry becoming head of household. By 1900 the entire Nutzhorn family was living at 1075 Kimball Av. This included Henry (plumber), William (scenic artist), Arthur Carl (plumber), Clara (house work), and George (no occupation). It became obvious that William was striking out on his own in more ways than one. He was employed at Sosman & Landis as a paint boy, gradually making his way to paint assistant before securing his own palette.

On January 16, 1900, the Chicago Tribune” reported, “WOULD NOT ENFORCE THE LAW. William Nutzhorn, Being Examined for Service as a Juror, Gives an Answer that Excuses Him. “No, I don’t believe in the enforcement of the laws,” was the statement made yesterday in Judge Hutchinson’s court by William Nutzhorn, 1075 Kimbark avenue, who was being examined touching his qualification to serve as a juror in the case of James H. Bird, on trial for forgery. Mr. Nutzhorn would not qualify his answer in any way, but said he was no Anarchist. The court excused him from jury service.” This may have been a turning point for William, however, as he soon settled down somewhat.

On April 21, 1901, William married Rose Z. Stephens (1882-1918), and the two celebrated the birth of a daughter on January 10, 1905 – Clara A, Nutzhorn.

Around this same time, Art Rider became an assistant to Nutzhorn at Sosman & Landis. When Rider later left the studio to start a position at the Grand Opera House in Philadelphia, John Hanny became Nutzhorn’s new assistant; this was around 1909. Each young man started out as a paint boy, working their way up to journeyman status over the course of several years. Paint boys became assistants before receiving their own palette, projects, and pay raise. Moses records that he hired Hanny in 1906, starting him out at sixteen years old. However, Hanny first applied for the position when he was only thirteen years old in 1903.

A paint boy’s duties primarily included washing brushes, cleaning the palettes of older artists, and other odd jobs. In later years Hanny recalled, “As I look back over the years, I now realize that I have had a full and exciting life – hopefully a productive one – and have known and rubbed elbows with some wonderful generous people including Tom Moses and Wm. Nutzhorn for which I am most grateful.” Hanny greatly appreciated his training and the role of Moses at the studio, writing, “He, like Mr. Nutzhorn, was a very patient and kindly man and I shall be ever grateful for the help and the encouragement they willingly gave me” (Excerpt from Hanny letter, July 14. 1976). Many of Hanny’s statements and recollections are based on a series of interviews conducted by Dr. John Rothgeb between 1976 to 1978. At the time, his student Rand Givercier Frank was working on a B.A. Thesis entitled, “The Sosman & Landis Studio: A Study of Scene Painting in Chicago, 1900-1925” (University of Texas, Austin, 1979). Dr. Rothgeb had several students research specific topics as his continued to explore the history of scenic art in America. He conducted personal and telephone interviews with former Sosman & Landis employees, including Hanny and Art Oberbeck.

In a July 14, 1976, letter written by Hanny, he described that Nutzhorn’s trained in wood carving, so he was an expert on all styles of ornament and architecture. In Frank’s thesis, she wrote, “[Nutzhorn] made most of the designs for the so-called ‘Interior’ for the ‘sample case’ from which the selections were made by clients, and later produced in the Studio. These included what were called ‘Palaces,’ part of the equipment of most Vaudeville theaters. Aside from this he was an expert in wash water and did many floral pictures. As you may gather from this, he was a most able and accurate-exacting craftsman.” 

In 1902, Sosman & Landis delivered an interior setting delivered to the Tabor Opera House in 1902. It is very possible that the interior was painted by William Nutzhorn, when considering the time period, and Nutzhorn’s specialty of interiors. Here are a few examples of a set that was possibly painted by Nutzhorn in 1902; I documented the setting at the Tabor Opera House in February 2020.

In a telephone interview with Dr. Rothgeb on September 6, 1979, Hanny described his advancement at the firm and becoming Nutzhorn’s by 1909. Hanny recalled, “Those things come by chance. Somebody dies or goes away or something and you get a chance to fill in and if you make it you stay there. That’s all.” It is hard not to think George E. Snell’s (employee # 36) passing from a freak cable car accident after work. Snell was an upcoming star at the firm; one whose death provided an open slot for another aspiring paint boy.

Before Hanny, Nutzhorn’s assistant was Arthur Rider. However, Rider had a chance to join the Opera Co. in Philadelphia, therefore opening up a position for Hanny. On July 14, 1976, Hanny recalled, “It was perhaps the most fortunate thing that ever happened to me when I was selected from the paint boy group to be his assistant and learn from a ‘pro’ the fundamentals of good craftsmanship. I was with him for three years and then assigned a palette of my own at the journeyman’s pay ($35.00 per week).” Frank surmised Hanny’s training at Sosman & Landis: “From Nutzhorn he learned to be very exact and to measure correctly, an approach to painting that he found valuable. On interior scenes it was especially important that everything be laid out carefully on each piece. If this work were not done precisely, the mouldings and baseboards would not meet when the set was assembled” (pages 80-81, based on letter received from John Hanny, July 14. 1976).

By the second decade of the twentieth century, several Sosman & Landis artists joined the Brotherhood of Scene Painters and Sign and Pictorial Painters; Nutzhorn and his assistant Hanny were part of the group to join in 1912.

In 1915 the “Chicago Directory” listed William L. Nutzhorn as an artist, living at 3412 Cortland. St. in Chicago.  A few years later, his WWI Draft Registration Card still listed his occupation as theatrical scene painter, with Sosman & Landis as his employer. At the time, Nutzhorn was described as short, with a medium build. His eyes were grey and his hair brown. This description, when combined with the 1910 studio photograph of Nutzhorn provides a pretty good picture of this talented interior painter in the early twentieth century.

Shortly after he registered  for the draft in 1918, his wife passed away that fall. Records indicate she passed on October 7 and was buried at Forest Home Cemetery on October 10. This left Nutzhorn with a teenage daughter to raise, prompting a new living situation again. By 1920, he was living with his sister Clara and brother Henry again, but this time he was listed as head of household. His brother was still a plumber and his sister managed the household. Clara A. attended high school, completing coursework until her second year.

William continued to live with his daughter, even after she reached adulthood. In 1930 the two were living at 1510 N. Mansfield Ave, with William still listed as an artist and Clara A. as a homeworker. Daughter Clara was 25-yrs. old at the time. By 1940, however, each had their own home, with William living in the Saratoga hotel on 19 Dearborn Street. He was still listed as an artist in the art industry. 

In a letter written by Mildred Nutzhorn (William’s niece) to Dr. Rothgeb in 1983, a little more information comes to light about William’s career in the 1930s. On August 26, 1983, Mildred wrote, “I’m sorry I can’t tell you too much about my uncle. I only know that he worked for the theatre during the Depression of 1933-1939 for the P.W.A. as a scenic artist. My father and I would attend several performances at the Blackstone Theatre. After that he painted ice for ice shows (Ice Follies?). My one cousin told me that he painted he mural about the proscenium of the stage at Medina Temple in Chicago ages ago when it was first built. Although I’m sure he wasn’t associated with the lodge.”

She also recalled his passing, “He wasn’t written up at his death because I attended his funeral. Here is his death date however, Dec. 1942. (69 years old). Nutzhorn passed away on Sunday, December 27, 1942 in Chicago. His sister Clara Nutzhorn preceded him in death by seven months on Feb. 28, 1942.  As indicated by his niece, Nutzhorn was laid to rest without any fanfare.  His obituary in the “Chicago Tribune” simply stated, “NUTZHORN- William Nutzhorn, suddenly, beloved father of Clara. Funeral services Wednesday, 11 a.m. at chapel. 4523 Broadway. For information Longbeach 2454” (29 Dec., 1942, page 22) He left this world in relative obscurity, his contributions to scenic art only recalled by a few individuals.

Two years prior to Nutzhorn’s passing, his daughter Clara was living on her own, working in sales. In 1940, she was listed as head of her own household and working as a saleslady, residing at 672 Sheridan Road. Clara soon changed her name to “Claire” A. Nutzhorn, and eventually became Claire Adams, dropping the Nutzhorn entirely. Keep in mind that this change occurred in the midst of WWII, and I have to wonder if antisemitic sentiment prompted the name change. I cannot help but think of the name-changing in New York City during World War II and the American documentary photographer Dorothea Margaretta Nutzhorn (1895-1965) who changed her name to Dorothea Lange.

Claire Adams passed away on Sept. 15, 1987, in Chicago. Little is known of her life.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Ralph I. Terwilliger was a scene painter who worked for Thomas G. Moses in the late 1880s. Although their working relationship may have been short, the two remained close friends until Terwilliger’s passing in 1917.  Terwilliger worked briefly at Sosman & Landis, but set his sights far beyond laborious theatrical work.

I was surprised to encounter Ralph Terwilliger’s name while researching another Sosman & Landis employee, Leroy R. Close (1846-1901); employee #34 in this series. Close worked at Sosman & Landis from 1895 to 1901. Prior to working for the Chicago-based firm, he ran the L. R. Close & Co. in Kansas City, Missouri, from approximately 1883 until 1894. In 1894, Close relocated north and began working as a scenic artist and traveling salesman for the Chicago-based firm. Here is the link to his tale: https://drypigment.net2021/07/03/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-34-l-r-close/

Close’s story intersects with Terwilliger’s story in 1902. After Close’s passing in 1901, Miranda W. Close was appointed administratrix of the Close estate, along with Ralph Irving Terwilliger and Sarah Elizabeth Terwilliger. It was at this time that Terwilliger transitioned from the insurance business to estate management. In the end, Terwilliger really made a name for himself as a Chicago banking and real estate magnate.

A picture of Terwilliger in Moses’ scrapbook is captioned, “R. I. Terwilliger, Founder and First President of the North-West Side Commercial Association.” Nearby, Moses wrote, “Paint boy for Burridge-Moses and Louderback during the years of 1887 and 1888.” In 1910 Moses wrote, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him.  He was President of a city bank.  He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week.  He had prospered.  With his wife and two daughters he enjoys a cottage near our camp.” Fox Lake was where Palette & Chisel Club members kept a summer camp.

The Terwilliger family is an interesting bunch who always seemed to be in the right place at the right time. Ralph Terwilliger was born in New York on October 18, 1865. He was the son of Peter Terwilliger (1836-1926) and Sarah E. Mead (1840-1916). The family moved west after the Civil War, soon settling in Chicago. Over the course of the next few decades the Terwilligers became extremely well-known and well-respected throughout the region. Ralph’s parents were even featured in the 1894 publication, “Industrial Chicago, Vol. III” (Goodspeed Publishing Co., pages 74-75). I am including their entry here as it sets the stage for Ralph’s success in Chicago.

“Peter Terwilliger was born in New York, June 4, 1836, and after reaching man-
hood came to Illinois, locating first at Aurora, where he remained for five years, then coming to Chicago. He early learned the trade of a carpenter. He chose for his wife Miss Sarah Mead, of Orange County, N. Y., in 1865, and they have one son, Ralph, who is now a member of the firm of Terwilliger & Cox, engaged in the fire insurance business. [Notice that Ralph left a career in the theatre with Moses to establish a fire insurance company].
Peter Terwilliger’s parents were James I. and Prudence (Knight) Terwilliger. The former was born in New York State in 1808, and died in Orange County, N. Y., in 1875. The latter was born in Sullivan County, N. Y., in 1817, and is yet living at Huguenot, Orange County, N. Y. Her ancestors, representatives of the English family of Knight, settled in Orange County, at an early day. The family of Terwilliger is of Holland Dutch extraction, and the first settlement of one of its members in this country was quite early in the colonial period of our history. Peter Terwilliger was reared and educated in Orange County, and was graduated from the Fort Edward Academy in 1855. His father was identified with the Delaware & Hudson canal, almost from its inception until nearly the end of his life, latterly a section superintendent. With this great inland improvement Peter Terwilliger was also connected for some years. In September, 1861, he enlisted in the Twentieth New York battery as first sergeant, and, after three years’ service with that organization, helped to organize the One-Hundred-and-Sixty-eighth New York infantry, and was second lieutenant of Company G, in that regiment. He served gallantly until discharged in 1865, and, from first to last, took part in many hotly-contested engagements.
He removed to Illinois in 1867, and from that time until the fall of 1871, was in the grocery trade at Aurora. In the spring of 1872 he came to Chicago, where he has since lived. He is an influential Republican and has been active in politics in Chicago since 1875.”

Growing up, Ralph watched his father transition from a grocer to salesman in the 1870s. It was during this time that he became associated with William McGregor & Co. The first mention of Ralph in the city directory is in 1887. That year he was employed as a clerk, but still living with his parents. The family home was located at 348 Hermitage Avenue in Chicago. His father Peter worked as a secretary at W. McGregor & Co.; a firm located on 55 S. Clinton Street. Something happened between 1887 and 1888 that detoured Ralph from following in his father’s footsteps.  A spark, maybe even a rebellious one, was lit and Ralph entered the scenic art profession. He moved out of his parents’ home and started a new career. This was such an exciting time in Chicago for scenic artists as work was plentiful and wages fare; a drastic departure from clerking to be sure.

By 1888, Ralph was listed in the Chicago directory as a scenic artist, now boarding at 290 W. Madison. This coincides with Moses’ mention of Ralph working for him at the studio. Moses had left Sosman & Landis to form another scenic studio with Walter W. Burridge and well-known art dealer J. D. Louderback. It had all the promise of success, but infighting between Burridge and Louderback split the firm. By the beginning of 1888, Burridge left Moses, Burridge & Louderback, reducing the name to just Moses & Louderback. Regardless of the name change, the firm’s offices remained at 214 Lake in Chicago.  Burridge returned to his former position at the Grand Opera House, leaving Moses to handle an extraordinary amount of work. The firm soon closed, and Moses returned to his old position at Sosman & Landis, likely taking Terwilliger with him for a short time. Terwilliger’s career as a scenic artist was very short-lived and by 1889, he returned home and became a bookkeeper for his father at W. McGregor & Co.

By the early 1890s Terwilliger opened a fire insurance company, Terwilliger & Cox. On August 9, 1892, Ralph married Louisa Salomon (1868-1945) and the couple celebrated the birth of two children: Louise E. (1894-1990) and Irene Beatrice (1895-1981).

In 1900 the Terwilligers were living at 232 W. Division St., with Ralph still working as an insurance agent. However, he soon added a new role as administrator of estates, hence his involvement with the L. R. Close probate case in 1902. Terwilliger’s next step was banking. On May 3, 1903, the “Chicago Tribune” announced the opening of a New State Bank. The auditor of public accounts issued a permit to organize the Mechanics Trust and Savings Bank at Chicago. The organizers were Ralph I. Terwilliger, Iver L. Quales, James Davis, Max Klee, William J. New and William A. Wiebolt, with a  capital of $200,000. Their new establishment was located on Milwaukee Ave near Paulina Street. Terwilliger’s career began to soar at this point.

On March 18, 1908, the “Chicago Tribune” mentioned Terwilliger’s involvement with the West Side Association, reporting, “20,000 Join Tax Cut Move. Landlords all over city will aid west side association. May Mean Fight in Court. Property Owners Threaten to Organize for Political Campaign. West Side Landlord’s Protective Association was joined yesterday by the Chicago Landlord’s Protective Association, an organization embracing more than 20,000 members in all parts of the city with headquarters at 232 West Division Street [232 West Division was Terwilliger’s home address]. West Side Association, which was incorporated on Monday and is made up of more than 100 Bohemian property owners in the “Pilsen” district is determined, if necessary, to carry the fight for reduced taxes into the County court. “We are glad to join any movement that will help reduce the present high taxes,” said Ralph I. Terwilliger, secretary of the Chicago Landlords’ Protective association” (page 9)

Terwilliger continued to expand his interests, and in 1911 organized the Home Bank and Trust Company with a capital of $300,000. Located at 1225 N. Ashland Ave, it was just north of Division Street. 

Neither his personal life nor health paralleled his business success. His wife passed away in 1916, with Terwilliger following the next year. He was only 52 years old at the time. Terwilliger passed away at the Biltmore Hospital in Asheville, North Carolina on August 22, 1917. Pernicious anaemia was listed as the cause of death. This condition means that body cannot absorb enough vitamin B-12 and make enough red blood cells. The condition is often classed as an autoimmune disease and symptoms may include fatigue, shortness of breath, rapid heart rate, jaundice or pallor, tingling and numbness of hands and feet, unsteadiness, bleeding gums, impaired sense of smell, and confusion. Severe or long-lasting pernicious anemia can damage the heart, brain and other organs in the body, causing problems such as nerve damage, neurological problems and digestive tract issues.

Terwilliger’s obituary in the “Chicago Examiner” reported, “Ralph I. Terwilliger, founder of the Home Bank & Trust company, Milwaukee and Ashland avenues, first president of the Northwest Side Commercial association, widely known in Chicago real estate circles, died yesterday at Biltmore, N. C., according to word received in Chicago. The Terwilliger residence is at 3104 Logan boulevard. The body will arrive tonight (Vol. 15, no. 210, page 15).

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

George F. Snell (1873-1891) was a scenic artist at Sosman & Landis Scene Painting Studio.  Snell’s artistic career was a short one, ending tragically on November 19, 1891 after suffering severe injuries from a cable car accident. He was barely nineteen-years old.

Snell grew up in Chicago, one of four children born to Frederick B. Snell (1847- 1898) and Catherine “Kate” Kearne (b. 1846-1892). Although his grandfather worked as a Chicago blacksmith, George’s father and uncles entered the painting profession.  His parents met and married in Chicago in 1868. By 1869, Frederick was listed as a painter in the Chicago Directory, living with his wife, widowed mother, and older brother Julian. The Snell family was living at 121 ½ Superior Street. In 1870, the couple celebrated the birth of their first son, Richard L. Snell.  George was born three years later in 1873, with a sister following in 1878. It does not appear that his sister was named, or lived long after birth. George’s youngest brother, William J. Snell, arrived a decade later in 1882.

It was George’s father, Frederick B. Snell, who first entered the Chicago painting scene, well before any other member of the family. However, it remains unclear if he was working as a scenic artist, decorative painter, or both, at the time. George’s uncle, Julian Otis Snell, followed his younger brother into the painting profession after attempting an early career as a fish monger. Trading the scent of fish for animal hide glue must have been a delightful perk for the entire family. In time, George’s older brother Richard L. Snell, and Richard’s son, George, also entered the painting profession. Like his namesake, the second George F. Snell became a scenic artist.

The Snell family’s association with Sosman & Landis first came onto my radar in a random search a few years back. I was exploring various Sosman & Landis projects during the early 1890s. The tragic nature of the story prompted me to jot down the citation, noting “another S&L employee.” Here is the story of George F. Snell, as reported in newspaper accounts at the time.

On November 20, 1891, the “Chicago Tribune” reported:

“Cable Collision in Tunnel. One Man Loses a Leg and Another a Thumb – Fatal Accidents. The grip of a Lincoln avenue train broke in the La Salle street tunnel when traffic was heavy Thursday night and collided with a Clybourne avenue train. George Snell, living at 115 Locust street, who was standing on the coupling bar, was jammed between the dash boards and had his right leg crushed. His limb was amputated at the Alexian Brothers’ hospital. He is a scenic artist employed by Sosman & Landis, 236 South Clinton street. Fifteen minutes after the accident, a thumb was found in the tunnel. It belonged to Ernest Braumer of 17 East Division street, who was knocked down by another train” (page 3). The incident made regional news and was republished in the “Muscatine News-Tribune” in Iowa, “The Times Herald” of Port Huron, Michigan and “The Waukesha Daily Freeman” in Wisconsin.

A few days later on November 23, 1891, the “Chicago Tribune” reported “George Snell Dies from His Hurts.” The article continued, “Fatal Result of a Cable-Train Collision in LaSalle Street Tunnel. George Snell, No. 115 Locust street, who was badly crushed in a cable-train collision in LaSalle street tunnel Thursday night, dies at the Alexian Brothers’ Hospital Saturday night. At the time of the accident, he was standing on the coupler of a Clybourn avenue trailer, when a Lincoln avenue grip broke loose, and rushing down the incline, crashed into a trailer and crushed Mr. Snell’s right leg. He was removed to the hospital, where his leg was amputated.”

The ensuing investigation by the coroner kept this tragedy in the headlines for weeks. On November 25, 1891, the “Inter Ocean” announcing, “Progressing Slowly, but little is shed on the LaSalle Street Tunnel.”  Detailed information pertaining to those involved with the accident was brought to light: “John M. Roach, Superintendent of the North Side Cable line, William B. Keep, attorney for the road, and his assistant, John R. Elley, were witnesses yesterday before the Coroner’s jury which is inquiring into the death of George Snell. Mr. Roach testified that in the wreck, in which young Snell met his death, were the cars, conductors, and gripmen here named: Lincoln avenue grip car No. 409, H. Slack, conductor and M. Galvin gripman; car No. 281, P. D. Probert, conductor; grip car No. 771, James McCurdy, conductor and D. Myers, gripman; car No. 471, E. E. Leach, conductor, and H. Menze, gripman; car No. 211, J. O’Hearn, conductor, and car No. 192, E. L. Houghton, conductor. He said that he thought that car No. 281 was smashed in the wreck. Messrs. Keep and Elley refused to testify. They alleged that all they knew of the cases had been told to them by their clients, whom they could not betray. Mr. Keep also intimated that the jury had its verdict already before the witness had to be examined. There being no other witnesses before the jury, an adjournment was taken until 9 o’clock this morning to give time to subpoena the witnesses named by Superintendent Roach” (page 5).

On November 26, 1891, the “Chicago Tribune” reported, “After two full hours deliberation over the evidence, the Coroner’s jury in the Snell inquest returned the following verdict late yesterday afternoon.”

The article headline announced:

“WHERE BLAME LIES.

Verdict of the Coroner’s Jury in the Snell Case.

CENSURE FOR THE ROAD.

North Side Cable Company Held to Be Responsible.

SUGGESTIONS FOR ALDERMEN.

Many Recommendations Made to the City Council.

EVIDENCE HEARD AT THE INQUEST.“

Summarizing the Coroner’s Jury outcome, the article reported, “The deceased came to his death at the Alexian Brother’s Hospital Nov. 21 from shock and hemorrhage caused by injuries received by being run over by grip-car No. 409, belonging to the North Chicago Street railway company, in the LaSalle street tunnel Nov. 21, 1891.

We, the jury, find the evidence that deceased was knocked over the dashboard of trailer car No. 281, said trailer-car being attached to grip No. 409. The cause of deceased being knocked over the dashboard was due to the brakes and grips of some of the cars ahead of grip-car No. 409 being out of order and not in good working condition and not fit to run on the incline of LaSalle street tunnel, where said cars could not be held stationary on the incline, and they rolled back and crashed into the train upon which deceased was a passenger.

And in view of the above facts, we cannot too severely censure the said company for gross negligence, and we hold it responsible for deceased death.

And we recommend that the City Council take immediate action and pass a stringent ordinance compelling street railway companies to better protect the lives of passengers by the following method – to wit:

That grip cars shall be closed on both sides, leaving a small entrance, so that it would prevent people from standing on the side-steps of cars; and that dashboards be made higher, and that men be compelled to be at brakes while running through the tunnels; that each car be provided with a block to stop cars on the inclines, in case the brakes fail to work, and that it be made a penal offense to allow any person to stand on platforms of cars.

After witnesses.

Deputy Coroner Monaghan yesterday resumed the inquest upon the remains of George Snell, the victim of the tunnel accident of Thursday night. He had spent many hours endeavoring to find witnesses, trainmen and railway employees who knew anything about the accident except by published rep[orts. His quest had been all but vain, and that in the face of the promise of Supt. Roach to do everything in his power to assist in finding important witnesses.

“The company’s assistance was all a farce, “ he remarked to Attorney Foster as he surveyed the half dozen witnesses, he had been able to get together. “Instead of assisting me, the company has done everything under the sun to make my work impossible.”

Peter Stromberg, the boss of the wrecking crew, was first put on the stand. His story was, in effect, that a Lincoln-Wells train struck at the mouth of the tunnel on account of a broken grip. He endeavored to pull it out with a train, but failed; so, telling the conductor to uncouple the trailer, he made another effort to get the grip up the grade. For some reason the trailer brakes did not work, and the car started down the incline. It collided with a Clybourn avenue grip and both ran down the incline. Halfway up the slope there was a Lincoln and Clark train. The Clybourn train crashed into this one and bore down to the foot of the tunnel where it collided with another train. There must have been trouble with the brakes, he said, for they did not control the cars. The witness had heard the gripman of the Clybourn avenue car say that a bolt was loose in his cable shoe and that he could not hold the rope. Stromberg was altogether innocent of any information about Snell.

Stories of Other Witnesses.

John Larson, a member of the wrecking crew, had forgotten all he ever knew about the accident. Ole Bartels confessed on the stand that he had supposed he was subpoenaed to testify about the murder of A. J. Snell and professed ignorance of the matter in point. E. L. Crawford, assistant barn boss at the limits barn, admitted that the report of the accident passed through his hands, but he did not read it.

Michael Garvin, gripman of car No. 409, said he saw the conductor lift Snell from under the wheels, but knew nothing of the manner in which he received his injuries. W. H. Slack, the conductor of car No. 409, testified that took Snell from under the wheels but did not see him fall.

Ernest Broms, who lost a thumb in the collision. Was placed on the stand, but his knowledge of the affair was rather cloudy.

In the afternoon John T. Finn, and East Chicago policeman, gave the substance of Snell’s ante-mortem statement, which was made in the presence of doctors and others at the hospital. It was in substance that Snell was standing on the front platform of a Lincoln avenue trailer and that the collision threw him over the dash-board under the wheels. Deputy Monaghan at this point informed the jury that he would secure other witnesses if it was deemed necessary, but the jury, after consultation, announced that it was satisfied that deliberation upon the testimony already given would enable it to formulate a verdict and the case rested” (page 1).

The Coroner and the Snell family continued to fight the railway company. On Dec, 6, 1891, the “Chicago Tribune” reported, “Coroner Hertz sent a communication to State’s-Attorney Longenecker yesterday which may result in getting President Yerkes into trouble. It was in regard to the George Snell case.  The Coroner told the State’s-Attorney that he respectfully submitted for his consideration the verdict of the Coroner’s Jury in the Snell case. “In part,” he wrote, “the jury said: ‘We cannot too severely censure the North Chicago Street railway company for gross negligence and hold the company responsible for the death pf the deceased.’”

“Did you send the letter for the purpose of having the State’s-Attorney bring the case before the grand jury?”

“I simply wanted the State’s-Attorney to know what the Coroner’s jury thought of the case and the company’s responsibility for the death of Snell. It would not be becoming to remind a public officer of his duty. I think the State’s-Attorney knows what his duty his duty is and will perform it in this case.”

The Coroner thinks that Mr. Yerkes can be tried criminally for the death of George Snell and bases his opinion on Sec. 48 of the Criminal Code entitled, “Criminal Carelessness.” This section in effect says that whoever has control or management of a public conveyance used for the common carriages of persons and is guilty of gross carelessness or neglect whereby the safety of any person shall be endangered shall be imprisoned not longer than three years, or be fined not more than $5,000 or both. [$5,000 in 1891 is equivalent in purchasing power to $150,719.78 in 2021].

State’s-Attorney Longenecker said he received the Coroner Hertz’ communication and that if upon investigation he found grounds for an indictment he would place the matter in the hands of the grand jury. “However,” he continued, “the Coroner does not lay the blame upon anyone. If it is as the jury states that there was gross negligence it should have been found out by the person or persons were – whether Mr. Yerkes or some of his employees – and held them to the grand jury. Then it would have been imperative for the grand jury to take action. But, as I said, I will look over the evidence and if there is ground for an indictment the matter will be taken up by the grand jury.”

Two days later on Dec. 8, the “Chicago Tribune” reported, “State’s-Attorney Longenecker sent to Coroner Hertz yesterday for the evidence in the case of George Snell, who was killed in the LaSalle street tunnel a few weeks ago. Mr. Longenecker says that someone is undoubtedly responsible for the death of Snell, and he wants to find out who it is if possible” (page 7).

Meanwhile, the estate of George Snell entered probate. On December 17, 1891, Snell’s parents, Frederick B. and Kate Snell, were listed in probate records with the State of Illinois. George’s uncle, Julian O. Snell, was appointed the administrator of his nephew’s estate. The entire extended Snell family was still living and mourning together under one roof.

On January 5, 1892, an announcement appeared under “Court Notes”: “Julian O. Snell, as administrator of the estate of George E. Snell, sued the North Chicago Railway Company for $5,000” (page 12). That same day, the “Chicago Tribune” announced, “Julian C. Snell as administrator of the estate of George E. Snell sued the North Chicago railway company for $5,000 damages. George Snell was the man who was killed in the La Salle street tunnel and in learning the circumstances of whose death the Coroner had so much trouble with the street railway officers” (page 10).

On Dec. 16, 1894, the “Chicago Tribune” announced the judgement in the Superior and Circuits Courts Sections: “JUDGE FREEMAN – 2,752 – Julian O. Snell, admr. estate of George F. Snell vs. North Chicago St. R. R. Co.; on ver., $3,500; appld.” [$3,500 in 1892 is the equivalent purchasing power to about $105,503.85 in 2021].

I have yet to locate any other information pertaining to the George Snell case, or if the family ever received anything from the railway company. Regardless, the Snell family continued in the painting business. By 1910, Julian was listed as a decorator, running his own business, and now living with his nephew’s family on Locust street in Chicago. His nephew, Richard L. Snell was also listed as a painter and running his own business. Richard’s youngest son, George F. (George F. Snell’s namesake), was working as a scenic artist in the theatre industry.  

Uncle Julian lived until 1930. At the time of his passing, his occupation was listed as a stage manager. On January 23, 1930, the “Chicago Tribune” reported, “SNELL – Julian O. Jan 21. 1930, of 3736 Clifton ave., uncle of Richard L. Snell. Funeral services at chapel, 2701 N. Clark St. Thursday at 3 p.m. Interment Graceland” (page 14).

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Sunday was my final day of work at the Brown Grand Theatre in Concordia, Kansas. Over the course of seven days cleaned, repaired, consolidated loose paint, in painted, reinforced the seams, and replaced the entire top of the drop curtain with new fabric and batten. I also cleaned, consolidated loose painted, and repaired the matching grand border. Initially, this project was a pretty straightforward repair and touch-up job that was going to take five full days. However, it morphed into a “replace the entire top of the drop curtain and reinforce the seams.”  It tacked on an extra two days to the project, so was my last chance to finish everything last night before I left town today. Concordia is a nine-hour drive from my home in Minnesota.

Constructed a PVC roller for the bottom of the drop; this will solely to help reposition the piece for hanging.  An extremely thick layer of original primer and paint makes the composition extremely fragile and subject to cracking. All that was available was available for a quick roller was ten-foot sections of 4” PVC. We purchased four sections and five connectors. The last two connectors were added to the ends,  as it lifts the tubes up, and the fabric is able to adjust during the rolling, preventing wrinkles that sometimes occur.

I positioned the assembled roller and did a dry run to make sure it would work. I wanted to verify that the paint didn’t crack when being wrapped around the diameter.  Rolling would occur Monday morning, as it has been extremely humid and I wanted to make sure that everything was really dry.

My next task was to attach the new top batten, made by local theatre volunteer Royce.  The battens were beautiful. As the drop is out of square, I referenced painted detail (bottom of the frame).  Just as they used to attach battens: I started out with nailing the back of the batten to the stage floor. This keeps the boards straight and in position as I attached fabric. I was also able to work out a few warps this way too. Then I attached the top of the fabric to the back batten, stapling every six inches; no, there were no tacks available.  I placed the front batten, sandwiching the fabric, with screws every foot, staggered. After everything was all set, I pried up the top batten and hammered over the nails. Voila! It was all set to go. The holes for suspension will be drilled when it is hung next Friday.

I then returned to both in-painting and paint consolidation on the drop curtain. I worked on the drop until there were too many wet areas and then shifted to the grand border – about 2PM. After cleaning the piece, I patched and replaced a missing grommet at the top. Then I was able to focus my attention on both the green drapes for the drop curtain and grand border.

I finished up at 7PM and headed back to my hotel for the Board Meeting via. Zoom. I created a power point to show details of the work that occurred over the week and answered questions.  The daily posts of this project were primarily for the Board of Directors to follow the progress, without stopping by during the day.

This morning after checking out of my hotel, I stop by the theater, roll the drop, load up my supplies and head home.  On my way home, I am stopping by the Blair Theatre in Bellville, Kansas to see their 1928 theater; Belleville is due north of Concordia.