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Sosman & Landis, Shaping the Landscape of American Theatre: Sosman & Landis, 1877-1879

Sosman & Landis were listed as “scenic artists of Chicago” by 1877 but did not permanently move to Chicago until 1879.

Years later, Landis described the the firm’s early years in a Dramatic Mirror interview. He explained, “…we had to decide whether New York of Chicago was to be the field of operations.”

The reporter asked: “Why did you choose Chicago. New York is surely a more lucrative field?”

Landis: “I know it is, but when we started, we were totally unknown, and New York presented a good deal of formidable competition. It’s the name you want in our business, and, at that time, we hadn’t got it. Since then, it has come, and we’re doing as much business as we can handle.”

They made a good choice. In 1880 Sosman & Landis was the only listing under the “Artists (Scenic)” section of the Chicago Directory.

Sosman &. Landis did not permanently move to Chicago until 1879. Landis described this early period of their partnership:

“Sosman and I went from town to town doing what jobs we could get, and saving all the money we could. By-and-bye we had saved enough to start in business seriously.” Starting in business “seriously” meant renting a studio space in Chicago. Prior to this time, their work was all completed on site. For example, in 1877, all of the scenery for the new opera house in Wilmington, Ohio, was painted at the theater. Wilmington’s new entertainment venue was located above the town hall.

City Hall, Wilmington, Ohio

The history of Wilmington’s public hall is included in The History of Clinton County Ohio (W. H. Beers and Co., 1882, p. 527-528).

Here is the entry about the Hall in The History of Clinton County Ohio:

“WILMINGTON PUBLIC HALL.

On the 17th day of March, 1876, the Council authorized an election to decide the question of levying a tax for the purpose of erecting a public hall and engine house. The election was held April 3, 1876, and resulted in a vote of 383 to 146 in favor of the enterprise. A special act of the Legislature was passed March 17, 1877, authorizing the Council to issue bonds not exceeding. in amount $15,000, and to levy a tax not to exceed 2 1/2 mills on the dollar valuation of the taxable property of the village. The first stone in the hall was laid on Friday, May 25, 1877, by Robert McMillan, and the building was completed in the spring of 1878. It is an imposing structure two stories high, with a mansard slate roof. The front is formed of three towers extending to the roof. The middle tower is surmounted with a small belfry, beautiful in design and finish, and in each roof of the other towers are two dormer windows. The front presents a number of ornaments of freestone and galvanized iron. On the outside walls on either side, are five buttresses extending from the ground to near the top of the building, four of which culminate, after making two offsets, in as many chimneys. On the first floor of the building are eight rooms as follows: East half, front room, Mayor’s office; middle room, for township purposes; rear room, Council chamber, west half occupied by the Fire Department; large room in front, engine room; three rooms in the rear occupied as a residence by the engineer. The second story entire comprises the auditorium. Across the rear end of the auditorium is a gallery. The building is lighted by gas and heated by hot air.

The contract for building the hall was awarded to Messrs. Fisher & Hughes for $16,980, and they sublet the brick and stone work to McMillan Bros.; the galvanized iron and slating to Farquhar & Sparks, and the painting to Griffin & Gustin: The plastering was clone by P. J. Murphy, under employment of the contractors. The plans and specifications were drawn up by William M. Cleveland, architect; but in the course of the construction of the building, some changes were rendered necessary, and the cost of the building was increased to $18,399.49. The scenery, chandeliers, etc., increased the above sum, and the total cost of the building as it stood at its completion was $20,006.52. There are chairs in the auditorium for over six hundred persons, and sufficient seats in the gallery for 250 more; but 1,200 persons can be accommodated without much crowding. The stage scenery is attractive, the chandeliers of a new and beautiful pattern, and the whole audience room is commodious and beautiful. Taking it all in all, the hall is a model one. For outside show, the building is an imposing one, not overdone in the way of decorations, but tasteful and attractive. The hall was formally opened and dedicated tinder the direction of the Town Council on the evening of Thursday, April 18, 1878, with the following programme:

Music, by Wilmington orchestra; Anthem, by choir; Music, by orchestra; Address. Presentation of the hall by Mayor Hayes; Address. Reception of hall by W. B. Telfair, Esq.; Music by orchestra.

In consideration of $2,000 paid by the Trustees of Union Township to the village of Wilmington, the latter granted them a perpetual lease on the room heretofore described as occupied by them for township purposes.

Work was plentiful for scenic artists at this time. In addition to the construction of new opera houses, many public buildings were either being constructed with theater spaces or renovated to include theatrical stages. This meant that scenic artists began working for city councils; a relationship that often led to other painting projects in the vicinity. Announcements of an artist’s arrival in town to paint scenery almost read like an advertisement.

On Dec. 20, 1877, Clinton Republican of Wilmington, Ohio, reported, “The Town Council have contracted with Messrs. Sosman & Landis, scenic artists of Chicago, for the painting of a drop curtain and seven scenes for the stage of the new Town Hall. These gentlemen will begin the work about the 1^st of January, and it will take them some six weeks to two months to complete the job. They come highly recommended, and no doubt will do such good work as will add to the general attractiveness of the capacious and beautiful Auditorium” (page 3). A description of the stage was included in the 1882 issue of The Jno. B. Jeffrey’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Poster, Etc. of the Cities and Towns of America:

“Size of stage, 20×30, Seating capacity, 1,200. Eight sets of scenery” (pg. 238).

For geographical context, Wilmington, Ohio, is located only 50 miles northeast of Cincinnati, Ohio. The two remained in Wilmington for two full months.

On Feb. 28. 1878, the Clinton Republican reported, “Messrs. Sosman & Landis, Scenic Artists, have completed the work of scene making for the stage of the new City Hall, and the same has been accepted by the Council. All who have seen the work of these gentlemen express themselves as surprised at the superior characters of the scenery and the near approach of the completion of the Hall only adds to the general commendations as to its beauty and excellence every way” (page 3). The dedication of the hall took place on Thursday, April 18, 1878.

While working in Wilmington, Landis took the opportunity to visit the nearby town Lebanon, Ohio. Lebanon was approximately 24 miles away toward the west, a little closer to Cincinnati. Landis was accompanied by Robert McMillan, builder of Wilmington’s city hall, and local clothier W. H. Rannels. On Feb. 7, 1878, Clinton Republican (page 2). A short article from the Lebanon Gazette was republished in the Clinton Republican reporting, “Messrs. W. H. Rannels, Robert McMillan and Perry Landis were here from Wilmington, on Wednesday last, for the purpose of looking through their new hall. Mr. Landis, a scenic artist of rare accomplishments, and is engaged at present, in ornamenting the hall at Wilmington. These gentlemen expressed themselves well pleased, with the grand outside appearance and exterior arrangements of our hall.”

Sosman & Landis’ 1878 scenery installation was remembered when Landis returned to town three years later. On Jan. 27, 1881, the Clinton Republican reported, “Perry Landis, of the firm Sosman & Landis, the gentlemen who furnished scenery for our City Hall. Has been in town the past few days. He proposes, provided the Council are willing, to place an extra curtain in the front of the stage at the hall, free of charge, the pay to come from advertisers who have their cards inserted on the margin” (page 3). Landis was peddling an advertising curtain. Instead of solely approaching theater owners to purchase scenery, the firm now solicited local business owners. The businesses paid for ad spaces, the income covering the price of the painted scene.

Advertising Curtains

Example of a advertising curtain sketch with proposed business spaces. University of Minnesota Libraries, Performing Arts Archives. https://umedia.lib.umn.edu/item/p16022coll116:116

Advertising curtains for theaters were a profitable extension of business charts and signage.

The sale of advertising curtains marks is a significant moment in the development of Sosman & Landis. These projects guaranteed payment in advance and significant profits. They were guaranteed work for sign painters wishing to transition into the world of scenic art.

The first scenic artist on staff at Sosman & Landis in 1880 was Thomas G. Moses. Moses recalled that advertising drop curtains were a mainstay for the firm before his hire that year. In 1880, Moses wrote, “My first work was to go to Kenosha, Wisconsin, and start the first job of scenery that Sosman & Landis ever did. Up until this job they had been doing nothing but advertising drop curtains.”

Thomas G. Moses, pictured in the Inter Ocean on Feb. 26, 1886. He was 30 years old at the time.

Moses’ statement is not entirely accurate as Sosman & Landis had delivered stock scenery collections prior to moving to Chicago. However, when Moses was hired in 1880, the focus of the firm may have been advertising curtains, as the projects guaranteed payment in advance. Low risk and high profit helped offset the expenses of leasing a studio in Chicago. Moses painted dozens of advertising curtains prior to joining Sosman & Landis. For example, in 1877, Moses was paid $160 to paint and advertising curtain, a two-week project. For context, $160 in 1877 is equivalent to $4650 in 2023.

Sosman transitioned from painting business charts to advertising curtains between 1875 and 1877. In 1875, Sosman and his previous partner, J. C. Blaine, painted several business charts for local post offices. On Nov. 4, 1875, the two were mentioned in the Fairfield Ledger for painting “the most beautiful and attractive business chart ever seen in Fairfield.” The article reported, “In size it is 8×16 feet, and contains the business cards of about twenty of Fairfield’s businessmen. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blain, who handsomely painted the scenery at Semon’s Opera House.” They painted a similar chart for the post office in Washington, Iowa.

On Dec. 17, 1875, the Washington Gazette listed “Sausman [sic. Sosman] & Blaine – New style of advertising” in the “New Advertisements section (page 3). The article about their endeavor reported:

“New Style of Advertising.

The center attraction to the crowds who visit the post office is the new and elegant advertising bulletin recently put three by Messrs. Sausman & Blaine, the scenic artists and commercial advertisers who have just completed the painting of the scenery for “Everson’s Opera Hall.” The work throughout stamps them as first-class artists in their line, and the bulletin is certainly the handsomest, neatest and most attractive thing we ever saw in the line of advertising. It is painted on canvas, in oil colors, and in size is 8 x 16 feet. The cards. Twenty-five in number, are beautifully and artistically designed and are ornamented with the names and businesses of twenty-five of Washington’s most enterprising and wide-awake businessmen. The whole number of cards were taken the first day, and numerous applicants for cards were made after the required number was obtained, which pointedly shows that our business men know how to appreciate a good thing when they see it, but Messrs. S & B have made an imperative rule to take as advertisers but one firm in each distinctive branch of business, and erect but one bulletin of twenty-five cards in each city, and have adopted as their motto ‘first come, first served,” hence but first-class advertisements have or will be taken. In conclusion, we can heartily endorse Messrs. Sausman & Blaine as gentlemen who fulfill their contracts satisfactorily in every respect, and we wish them success and bespeak for them the liberal patronage which their work deserves, wherever they go.”

City Hall, Elyria, Ohio

Map of Elyria with image of Town Hall in lower left-hand corner, 1868.

Elyria Town Hall became home to the opera house after a renovation in 1878.

Elyria Town Hall was home to the opera house after renovation in 1878.

In the fall of 1878, Sosman & Lands delivered scenery to a theater in Elyria, Ohio. Their project was mentioned in Sosman’s hometown of Macomb, Illinois. On Dec. 26, 1878, The Macomb Journal mentioned Sosman in the “Personals” section.

The article reported, “Jos. S. Sosman returned, Friday last, from Elyria, Ohio, where he has been engaged for some time, painting the scenery for a new Opera House. He came straight to the JOURNAL office and divided the fruits of his toil. Mr. Sosman, as a scenic artist, is gaining a reputation that extends beyond the State, and he deserves it, for few artists decorate the interior of theaters than that self-same Joe” (page 3). Sosman was working at the refurbished town hall in Elyria. A new addition was added to the building, completed that September. Elyria’s town hall was listed in Jno. B. Jeffrey’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Poster, Etc. of the Cities and Towns of America. The following description of the stage was included:

“Size of stage, 30×40. Seating capacity, 1,000. Seated with chairs. Fourteen sets of scenery” (pg. 222).

Elyria Opera House building pictured on a postcard.

For geographical context, Elyria is located just six miles from Lake Erie, approximately 20 miles from Cleveland. Elyria City Hall was built in 1867 and is still standing. During extensive renovations in 1878 the second floor was converted to an elaborate opera house, and this was when Sosman painted scenery for the venue. After the building was repeatedly repurposed and renovated, it is once again the home to City Hall. This was their last project before leasing a permanent space in Chicago.

Moving to Chicago

By the onset of 1879, Sosman and Landis accumulated enough funds to establish a studio in Chicago, Illinois. On January 9, 1879, Indiana’s Rushville Republican, reported, “Perry Landis visited his father’s family in this place, a few days ago. We understand that he intends to locate to Chicago.”

On Feb 5, 1879, The Macomb Journal reported, “To quote the Independent ,’it never rains but it pores,’ and scarce were we over our perturbation at the leader of the Macomb Band going away, then came by post a letter from Joe S. Sosman, another member of same institution. Said letter directed us to send his paper in future to 277 South Clark street; and a card enclosed gives us information that Sosman & Landis have located their office as scenic artists within a block of the Grand Pacific, and for a time, at least, another horn will cease its sweet blow. The card of the firm says, ‘our references are strictly first class.’ You bet – there’s the JOURNAL, one of that class, that Joe, like Harker, can draw on at any time for all the reference or endorsement he wishes, and every draft will be honored at sight” (page 3). Sosman was part of the Macomb Coronet band, as was William “Bill” Harker, the lieutenant and leading horn.

Again, in the Dramatic Mirror interview, Landis explained why they picked Chicago to set up shop:

“…when we started, we were totally unknown, and New York presented a good deal of formidable competition. It’s the name you want in our business” (June 27, 1891, page 8).

Sosman & Landis’ established their first studio at 277 and 279 South Clark Street in Chicago, located on the northeast corner of Van Buren. An advertisement for the space was published in the Chicago Tribune on May 25, 1879 (page 1). It was a multi-purpose structure Isaac Marks of 277 rented a large store at No. 279 South Clark-st.

Advertisement for 279 S. Clark-st. from May 1879.

That fall, the same address same address was listed in the Amusements section of the Chicago Tribune as the venue for “J. W. Couch’s Menagerie” (20-21 Nov 1879, page 2). On Nov. 23, 1879, the Chicago Daily Telegraph announced, “J. W. Couch’s Menagerie, Museum and Aquarium, 277 and 279 South Clark-st. Admission, 10 cents; children under 12, 5 cents. Fifty cages of live animals; 25 living alligators, 2 performing buffalo, herds of antelopes, hundreds of curiosities, dens of wonderful reptiles, Prof. Dun Bar with his forty performing canary birds, are among the many great features of this week” (page 8).

Last listing includes Sosman & Landis’ studio address in 1879 – the same location used by J. W. Couch’s Menageri at 277 and 279 South Clark-st.

Sosman & Landis offered mail order scenery, publishing a list of available scenes. On May 17, 1879, an advertisement in Chicago Tribune on May 17, 1879, stated that their painted scenes were “suitable for small halls or amateur societies” and could be shipped to any part of the country.

Sosman & Landis 1879 Advertisement with scenery prices.

This same advertisement gave pricing for the most common stage settings:

Elegant landscape drop-curtain, $30

Parlor scene, $18

Wood scene, $18

Street scene, $18

Kitchen scene, $15

Prison scene, $15

For context, $30 in 1879 is equivalent in purchasing power to about $910.09 in 2023. Now consider the $160 that was paid to Moses two years earlier to paint an advertising curtain.

Each continued to visit friends and family near Fairfield, as they continued to seek scenery contracts throughout the region. On July 9, 1879, the “Fairfield Ledger” announced “Perry Landis is on the streets this week” (page 5). Landis was likely on his way to their next project in Council Bluffs, Iowa.

Dohany’s Opera House, Council Bluffs, Iowa

Dohany’s Opera House in Council Bluff

On July 22, 1879, The Daily Nonpareil of Council Bluffs, Iowa, announced, “Dohany’s Opera House will soon be supplied with a handsome new drop curtain and a number of new scenes. The work will be done by Mr. Perry Landis, of the firm Sosman & Landis, of Chicago, who is now in the city for that purpose. The drop curtain will be covered with an attractively painted business directory of the city” (page 4). In 1882, Dohany’s Opera House was listed in Jno. B. Jeffrey’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Poster, Etc. of the Cities and Towns of America. The following description of the stage was included:

“Size of stage, 31×44. Seating capacity, 800. Six sliding and eight rolling scenes.” A picture Dohany’s Opera House was included in the in the 1887 publication, Council Bluffs Iowa Illustrated.

Photograph of Dohany’s Opera House in Council Bluffs, Iowa.

In 1879, Landis returned twice to Freeport, Illinois, during the spring of 1879. Their potential client was the Wilcoxon Opera House. On April 17, and May 9, 1879, “Perry Landis, Chicago,” was listed in the Freeport Daily Bulletin as an arrival at the Brewster House in Freeport, Illinois. He was bidding against other scenic artists in the region for this lucrative contract.

By the end of summer, Landis once again returned to Fairfield, Iowa. On Aug 21, 1878, the Fairfield Ledger announced, “Perry Landis has been in town for several days” (page 6).

Although Landis helped Sosman paint in the beginning, he primary ran the firm’s office in Chicgao. He immediately hired his younger brother, Frank Landis. In 1879 Frank began working as a traveling salesman for the firm. On August 16, 1879, the Atchison Daily Patriot announced, “Frank Landis, representing the firm of Sosman & Landis, is in Atchison” (page 4). The firm was rapidly expanding its territory. Between the summer of 1881 and 1882, they would amass a staff and deliver scenery to 74 theaters. This was a far cry from the handful of stock sets produced between 1878 and 1879 when they were on the road.

As explained to the Dramatic Mirror in 1891, “Landis did not know anything about the painting part, but he took charge of the business while Sosman wielded the brushes.” Sosman was the artistic visionary, working as the firm’s art director. Although he was a skilled scenic artist, Sosman sought out better-known names, understanding that “It’s the name you want in our business.”

When Sosman & Landis first arrived in Chicago they were not well-known. They needed to use the names of other artists to get work and move ahead in the business. That was one of the many reasons that Sosman first hired Thomas G. Moses. Moses had already made inroads in the scenic art world and was recognized throughout the region.

As business continued to increase, the studio staff was rapidly expanded. Nationally-recognized scenic artists and stage carpenters were brought on board, with Landis making sure their credential and association with Sosman & Landis made headlines. Landis truly understood the power of the press.

To be continued…

Sosman & Landis, Shaping the Landscape of American Theatre: Sosman & Landis, 1875-1877

Sometime between the Dec. 1875 and May 1876, Joseph S. Sosman and Perry Landis began working and traveling together. By 1877, they were known as “Messrs. Sosman & Landis, scenic artists, of Chicago.”

When they met in 1875, the two shared one thing in common – Fairfield, Iowa.

Fairfield, Iowa

Here’s a little context for this small midwestern town…

Chas. H, Fletcher’s publication, Jefferson County, Iowa. Centennial History, gave the following information:

“In 1875 the population was 1,544; 304 families; 247 militia; 361 voters; 354 dwellings; 10 school-houses; 1 church; 50 church members; 376 school children; 18,034 acres improved land; 3,956 acres unimproved land; 105,034 rods of fence; 1,077 acres wheat; 4,591 acres corn; 208 acres rye; 1,330 acres oats; 22 acres barley; 28 acres buckwheat; 9 acres sorghum; 8,553 acres grass; 106 acres potatoes; 4,398 acres natural timber, 2 acres planted timber; 3,550 rods hedge. Bearing fruit trees: 9,536 apple; 122 pear; 250 peach; 36 plum; 1,785 cherry. Stock: 757 horses; 2,166 cattle; 2,898 hogs; 1,605 sheep, 33 mules and asses. 86 stands of bees 15 miles of Railroad. Value of school property, $6,425. Railway station, Fairfield.”

Of Fairfield’s community, Fletcher wrote:

“In 1876 the city presents greater proportions, showing a healthy growth in twenty-nine years. There are 13 grocery stores doing a business of over $200,000; 1 wholesale grocery house, $60,000; 2 restaurants, $25,000; 2 general stores, $100,000; 7 dry goods stores, $150,000; 4 clothing stores, $37,000; 3 boot and shoe stores, $50,000; 2 hat and cap stores, $25,000; 3 jewelers, $25,000; 5 drug stores, $70,000; 3 book stores, $30,000; 4 meat markets, $50,000; 6 millinery stores, $75,000; 10 saloons, $100,000; 3 stove and tinware stores, $60,000; 2 foundries, $40,000; 1 woolen factory and 1 woolen goods store, $30,000; 2 flouring mills, $50,000; 2 butter and egg depots, $40,000; 2 hardware stores, $50,000; 4 grain houses, $150,000; 2 furniture stores, $40,000; 3 harness, 6 tailor, 5 wagon, 10 boot and shoemaker, 7 blacksmith, 1 gunsmith and 4 barber shops, doing a business of $100,000; 3 lumber yards, $125,000; 1 furniture factory, $50,000; 3 livery stables, 2 bus lines, 1 broom factory, $75,000; and in addition to these there are three banks, 19 lawyers, 14 doctors, 4 dentists, 1 taxidermist, 6 insurance agencies, 1 pension agency, 2 justices of the peace, 3 telegraph office, 2 R. R. depots, 1 patent medicine manufactory, 4 private schools, 1 union school, 4 hotels, 1 OPERA HOUSE, 3 public halls, 2 musical instrument dealers, 3 newspapers, 3 coal dealers, 1 public library with 4,620 volumes, 10 church organizations, 9 church edifices, 1 Masonic hall, 1 Odd Fellows hall, 1 Zetagathain hall, 1 Knights of Pythias hall, and 1 Ancient Order of Workingmen hall.

Semon’s Opera House in Fairfield, Iowa. Image posted at jeffersoncountyheritage.org/photo-archive/

In 1875, Joe Sosman arrived in Fairfield to paint scenery for the newly-constructed opera house. That same year, Landis’s return to his hometown was repeatedly mentioned in the Fairfield Ledger.

The Fairfield Ledger building in Fairfield, Iowa. Image posted at jeffersoncountyheritage.org/photo-archive/

The Landis family moved to Fairfield in 1844, initially staying for five years. Although they briefly relocated to Indiana in 1849, the family returned to Fairfield by 1854. They remained in the Fairfield area until 1868. This mean that Perry grew to adulthood on a farm in the area. Despite his move to Denver in 1871, Landis maintained close relations with many Fairfield friends and family.

Landis periodically returned to Fairfield for brief visits throughout 1875. His arrivals and departures were often noted in the newspaper.Landis was at a crossroads in life. In May 1875, he closed Perry Landis & Co. in Denver, a lightning rod firm. Landis then returned to his family in the east, making stops in Iowa, Illinois, Indiana, and Ohio. It was in Ohio that Landis purportedly met Sosman. Their connection to Fairfield would have been provided an instant connection. Their meeting was recounted years later in a Dramatic Mirror interview with Landis. The article reported, “With only a few stray dollars in his pocket Mr. Landis was practically on his uppers when he met Mr. Sosman in Ohio by accident…the two men became friendly and finally chummed it.” It is possible that Sosman was visiting his older brother when he first encountered Landis. Capt. William Sosman lived in Chillicothe, Ohio.

Prior to their meeting, Sosman painted scenery in Fairfield. On Sept 23, 1875, The Macomb Journal reported:

Joe Sosman, Macomb’s talented young artist, left the city Monday last for Fairfield, Iowa, where he goes to paint scenery for a new hall erected there. He will be gone about three or four weeks and will do a job that will suit the Fairfieldians to a T (page 3).

At the time, Sosman was working with fellow scenic artist J. C. Blaine. Aftre completing the opera house project, Sosman and Blaine extended their stay, remaining in town until late November. They then headed 28 miles northeast to Washington, Iowa, where they painted scenery for Everson’s Hall. Also known as Everson’s Opera House, the venue was located in the county courthouse on the second floor.

As in Fairfield, Sosman & Blaine contracted several other painting projects after completing the stage scenery for Everson’s Hall. They also painted a business chart, very similar to the one created a month earlier in Fairfield. On Nov. 4, 1875, the Fairfield Ledger credited Sosman & Blaine with painting “the most beautiful and attractive business chart ever seen in Fairfield.” The article reported, “In size it is 8×16 feet, and contains the business cards of about twenty of Fairfield’s businessmen. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blain, who handsomely painted the scenery at Semon’s Opera House.”

On Dec. 17, 1875, the Washington Gazette listed “Sausman & Blaine – New style of advertising” in the “New Advertisements section (page 3). The article about their endeavor reported:

“New Style of Advertising.

Sosman & Blaine had been advertising in Washington newspapers since their arrival the month before. On Nov. 24, 1875, the Washington Evening Journal advertised: “SIGN PAINTING. Messrs. Sosman & Blain, the Scenic Artists who are now at work painting the Scenery for Everson’s Hall, will, on completion of their work at the Hall, take orders for Sign Work. Fine Signs and Window Curtains made a specialty.”

Sosman & Blaine likely parted ways around the holiday season. Sometime between the end of December 1875 and May 1876, Sosman left Blaine, met Landis, and established a new partnership. The two became not only fast friends, but also business partners. They became inseparable for the next three decades.

The Fairfield Ledger announced their return to Fairfield during the spring of 1876.

On May 11, 1876, the Fairfield Ledger reported “Perry Landis and J. S. Sosman spent a few days in the city last week” (page 3). A similar announcement was published the next month. On June 11, 1876, the Fairfield Ledger announced, “Perry Landis and J. S. Sosman spent a few days in the city last week” (page 3).

Changing Course in 1875

We will never know the details surrounding their first encounter. However, 1875 was a year of transition for both Sosman and Landis. They met at a perfect time.

The Landis family was occupied with activities surrounding the sale of their vineyard in Connersville, Indiana. The property had been purchased by his parents in 1868, bringing the entire family closer to its aging matriarch, Perry’s paternal grandmother, Elizabeth Moss. After her passing in 1871, Perry left for Colorado. His older brother, Joseph Landis, later managed the sale of the vineyard from his nearby home in Liberty. The sale again gathered the Landis family to Indiana.

On Sept. 30, 1875, the Liberty Herald published the following announcement, “Farm for Sale.

The finest Fruit Farm in Fayette county, at a bargain. 3,000 Grape Vines; other fruit in proportion; Hedge Fence around the entire farm. Every foot tillable land, second bottom. Offered at a great bargain. Address JOE. LANDIS, Liberty, Ind.” (page 3). The Landis family vineyard in Connersville, Indiana, was sold in March 1876. On March 7, 1876, the Connersville Examiner announced, “William porter has purchased Landis’ farm south of town for which he paid $8,000.” After the Connersville property was sold, Perry’s parents and younger siblings moved to Rushville, Indiana, where Henry H. Landis (Perry’s father) opened a jewelry and watch repair shop.

1875-1876 It was a period of transition for the entire Landis family.

Sosman was also changing the course of his own career. In Fairfield, Sosman was assisted by fellow scenic artist and stage carpenter, J. C. Blaine. Sosman & Blaine not only painted stock scenery for Fairfield’s new opera house, but also completed several other painting projects for local businesses in the area. After Fairfield, Sosman & Blaine traveled 28 miles northwest to Washington, Iowa. In late November, they painted scenery for Everson’s Hall. On Nov. 24, 1875, the Washington Evening Journal published the following advertisement for the pair: “SIGN PAINTING. Messrs. Sosman & Blain, the Scenic Artists who are now at work painting the Scenery for Everson’s Hall, will, on completion of their work at the Hall, take orders for Sign Work. Fine Signs and Window Curtains made a specialty.” The partnership of Sosman & Blain ended shortly after this time. The reason for their parting may have had to do with Sosman’s encounter with Landis. By the spring of 1876, Sosman & Landis were traveling together.

Sometime between December 1875 and May 1876, Joe met Perry and the two became inseparable.

One of their first projects was in Marshalltown, Iowa. yet each managed to visit family that summer. On August 10, 1876, The Macomb Journal reported, “J. S. Sossman returned yesterday from Marshalltown, Iowa, where he has been fitting up a hall with stage scenery. Mr. Sossman’s reputation as an artist, has gone beyond the State, and he finds ample employment for his talents, which are first-class” (page 3). Marshalltown was north of Fairfield, 75 miles due west from Cedar Rapids, Iowa. Despite work, each managed to return home and visit family.

On July 6, 1876, the Herald of Liberty, Indiana, reported, “Perry Landis, lately returned from Fairfield, Iowa, witnessed the flight of the eagle in Liberty the 4^th” (page 3). Again, Perry’s older brother, Joseph Landis, worked as a jeweler in Liberty.

Sosman also returned home to Macomb, but did not stay for long. By late August, he traveled to the Centennial Exposition in Philadelphia. Macomb newspapers dubbed the event as simply “The Centennial” or Centennial, as it was so well-known. A thorough description of the exposition fairgrounds was even published in the Macomb Journal on August 3, 1876 (page 1). The same newspaper reported Sosman’s departure for the Centennial. On August 24, The Macomb Journal announced, “Joe Sossman started for Centennial Monday. Joe’s artistic eye will take in everything worth seeing at the great exposition” (page 3).

The Main Building at the Centennial Exposition in 1876.

Here is a link to more information about the 1876 Exposition: https://philadelphiaencyclopedia.org/essays/centennial/

Sosman was among many Macomb citizens to attend the event that year; their comings and goings announced in the newspaper. Keep in mind that this was a significant event that introduced both Alexander Graham Bell’s telephone and the Remington Typographic Machine (typewriter) to the American Public on a grand scale.

At the onset of 1877, Sosman was still referred to as “Macomb’s artist.” On March 22, 1877, “The Macomb Journal” announced, “Joe Sosman, Macomb’s artist, arrived at home this morning” (page 3). By the end of the year, both Sosman and Landis began citing their business residence as Chicago. Each continued to make headlines in their hometown newspapers and throughout the region.

On June 15, 1877, the Brazil Manufacture and Miner of Brazil, Indiana, reported, “We had the pleasure of meeting, a few days since the ever happy and ever pleasant face of our genial old-time friend Perry Landis, who visited Brazil in the interest of science, art and beauty” (page 5).

Then an interesting article popped up in Sosman’s hometown news. It is perplexing, and I have yet to really track this down. However, I am going to include it anyway. On June 27, 1878, “The Macomb Journal” reported, “The individual who says Forepaugh’s circus had anything to do with Joe Sosman’s return to Macomb, is a ‘liar, a scoundrel, and a villain’………..Those tramps are goin north, in quest of binding. It is hoped the law will harvest a full crop of the rogues, soundly thrash, and scoop them into the Joliet bion, to go through a sweat, form which they may come out with a disposition to work, instead of ‘bum’ for a living….” (page 3).

By the end of 1877, both Sosman & Landis were working on a project in Wilmington, Ohio. On Dec. 20, 1877, the Clinton Republican” reported, “The Town Council have contracted with Messrs. Sosman & Landis, scenic artists of Chicago, for the painting of a drop curtain and seven scenes for the stage of the new Town Hall. These gentlemen will begin the work about the 1^st of January, and it will take them some six weeks to two months to complete the job. They come highly recommended, and no doubt will do such good work as will add to the general attractiveness of the capacious and beautiful Auditorium” (page 3). For geographical context, Wilmington, Ohio, is 50 miles northeast of Cincinnati, Ohio.

To be continued…

Sosman & Landis, Shaping the Landscape of American Theatre: Perry Landis in Denver, Colorado, 1871-1875.

Perry Landis headed west in 1871, settling in Denver, Colorado. This move occurred immediately after the passing of his paternal grandmother Elizabeth Landis Moss in Blooming Grove, Indiana. Two years earlier, Perry and his older brother, Jacob, moved from Fairfield, Iowa, to Connersville, Indiana, helping work their father’s new vineyard. The Landis farm yielded grapes and small fruits. It was located less than 13 miles north of Blooming Grove. Between in 1869 and 1871, Perry sold grapes and small fruit grown at the Landis vineyard. He also partnered with Samuel M. Zent to sell a fruit and vegetable dehydrator marketed as a Dryhouse.

Perry’s move to Denver, Colorado marked a definitive break from the family business. Despite moving west, he continued to visit both friends and family in Fairfield, Iowa. Many of his comings and goings published in local newspapers. Landis even sent letters to colleagues at the Fairfield newspaper.

On Nov. 21, 1872, the Fairfield Ledger published a letter written by Perry Landis to the Editor of the newspaper. His letter was dated Nov. 5, 1872, with the title “Colorado Correspondence.”

“Editor Ledger,

Having formerly been a resident of Fairfield, and a reader of the Ledger, and thinking a few items from this, the “Garden City” of the Plains, might be of interest, I will endeavor to give you an idea of Denver and its surroundings. The city is located at the conjunctions of Cherry Creek and Platte River, distant 12 miles from the foot of the Rocky Mountains. The Platte is a broad, shallow, but swift stream, furnishing abundant good drinking water and for limited irrigation, but offering no possibilities of navigation – not even ferriage. Cherry Creek is but a broad channel during the summer months, and only occasionally enlivened with any water. For years after the founding of the town none appeared in its bed, and supposing it to have been deserted altogether, the people built and lived in the bottom. Stored, shops and dwellings appeared there, the printing office, also the city records. But of a sudden, after a heavy rain, “Old Cherry” asserted her rights, and a flood came pouring down the old riverbed, not gradually, so as to give warning, but a full-blown torrent and with almost lightning speed reclaimed its own and swept away everything that had usurped its place into destruction. Since then, the people have paid respect to Cherry creek. At some seasons of the year there is still a little water in its sands, but for the most part it is dry through the city; but nobody builds in its bed, and numerous bridges ever its path pays tribute to what once was and may be again.

Denver, at present, contains a population of twelve thousand, and is rapidly increasing. Seven hundred and eighty-three new houses were built during 1871, and there is every reason to believe a like or greater number will be completed this present years. They are mostly brick, with some few frames, and a better class of buildings generally I have never seen in the States. Quite a number of elegant private residences have been erected the past summer, costing all the way from fifteen to forty dollars. The city is beautifully laid out – the streets are broad and straight and lined on either side with long rows of cottonwood trees. One of the chief beauties of Denver is the universal planting of shade trees. Glancing up and down those well-kept streets, with their long rows of trees and streams of water sparkling and dancing in the sunlight, Denver truly presents and attractive and inviting appearance. Here at the very foot of the Rocky Mountains, and in what was once termed the Great American Desert, we have a miniature city with all modern improvements. The streets are lighted with gas; Holly Water Works bring water to the very doors of those who are able to afford it, and in the case of fire it is invaluable. The principal streets are traversed by the Denver Street Railway, on which cars commenced running the first of April last and are paying a good percentage on investment. Eight elegant church buildings, representing two Presbyterian, two Methodist, Catholic, Episcopal, Baptist and Lutheran, —

Good schools and good school buildings. The First ward school building, just completed at a cost of forty-five thousand dollars is an ornament to the city and will compare favorably with anything west of the “Muddy Missouri.” In addition to the public schools, we have a Catholic Covenant school and Wolfe Hall Seminary, for young ladies. Both institutions are highly recommended by patrons and are no doubt creditably and ably managed. A Commercial College and University, both for ladies and gentlemen, does a flourishing business and is highly spoken of. Through the winter months the Denver Theatre is open and occupied by a first-class stock company; it is visited by all the leading stars pf the country, thus affording a first-class entertainment to Denverites. The business portion of the city will compare favorably with any easter town of like size. Buildings are principally of brock, three and four stories high, with iron and stone fronts and plate glass windows. Very heavy stocks of goods are carried by our merchants generally, who, in addition to their retail trade do a heavy jobbing business with smaller towns throughout the Territory and Mexico. Several firms report annual sales to the amount of five thousand dollars, and Solomon Bros, wholesale and retail grocers, report over eight hundred thousand dollars for the past year; so, you may imagine the amount of business done here. Real estate is an important business, over four million dollars’ worth changing hands during 1871.

The business streets of Denver present an interesting study to the student of mankind in general, for here may be seen a variety of different races and colors. The “Heathen Chinee,” with his bundle of washing on his head habited in Oriental costume may be seen at all times. They do all the washing for a subsistence, and for “two bit-ee Melican Man-ee will wash-ee shirt-ee heap clean-ee.” Some of them have rather curious names, such as Quang Chang, Fee Lang, Gee Whoa, Fough Lee, Whoa Haw, &c. Mr. “Lo,” in all his native toggery and greasiness, with all the majesty of red paint, blankets, beads, and scalps taken from their deadly enemies, the Cheyenne appear on the streets every day. They are usually armed to the teeth with rifles, revolvers, bows and arrows. Their faces are smeared with red and yellow paint and their dress is a conglomeration of everything. Now as cold weather approaches, they are beginning to wear more than a pair of moccasins and a flour sack (their usual summer costume). They ride sorry looking ponies, and, without an exception are the most miserable and worthless set of vagabonds the sun shines on. The belong to the Cimmaron Ute tribe, whose reservation is near here. Many other characters of interest may be seen – the mountaineer, the miner, and the ranchman; and the swarthy Mexican, mounted on a “Boore” and driving six yoke of long-horned cattle, in a picture of contentment as is seldom seem. The flashy gambler, and the usual number of deadbeats, cappers and stool pigeons dominate; and so alarmingly has this vice increased that active measures have been taken by authorities for its suppression. Hardly a day passes but what some individual who is not up to “ways that are dark and tricks that are vain,” gets fleeced out of his earned “nuggets.”

The mining interest of the Territory is being pushed to the extent of the owner’s capabilities and is yielding bountifully. The increase of the amount taken out this year will double that of last year. The principal mining regions are Central City, Georgetown, Black Hawk and Mounts Lincoln and Bros. Wages for miners $3.50 to $5.00 per day and plenty of work.

During the summer the weather is delightful, especially the mornings and evenings; but about 12 M. “Old Sol” does his level best, and the mercury runs up to 100 degrees in the shade. However, about 6 P.M. it begins to. Get cool, and after dark a light overcoat is not uncomfortable. We had an abundance of rain the past summer, rendering the irrigation almost unnecessary, and we have reason to believe that this “rainless” country is undergoing a systemic change for the better. The mountain view from Denver is grand and beautiful. Pike’s Peak, with its snow-capped summit mat be seen off to the south apparently about ten miles distant, yet in reality it is seventy miles away in a direct line. Long’s Peak, to the north, seems as near, yet it is sixty-five miles away. To the west rises Grey’s Peak and the Snowy Range extending as far as the eye can reach, covered with snow and beautiful forests of pine. Even the foothills, twelve miles distant, at times appear no more than two. Many are the poor fellows from the Easy who started to walk over to them before breakfast, just to give themselves and appetite, you know; and just so many of said poor fellows have returned without reaching them and wondering “how in the word them confounded mountains contrived to move away as they approached.” I have heard of one plucky fellow who persevered in his walk and finally arrived in Golden City, sixteen miles distant – He took the cars for Denver and left for the East the next day, declaring he would not stay in such a “blarsted country.” The hotels are and have been crowded with travelers, tourists and sight-seers from every State, and even from Europe. Quite a number of the English capitalists and nobility are largely interested in mines in this territory. The Marquis of Queensbury is here at present, looking after his mining interests in person. I am very much pleased with Colorado – its climate, mountains and general go-a-headitiveness of its people; and to anyone contemplating coming West I would say, come to Colorado –

Where the cabbages grow so fast

That they burst with a noise like the thun-

ders and blast;

Where through the rich, deep, mellow soil,

The beats grow down as if boring for oil.

PERRY LANDIS”

Colorado presented an abundance of opportunities, and people arrived to the western territories in droves.

The publication History of the City of Denver, Arapahoe County and Colorado described the population boom:

“At the end of 1872, Denver claimed a population of 15,000, an increase of about 5,000 during the year. The excess of business for 1872 over the preceding year was estimated at three and a half millions. Real estate was active…Denver was on the high road to prosperity as she had never been before at any period of her history” (Page 227).

Colorado newspaper accounts repeatedly mentioned Landis in the region between 1872 and 1875, as he became involved with several business ventures that ranged from fruit trees to lightning rods.

Landis & Witter listing in 1873, Denver, Colorado.

In 1872, Landis partnered with Daniel Witter (1827-1906) to establish Landis & Witter’s Denver Nursery. Witter was Perry’s first cousin, the eldest of ten children born to Catherine Landis Witter (1807-1897) and Samuel Witter (1804-1852). Catherine Landis Witter was an older sister to Henry H. Landis (Perry’s father). They were two of six children born to David Landis and Elizabeth Peckleshimer Landis. The four other siblings were Rebecca Landis Shideler, Sarah Landis Myers, Elizabeth Landis Ellis, and Jacob B. Landis. Perry’s cousin Daniel Witter was born in Franklin County, Indiana, the same county where Perry’s father bought the vineyard and Perry’s grandmother passed away the year before.

1873 Directory listing for Landis & Witter in the Denver City Directory

1873 listing for Daniel Witter, cousin of Perry Landis, in the Denver Directory.

By the time Perry arrived in Denver, Witter was quite successful, working as a lawyer, land agent, and U.S. Assessor. I am including Daniel Witter’s obituary, as it provides some context for Landis & Witter.

Daniel Witter’s gravestone in Fairmount Cemetery, Denver, Colorado.

On Jan. 29, 1906, The Greely Tribune announced:

“Dan Witter Dead.

Daniel Witter, one of the oldest and ablest pioneers in Colorado, and one of the original trustees of Union Colony that located Greeley, died in his home in Denver last Saturday, This leaves H. T. West of this city the only surviving member of the original board of trustees.

Mr. Witter was born in Franklin county, Indiana, April 3, 1827. He was educated in the schools of his birthplace, where he studied law, and in 1855 married Miss Clara V. Matthews, half-sister of Schuyler Colfax, afterward speaker of the house of representatives, and in 1868, vice president of the United States. Mr. Witter came to Colorado, or what was then known as Pike’s Peak Gold Region, in 1859. He went to the Tarryall placer mines in Park county where he was elected judge of the miners’ court. When the territory of Colorado was organized by congress in 1861, he was elected to the first territorial legislature. Shortly afterward President Lincoln appointed him assessor of internal revenue for Colorado with headquarters at Denver, which office he retained until the system was abolished. After the adjournment of the first legislature, he returned to Indiana for his family, and with his wife and two children occupying a light spring wagon, he drove from Ottumwa, Iowa, across the plains to Hamilton, in the South Park, where the resided until 1862, when they moved to Denver” (page 4).

Witter was 45 yrs. old when he partnered with his younger cousin Perry, then 24-yrs.-old. In many ways, Landis was trained by a remarkable businessman who truly understood the power of publicity. In the beginning of their partnership, Landis and Witter both lived and worked together.

In 1873 their directory listing was:

Witter, Daniel, lawyer, real estate agt, and U. S. Assessor, ws G, bet. Larimer and Holladay, r. Larimer, sw. cor. Arapahoe av.

Landis, Perry (Landis & Witter), bds, Larimer, sw cor. Arapahoe av.

On Dec. 6, 1873, the Denver Daily Times reported, “Attention is directed to the card of Perry Landis & Daniel Witter, who have a large lot of hardy Colorado-grown fruit, ornamental trees, vines. Etc., which can be bought very low (page 2).

1873 Advertisement in the “Denver Times.” listing for Landis & Witter.

Landis & Witter placed a series of advertisements in the Denver Daily Times during Dec. 1873 and Jan. 1874, advertising,

“Trees. Trees. Trees.

Denver Nursery,

Landis & Witter, Prop’s,

Have now on hand a well-assorted stock of hardy Fruit and Ornamental Trees, Vines, Plants &c. all Colorado grown, which we are selling, for spring delivery at PANIC PRICES.

STREET TREES A SPECIALTY.

Reserve your orders for our agent, who will call on you soon. Nursery head of Ferry st., West Denver. Office, Good’s Block, No. 252 16^th st.”

They were still living together at 186 Larimer when the 1874 Denver Directory was published:

Landis, Perry (Landis & Witter), r. 186 Larimer.

Witter, Daniel, abstracts of title, lawyer, real estate, etc., 252 16^th, r 186 Larimer.

The firm of Daniel & Witter was short-lived, only lasting until the summer of 1874, On June 14, 1874, in the Rocky Mountain News announced:

“Dissolution Notice!

The co partnership heretofore existing between the undersigned in this day dissolved by mutual consent. Perry Landis

Daniel Witter

Denver, CO. June 10, 1874” (page 1).

When their partnership was dissolved, each immediately invested in another business opportunity. Witter partnered with William D. Todd to establish the law firm of Witter & Todd, located in Witter’s offices at 252 16^th street, near Larimer. At the same time, Landis partnered with Wright F. Kelsey (1828-1902) to establish Kelsey & Landis, a firm that manufactured lighting rods.

Prior to partnering with Landis, Kelsey was the sole proprietor for the Lightning rod Company. His lightning rod advertisements in the “Denver Daily Times” listed “W. F. Kelsey as Proprietor of the Patent Right for Colorado.”

Landis partnered with Kelsey in early July to establish Kelsey & Landis. On July 9, 1874, the “Denver Daily Times” advertised:

LIGHTNING.

Protect Your House

By the

Cable Lighting Rod.

You will place them upon my house at your earliest convenience – Cyrus W. Field

I agree with others in their approval – Sam’l F. B. Morse

I entirely approve of your rod – Benj. Stillman. KELSEY & LANDIS,

Proprietors of Patent Rights for Colorado

[Address through Denver P. O.]

Rods erected at short notice. All work warranted.

Also, Marble and Marbleized Slate Mantels, Weather Vanes, and Iron Cresting furnished to order at lower prices.”

Their partnership was also short-lived, lasting less than a month. On August 14, 1874, the “Denver Daily Times” announced,

“Dissolution of Co Partnership.

Denver, July 29, 1874 – Notice is hereby given that the firm of Kelsey & Landis, in business of selling lightning rods, has this day been dissolved by mutual consent. All outstanding accounts to be paid to W. F. Kelsey, except notes mentioned in receipts dated July 29, 1874.

W. F. Kelsey

Perry Landis”

(page 1).

Landis established another lighting rod company in August, partnering with Samuel Seth Landon (1842-1918) and William David Todd (1846-1919). Yes, this is the same Todd who partnered with Witter to establish a law firm two months earlier.

1876 listing Landon and Todd. Both worked for Daniel Witter.

Landis’ new firm with Todd and Landon was initially listed in the City Directory as “Lightning Rod Co., Perry Landis & Co., props.” It was also advertised as “Perry Landis & Co.”

Listing in 1875 Corbette Hoye and Co. Directory, Denver, Colorado.

1875 listing for Perry Landis & Co. in the Denver Directory.

Lightning rods were big business at this time, preying on people’s fear. Advertisement promised that protection by “controlling Mother Nature’s wrath.” On July 25, 1874, The Colorado Daily Chieftain reported, “The lightning rod men are busy in Denver since the recent storm. Cases of insanity among the citizens will soon be reported” (page 2). Lightning rod salesmen soon ran the gamut, and some were referred to as “swindlers”, peddling a product that did not work. Newspapers evened cautioned citizens about these poor imitations, urging “every owner of a house or barn to examine his lightning rods, and if not found in order to pull them down” (The Rocky Mountain Daily News, August 4, 1874, page 3). Despite the bad press, the sale of lightning rods was big business in areas with severe weather. Here is a link to Herman Melville’s short story, “The Lightning-Rod Man,” published in the August 1854 edition of Putnam’s Monthly Magazine: https://www.101bananas.com/library2/lightningrod.html

When Perry Landis & Co. was established, Todd and Landon were investors. Landis was the salesman. I am taking a moment to explore the life of Landis’ business partner William D. Todd, as it provides context for the firm.

Portrait of William D. Todd

Hon. William D. Todd’s biography was included in The History of the City of Denver, Arapahoe County and Colorado:

Mr. Todd, Cashier and Secretary of the Denver Safe Deposit and Savings Bank, has been a resident of Denver since 1873. He was born in the city of Philadelphia in 1846, and, at an early age, accompanied his parents to Greensburg, Penn., where his father died shortly after the war. He then removed to Washington, D.C., receiving a public-school education, and, in 1857, was appointed a page in the House of Representatives. He remained at the capitol up to 1873, the last ten years as Private Secretary to Hon. Schuyler Colfax, during his terms as Speaker of the House of Representatives and Vice President of the United States. In the meantime, he graduated from the Columbia College Law School, and was admitted to the bar in 1867. He kept up his law studies, practicing in Pennsylvania during the vacations of Congress, and, in 1872, was admitted to the practice in the Supreme Court of the United States. As above stated, he came to Denver in 1873, and engaged in the practice of his profession. Since 1874, he has been Cashier and Secretary of the Denver Safe Deposit and Savings Bank, of which he was one of the incorporators. During the past year he has been Secretary of the Platte Water Company for several years. He is also Treasurer of the St. Louis and Denver Land and Mining Company, and Secretary of the Board of Education since 1876. He was a member of the State Legislature of 1879 and was active in the business session. Declining to be a candidate for the Speakership of the House, he was chosen Speaker pro tem., and also served as Chairman of the Committees on Public Lands and Rules, and is a member of the Committees on Judiciary, Appropriations and Education. Among the measures introduced by him was the ‘Bill for Encouraging the Formation of a State Historical and Natural History Society,’ of which society he was chosen Treasurer. Mr. Todd is a leading member of the Masonic Fraternity, and holds offices of trust in Union Lodge No. 7, Denver Chapter No. 2, and Colorado Commandery No. 1, K. T. He is also the Grand Treasurer of the Grand Chapter and Grand Commandery. He was married in Denver in 1875. Few men in Denver have, in so short a time, been so thoroughly identified with the interested of the city and State, and no one has acquired a more enviable reputation as a thorough businessman and a wide-awake, enterprising citizen. (page 678)

Landis’ other business partner, Samuel Seth Landon (1842-1918), was a notary public with Daniel Witter, residing at Curtis, se cor. 16^th. Both Todd and Landon were working for Witter, Landis’ first business partner in Denver.

Looking at the names, addresses, and businesses, in the City Directory made me think of a shell game. You never knew who exactly was establishing or dissolving a business, but the same people were always involved. This tactic would follow Landis to Chicago after he partnered with Sosman. Sosman and Landis would continue to invest and establish a variety of In Denver, Landis, Witter, Todd, and Landon all lived and worked together, and around, one other. Landis & Witter’s nursery offices were located at 252 16^th street in 1874. The law firm of Witter & Todd was located at 252 16^th in 1874. This address was located between Larimer and Holladay streets.

In Denver, Landis published a series of advertisements that described the merits of his lightning rod product. On August 22, 1874, the following informative article appeared in the “Denver Daily Times” –

“Lightning Storms.

The number of these storms during the present season has been greater than we have ever experienced here, and each storm has resulted in more or less damage. The number of houses struck the warnings to our citizens to use every precaution to save their buildings, and perhaps loves, in the future. We therefore desire to call the attention of our citizens to the improved Electro-Magnetic, or Cable Lighting Rod. This lightning rod has been tested and is recommended by such eminent names as Cyrus Field, Prof. Morse, and a host of others.

The advantages claimed for this rod are: It has no joints or couplings; it will not corrode; it is strong and durable; it has fixtures of the most approved patterns and quality; it has an unequalled conducting surface; it has the approval of our highest scientific authorities; it has been tested for over sixteen years; it never fails. Perry Landis & Co. are general agents for this rod, and their principal office is at the corner of 15^th and Lawrence streets, McClelland’s block.”

I was fascinated to read that Perry Landis & Co. was the only lightning rod dealer listed in the 1875 Corbett, Hoye & Co. Denver City Directory. His firm peppered local newspapers with advertisements throughout 1874 and the beginning of 1875.

[insert ad images]

On May 15, 1875, “The Rocky Mountain News” published the last news about Landis’ firm:

“Notice.

The firm of Perry Landis & Co., take this opportunity of returning their thanks to Mr. Julius Pearce, chief engineer of the fire department, and Mr. Thos. Clayton, foreman, and members of Hook and Ladder Company No. 1, for their valuable assistance, and loan of their ladders, in the erection of the lightning conductor on the smokestack of Holly water works, to-day, Perry Landis & Co. Denver, May 14, 1875” (page 4).

As with Landis & Witter and Kelsey & Landis, the firm of Perry Landis & Co. did not last long. On May 29, 1875, the dissolution of the firm, dated May 14, 1875, was published in the Denver Times:

“The firm of Perry Landis & Co. was this day dissolved by mutual consent. Either partner will pay any outstanding debts. Perry, Landis, Sam S. Landon and William D. Todd. Denver, May 14, 1875”

On May 29, 1875, the Denver Daily Times announced, “Dissolution notice. The firm of Perry Landis & Co. was this day dissolved by mutual consent. Either partner will pay any outstanding debts. Perry Landis, Sam S. Landon and William D. Todd, Denver May 14, 1875” (page 2).

Prior to the dissolution of the firm that spring, Landis visited Fairfield, Iowa.

On March 18, 1875, the Fairfield Ledger reported, “Perry Landis has been spending a few days with his many friends in Fairfield.”

Landis was mentioned again in the Fairfield Ledger, a separate notice that stated, “Davey Beck leaves for Denver to-day in company with Perry Landis. He goes to remain some time.”

Portrait of David Beck

David Beck (1853-1938) was the son of long-time Fairfield residents, and local merchants, William G. Beck (1819-1901) and Margaret Ramsay Beck (1824-1908). Like the Landis family, the Beck family moved west to Fairfield in the late 1840’s.

Years later, Davey Beck’s obituary in The Missoulian reported, “Born in Fairfield, Iowa, he came to Montana in 1880 to Alder Gulch and in 1895 came to Missoula” (10 June 1938, p. 16). The obituary continued, “Mr. Beck was one of the best known insurance men in Montana for many years. For 30 years he was a state agent for the Banker’s Life Insurance company here. He left Missoula nearly 20 years ago for California.” His grandmother, Sarah Beck, and Abraham Lincoln were mentioned in a section of William G. Beck’s obituary, published in The Fairfield Ledger on January 30, 1901. This tie to the Lincoln family is worthy of inclusion at this point:

‘While Mr. BECK’s memory was rich in recollections of pioneer life, and he always knew his story and told it well, there were none of his reminiscences more interesting than those of Springfield, Ill. His mother, Mrs. Sarah BECK, kept a tavern in the early days at Wheeling and engaged in the same business at Springfield, Ill. She was a woman of unusual energy and much executive ability, and any house she operated was certain of the best possible patronage. At Springfield her hotel was the scene of many a notable gathering of Illinois politicians in the early ’40’s, and there were times when as much legislation was transacted within its walls as in the capitol itself. When Abraham LINCOLN married Mary TODD he had just established himself in practice as a lawyer at Springfield, after several terms of service in the legislature, and he and his wife made their home with Mrs. BECK. Robert TODD LINCOLN, the only surviving child of the martyr president, was born beneath her roof August 1st, 1843, and she aided in ushering him into the world. There was a warm intimacy between the family of the great statesman and that of his landlady, and the BECKs were very familiar with the domestic life of the LINCOLNs and with the peculiarities of Mr. LINCOLN. On Mr. BECK’s mind, of course, the drolleries of Mr. LINCOLN made the greatest impression, and he always had a fund of LINCOLN stories at his command, many of which have never found their way into print.” Landis returned to Iowa that summer, and on Aug 19, 1875, the Fairfield Ledger announced, “Perry Landis is with us again – and from Colorado” (page 5).

Landis returned to Iowa that summer, and on Aug 19, 1875, the Fairfield Ledger announced, “Perry Landis is with us again – and from Colorado” (page 5). This is just prior to Joseph Sosman’s arrival in Fairfield to paint scenery at Semon’s Opera House.

To be continued…

Sosman & Landis, Shaping the Landscape of American Theatre. Perry Landis: From Soldier to Salesman

Perry was the eighth of twelve children born to Henry H. Landis (1809-1893) and Catherine Johnston Landis (1817-1902). He was the third Landis brother to fight for the Union.

In 1860, the following children were living at the Landis farm in Steady Run Township, Iowa: David (21 yrs.), Jacob (19 yrs.), Joseph (16 yrs.), Perry (12 yrs.), James H. (8 yrs.), Edgar (6 yrs.), Franklin (3 yrs.) and Charles (2 yrs.). Their eldest daughter, Mary, and son, John lived in nearby Martinsburg.

Martinsburg was less than two miles south of Steady Run Township, Iowa.

Between 1860 and 1863, three of the Landis children passed away.

On Dec. 18, 1860, 9-yrs.-old son, James Henry Landis, and was buried in Martinsburg Cemetery.

The gravestone of James H. Landis in Martinsburg Cemetery.

On Jan. 1, 1861, their 29-yrs.-old daughter, Mary Ann Landis Marshall, also died. She was buried near her brother in Martinsburg Cemetery.

Gravestone of Mary Landis Marshall in Martinsburg Cemetery.

Then came the Civil War, with four of the Landis sons enlisting in the Union Army. On Jan. 8, 1863, both John and David Landis were severely injured in battle, with 23-yrs.-old David passing away that December.

Gravestone of David Landis in Martinsburg Cemetery.

War and death loomed over the Landis’ Iowa home.

Five of the eight Landis sons were old enough to fight in the Civil War. Only Edgar, Frank, and Charles were too young to fight.

John, David, Jacob and Perry Landis all enlisted in the Union Army. John Landis was the first to enlist, rapidly rising through the ranks for his heroic actions. He must have been a tough act to follow; a courageous risk-taker who made the headlines for his bravery. By 1863, both John and his younger brother David were in the same regiment and severely wounded in Springfield, Missouri.

The same year that John and David mustered out of the Iowa Infantry, Jacob and Perry mustered into the Ohio Infantry and Indiana Infantry, respectively. Only Joseph managed to avoid combat. Although he registered for military service alongside David and Jacob in Steady Run, Iowa, he did not serve. I have yet to locate any records verifying that he enlisted at all.

Here is what I have been able to track down for each of the four Landis brothers who fought in the Civil War.

18^th Regiment, Iowa Infantry

John Landis

John Landis was 27 yrs. old when he enlisted on June 13, 1861. He joined Co. I, 1^st Iowa Calvary, and was promoted to first battalion quartermaster by October 8, 1861. John became a Captain in Co. D, 18^th Iowa Infantry, on June 6, 1862. He was promoted after capturing the Rebel flag during the Battle of Blackwater in Missouri. I was shocked to find one of his descendants post a picture of the flag he captured online.

Rebel flag captured by Quartermaster John Landis at the Battle of Blackwater in Dec. 1861. Photograph by Lester Letson and posted at findagrave.com on July 6, 2012.

On Jan. 8, 1863, John was severely wounded during battle in Springfield, Missouri. His bravery was described in the Daily Ohio Statesman on Feb 24, 1863 (page 1):

“An Incident of the Battle of Springfield.

I must close third letter with an incident of the battle of Springfield, which deserves accord. Captains Landis, Van Meter, and Blue of the 18^th Iowa, were all with that unfortunate brass cannon, which then fell into the hands of rebels. All three were shot. Two have since died, but Capt. Landis happily survives. It is said that Captain Landis stood by the gun, deserted by all else, when rebels took possession, determined never to surrender. Major Bowman, of the Confederate army, approached at the head of his men. Touched with a sense of the man’s chivalry, he cried: ‘Surrender!’

‘Never!’ said Captain Landis. ‘I was here first. Never!’

The Major seized a rifle and fired, carrying away the Captain’s shoulder strap. The Captain returned the compliment and wounded Major Bowman so severely that he has since died. Captain Landis himself fell at the next fire, and the dying Major sent him this message, as he lay dying upon his bed: ‘Tell Captain Landis,’ said he, ‘that I am gratified to have fallen by the hand of so brave a man.’ It seems that the age of chivalry is not yet passed. –Springfield (Mo.) Cor. St. Louis Republican.”

John mustered out on Feb 28, 1863, in St. Louis, Missouri; resigning, and listing his residence as Martinsburg, Iowa. After the war, John moved west, spending the remainder of his life in Colorado, California, Oregon and Washington State. He returned to life on a farm. Despite living so far away from his family, John named his three sons after the brothers he left behind:

Perry John Landis

John Albert Landis

Joseph Franklin Landis

I have located only one newspaper article that mentioned John’s return to the Midwest. On March 16, 1882, the Fairfield Tribune announced, John Landis, a citizen of Fairfield twenty years ago, was in the city this week” (page 3).

John passed away in 1915, and was buried in Oakwood Cemetery in Tacoma, Washington. His obituary was published in the Tacoma Daily Ledger on April 28, 1915 (page 5):

“John A. Landis, age 80, died Monday night at a local hospital. He was a veteran of the Civil War and was severely wounded at Springfield, Mo. Mr. Landis enlisted June 13, 1861, in Company I, 1^st Iowa Calvary, and was promoted to first battalion quartermaster October 7, 1861. He was appointed captain of Company D, 18^th Iowa Infantry, June 6, 1862. He resigned February 28, 1863, after being wounded. Mr. Landis had lived at Puyallup a year, coming from Olympia and Orting. He was a member of Tacoma Post of Olympia. Custer post of Tacoma will have charge of the funeral, the date which will be announced later. Besides his widow, he is survived by two sons, Joseph and Perry Landis. The body is at the C. C. Mellinger company’s.”

18^th Regiment, Iowa Infantry

David Landis

David Landis was the second to fight, joining the Union Army two years after John. He was living in Martinsburg, Iowa, when he enlisted on Aug. 15, 1862. Martinsburg is the same town where his sister Mary passed away in 1860. At 24 yrs. old, he mustered in as a Private in Co. D, 18^th Regiment, Iowa Infantry, on August 23, 1862. This was the same regiment where John served as a Capt. of the first Cavalry. The 18^th Regiment arrived in Springfield, Missouri, on September 13, 1862. He participated in the Defense of Springfield from and was wounded in battle on Jan. 8, 1863, and included in the list “Iowa Soldiers Killed and Wounded at the Battle of Springfield, Missouri, Jan. 8^th,” On Jan. 30, 1863, the Muscatine Weekly News announced, “David Landis, D, 18^th – right hip and leg, slight” (page 2). He never recovered from the injuries and passed away on Dec. 20, 1863.

Both John and his younger brother David Landis were listed in the “Army Correspondence” section of the Burlington Daily Hawk Eye Gazette on Jan. 22, 1863 (page 2). In the section entitled “Camp of the 18^th Iowa, Fort No. 1, Springfield, Missouri, Jan. 10^th, 1863,” a detailed account of the battle was included, along with a listing of those killed or wounded with each of the companies. The article reported,

“Company D.- Killed, none. Capt. John A. Landis, wounded in the calf of the leg, severely; private David Landis, calf of the leg and thigh, severely.”

Although John mustered out on Feb. 28, David was not mustered out until May 8, with “wounds” being the reason for his release. David returned home to Martinsburg, but never fully recovered and died from complications on Dec. 20, 1863. He was buried in the same Martinsburg Cemetery as his older sister Mary.

Joseph Landis did not serve in the Iowa Infantry but was twice listed in Iowa records as a person subject to military duty in Steady Run Township; once in 1863 at the age of 18 yrs. old (Jackson County), and once in 1864 at the age of 19 yrs. old in (Keokuk County). If any new information comes to light, I will update this post.

131^st Ohio Infantry

Jacob H. Landis

Jacob H. Landis was listed in Ohio’s Third Congressional District Civil War Draft Registration Record on July 11, 1863, This district included the counties of Montgomery, Preble, Butler, and Warren. At 21 yrs. old, Jacob his occupation as a carpenter in Randolph. He entered military service on May 2, 1864, mustering in as a Private with Company K, 131^st Regiment Ohio Volunteer Infantry. This regiment was organized at Camp Chase on May 14, 1864, with the intent to serve for 100 days. They were immediately sent to Baltimore, Maryland, where they were assigned to garrison duty at Forts McHenry, Fort Marshall, and Fort Federal Hill. The regiment remained at the forts until August 19, when the soldiers were sent back to Columbus, Ohio, arriving on Aug. 21, 1864. Landis mustered out on Aug. 25, 1864, at Camp Chase.

116^th Regiment, Indiana Infantry

Perry Landis

Perry Landis enlisted in the Indiana Infantry at Lafayette and was mustered in on August 12, 1863. For geographical context, Lafayette is located approximately halfway in between Chicago and Indianapolis. Landis mustered out a second time out on March 1, 1864. Landis served as a private in Co. F of the 116^th Regiment, Indiana Infantry. Perry when he served as a private in Co. F, 116^th Regiment, Indiana Infantry. This places him in Lafayette, Indiana, by the spring of 1863. After the war, Perry returned to the Fairfield area of Iowa, soon settling in Ottumwa, a town 25 miles west of Fairfield. In 1867, he purchased property there. The sale was reported in the Ottumwa Semi-Weekly Courier on Nov. 28, 1867 (page 3). For $1500, Landis purchased “pts w se sec 29, tp 72, r 13” from T. Devin.” On Sept. 24, 1868, The Ottumwa Courier listed Perry Landis in the “Register of Voters of Center Township, Wapello County, Iowa, for 1868” (page 3).

Buying land did not necessarily mean that Perry was ready to settle down. He soon ventured east to briefly worked as a news agent in Ohio. He was listed in the 1868 Cincinnati Directory, rooming as 137 Race.

Perry Landis listed in the 1868 Cincinnati Directory.

Perry was also was listed in the unclaimed letter section of the Cincinnati Commercial on April 5 and April 12, 1868. By 1869, he was living with his parents in Connersville, Indiana.

Like Perry, Jacob also returned to Iowa after the war. In Fairfield he opened a watch and clock repair shop at the northeast corner of Park. By 1866, he began placed a series of advertisements in the Fairfield Ledger for his new business. On October 25, 1866, his ad announced:

“Have you got a watch or clock that won’t keep time? If you have, take it to Jacob Landis, North-east corner of the Park, and for a reasonable compensation, he will put it in first0rate working order. If you wish to have a piece of gold or silver manufactures into a particular pattern, he can accommodate you Call and try him. See card” (Fairfield Ledger, page 5).

Like his brothers, “Jake” continued to travel throughout the region; his comings and goings noted in local papers. On Feb. 27, 1868, the “Fairfield Ledger” reported, “Back Again. – Jake Landis is a sensible fellow and good workman. He is a good fellow, because he likes Fairfield better than any other place, he has seen during the last six months. And he is a good workman, because he can clean a watch as well as any man who has tried in our city for years – He has hung out his sign at his old stand in F. M. Stewart’s store and will repair clocks, watches, jewelry, &c., in the best manner and on the lowest terms. See his card” (page 6).

Advertisement placed by Jacob Landis in the “Fairfield Ledger” on June 25, 1868.

In addition to running his shop in Fairfield, he also invested in a new product – the ready binder.

On June 4, 1868, the Fairfield Ledger announced, “A Ready Binder. – The Covert File and Binder, patented by Landis & Co., of St. Louis, is just the thing for persons who wish to preserve their pamphlets and papers. Any person can readily bind his own books and preserve them in good style. J. Landis, of our town, has the agency for Iowa, and will sell county and individual rights on the most favorable terms. Covers for Godey, Peterson, Harper, sheet music, and the weekly papers, sold at reasonable process. Every family that takes a magazine ought to have one of more of these binders. Persons desiring rights should address J. Landis, Fairfield, Iowa” (page 6).

I have yet to locate any information about the firm “Landis & Co.” in St. Louis. The ready binder, however, was short-lived. Jake continued to place ads for his repair business in the Fairfield Ledger (June 25, 1868, p. 6).

Despite Perry owning property in Ottumwa, Iowa, and Jacob managing his repair shop in Fairfield, Iowa, both relocated to Indiana in 1869. They were following their parents and helping out at the new farm. In 1868 Henry, Catherine and their younger children moved east, purchasing a vineyard just south of Connersville, Fayette County, Indiana.

Map showing the location of Connersville, Indiana, in relation to Indianapolis, Indiana, and Cincinnati, Ohio.

Their return east was likely instigated by Henry’s 88-yrs.-old mother. Perry and Jacob moved to Connersville where they again worked for their father on his farm. The only difference was that Henry now raised grapes. I was fascinated to learn that this region of Indiana is considered the “birthplace of the American wine industry. The first successful winery was founded by a Swiss immigrant around 1806. Here is a link for more information about the history of Indiana Wine Trail: https://www.indianawinetrail.com/history

On April 8, 1868, Henry Landis began placing advertisements in the Connersville Weekly Times (page 2):

Attention.

I offer for sale, 1,500 Concord, Hartford, Prolifie, and Delaware Grape vines, one year old, in fine thrifty condition. Apply at the farm formerly owned by Job Stout, two and a half miles south of Connersville. By that winter, Henry Landis divested himself of all property in Fairfield. On Dec. 16, 1868, the Weekly Ledger announced the following real estate transfer: “N. MENDENHALL from H. H. LANDIS and wife, lot 2, block 15, old plat of Fairfield. deed dated August 14, 1868. 1,300 00.”

I was only familiar with the common Concord grape as I read the advertisement.

The common Concord grape.

In case you are wondering, the Hartford grape variety is an American red grape, also known as Framingham grapes. The Delaware grape is hybrid popularized in Delaware City, Ohio, also an American red grape. I have yet to identify the “Prolifie” grape and have begun to wonder if it was a misprint.

Henry’s new vineyard brought him very close to his aging mother and sisters. Henry’s mother, Elizabeth Landis Moss was then living with her daughter Elizabeth McWhorter in Blooming Grove, just 13 miles south of Connersville. As Landis’ new vineyard was on the southside of Connersville, this distance was even shorter that.

Map showing the relatively short distance between Connersville and Blooming Grove, Indiana. Nearby Liberty (top right corner of map) was where Joseph Landis lived and worked.

The 1860 U. S. Federal Census had listed 82-yrs.-old Elizabeth Moss living with her 73-yrs.-old husband, John Moss, on a farm in Blooming Grove, valued at $6,120. When John passed away on Oct. 22, 1862, Elizabeth Moss went to live with her widowed daughter, Elizabeth McWhorter. The 1870 US Census listed Moss as still part of the McWhorter household in Blooming Grove. At the time, Moss was 91 yrs. old and living with the one child who truly understood her past struggles. Both mother and daughter had outlived two husbands. Elizabeth Moss had been widowed while pregnant with David Landis’ fourth child in 1814. For the next four years she struggled as a single parent, raising her four small children. In 1818, she married John Moss; a union that resulted in the birth of their only child, Phebe Moss.

Elizabeth McWhorter was also married twice and widowed as a young woman. She first married Thomas Ellis, and the two celebrated the birth of five children. After his passing, she married Samuel H. McWhorter. Their union also resulted in the birth of a single child, Perry L. McWhorter. Both women lived to be 92 yrs. old, with Elizabeth Moss passing in 1871 and her daughter following in 1906. Each was an amazingly strong and independent woman. In fact, I was surprised to discover that at the age of 91-yrs.-old, Elizabeth Moss purchased a property in Connersville. On Sept. 22, 1869, the Connersville Examiner announced the following real estate transaction: “Lemuel R. Webb to Elizabeth Moss, nw qr of sec 31, town 15, range 13, $1,000” (page 3). For context, $1,000 in 1869 has the equivalent purchasing power as $22,306.10 in 2023. Keep in mind that the Moss family farm had been valued at $6120 in 1860 (the equivalent purchasing power of $223,684.53 in 2023). Unless everything was lost at the time of her husband’s passing or during the Civil War, Elizabeth Moss likely left a large estate for her children and grandchildren.

Portrait of Elizabeth McWhoterlate in life.

The passing of Elizabeth Moss on June 21, 1871, sparked another relocation Landis family members. Her burial at Sims-Brier Cemetery in Old Bath, Franklin County, signaled the end of an era for her kin. Her descendants began to look toward their own futures, released from the caretaking ties that bind. Henry H. Landis left farming entirely and moved work as a merchant in Rushville, following in the footsteps of his sons.

It certainly made sense, as he was now in his 60s. Working the land becomes an insurmountable task unless you have a young and fit labor pool. Such was not the case for Henry Landis by the early 1870s. It became increasingly apparent that his sons were not going to work the family farm.

Joseph was a prime example. Although Jacob and Perry returned to help sell produce at the family vineyard in 1869, Joseph continued to work as a jeweler in nearby Liberty, Indiana. Keep in in mind that David Landis (their paternal grandfather) was laid to rest in Liberty in 1814. The family had deep ties to the area for several decades at this point.

On March 9, 1869, Joe placed an advertisement in the Liberty Herald announcing:

“Joseph Landis,

Watchmaker and Jeweler, Liberty, Ind. Special attention given to repairing watches, clocks, and jewelry of all kinds. Will be found at Sam Sterling’s Grocery Store. Work warranted for one year” (page 2).

Joseph eventually moved his business to the northeast corner of Main and Union Streets in Liberty. He became extremely well known and respected as a merchant in the area and remained there for almost two decades.

Advertisement placed in the “Liberty Herald” on March 19, 1869.

Advertisement placed in the “Liberty Herald” on May 20, 1875.

In 1869, Joseph Landis made frequent travels from Liberty to Connersville, visiting his grandmother, parents, and siblings. On Sept. 1, 1869, the Connersville Examiner announced, “Jo. Landis, Esq., formerly of your lovely city, is here enjoying life, repairs, watches, sells jewelry, and occasionally drives fine horses, and has setting by his side in his fine buggy as dear a creature as ever wore charms.

Love is a passion by no rule confined,

The great first mover of Joseph’s mind.

I believe Jo will marry, if the girl will, and

They’ll both be well mated in life.

She’ll have a good man for a husband

And he’ll have a charming wife.

Joe married a local Liberty girl two years later. He and Prudence Mae Hughes were united in marriage on Oct. 19, 1871. He remained in the area for quite some time, frequently making the news for the next two decades. For example, on Oct. 30, 1872, the Liberty Herald reported, “It was a nice job of white washing which Jos. Landis did the other day with his little brush” (page 3). On Sept. 23, 1874, the Liberty Herald reported, “Joe. Landis has been having his storeroom very much repaired and is now re-established in it, and has brought on a new stock of choice jewelry. Persons desiring to purchase jewelry are respectfully requested to give him a call” (page 3).

All the while, Joseph continued to gain business savvy and leadership skills. These became a great asset once he began working for his brother at Sosman & Landis. On July 22, 1875, the Liberty Herald reported, “The street drains have been cleaned in some places the past week, and this has added very much to the appearance and good drainage of the town. Joe. Landis was prime mover and worker in the improvement. His incentive may have been the anticipated arrival of his first child. In 1875, Joseph and Prudence celebrated the birth Kathryn E. Landis. This was the same year that he helped sell his father’s vineyard in Connersville.

On Sept. 30, 1875, the Liberty Herald published the following announcement:

“Farm for Sale.

Joe continued to gain ground as a successful merchant in Liberty. On Feb. 20, 1889, the Connersville Examiner reported, “Joe Landis, leading jeweler of Liberty, was over yesterday afternoon, making inquiries about our gymnasium. Some time ago Liberty boasted a gymnasium, but like many other places, it was allowed to go down, and now they want to dispose of the paraphernalia, hence Mr. Landis’ visit to our city” (page 3). It was not until the 1890s that he sold everything in Indiana and moved to Chicago to help his brother Perry. His move says a lot about the Landis family, as well as the scenic studio industry that he was investing in. When Joseph moved to Chicago, he worked at the firm as an electrical engineer, later establishing and managing the American Reflector & Lighting Co., established by the Landis brothers and Joe Sosman.

After his grandmother’s passing, Jacob Landis returned to Iowa and married Fannie E. Russell, a local Ottumwa girl. Their marriage was announced on Oct. 9, 1873, in the Ottumwa Semi-Weekly Courier (page 3):

“LANDIS-RUSSELL – At Samuel Harper’s residence, in this city, today, by the Rev. H. B. Knight. Mr. Jacob Landis, of Connersville, Ind., to Miss Fannie Russell, of Ottumwa.” He continued in the jewelry trade, eventually moving west and settling in California.

As for Perry…

Despite relocating to Connersville and working for his father in 1869, he also embarked on a new business endeavor with a gentleman named Samuel M. Zent (1834-1897). Zent was a tinsmith in nearby Roanoke who invented a machine that dehydrated fruits and vegetables. At the time, it was referred to as a Drying Stove or Dry house. The partnership of Landis & Zent marks the beginning of Perry’s career as a sales. As a salesman, Landis traveled throughout the region, selling both his father’s fruit and Zent’s Dryhouse. On May 26, 1869, The Indiana Weekly Herald of Huntington reported. “Messrs. Landis & Zent are this year engaged in the manufacture of a very useful contrivance for drying fruit and baking. It consists of a large sheet iron box, with a small heating stove at the bottom. The box, or upper part, is filled by sliding shelves so made that the heat from the stove can pass through the various shelves and fill the box. Arrangements are made so as to regulate the amount of heat. This Dryhouse has been thoroughly tested and is found to work admirably in drying fruit and as an outdoor bake oven. No farmer who has much fruit to preserve, should be without one” (page 3). Zent patented his invention in Indiana that fall. On Oct. 21, 1869, the Fort Wayne Daily Gazette published a list of U. S. patents issued to Citizens of Indiana for the week ending Oct. 12, 1869, including “No. 95,726 – Baking and Drying Stove; F. S. Reefy and S. M. Zent, Roanoke” (page 4). Perry continued to travel that fall and was listed in the gentleman’s list of unclaimed letters in the Terre Haute Weekly Express on Nov. 10, 1869, page 8.

Portrait of Samuel M. Zent.

Landis possibly met Zent during the Civil War. Zent was a Colonel in the Thirteenth Indiana Volunteers. Landis was with the 131^st Regiment, Indiana Infantry. I was surprised to find an article Zent published in an Indiana newspaper. On Oct. 16, 1861, The Indiana Herald reported, “We have one man who is worth his weight in pure gold. He has run more risks in scouting and done more hard service than any four men in the Company, and that too without murmur. He is always pleasant and cheerful, kind to the sick, and always performing some generous act for those in need. His name is Samuel Zent. He is just the man for the service, and deserves promotion” (page 2). Years later, Zent’s obituary announced, “Samuel Zent died very suddenly at Roanoke, Huntington county, a day or two ago. Previous to the war he was a resident of Warsaw, and engaged in the tinning business here When war broke out, he enlisted at an early day and finally became the colonel of the regiment known as the ‘Fighting Thirteenth,’ and remaining such until the close of the war. In the younger days of both, he was a warm and personal friend and chum of the editor of this paper. He was a brave and gallant solider and enjoyed a reputation as such throughout the Army of the Potomoc.” On. Nov. 27. 1869, the Fort Wayne Gazette announced in “News from Neighboring Towns, Roanoke” that “Sam Zent has gone on a pleasure trip to the west” (page 4). Many veterans, including the Landis brothers, ventured west in the years that followed the war.

Perry continued to sporadically work at his father’s vineyard, especially during the planting and harvest season. On September 21, 1870, The Connersville Examiner listed Perry Landis in the “Fruits” section as selling the “best and greatest variety of grapes.” That fall, Perry entered some of their produce in the Fayette County Fair. In the “Fruits” section of the article “Premiums Awarded at the Fayette County Fair,” Perry Landis was recognized for “best and greatest variety of grapes” (page 1).

The 1870 U. S. Federal Census listed that the Landis household in Connersville as including Henry Landis (63 yrs.), Catharine Landis (52 yrs.), Jacob Landis (28 yrs.), Perry Landis (21 yrs.), Edward Landis (17 yrs.), Francis Landis (14 yrs.), Charles Landis (11 yrs.), and Hetta Morrison (13 yrs.). Again, during this time Joseph Landis was living in Liberty, Union County, Indiana, and John Landis was living out west.

The family vineyard was soon known as H. H. Landis & Son, grape and small fruit growers. I have no idea who was the “son,” but there were five sons working the land. Local newspapers repeatedly carried Landis’ advertisements for grape vines sales. On September 21, 1870, the Connersville Times announced:

“Grape Vines! Grape Vines! – TenThousand Concord Grape Vines for sale at a reasonable rates.

H. H. Landis,

(P. O. Box 132) Connersville, Ind. (page 3).”

Advertisement placed by Henry H. Landis in the “Connersville Times” on Sept. 21, 1870.

The Connersville Examiner also carried the same advertisements throughout October 1870, including Oct. 12, 1870 (page 3).

On September 28, 1870, the Connersville Times reported, (page 3):

“Grapes! Grapes! Grapes!

Ten thousand pounds of choice Concord grapes for sale! Also, ten thousand vines of the above-named variety, for sale at reasonable rates. All offers left at the P. O. Box will receive prompt attention. Vines will be delivered either in Fall or Spring. Address all orders to

H. H. Landis

P. O. Box 103 Connersville, Ind.”

These advertisements continued until the following spring. On March 29, 1871, the Connersville Times announced:

“Grape Vines! Grape Vines!

All persons wanting grape vines of the leading varieties such as Concord, Prolifie, Delaware, Ives, Clinton, Iona, Martha, Salem, and others, should bear in mind that we have a splendid stock of the above and other varieties, which we are selling reasonable and warranting, also a fine lot of Raspberry plants, including Doolittle, Black Cap, Davison, Thornless and Mammoth cluster. Our day of delivering in Connersville is April 10^th. Remember the day and leave orders at Pratts’.

Two hundred bottles of Concord grape wine for sale.

H. H. Landis & Son grape and small fruit growers, Connersville, Ind.

P. O. Box 132.

Vineyard two miles south of Connersville” (page 3).

By the summer of 1871, however, Perry Landis was selling grapes under his own name. On Aug. 18, 1871, the New Castle Courier of New Castle, Indiana (page 5) listed:

“Perry Landis.

1^st Variety grapes, 2 00”

Perry Landis’ listing in the “New Castle Courier” on May 25, 1871.

Perry also purchased property in Indianapolis, Indiana, suggesting a definitive break from the family business. On June 21, 1871, the Indianapolis News reported the following real estate transfer: “Sarah A Hall and husband to Perry Landis, lot 38, 2d Brookside sub, $1250” (page 4). Despite the purchase, Perry soon left the region, heading west to Colorado. In short, he followed his older brother John.

To be continued…

Sosman & Landis, Shaping the Landscape of American Theatre: The Landis Family

This post continues my prequel to the establishment of Sosman & Landis, a Chicago scenic studio that delivered stage scenery to more than 6000 theaters between 1880 and 1902. In addition to painted scenery, the firm also manufactured stage machinery and lighting systems. They outfitted a variety of performance venues throughout North America and overseas.

In my quest to fully understand the innerworkings of the studio and the various personalities employed there, I wrote 113 staff biographies.

I also began to zoom in on the early life and career of Joe Sosman. Sosman was a scenic artist and visionary for the firm.

Here are my three previous posts about Sosman’s early life and career:

Sosman & Landis, Shaping the Landscape of American Theatre: From Soldier to Sign Painter https://drypigment.net/2022/12/18/sosman-landis-shaping-the-landscape-of-american-theatre-joe-sosman-from-soldier-to-sign-painter-1864-1874/

Sosman & Landis, Shaping the Landscape of American Theatre: Sosman’s Mentor, T. B. Harrison

Sosman & Landis, Shaping the Landscape of American Theatre: Sosman’s Mentor, T. B. Harrison

Sosman & Landis, Shaping the Landscape of American Theatre: Sosman & Blaine

Sosman & Landis, Shaping the Landscape of American Theatre: Sosman & Blain, 1875

Perry Landis brought a substantial amount of business knowledge to their partnership. He was a skilled salesman, who intimately understood successful marketing . Landis was also very well connected throughout the midwestern and western states.

Sosman met Landis in 1875. At the time both were closely connected to Fairfield, Iowa. Sosman had just painted scenery for the new opera house, assisted by stage carpenter and scene painter J. C. Blaine. Sosman and Blaine extended their stay in Fairfield that fall to complete several other projects for local businesses.

Landis had deep ties to the Fairfield area, with three of brothers born there. He made frequent visits to town around the time that Sosman was painting scenery at Semon’s. When the two eventually met, they would have shared a common bond, as each intimately knowing many of the town’s more vociferous personalities.

Semon’s Opera House in Fairfield Iowa the year after Joseph Sosman painted scenery for the stage, c. 1876

The success of Sosman & Landis could be attributed to their network of support, especially from the Landis family. Four of Perry’s brothers became actively involved in the business; uprooting their lives and moving to Chicago to work with Perry. The Landis brothers brought a lot to the table. To fully understand the success of Sosman & Landis, one needs to examine the Landis family as a whole. They were a close-knit group of risk takers.

This story will take some time to tell. Here is a basic summary of Perry’s family tree. I will get down to business in my next post.

The Landis Family

Perry was the eighth of twelve children born to Henry H. Landis (1809-1893) and Catherine Johnston Landis (1817-1902). I am going to start with Perry’s grandparents, as they help place this family in Indiana during the early nineteenth-century. There are quite a few genealogical records that have erroneously linked individuals with the last name of Landis, those people who share close names and dates.

Perry Landis is part of the Landis family that settled in the eastern part of Indiana; the counties of Union and Franklin.

Location of Union County, Indiana, and Franklin County, Indiana.

Map of Franklin County, Indiana. Brookville is the county seat.

Perry’s Grandparents

I am going to start with Perry’s grandfather, David Landis (1767-1814). He married Elizabeth “Betsy” Picklesimer (1779-1871), on May 31, 1800, in Franklin County, Virginia. Their first child, Sarah, was born on May 1, 1805, in Virginia. Sometime between the birth of their first and second child, they couple moved from Virginia to Ohio, a 450-mile journey. Their second child (Perry’s father, Henry) was born in Middletown, Butler County, Ohio. The couple remained in Ohio for the remainder of their lives, celebrating the birth of a third child, Jacob, in 1812.

David Landis passed away on March 24, 1814, in Goodwins Corner [Liberty], Union County, Indiana. Elizabeth buried her first husband in Railsback Cemetery while pregnant with their last child. Elizabeth was born in Franklin County less than three months later, on June 9, 1814. At the time of David’s passing, his son Henry (Perry’s father), was only five years old. Betsy remarried when she was 39 yrs. On Feb. 26, 1818, Elizabeth Landis married John Moss (1786-1862), in Preble County, Ohio. Preble County is located approximately 40 miles northeast of Franklin County. They celebrated the birth of their only child, Phebe, on Jan. 19, 1819.

Elizabeth, and her three daughters (Sarah, Elizabeth and Phebe) never left the area. At the age of 92 yrs. old, Elizabeth Landis Moss (Perry’s grandmother) passed away and was laid to rest in Sims Cemetery, Harmony Township, Union County. This was in 1871. Unfortunately, the construction of Brookville Lake, necessitated that her remains were relocated to the New Fairfield Community Cemetery in Franklin County.

Henry Landis grew to adulthood in Franklin County where he met and married his future wife.

Perry’s Parents

The Indiana marriage registration for Henry Landis and Catherine Johnston is dated Oct. 1, 1831. Their wedding ceremony took place on Oct. 6, 1831, in Franklin County. For geographical context, Franklin County is located 25 miles due south of Union County; it is on the eastern border of Indiana, approximately 45 miles northwest of Cincinnati, Ohio, and 70 miles southeast of Indianapolis.

Catherine Johnston was the youngest of seven children born to James Johnston (b. abt. 1784) and Mary Groff (b. 1786). Like her siblings, she was born in Mansfield, Sussex County, New Jersey, on June 6, 1817. As a young girl, she moved with her family from New Jersey to Indiana. Her father ran a local dry goods store in Brookville, and advertised in Franklin County newspapers. On May 29, 1824, he placed an advertisement in the Western Emporium, listing the location of his store as “three doors south of the Printing Office, in Brookville.” On June 19, 1824, his advertisement in the Public Ledger announced that he had commenced the manufacture of tin ware. Johnston began operating a second store in nearby Richmond, 30 miles due north of Brookville.

Ad placed by James Johnston, Catherine Johnston Landis’ father, in 1824.

Ad placed by James Johnston, Catherine Johnston Landis’ father, in 1824.

Interestingly, on July 12, 1828, the Franklin Repository listed James Johnston as a candidate for city coroner. And that was the last that I have located about Catherine’s father. By 1829, both James and Mary Johnston had passed away. At the time, Catherine was only 12 yrs. old. James Johnston’s estate went into probate in 1830. Unfortunately, the court records are almost illegible, and I have yet to glean any information about Catherine’s life between the death of her parents and marriage to Landis. However, Catherine was only 14 yrs. old when she married her 22-yrs.-old husband in 1831. By 15 yrs. old she was a mother.

The birth of Henry and Catherine Landis’ children track the Landis family’s whereabouts after leaving Indiana. They seldom settled in any one place for long. Mary Landis was the first child born to the couple in Ohio, arriving on March 5, 1833. Mary arrived a month before her mother’s 16^th birthday. Her second child, John Anderson Landis, was also born in Ohio on Jan. 14, 1835. His birthplace is listed as Xenia, Greene County, Ohio, indicating a move to the Dayton area. geographical context, Xenia, is about 55 miles due east of Union County, approximately 15 miles southwest of Dayton, Ohio. There is a four-year gap between children, and I would hazard a guess that a child died in infancy.

The Landis family lived in Xenia, Ohio, when John A. Landis was born in 1835.

Their third surviving child, David, was also born in Ohio on May 31, 1839, although neither city nor county are listed on his birth record. By 1840, the Landis family lived in Oxford, Tuscarawas County, Ohio. That year, the U. S. Federal Census listed a Henry Landis a h ead of household, living with three young children and an adult female. Keep in mind that some of the early census reports only recorded head of household names, not any familial relations; so, you have to guess who is living in the home. By the way, Oxford is approximately 17 miles northeast of Brookville, Indiana. Henry and Mary returned to Indiana with their three young children when Jacob H. Landis was born on Oct. 11, 1841.

Moving to Iowa

Sometime between 1841 and 1844, the Landis family moved from Indiana to Iowa. Joseph Landis was born in Fairfield, Iowa, on March 8, 1844. Timing is really everything when venturing a trek across the country. The Landis family’s arrival to Fairfield followed that of the Little Miami Railroad in 1843. Once Fairfield was connected to the ever-expanding railway system, it connected Fairfield farmers with other markets and farming communities.

Two more Landis children were born in Iowa during the mid-1840s, but neither survived infancy. On July 10, 1846, an unnamed daughter was born, dying only two days later. Another daughter, Julia Ann Landis, was born on August 17, 1847, but also died in infancy, passing away on Sept. 11, 1847. Whether it was loss, or something else, the Landis family returned to Indiana by the end of the decade.

A Brief Return to Indiana

Perry Landis was born in Clifty Township, Indiana, on Nov. 19, 1849, although some records site his birth year as early as 1848. For geographical context Clifty Township is one of twelve townships located in Bartholomew County, Indiana. In other words, they were living approximately 50 miles southwest of Franklin County.

The next two Landis sons were also born in Indiana. James Henry Landis was born on Feb. 6, 1851, and Edgar Landis was born on Feb. 7, 1852. The age gap between the youngest Landis son and the eldest Landis child was substantial. On Sept. 15, 1853, Mary Landis married Robert Alexander Marshall in Decatur, Indiana. By 1854, the Marshalls and the extended Landis family moved to Iowa, settling in Keokuk County.

Back to Iowa

Henry and Catherine Landis lived on a farm near Fairfield, Iowa, in 1854. From a historical standpoint, Fairfield was site for the first and second Iowa State Fair in 1854 and 1855. Only a year earlier, Fairfield became the first city in Iowa to offer library services. It was an area filled with opportunity. In 1855, H. H. Landis entered produce in the Iowa State Agricultural Society’s Annual Fair. In fact, on October 25, 1855, the Fairfield Ledger credited H. H. Landis with the three largest squashes in Class No. 24 – Vegetables (page 1). In 1856, the Landis family celebrated the birth of Franklin Landis on March 11, 1856. That same year, the Landis family moved 30 miles northwest of Fairfield, settling in Steady Run Township to be near their eldest child Mary who was pregnant. Mary and Robert Marshall celebrated the birth of Jennetta in 1857. Although grandparents, Henry and Catherine Landis celebrated the birth of another son; Charles Landis arrived on July 12, 1858.

The location of Fairfield and Steady Run, Iowa.

The 1860 US Federal census listed Henry and Catherine still farming in Steady Run Township and living with eight of their children: David (21 yrs.), Jacob (19 yrs.), Joseph (16 yrs.), Perry (12 yrs.), James H. (8 yrs.), Edgar (6 yrs.), Franklin (3 yrs.) and Charles (2 yrs.). Loss would follow the Landis family during the early 1860s, with three children dying over the course of four short years.

On Dec. 18, 1860, their son, James Henry Landis, died in Steady Run Township. At the time, he was only 9 years 10 months and 12 days old. James was buried at Martinsburg Cemetery, near Competine, Wapello County, Iowa. Less than two weeks later, their daughter, Mary Ann Landis Marshall, died on Jan. 2, 1861. She was also buried in Martinsburg Cemetery. Then, David Landis passed away from complications after being injured in battle on Dec. 20, 1863.

Their loss was compounded by the constant threat of the Civil War. Five of the eight Landis children had joined the Union Army.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 113: Kirke Moses

Kirke Moses worked for Sosman & Landis in 1885. His name was included in a list of Sosman & Landis employees who gave donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune listed that Kirke Moses donated twenty-five cents.

Kirke W. Moses, picture in a 1929 newspaper article.

Kirk White Moses was a younger half-brother of Thomas G. Moses; they shared the same father, Capt. Lucius Manlius Moses.

Their father was a sea captain, born in Exeter, New Hampshire on April 21, 1822. His first wife, Thomas Moses’ mother, was Mary Wingate Titcomb from Somersworth, Strafford County, New Hampshire. Exeter was located thirty miles due south of Somersworth, with each connected by water to the sea. The announcement of their marriage was published in the “Marriages” section of the Boston Evening Transcript on Aug. 22, 1849:

“At the Atlantic House, Wells Beach, Me, 14^th inst, Capt. Lucius M. Moses, of ship Pactolus, to Miss MW. Titcomb, daughter of Mr. J. H. Titcomb, or Great Falls, N.H.” (page 3). Great Falls referred to the drop in Salmon Falls River. The town later became known as Somersworth. For geographical context. This area is about 76 miles north of Boston.

Location of Great Falls near Somersworth and Rollinsford.

1877 Map of Great Falls, New Hampshire.

Of the first family, Tom Moses wrote, “Father and Mother had a family of seven children. Kate, the eldest, was accidentally killed at sea. Lucius was the first boy and died at sea. Sister Lucia was born in Halifax, Nova Scotia, July 23rd, 1853. I was the third child. Frank was born in 1858.” Frank was born in Massachusetts, but the fifth child, Illinois “Illie” Moses, was born in Sterling, Illinois.

Capt. Lucius Moses gave up the sea, moving inland to Sterling, Illie was born. The 1860 census listed the Moses household as including Lucius (38 yrs.), Mary (36 yrs.), Lucia (6 yrs.), Thomas (4 yrs.), Frank D. (2 yrs.) and Illie (6 months). At the time, Lucius Moses’s occupation was listed as “boot and shoe dealer.” Shortly after the census was taken, Mary became pregnant again, giving birth the following year. She passed away on Aug. 5, only a few days after giving birth to her last child, Kate, on Aug. 2, 1861. Mary was buried in her hometown of Somersworth, New Hampshire, joining her children who had predeceased her. In 1856, Lucius established a family crypt in Forest Glade Cemetery. Sadly, it needs much repair.

The gravesite of Lucius Moses, Mary Titcomb Moses and at least three of their children at Forest Glade Cemetery in Somersowth, New Hampshire.

The gravesite of Lucius Moses, Mary Wingate Titcomb Moses and at least three of their children at Forest Glade Cemetery in Somersowth, New Hampshire.

Shortly after the death of Mary Moses, Capt. Moses remarried Adaline Gowen, also from New Hampshire, Adaline was the youngest daughter of Daniel Gowen (1788-1880) and Abigail “Abba” Libby (1798-1894). Fifteen years Moses’ junior, Adaline immediately became in charge of four children, ranging in age from 2 to 8 yrs. old. Of his stepmother. Thomas Moses wrote, “When the new Mother took charge of affairs, there were many radical changes made. Many of them made my young life a burden and had a strong influence on my whole life, and also kept my nose to the grindstone.”

Kirke White Moses was the first of two sons born to Lucius and Adaline Moses, arriving on Nov. 8, 1871.

At the time of Kirke’s birth, Tom Moses’ life was quite miserable; he greatly disliked working in the tannery, wanting to become an artist in Chicago After a few failed attempts at running away, Tom finally left home for good it in 1873. That year Moses wrote, “My wild career as an Artist started in April. Father would not help me, so I started for Chicago with 10¢ in my pocket and a new pair of boots, red leather tops and copper toes; some heavy clothes and a lot of pluck.” Fortunately, Moses was able to immediately land a position at Almini’s decorative firm.

A year later, Lucius and Adaline celebrated the birth of another son. Walter Farrington Moses was born on April 4, 1874. As Lucius and Adaline began raising another set of children, Tom Moses transitioned from decorative artist to scenic artist and never looked back.

Ironically, both Kirke and Walter began their careers as painters. I like to think that Thomas Moses paved the way for his younger brothers. About the time that Tom began to really make a name for himself in Chicago, his father moved into town. The 1880 US Federal Census listed that Lucius, Adaline, Illie, Kirke and Walter were living at 331 Randolph St. Now 60 yrs. old, L. M. Moses was listed as a harness maker. Interestingly, Illinois “Illie” Moses was working as an actress by this time too. Both Illie and her brother Tom were associated with the Academy of Music by 1881. Moses and Lemuel L. Graham painted scenery for the venue, with Illie as part of the stock company. Of his work for the Academy of Music, Thomas Moses wrote, “I enjoyed the work, even if I had to do it evenings and Sundays. I received good pay for this, which all helped. The plays were mostly of the melodramatic order and required a lot of scenery.” Moses was also working at Sosman & Landis during this time. Between the summers of 1881 and 1882, Sosman & Landis was credited with delivering stock scenery collections to over seventy theaters. In 1880, Thomas Moses’ salary increased from $18.00 to $20.00 per week, a very acceptable income at the time.

With two of his children succeeding in the theatre industry, Lucius Moses was a little more lenient on his youngest sons’ career choices. By 1885, Kirke Moses was also working at Sosman & Landis. At the age of 14 yrs., old, Kirke was likely employed as a paint boy, performing a variety menial tasks to help the scenic artists. That year Tom Moses was listed as an artist, living at 106 Centre Ave; by 1888 he was living at 721 W Harrison.

In 1882, Lucius’ grocery store was listed at 307 W Rudolph; Tom was at 744 W Van Buren.

From 1885 to 1889, Lucius Moses was listed in the Chicago Directory as a manager at 301 W. Rudolph

Kirke was 19 yrs. old when his father passed away. The Sterling Standard published his obituary on Jan. 29, 1891:

“Died.

Capt. Lucius M. Moses, last Saturday evening at his residence, 301 W. Randolph St. Chicago. Funeral services were held at the residence of his son, T. G. Moses, 721 W. Harrison St., Monday p.m., when he remains accompanied by his widow were placed aboard the cars en route for Great Falls, New Hampshire where the deceased had in early life erected a tomb wherein his first wife and three children were lain before him. Capt. Moses came to Sterling some 30 years since and resided here for about 20 years during which time he was principally engaged in the tanning and saddlery trade. He then went to Chicago where he established a family grocery store in which business he was engaged at the time of his death. The deceased will be remembered by all of our older residents as a very entertaining conversationalist and a warm friend” (page 8).

Kirke continued to work as a painter, listing it as his occupation when he married on Feb. 15, 1896. His first wife was Mary Genevieve “Mamie” Christopher (b. 1878), the 21-yrs.-old daughter of Thomas Christopher and Celia King. They were married in Milwaukee, Wisconsin, and celebrated the birth of their first child the following year. Dorothy Jean “Illis” Moses was born on Oct. 25, 1897.

In 1900, the small family was living in Chicago at 325 S. Clark. The 1900 US Federal Census still listed Kirke Moses’ occupation as a painter, living at 235 S. The household included Kirke, his wife Mary, daughter “Illis”, and Mother Adaline.

Sometime by 1903, their marriage ended, with Mary and their daughter moving to Minneapolis, Minnesota, and living with her parents. By 1910, Mary was working as a stenographer, living at 2840 29^th Ave. S. Mary continued to work as a stenographer, but returned to using her married name by 1911. She remained in Minneapolis until 1916 when she relocated to Kansas City, Missouri. Here are her listings in the Minneapolis City Directory:

1911: Christopher, Mary G. (wid Kirk W) stenographer F J Geist 235 Temple Ct.”

1912: Christopher, Mary G. (wid Kirk W) stenogr F J Geist r 2840 29^th Ave S.

1913: Christopher, Mary G. (wid Kirk W) emp agt 240 Temple Ct r 70 N 12^th

1915: Christopher, Mary G. (wid Kirk W) r 2312 E 35^th

1916: Christopher, Mrs. Mary G moved to Kansas City, Mo.

I have yet to discover whatever happened to Kirke’s first wife after 1916, but her parents (Thomas and Cecilia Christopher) moved back to Chicago by 1920.

Kirke married twenty-one-yrs.-old Olga Lindman on July 3, 1903, in South Haven, Michigan. Again, Kirke listed his occupation as “painter” on the marriage certificate. Their marriage was published in The True Northerner on July 10, 1903: “Kirke W. Moses, 32; Alga Lindman, 21, both of Chicago” (page 8). His second marriage also failed, but I have no idea what happened to Olga either.

On Aug. 29, 1908, Kirke married his third wife, Emma L. Schultz (1883-1971). A few days later, on Aug. 30, 1908, the St. Louis Globe-Democrat announced their marriage n “Clayton Marriage Licenses”:

“Kirke W. Moses, De Hodiamont, Missouri, and Emma L. Schultz, St. Louis” (page 7). At the time, Kirke was 35 years old, and Emma was 24 years old.

Less than a year later, Kirke and Emma celebrated the birth of a daughter in St. Louis. Ruth Moses was born on July 17, 1909, at 2849 Nebraska. It appears that Kirke only fathered two children. His obituary would list his two daughters as Mrs. Jean Tisher and Ruth McNulty.

In 1910 US Federal Census listed Kirke, Emma, and Ruth living at 2849 Nebraska Ave. in St. Louis. Kirke was now working as a paper hanger. Painters frequently worked as wallpaper hangers, especially when they began to focus on residential and commercial projects.

Interestingly, Kirke shifted from decorating to building homes. On July 16, 1912, the “St. Louis Globe-Democrat” (page 11) reported, “Buys Minnesota Avenue Lot. The Christian Brinkop Real Estate Company reports the sale of lot 30×127 feet on the west side of Minnesota Avenue, between Miami and Winnebago streets from Fred Bauer to Kirke W. Moses for $810. The purchaser will improve with modern home.”

By 1913 he was working as a carpenter and contractor. Here are his directory listings in the St. Louis Directory from 1913 to 1919:

1913: Moses, Kirke W. carp contr at 3916 Minnesota av in St. Louis.

1914: Moses, Kirke W. bldg. contr 604 Chestnut r 3916 Minnesota

1915: Contractors (Builders) section – Moses, Kirke W. 604 Chestnut

1916: Moses, Kirke W 4936 Wise av

1919: Contractors (Builders) section – Moses, Kirke W (bldr) 4936 Wise av

Tom visited Kirke’s home on Wise Ave, in St. Louis. In 1919, Moses wrote, “We had a nice time in St. Louis at Kirke Moses’ home” and “Brother Kirke and family paid us a visit in July, driving up from St. Louis.”

In 1920, the US Federal Census listed Kirke as a contractor in St. Louis, living at 4935 Wise Ave., with his wife Emma L. (36 yrs.), daughter Ruth (10 yrs.), and sister-in-law Bertha Schultz (40 yrs. old). His full-brother Walter was caring for their ailing mother in Chicago. On Nov. 13, 1920, Kirke’s 85-yrs.-old mother, Adaline Moses, died in Oak Park, Illinois. She was buried in Mound Grove Cemetery in Kankakee, Illinois, a few days later.

Kirke remained in St. Louis, working as a builder. He became quite successful by the mid-1920s. He was continually listed in the real estate section – selling homes. Kirke continued to meet his brother Tom whenever he passed through town. In 1924, Tom Moses wrote, “On the 30^th, I stopped at St. Louis, where Kirke met me at the station, and we went to Volland’s studio. It is some studio. They were very anxious to have me come down and help them out, as they had more work that they could handle.”

Kirke continued to be listed as an architect and builder in St. Louis newspapers throughout the late 1920s. On Nov. 12, 1927, the St. Louis Star and Times reported, “Eight five-room bungalow single type two-family flats located in the 4100 block Minnesota Ave, each built on a lot 35 by 125 feet and constructed by Kirke W. Moses.”

Kirke W. Moses featured as a designer and builder in 1929.

He was building quite a reputation, and on April 4, 1929, was featured in the St. Louis Star (page 24). The article announced, “Kirke Moses to Build Residences in Ivanhoe Park. Veteran Contractor has erected 600 fine dwellings in St. Louis.” The article continued:

“Kirke W. Moses has been selected to erect the model homes to be built in Ivanhoe Park for the Hauer-Lustkandl Realty Company in the St. Louis Better Built Homes Movement. Associated with the building industry for over twenty years, Moses has built more than 600 fine residences in various parts of the city. The son of a Chicago contractor, he began building and construction work shortly before the World’s Fair. Before coming to St. Louis, he gained distinction in the field of building through his work in construction of the University of Texas buildings at Galveston and the Illinois Central car shops at Memphis. One of his first commissions in St. Louis was the reconstruction of the Philippine Building at the World’s Fair. Since that time, he has confined his activities to the building of fine homes. It was thoroughly in line with the policy of the St. Louis Better Built Homes Movement, that he was selected to build these model homes. The executive committee realized the importance of selecting a reputable builder. It is well known regardless of the fine materials used no home can be well built if poor construction methods are employed. The fact that his record as home builder was beyond reproach led to Moses’ selection.” Many historic newspaper articles are riddled with errors. I have yet to locate any record that suggested Kirke Moses’ father was a contractor. The only occupations that I have located for Lucius Moses are sea captain, boot and show dealer, harness maker, and grocer. That does not mean that Lucius did not build his own home or work as a carpenter, just not professionally as a contactor.

The 1930 US Federal Census listed Kirke Moses’ home address at 3643 Bowen Ave, St. Louis. His occupation was listed as a contractor in the building industry, with his household including Emma Moses (46 yrs.), sister-in-law Bertha Schultz (50 yrs.) and his niece Esther Volkering (32 yrs.). That year Kirke Moses placed several ads in the St. Louis Star and Times.

On June 12, 1930, Kirke Moses placed an advertisement in the St. Louis Star and Times:

“Mechanics.

Structurally a building may be a beautiful job and yet the Owner may be sorry that he built it.

There is so much more to building a building that the mere mechanics of building it!

Kirke W. Moses

General Contractor

3643 Bowen St.

Riverside 5089.”

Ad placed by Kirke W. Moses in 1930.

Ad placed by Kirke W. Moses in 1930.

Tom Moses continued to visit his younger brother in the last few years of his life. In 1931, Tom Moses wrote, “Arrived in St. Louis, Saturday, December 5^th. Kirk was at the station to meet us. We all enjoyed our visit with them in their new home, which is very comfortable.” In 1932 Moses wrote, “May 22^nd, Sunday morning, I was called to Sister Illie’s apartment, where she had passed away during the night. I wired Pitt, Gertrude, Kirke, and Walter. The next morning Kirke arrived with Emma and Rupert – having driven all night. They remained with us all night and left the next morning, the day of the funeral.”

Little changed in Kirke Moses’ life in the 1930s, but the depression took its toll, and he began to work for another contractor, A. J. Meyer. Meyer was listed as Moses’ employer on his 1942 WWII Draft Card, with business offices at the corner of Grand & Gravois in St. Louis. The draft card also listed Moses’ physical description as 5’-7”, blue eyes, gray hair, and ruddy complexion.

Moses continued to work as a builder for A. J. Meyer & Co. in the early 1940s, and then became associated with the J. Ben Miller Realty Co. Newspaper notices about Moses’ projects continued to decline throughout the 1940s.

Kirke Moses passed away on Feb. 24, 1951. His death certificate listed “Hypernephroma, Rt. Kidney” as cause of death, with “Laennec Cirrhosis arteriosclerotic heart disease” as a contributing factor. He was buried at Sunset Memorial Park and Mausoleum in Afton, Missouri.

His obituary was published in the St. Louis Globe-Democrat:

“Moses, Kirke W., 6337 Oleatha, Sat., Feb 24, 1951, dearly beloved husband of Emma Moses (nee Schultz), dear father of Mrs. Jean Tischer and Mrs. Ruth McNulty. Dear brother-in-law, father-in-law, grandfather and uncle. Funeral from KRIEGSHAUSER Mortuary, 4228 S. Kingshighway, Tues., Feb. 27, 3 PM interment Sunset Burial Park, Member of South Side Kiwanis Club” (page 34).

Kirke W. Moses gravestone in Sunset Memorial Park and Mausoleam.

I have written about Kirke Moses in the past, as he was part of the Thomas G. Moses storyline; the one that I took a break from to do these S&L employee biographies. In 2020 I was contacted by one of Kirke Moses’ descendants. His great granddaughter wrote:

“Thank you for this. Thomas Gibbs Moses was my Great Uncle. His brother, Kirke White Moses, was my Great Grandfather, whose daughter was my beloved Grandma, Ruth Moses McNulty! Our family still has a few paintings from Thomas Gibbs Moses and his brother, Walter Farrington Moses! Periodically, I search for information on my ancestors and I was happy to find this. Thanks again.”

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 112: Peter J. Donigan

Peter Joseph Donigan (1871-1949) was not only the brother of Lawrence Edward “Ed” Donigan (1865-1944), but also the uncle of George Pat Wood (1891-1980). All three worked as scenic artists at Sosman & Landis.

1927 advertisement for Peter J. Donigan (1871-1949).

Unlike his older brother, Peter retained the surname of Donigan. His older brother changed his surname to Donohue by 1890 yet continued to work as a scenic artist under the name of L. E. Donigan. This was noted in Lawrence E. Donohue’s 1944 obituary.

On March 2, 1944, the Oak Park Leave reported,

“L. E. Donohue Dies; Scenic Artist.

Lawrence E. Donohue of 821 South Cuyler died on Wednesday, February 23, at his home after suffering from an ailment of two years standing. His wife, the late Mary Muir Donahue passed away on February 12 of this year. Mr. Donahue (known as Lawrence Donigan, professionally) was a scene painter and in years past painted scenery in the theatre throughout the United States, including New York Civic Opera House, Detroit Opera House, and Civic Opera House in Chicago and Ravinia. He was a business agent for the Scenic Artists’ union 350 for a number of years and was active until a few weeks before his death, despite poor health.

Born in Alton, Illinois, in 1864, Mr. Donohue has resided in the village for the past fifteen years. He was the father of Lawrence E., Walter J., and Mrs., Mildred M. Coty of Chicago, and of James PO., and Mrs. Mary Krebec who live at home, and brother Peter J. Donigan and Mrs. Mary Berry of Chicago. Services on Saturday were conducted at Ascension church with burial at All Saints” (page 50).

For more information about their family history, see past post: https://drypigment.net/2023/04/29/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-99-ed-donnigan-revised-biography-for-lawrence-e-donohue/

Peter “Pete” J. Donigan was born on Jan 28, 1871, and purportedly spent his early years in Alton, Ill. For geographical context, Alton is located on the Mississippi Rover, upstream of St. Louis, Missouri. By 1880, Peter and his three siblings were living with their mother in Chicago at 1027 Wentworth Ave, using the surname of Donegan. Their household included his mother Mary (32 yrs.), older brother Lawrence (15 yrs.), and twin sisters Maggie and Della (14 yrs.). Peter was the youngest. His older brother was already working, his occupation listed as “works in painting house,” likely a scenic studio that mass-produced painted scenes.

By the time Peter turned 15 yrs. old, his brother was working at Sosman & Landis scenic studio. That year, his sister Maggie also married. On Jan. 7, 1885, Maggie married William Smith O’Brien (1852-1929) in Cook County, Illinois. William was a painter, a trade that he would continue until his passing in 1929. Much would change over the next few years for Donigan.

By 1890, two of his siblings had moved to St. Louis. In addition to moving south, both Della and Lawrence changed their surnames to Donohue. In the 1890 and 1891 Lawrence was listed in the St. Louis Directories as: “Donohue, Lawrence E., artist, 2204 Eugenia.” A few years later, Peter Donigan was also listed in the St. Louis Directory. In 1893, Peter Donigan was listed as a painter, living at 2204 Eugenia. He soon returned to Chicago but continued to visit his siblings in St. Louis. In 1895, the St. Louis Globe-Democrat reported that “P. J. Donigan, Chicago artist” was a visitor at the St. Louis Sketch Club who “also presented a sketch” (page 9).

It remains unclear as to whether Donigan met his first business partner, Fred Gibson, in Chicago or St. Louis. In 1897, Frederick J. Gibson was listed as a scenic artist In Chicago, living at 193 S. Robey. In 1899, Gibson was associated with the Columbia Theatre Comedy Company in St. Louis, Missouri. On Feb. 17, 1899, The Jewish Voice reported, “Mr. Richard Baker, will present each week a 30-minute comedy, with special scenic and stage environment provided by the noted scenic artist Mr. Frederick Gibson, whose work is so well known here” (page 7). On Feb 19, 1899, the St. Louis Post-Dispatch reported, “All the pieces will be staged under the personal supervision of Mr. Richard Baker and will be provided with special scenery by Mr. Frederick Gibson, the well-known scenic artist” (page 29). By 1900, Gibson had partnered with Donigan to form Donigan & Gibson. Both Donigan and Gibson were living at the home of Mary Gibson, Frederick’s mother.

The 1900 US Federal Census listed the following individuals living at Mary Gibson’s home, 10 Jackson Blvd., Chicago:

Mary Gibson (b. June 1843)

Frederick Gibson (b. April 1871)

Peter Donigan (b. Jan 1871)

Mary Gibson (b. Oct.1876)

Both Peter and Frederick were listed as scenic artists. Interestingly, Peter did not list a birthplace for either his mother or father, leaving that section blank. Please see my past post from April 29, 2023, about Lawrence “Ed” Donnigan for a possible reason.

1900 signaled his big break for Donigan, both professionally and personally. That year he partnered not only partnered with Gibson, but also met his future wife, Louise C. Lucas. In 1900, Donigan and Gibson briefly established the scenic studio of Donnigan & Gibson. An early project was delivering scenery for the Shaw Theatre in Hutchinson, Kansas. The Shaw Theater was located on the west side of Main street on the south side of Avenue B, opposite the new county courthouse. The stage was designed by Gus Wood of Chicago. The proscenium measured 26’h x 36’w, with the gridiron 60’ above the stage floor. The stage floor was measured 60×40 feet in size. The drop scenery was operated by 60 line sets, with a 30’h x 45w paint frame and paint bridge, spanning from the SR gallery to SAL gallery, along the back wall.

Their work was described on Oct. 26, 1900, in The Hutchinson News (page 5). An article about the new Shaw Theater announced, “Work of Scenic Artists.” The article reported, “The scenery was painted by the firm of Donigan and Gibson, of Chicago. The work here was done by Mr. P. J. Donigan and Mr. Charles Squire. Up to the time of opening the artists have completed twelve stage settings. There are six elegant interior settings of thirteen pieces each, including a dark mahogany interior, a light interior in lavender and gold, a kitchen, a plain interior, a prison, and a palace, in yellow and red, with cut drop arches and wings to match. Among the other scenery may be found a horizon, wood wings, beautiful landscapes, set cottage, house, set rocks for mountain pass scene and everything to meet almost any requirement, although there is still more scenery to be added. Still the most beautiful of the work done by the artists are the two drop curtains which must be seen to be appreciated. The front curtain has a beautiful English landscape center surrounded by light yellow and pink shades with green draperies. The second curtain has dark red draperies with business cards in rococo style, and an American landscape in the center. The beautiful grand drapery border is done in red and tallow shades, and the working border to control the stage height is light green satin. The proscenium wings and marble columns harmonize with the grand drapery border.”

That year, he delivered scenery at the Shaw Theatre in Hutchinson, Kansas. On Sept. 12, 1900, The Hutchinson News announced, “New Men Arrive. Scenic Artists and Electrician from Chicago Join the New Theater Force” (page 5). The article continued, There was an unusual stir at the Shaw Theatre this morning and from all appearances the workman will be successful in completing it before the time of the opening, October 15. The scenic artists have arrived and will begin work tomorrow. Mr. P. J. Donigan will have charge of the work and will be assisted by Mr. Charles Squires. Mrs. Frank Gannon, the expert electrician who will oversee the lighting of the house, arrived. He has been connected with Chicago Theatres for the past seventeen years, and is not only an electrician but is a specialist in the line of lighting theaters. It will perhaps take a little over two weeks’ time to complete his work here. Both Mr. Gannon and Mr. Donigan expressed surprise at the stage of the Shaw Theatre. They say that it is superior to many of their Chicago houses, and that there is no company on the road that cannot find every necessary convenience for putting on their show. The carpenters are now busy putting down the floors and a good force of plasterers will be run this week. The roof is almost completed as is also the stage. Two arc lights are being put in preparatory to running night force. The decorators will come from Chicago in about a week.”

Main Street in Hutchinson, c. 1906.

In Hutchinson, Donigan met his future wife, Louise Coe Lucas, the local doctor’s daughter. On Octo. 30, 1900, The Hutchinson News announced, “A box party will attend the Shaw Theatre this evening composed of the following: Mr. and Mrs. F. Prigg, Mrs. and Mrs. Cone, Dr. S. M. Colladay, Mrs. and Mrs. Edward Colladay, Mr. and Mrs. B. Nusbaum, Mr. and Mrs. Bascom, Mr. and Mrs. Sam Hirst, Mrs. J. U. Brown and Mr. C. H. Rogers. Another box party will be Mr. P. J. Donigan, Mr. Charles Squires, Misses Joe Bennett and Louise Lucas. Mrs. Gilpin, Mr. and Mrs. I. R. Shaw, W. J. Shaw and Mr. Gold Wheeler” (page 5).

In 1901, Peter married Louise C. Lucas, the daughter of William Lucas and Sarah Coe. Born in Cincinnati, Ohio, Louise was quite a bit younger than Donigan when they met. Lucas was from Hutchinson, Kansas.

On Dec. 28, 1901, The Hutchinson News announced, “To be Married Tuesday. Miss Louise Lucas of Manchester and Mr. P. J. Donigan of Chicago” (page 1). The article reported, “Miss Louise Lucas, formerly of Hutchinson, now of Manchester, will be married on next Tuesday at 3 o’clock to Mr. P. J. Donigan of Chicago. The wedding will occur at the home of Miss Lucas’ parents, Dr. and Mrs. Lucas. Miss Jo Bennett of this city and Mrs. Charles Squires o. Mr. Donigan and Mr. Squires will be remembered here as the scenic artists who painted the scenery for the Shaw Theatre. They arrived here from Chicago last night and Mr. Donigan went to Manchester this morning.”

Their wedding was later featured in The Hutchinson News on Jan. 4, 1902 (page 2):

“Mr. P. J. Donigan of Chicago and Miss Louise Lucas were married Tuesday, Dec. 31, at high noon at the home of the bride’s parents, Mr. and Mrs. Wm. Lucas, of Manchester, Oklahoma Territory. The home was decorated with pink and white carnations, white roses and smilax. The bride’s gown was white organdy, and she carried a shower bouquet of tea roses. Immediately following the ceremony, luncheon was served. Many elegant presents were received, all the gifts form admiring friends. Mrs. Donigan lived in Hutchinson until quite recently and numbers here friends here by the score. Mr. Donigan is also well known here and is a highly esteemed young man. THE NEWS extends congratulations to the young couple, wishing them much success in their new home in Chicago” (page 2).

By 1902, Donigan and Gibson had ended, with each periodically working at the Chicago Opera House. That year Gibson worked alongside Walter Burridge, delivering scenery for the premiere performance of “The Wizard of Oz.” Gibson did not remain in Chicago for many more years. He soon began traveling as a scenic artist for touring stock companies, briefly settling in Boston from 1906 to 1908. By 1915, Gibson had settled in Minneapolis, Minnesota, working as a scenic at the Twin City Scenic Co. until 1918. In 1919 he was listed as the scenic artist at the Lyric Theatre, then at the Schubert Theatre from 1920 to 1921. Sadly, he passed away in 1923, leaving a young widow named Elizabeth Gibson.

As far as Donigan’s career, he worked throughout the region during the early years of his marriage. In 1903, the Peter and Louise celebrated the birth of their first child, Robert L. Donigan. That spring, Donigan became associated with Buffalo’s Academy of Music. On May 9, 1903, The Buffalo Enquirer reported “Peter J. Donigan of Chicago has been engaged as scenic artist” (page 3). Donigan was painting scenery for the Academy’s Stock Theatre Season. On May 10, 1903, The Buffalo Times also included an article on the Academy Stock Co. reporting, “Joseph L. Brandt, the actor-playwright, will act as stage director, and Mr. Peter Donnigan, one of the most competent scenic artists of the West, who has painted several of the big productions of the season, has been engaged” (page 33).

During her husband’s frequent absences for work, Louise also began to travel. On Feb. 19, 1904, The Daily Independent of Hutchinson, Kansas, announced, “Mrs. P. J. Donigan, formerly Miss Louise Lucas, of this city, spent Thursday with her friends in this city, en route to Manchester, Okla. To visit her parents, Dr. and Mrs. Lucas” (page 8). On April 2, 1904, The Independent reported, “Mrs. P. J. Donegan and baby are here in the city visiting friends. Mrs. Donegan has been visiting her parents, Dr. and Mrs. Lucas of Manchester, and is on her way to her home in Chicago” (page 5).

In 1905, Louise gave birth to another son, William R. Donigan. She took is in stride and continued to visit both family and friends in Kansas and Oklahoma. On Sept. 14, 1906, the Grant County Journal of Medford, Oklahoma, announced, “Mrs. P. J. Donigan of Chicago, with her two little boys, Robert and William, is visiting her parents, Dr. and Mrs. W. M. Lucas” (page 8). Over the course of the next few years, visits became more frequent, as Louise’s mother became ill and passed away.

On May 2. 1907, The Hutchinson News of Kansas announced, Dr. W. M. Lucas of Manchester, Okla., and Mrs. P. J. Donigan of Chicago who have been the guests of Mr. and Mrs. Hall left this morning for Manchester” (page 6). They were in town to bury Louise’s mother, Sarah Lucas. Her obituary reported,

“Sarah J. Lucas, nee Sarah J. Coe, was born in Monroe County, Ohio, on October 10, 1846. She removed to Peoria county, Illinois, with her parents in 1855. About the same time the parents of Dr. W. M. Lucas removed from Pennsylvania to the same county. On Oct. 10, 1865, these two were married in Elmwood, Illinois, and resided from 1870 to 1879 at Peoria, Ill. After a residence extending from 1879 to 188 at Felicity, Ohio, Hutchinson was chosen as there home. It was in Hutchinson that Mrs. Lucas made so many friends and labored in song and service for the good of the Presbyterian church. It was just as the congregation was removing to the present stone church and under the beginning of Rev. A. Forbes Irwin, that Mrs. Lucas sang in the church choir as contralto and Miss Norris, as sopranos. She loved the labor of song for the churches uplift. After her daughter’s graduation, in 1901, Mrs. Lucas removed to Manchester, Okla. To join the doctor, who located there at that point for business. The tie of friends and school privileges and good environment for her child having been loosened by reason of her child’s graduation; Mrs. Lucas began her home making in the new land of Oklahoma where she lived til death summoned her on April 29^th. Of her household, her daughter, Mrs. P. J. Donogan, of Chicago, Ill., but known to all Hutchinson people as Louise Lucas survive her. Another of the many good and amiable person who have worked and loved for the welfare of the old stone church on the corner, has been called away. With the passing of Mrs. Lucas, comes revered which bring the forms of old pastors and friends with whom she mingled, now long since called home and who welcomed her” (page 6).

Two years after her mother’s passing, the Donigan’s celebrated the birth of another child – Margaret L. Donigan. On Dec. 23, 1910, Louise returned to her hometown of Hutchinson, Kansas, with infant daughter. Of their visit, The Hutchinson News reported, “Mrs. Louise Lucas Donegan and daughter, Margaret, leave today for their home in Chicago after several weeks visit with Mr. and Mrs. Charles Hall on Avenue A. East” (page 5).

The 1910 US Federal Census listing Peter and Louise living with their three children at 1004 3^rd Ave. By now, Peter was 38 yrs. old, and Louise was 27 yrs. old. Their children ranged in age from 1 yrs. old to 7 yrs. old. Peter’s occupation was still listed as “scenic artist,” but now in the “studio” industry.

It is around this time that Donigan’s nephew, George Pat Woods, also enters the scene painting profession. Woods and Lawrence E. Donigan deliver scenery for Des Moines’ Empress Theatre in 1913. On July 8, 1913, the Des Moines Tribune reported: “Work on the scenery and stage settings for the new Empress is being rushed preliminary to the opening of it season on Sept. 14. Several carpenters, under the supervision of Master Mechanic D. E. Bradish and assistant A. Brubauer, are turning out the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan, George Wood, and Arthur Overholt rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”

In other words, Uncle Lawrence E. Donigan (b. 1865), was assisted by 22-yrs.-old nephew George Pat Wood and 30-yrs.-old Arthur Oberbeck. Oberbeck was part of the Sosman & Landis staff from approximately 1902-1920.

Peter Donigan found his place at Chicago’s Grand Opera House with the Chicago Opera Association. On Nov. 21, 1915, the Chicago Tribune, “Pete’s Leaves Fell Him” (Page 10). “Autumnal Foliage at Grand Opera So Realistic They Follow Natural Laws. Pete Donegan, scenic artist of the Chicago Grand Opera company, painted some foliage for the production of Monna Vanna. The foliage adorned the top of a tall column in Guido Colonna’s garden. In November leaves fall from the trees. The painted leaves were true to nature, for they fell yesterday afternoon, just before the curtain rose on the matinee performance of Monna Vanna. Instead of drifting gently to the ground they struck heavily their creator on the head, cutting a deep gash. Donegan was carried from the stage unconscious. His injury is not serious.”

On Sept. 2, 1917, the “Des Moines Register” announced the coming season of the Chicago Opera association, Oct. 17 and18th at the Coliseum under the direction of the new artistic director Emile Merles-Forest. The article reported, “M. Merles-Forest is one of the foremost French masters of stagecraft whose greatest achievement have been made in his six seasons at the Theatre Monnaie in Brussels and four seasons at the Grand Opera in Paris. The only interruption in his career was his ten-month military service as a telegraph operator at Lyon. He will come to America shortly to assume charge of the making of new productions at the Chicago Auditorium for the coming seasons in Chicago, New York and Boston…M. Merles-Forest will have the same capable technical staff which was maintained at the auditorium last season, including Joseph Engel, stage manager, and Peter J. Donigan, scenic artist” (page 19).

On Oct 14, 1916, Musical America published an article entitled “Pictorial Side of Grand Opera in the Making” (page 6). Peter J. Donigan and his assistant were pictured painting a setting for ‘Andrea Chenier’ on the auditorium stage.

Peter Donigan painting in 1916 (left picture). Scenery stored at the Chicago Opera Company’s warehouse on the West Side in 1916 (right).

Some of the same scenery after it was gifted to University of Northern Illinois. The University recently sold the storage facility without disclosing the contents of the collection inside.

Some of the same scenery after it was gifted to University of Northern Illinois. The University recently sold the storage facility without disclosing the contents of the collection inside.

The article reported:

“Grand Opera to most persons means simply the singing and acting of high-salaried performers to the accompaniment of an orchestra, pretty gowns and beautiful women, evening clothes and notices in the newspapers where the critic tears to pieces the singing the night before.

The public knows nothing of the tremendous amount of work which goes on month in and month out, summer and winter, when song bords are on their vacation and the opera house is dark, but this work is as necessary to successful opera as the orchestra. The accompanying pictures show something of the technical producing end of the Chicago Opera Company. While Cleofonte Campanini has been in Europe engaging singers and orchestral conductors, and army of men and women has been at work in Chicago under the direction of Joseph C. Engel, stage director, to make a triumph of the coming season possible. Since the first of March the three large warehouses and construction plants of the Chicago Opera Company, on Jefferson, Green and Harrison Streets, have been working full time on scenery, costumes, properties, and electrical effects. Complete scenery had to be made for seven new productions and eight revivals, and scenery for the standard operas had to be freshened and much of it replaced with new material. Two large auto trucks, owned by the Chicago Opera Company, have been going back and forth between warehouses and the auditorium all summer. Scenic rehearsals have been held almost daily under Mr. Engel’s direction, and every scene in every opera given this season has been set upon the stage, perfected, and taken back to the warehouse again, so that there will be no hitch when the operas are produced. – Farnsworth Wright.”

There was an interesting article published in The Musical Leader in 1917 (Vol, 34, page 425) entitled, “Transporting the Chicago Opera Company” (page 425. The article reported, “The backcloths or full-sized scene used in the auditorium are 68 feet wide and 40 feet high – this means, 2,720 square feet of painted and fire-proofed surface. This company carries forty-seven hanging pieces for scenic service in two operas, ‘Faust’ and ‘Lucia di Lammermoor,’ the full equipment as used in the home house of the Chicago Opera. In order to swing the scenes, the company carried its own rope, as no houses where they visit have lines enough to swing the productions. This detail necessitates twenty thousand feet of rope, all told twenty coils. I require the service of seventy-five men back of the scenes to handle these productions.

In order to produce all these sceneries and effects, it requires a big plant in Chicago, that is kept busy the year round in refurbishing old material and making new outfit for the coming season. The scene dock of the Auditorium would be considered large enough to house the equipment of most theatres, it being 150 feet long, 30 feet wide and 60 feet high, covering the space of the alley outside the stage, but this is only sufficient to store for the needs of a few performances. On the West Side of the city at its large warehouse filled with scenery and properties, valued a ta. Million and a half dollars, there are larger carpenter shops, scene rooms with painting stages and a costume department, where twenty-five seamstresses are employed. Twenty-five carpenters are always on the payroll and the stage carpenter, H. W. Beatty. Ten men are continually employed in building property under the skilled direction of Jack O’Malley, and there are twelve men in the scenic department under the direction of Peter J. Donigan, who work all year round.

On Dec. 12, 1917, The Billboard reported, “Emile Merle-Forest, who was stage director for the Chicago Opera Co, last year, is in the same position this year. His mise-en-scenes are famous for their excellency. Associated with him are Harry W. Beatty, as technical director and Peter J. Donigan as scenic artist” (page 23). Donigan remained with the Opera Association for quite some time. His name was even featured in various advertisements, listed alongside Norman Bel-Geddes and Robert Edmund Jones.

On Sept. 3, 1919, Chicago Opera Association advertisements in the Chicago Tribune announced, “The productions will be designed and staged by exceptional Russian, Dutch and American artists, including Boris Anisfeld, Herman Rosse, Peter J. Donigan, Norma-Bel Geddes, and Robert Edmund Jones” (page 6).

Peter Donigan listed alongside Anisfeld, Rosse, Bel-Geddes and Jones in 1919.

Here are a few more articles mentioning Donigan that season:

On Aug. 23, 1919, the “Chicago Tribune” reported, “Our Mary Garden, it is announced, proposed to sing Aphrodite as her first opera this season, with Mr. Campanini’s artists. The opera, which is listed as of the “tragic grand” type is by the late Camille Erlanger, and is founded on a romance of the same name by Pierre Louys. The scene is in Alexandria in the reign of Berenice, about fifty years before Christ. Peter J. Donnigan is painting the scenes for it.” (page 13).

The 1920 US Federal census listed the Donigan family living at 1004 S. 3^rd in Proviso, Cook, IL. The household included:

Peter (48 yrs.)

Louise (36 yrs.)

Robert L. Donigan (17 yrs.)

Wm. R. Donigan (15 yrs.)

Margaret (11 yrs.)

In 1920 Donigan was associated with the world premiere of Reginald De Koven’s ‘Rip Van Winkle” at Chicago. On Jan. 8, 1920, an article published in Musical Courier reported, “The scenery designed and executed by Peter J. Donigan, scenic artis of the Chicago Opera Association, was beautiful and tasteful…” (page 40). His scenery was included alongside the article.

Scenery designed and executed by Peter J. Donigan, chief scenic artist of the Chicago Opera Association. Here is the link to the images and Musical Courier article: https://www.google.com/books/edition/Musical_Courier_and_Review_of_Recorded_M/y-w6AQAAMAAJ?hl=en&gbpv=1&dq=%22Peter+J.+Donigan%22&pg=RA2-PA40&printsec=frontcover

By the mid 1920s, Donigan drifted away from the Chicago Grand Opera Association and began to look for other work in the region.

On Dec. 12, 1924, he placed the following advertisement in The Billboard:

“Peter J. Donigan

Scenic Artist

At Liberty

Seven years Chief of Scenic Dept. Chicago Grand Opera Assoc., also Chief artist as Ravinia Park Opera Co. Thoroughly experienced in Stock and Presentation. Office – Room 1101 Otis Building., 10 South La Salle St., Chicago, Illinois.

Peter J. Donigan’s 1927 advertisement in THE BILLBOARD.

In 1927, Donigan was mentioned by his nephew, scenic artist, George Pat Woods, and credited with giving the young man a start in scene painting. Woods was the son of his sister, Della Donahue Woods. Like her older brother, Della’s maiden name shifted from Donigan to Donohue. Her son, George Pat, was born in Chicago on April 10, 1891, one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (Della B. Donigan). In 1927 interview Woods credited his uncle Pete Donigan with helping him secure a foothold in the scenic art world. However, Wood also worked with his uncle Lawrence, likely when they were both working for Sosman & Landis.

Peter J. Donigan’s nephew. George Pat Wood.

Here is the article about Wood that mentions Donigan:

On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush” (page 33). The article reported:

“This story is about one of those romantic persons dubbed ‘powers behind the throne’ – the people who pull the strings while the puppeteers who were Kings and Queens walked and talked and made what was called history.

From such tales it may fairly be deduced that it is not always the people who are the most in the spotlight of wield the most influence or who contribute most largely to the success of any project. All of which is a roundabout way of saying that one of the factors in the excellence of the Stuart Walker Company productions at the Grand Opera House are the effective stage sets designed and painted by George Pat Woods, scenic artist of the organization.

Charming as are the feminine members of the Stuart Walker Company, they would appear less charming were their graces of manner and daintiness of costume obscured by ugly or uninteresting settings. Clever as are the men whom Cincinnati audiences have come to regard as great actors, there would have been less force to their performances if the stage sets did not produce accurately the environment in which type of character they represent is supposed to move.

And so, this George Pat Woods who splashes merrily away in the paint-bedaubed smock away up in his aerie among the roof girders at the Grand Opera House, is a ‘power behind the throne’ in the fortunes of Stuart Walker Company.

Observe the settings and painted scenes in ‘Alias the Deacon,’ the Stuart Walker Company attraction opening tomorrow night, and you will realize what an important role the stage settings have in any production. Or recollect the mystic beauty and atmosphere secured in ‘The Road Yesterday’ by the settings. Another prime example would be the gorgeous beauty and realism of the Orient in evidence in ‘Kismet.’

In between these high-light occurrences, Pat was for two seasons with the Metropolitan Opera Company. He was with Stuart Walker when Mr. Walker had the Portmanteau Theater and made all the original sketches for the company one season.

Between times he has taken jaunts to Europe to provide him with inspiration for his work; there have been visits to old world museums and cathedrals where he has studied color and technique and gained experience which he had been able to translate into renewed efficiency when he has returned to his duties.”

By 1928, Donigan became associated with Detroit’s Civic Opera Co. His work for the Detroit Opera Co. was repeatedly mentioned in Detroit Free Press articles from 1929-1934. Initially, he was credited as “Peter J. Donigan, of Ravinia Park, Chicago, one of the nationally known scenic artists has started work on the scenery (Detroit Free Press 27 Oct 1929, p 62).

In 1929, Donigan was assisted by O. S. Davis in Detroit, They were painting at the studios of the Detroit Opera Co., located at 2154 Grand River Ave. Despite his work in Detroit, Donigan continued to work at Ravinia Park until 1932.

On Oct. 29, 1930, the “Detroit Free Press” reported. “At the studios of the Detroit Opera society in the old Fox-Washington theater, Peter J. Donigan, chief scenic artist of the Ravinia Park Opera, was introduced and his work for the last two months exhibited” (page 7). In article entitled “Opera Backers See 1931 Equipment.”

In 1931, Donigan made the news in Detroit several times. The Detroit Civic Opera Season was scheduled to opened April 21 that year. On Jan 25, 1931, the Detroit Free Press reported, “Even today, three months in advance of the season, the operas are practically ready for production. The scenery, painted by Peter J. Donigan and his corps of assistants from Ravinia Park was finished in November” (page 47). On April 29, 1931, the Detroit Free Press reviewed their production of “Tosca,” reporting, “The scenery painted for this opera by Peter J. Donigan had much to commend it artistically, especially in the church scene. In which lovely effects were secured in the stained-glass windows and there was a feeling of spaciousness, remarkable when the size of the stage in Orchestra Hall is considered” (page 6).

On May 1, 1931, the Detroit Free Press reviewed the production of “Madame Butterfly,” reporting “The opera has been mounted by Peter J. Donigan with a gorgeous wealth of color” (page 6).

On April 13, 1932, the Detroit Free Press applauded Detroit’s Civic Opera Company’s production “La Traviata” (page 5), reporting, “The startling effect of the scenes, painted by Peter J. Donigan, and the color of the costumes all helped to make the opera delightful.”

On April 20, 1932, the Detroit Free Press mentioned Donigans’ work on the Gounod’s Romeoand Juliet (page 10). The article reported, “Again Peter J. Donigan accomplished wonders with the scenery. Juliet’s garden and the public square were real, so well done, in fact the audience could not resist showing its appreciation. Mr. Donigan’s work in the interest of the Civic Opera has been of outstanding value since the beginning four years back. He is to be thanked a great deal.” His work for “Aida” that season was also very well received. On April 25, 1932, the Detroit Free Press announced, “Peter J. Doniogan’s scenery drew applause with each new curtain. The Temple scene, the banks of the Nile and the opening act – the King’s palace at Memphis – were striking” (page 9)

In 1933, Peter J. Donigan was credited with scenic painting for “It Pays to Sin” at the Morosco Theatre, 217 W 45^th St, NYC. The show opened Nov. 3, 1933. A play in four scenes, the settings were conceived by Clive A. Rickabaugh and included the Office of Dr. David Janossy in Vienna; Greta’s Sitting Room; Moulin Rouge; Bedroom in Zoltan Keleti’s Apartment. This is Donogan’s only listing in the Internet Broadway Database.

Donigan was mentioned in an article entitled “Birmingham Music Lovers Attend Detroit Civic Opera,” published in Birmingham Eccentric of Birmingham, Michigan, on Thursday April 23, 1931. The article announced, “The scenery for all the operas was painted by Peter J. Donigan, of the Ravinia Opera.” The Detroit Civic Opera Company performed in Orchestra Hall, with productions including “Carmen, “La Bohème,” “Hansel and Gretel,” “Tosca,” and “Madam Butterfly.”

On Nov. 18, 1934, the “Detroit Free Press” advertised a production of Tristan and Isolde produced jointly by the Detroit Symphony Society and the Detroit Civic Opera (page 44). The article reported, “The new stage settings for the three acts of the opera [Tristan and Isolde], completed by Peter J. Donigan, Chicago scenic artist, have been moved to the Masonic Auditorium for the final rehearsals, which will begin Monday, Nov. 26, with the arrival of the principal stars” page 44). The production produced jointly by the Detroit Symphony Society and the Detroit Civic Opera. On Nov. 25, 1934, the Detroit Free Press reported, “Mr. Wronski also is production director and had staged the opera with new and exceptionally beautiful sets painted by Peter J. Donigan of Chicago” (page 44).

That same year, Donigan and his son were mentioned in the Chicago Tribune. On Oct. 28, 1934, the newspaper reported, “By coincidence the name of Peter J. Donigan, 548 Michigan avenue, Evanston, father of the prosecutor, Assistant State’s Attorney Robert J. Donigan, was drawn for the jury last week. He was excused without examination when Prosecutor Donigan told the court of the relationship” (page 11).

The 1940 US Fed Census listed that Peter was divorced and living at 1217 Albion Ave Chicago; he was living at the Albion Shore Hotel. His occupation was listed as “artist” in the “stage scenery” industry. They may have separated but were not officially divorced. When Louis L. Donigan passed away in 1946, her obituary noted that she was the “beloved wife of Peter J. Donigan.”

In 1941, Donigan visited his son in El Paso. On March 10, 1941, the El Paso Herald-Post reported, “WEDNESDAY- Capt. And Mrs. R. L. Donigan find much of interest in El Paso. So does the captain’s father, Peter J. Donigan, artist who is visiting here” (page 6).

Louise’s obituary was published in the Chicago Tribune on March 30, 1946, (page 12). It announced:

“DONIGAN- Louis L. Donigan, 860 Hinman avenue, Evanston, beloved wife of Peter J., mother of Robert L. and William R. At chapel, 1460 Sherman avenue, Evanston, after Saturday evening. Services Monday 1 p.m. Interment private. Please omit flowers.” A second notice announced:

“Mrs. Louise L. Donigan.

Services for Mrs. Louise L. Donigan, 63, mother of Assistant State’s Attorney, Robert L. Donogan, and prominent in Evanston club and Civic groups for many years, will be held at 1 p.m. Monday in the chapel at 1460 Sherman av., Evanston. Mrs. Donigan, who resided at 860 Hinsman av., died yesterday in Herotin hospital. Also surviving are husband Peter J. Donigan and another son, Maj. William R. Donigan.”

On June 30, 1943, Peter applied for social security, listing his name as Peter Joseph Donigan and his birthday as 28 Jan 1871 in Alton, Ill.He was 72 years old at the time of his application. This was less than six years before his passing.

On May 17, 1949, the “Chicago Tribune” published Donigan’s obituary:

Peter Donigan

The funeral of Peter J. Donigan, 79, retired dean of scenic stage designers and artist, who died Sunday in a Wilmette nursing home, will be held at 10 a.m. Wednesday in St. Francis Xavier church in Wilmette. Burial will be in All Saints cemetery. Mr. Donigan, a native of Alton, Madison county, created the original stage background for the “Wizard of Oz” in 1903. He also designed stage scenery for the Chicago Opera and Ravinia park. At one time he was business agent of local 350, United Scenic artist union. He leaves two sons, William R. and Robert L. Donigan, the latter a former assistant state’s attorney and now counsel for the Northwestern university traffic institute” (page 38).

Newspapers across the country carried news of Donigan’s death. On May 17, 1949, “The Idaho Statesman” reported, “Stage Artist Dies, Chicago (INS) – Peter J. Donigan, dean of American stage scenic artists, died Monday in suburban Wilmette at the age of 79” (page 1).

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 99: Ed Donnigan (Revised biography for Lawrence E. Donohue)

This biography is long and very complicated, but I could not let this particular story go. I will explain the method of my madness, then go from grandparents to the life and scenic career of L. E. Donigan.

Map of Chicago, 1885

Ed Donnigan was listed a scenic artist at Sosman & Landis in 1885. That year his name was included in a list of the firm’s staff members who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune reported that Donnigan donated 25 cents.

Ed Donnigan was actually Lawrence E. Donigan, the older brother of Chicago scenic artist, Peter J. Donigan, and the uncle of scenic artist George Patrick Woods. All three were associated with Sosman & Landis at one time of another, with Donigan still associated with the firm in 1913.

As a young man, Donigan changed his surname to Donohue. Interestingly, one of his two younger sisters, Della, did the same thing about the same time. Their younger brother, Peter J. Donigan, and Della’s twin sister, Maggie, did not change their last name.

All four children – Lawrence, Maggie, Della and Peter, were listed in the 1880 US Federal census, living in Chicago with their mother Mary at 1027 Wentworth; all the ages and dates all coincide and they were all listed by the last name of Donegan.

Despite Laurence E. Donohue’s name change in the early 1890s, his professional name remained Lawrence E. Donigan, or L. E. Donigan. I have come across many scenic artists who adopted professional names, names that were radically different from those of their biological parents.

When I first wrote about L. E. Donohue, I based his entire history on information from his death certificate, but never understood how the surname “Donigan” became part of the mix. Donigan is not a spelling variation of Donohue; they are two completely different surnames. My previous post was based on the premise that Donohue was his birthname, and his biological parents were Peter James Donohue (1842-1872) and Margaret Kelly Donohue (1844-1909), Irish immigrants that married after their arrival to the United States and soon settled in Alton, Illinois.

Now I know that many death records are full of incorrect information and inconsistencies that contradict other historical records, even actual gravestones. I always try to remember that it is the informant who provides crucial information, “facts” that are entirely dependent on their understanding of the deceased’s past. If you factor in that the deceased may have been an orphan, illegitimate child, result of incest or rape, prostitute, illegal alien, or passing for another race, all bets are off. Informants on a death certificate may also “cover” to avoid legal repercussions, or they are truly ignorant of the deceased’s early life. In other words, death certificates are not fool proof.

I could never confirm that his parents were Peter and Margaret Donohue. Despite Lawrence and Peter’s obituaries that listed Alton as their hometown, I was unable to find any official proof in historic records, directories, or newspaper articles; nothing confirmed that two boys were a part of any household with a variation on the surnames Donigan or Donohue.

Concerning their purported parents, Peter and Margaret Donohue, little is known of them or their time spent in Alton. At one point they were members of the St. Peter and Paul Catholic Church, Diocese of Springfield, Illinois, because there is one baptismal record for a child born to Peter Donohue and Margaret Kelly. Their son was names Jacob Patrick Donohue; born on March 19, 1872, baptized on March 29, and died on Jan. 2, 1873, at 9 months old. Peter Donohue passed away the same year as his birth. Madison County probate records date from August 29, 1872, and at the time of his passing he left his widow, children and an estate of $13,000 with four lots. For a relatively wealthy family, there is really nothing published about them in Alton newspapers from the time. Very odd, as this is a period of time that lists the comings and goings of many individuals. I have yet to locate the names of any children beyond Jacob. As far as how many children were born to the couple, in July 1878, widow Margaret Donohue wrote a letter to Judge Dale and mentioned six children. The letter concerned financial matters regarding the estate of her deceased husband. Margaret wrote “I had six children when he died. The oldest child was 7 years.”

Some family trees list the following children born to Peter James Donohue and Margaret Kelly

Bridget “Della” (1866-1934)

Mary Ann (1867-1959)

Peter Joseph (1870-1949)

James Patrick (1872-1872)

Here are the Donigan/Donohue children that I am trying to locate:

Lawrence (b. 1865)

Della M. (b. 1866)

Maggie (b. 1866)

Peter (b. 1871)

To date, I have only encountered only one article in Alton newspapers that even mentions P. J. Donohue. Donohue’s mention is from an event that occurred in Feb. 1872:

“Fire – On Saturday evening a frame dwelling house, north of the railroad, owned and occupied by Mr. P. J. Donohue, caught fire and was entirely consumed. The flames spread so rapidly that but little of the furniture could be removed” (page 3).” The article went on to explain that distance and lack of water in the vicinity contributed to the total loss of $1500, of which $1470 was covered by insurance.”

I also combed through various census records, not necessarily relying on software to do my searching. The only connection that I have made between the Donohue and Donigan families in Alton is in an 1850 census report: household No. 90 included 18-yrs.-old “Margaret Donohue” and household No. 95 included 25-yrs.-old “L. Donegan.” Again, fifteen years before Lawrence was born.

L. Donegan was actually Lawrence Donegan/Dunnagan/Dunnigan/Dunigan; spellings change for the same person from one record to the next.

On May 12, 1851, Lawrence Dunnagan married Margaret Hoy/Hoey. By 1865, Lawrence and Mary Dunnigan were living with two other individuals, a male child under the age of 10 and another male between the ages of 10 and 20. Both Lawrence and Margaret were listed as in their 40s. Just so you are aware, the State Census for Alton, Illinois only recorded white people. The 1870 Census listed L. Dunigan married to a Margaret Dunigan, with other members of the household including James Dunigan (18 yrs.) and Mary Hoey (12 yrs.). L. Donigan was a quarry man and made the paper only once; April 18, 1878, when an accident occurred at the quarry (Alton Weekly Telegraph, 18 April 1878. P. 3). Lawrence and Margaret remained in Madison County for the remained of their lives, and are buried in Saint Patrick Cemetery. Their tombstone is engraved Lawrence Dunnegan (1822-1902) and Margaret Hoey Dunnegan (1822-1897).

I am going to stop here. The whole reason that I went into a deep dive of Alton history was to either prove or disprove that the Peter and Margaret Donohue were the parents. To date, I have no concrete evidence that scenic artists Lawrence E. Donigan and Peter J. Donigan were raised in Alton by the Donohue’s.

I began to look at the life and career of Lawrence E. Donigan, with the belief that his parents were named Donigan, or a variation of this surname. Many more doors began to open. I was even able to identify possible grandparents. As with many surnames, Donnigan, Donigan, Donagun, Donagan, Dunagan, Dinagun, Donnegan, and Donegan, are just a few variations. Keep in mind that I have spent countless hours tracking down these individual and the legacy of their descendants. I dug deep into Donegan family history over the course of a century and was surprised at what I uncovered…

The Grandparents: Wiley Donegan and Sidney Gray

The Donigan brothers’ story really starts with their grandparents Nelson G. W. “Wiley” Donegan (b. 1823) and Sidney Katherine Gray (b. 1824). And for the record, even if these two individuals aren’t related to the Donigans, their story needs to be told, because against all odds, they managed to succeed during a very difficult period of American History.

In some historical records, Sidney Gray lists that she was born in Orange County, Virginia, sometime during 1824. Throughout her life, Sidney would cite the same birth year – 1824. For geographical context, this is in the Central Piedmont Region, about 81 miles southwest of Washington D.C. Her obituary states that the age of 12 yrs. old, Gray moved from Virginia to Christian County, Kentucky. No context was provided for this relocation. In fact, this was a really big move; a 650-miles journey from Virginia to Kentucky to live in the exact same county where Jefferson Davis, president of the Confederate States of America, was born in 1808.

1887 City Directory listing Sidney Donegan as “Indian.”

Later in life Sidney was listed in directories as “Indian.” In fact, she was Cherokee. This places Sidney’s birth in Cherokee lands, before the mass relocation of these indigenous people; an event know known as the Cherokee Trail of Tears (1837-1839). The Trail of tears was the forced westward migration of Native Americans to Oklahoma Territory (also referred to as “Indian Territory”). This policy was implemented during the Andrew Jackson administration. Jackson’s administration was from 1828 to 1837. It is estimated that approximately 16,000 Cherokee were forcibly removed from their homelands between 1836 and 1839, with at least 4,000 perishing while in transit. Later in life, Sidney’s daughter (Mary Donegan) listed that both her mother and father were born in Tennessee; Mary Donegan would also identify as part Cherokee.

Now from a historical standpoint, when the English arrived in America, the Cherokee lived in the upper Tennessee River tributaries; an area that later became Virginia. The Tennessee River was once popularly known as the Cherokee River. Here is a link for more information about Cherokees in Virginia: http://www.virginiaplaces.org/nativeamerican/cherokee.html

It was after moving to Kentucky, that Sidney met her future husband, Wiley Donegan. Their wedding took place on Feb. 20, 1841. Unlike other entries in the Christian County marriage record, there was no other information added to their record beyond two names and a fate, not even the clergyman who performed the ceremony. Wiley Donegan did not secure emancipation until 1847. Prior to the Civil War, the marriage of enslaved people was considered illegal. That is not to say that it didn’t occur; consider Dred Scott’s marriage to another slave in the mid-1830s. The legality of Wiley and Sidney’ marriage in Kentucky could explain the lack of information in their 1841 marriage record.

Entry for marriage of Nelson G. W. Donegan and Sidney Gray in 1841.

It is also important to note that one route for the Trail of Tears passed through Christian County in the 1830s. Hopkinsville, Kentucky, (the county seat) was the location of a winter camp and ration stop along the Northern Route of the Trail of Tears. In fact, two prominant Cherokee leader perished in Hopkinsville, Chief Whitepath and Fly Smith. There is even a Trail of Tears commemorative park in Hopkinsville. This is the event that possibly placed Sidney in Christian County, Kentucky, where she met and married Donegan. Although Sidney was part of the indigenous community, she may have also become enslaved en route.

Six years after marrying Sidney, Wiley Donegan secured the necessary emancipation documents in St. Clair County, Michigan. There are a few scenarios of how Donegan ended up in St. Clair, one being that he escaped and secured fake emancipation documents. For geographical context, St. Clair is due south of Port Huron, Michigan. In fact, the Donihoo Family of St. Clair were active in helping slaves escape in the county by the early 1840s, helping them cross the mile-wide St. Clair River. If Donegon was the surname of the family who enslaved Wiley, Donnihoo may have been the family that helped secure his freedom.

Donegan’s emancipation document is dated April 27, 1847, from St. Clair County, Michigan, so he married as a slave six years earlier.

Emancipation record for Wiley Donegan at ancestry.com

Their first two children were born in Kentucky before Donegan’s emancipation: Cyrus Donegon (b. 1842) and Leana Donegan (b. 1844). Purportedly, their third child, Mary (b. Dec. 1847), was born in Illinois. However, in later years she would claim Kentucky as her birthplace. This was likely due to the Fugitive Slave Clause (also known as the Fugitive From Labor Clause, Article 4, Section 2, Clause 3 of the U.S. Constitution) that clearly stated “a person held to service or labor in one state” (an enslaved person) who fled to another state did not acquire freedom from slavery. Instead, the fugitive must be returned to the state from which they had fled. This means that the Donegan children born between 1842 and Wiley’s emancipation in 1847, of born in Kentucky would have been considered slaves. Also, It is important to remember that the census reports in 1850 and 1860 only included white people and “free blacks”, not slaves. Slaves were solely listed on slave schedules, solely identified by gender, age, and financial value.

In 1850, the US Federal Census listed all members of the Donegan family living in Springfield, Illinois, and their color as “M” [mulatto]. Keep in mind that Illinois was a Free, unlike nearby Missouri and Kentucky. Wiley Donegan’s occupation was listed as “laborer.” The 1850 census reported listed that Donegan owned $200 worth of real estate. The Donegan household in 1850 included: Wiley (30 yrs.), Sydney (29 yrs.), Cyrus (8 yrs.), Leana (6 yrs.) Mary (4 yrs.) and George (1 yr.). Interestingly, not all the children were born in Illinois. For example. 4 yrs. old Mary was born in Kentucky in Dec. 1847. Keep in mind that Mary was the mother of Ed Donnigan, the 1885 Sosman & Landis employee.

In the midst of all this there are a series of court cases that debate the political implications of slavery in US Territories. In the 1857 Dred Scott v. Sanford case, the United States Supreme Court ruled that blacks were not citizens of the United States and denied Congress the ability to prohibit slavery in any federal territory.

In 1860, the US Federal Census listed the same household family members, but under the surname of Dunagan and their color as “black.” At 18 yrs. old, their eldest child, Cyrus, had already moved out. The remaining household members in 1860 included Wiley (39), Sidney (39), Leanna (16 yrs.), Mary (14 yrs.), George (11 yrs.) Narcissa (8 yrs.), Susan (6 yrs.), Purty (4 yrs.) and David (2 yrs.). In this census, Wiley was listed as a farmer with $600 of real estate and $800 of personal possessions.

In the early 1860s, the Donegan family moved north, settling in Michigan. Their move likely coincided with the onset of the Civil War. In 1865, Nelson Green Wiley Donegan passed away in Van Buren, Arlington County, Michigan. His will, dated June 26, 1865, left his estate to his wife, Sidney Katherine Donegan, and his eight living children. The children were not named in his will.

The Donegans in Springfield, Illinois

The 1870 US Federal Census listed that the Donegans were again living in Springfield, Illinois. As in 1850, the color for the entire household was listed as “M” and included Sidney (46), Narcissa (19), Susan (16), Presley (4), David (12) and George Gloss (30, laborer, b. Louisiana). Sidney and most of her children remained in Springfield for the remainder of their lives. Despite residing in the same area and at the same addresses, the spelling of the surname continued to vary over the years, shifting between Donigan, Donnigan, Donegan, and Donnegan; all the same family. Interestingly, in 1875, Mary’s brother George Donnegan was listed as a painter, living at 640 north 3d, in the Springfield Directory.

In 1887, the Springfield Directory listed the following members of the family:

Donnegan, Sidney Mrs. (Indian), wid Wiley, bds 1038 s 3d

Donnegan Susan (col) domestic, rear 423 s 6th

Donnegan George W. (col), lab, h 1038 s 3d

Donnegan, Presley (col), barber, h 627 n 2d

The mention of Sidney’s connection to the indigenous community brought me to her listing the “Dawes Applications (overturned), 1896” database (available at ancestry.com). This database contains applications for enrollment into the “Five Civilized Tribes – Cherokee, Chickasaw, Choctaw, Creek and Seminole, from the Muskogee, Oklahoma area office.” The description notes, “Application files may include documents such as affidavits, depositions, letters, memorials, objections, lists of evidence, receipts for service of papers, notices of appeal, and references to case numbers. Some files contain further documents and background information that may provide more detail on the applicant’s life.”

Sidney Donegan’s tribe was listed as Cherokee, and her case number listed as 749. Mary Byrd, her daughter (Lawrence and Peter’s mother) also shared the same case number. In numerous records, I had encountered the name Mary Bird while researching the Donegan family history. It was her marriage license from 1903 that helped me connect the dots. Bird was the surname that Mary used when marrying Frank Hatchel in Oklahoma.

Their Mother: Mary Donegan/Mary Bird/Mary Hatchel

I have yet to locate a marriage record that connects Mary to any gentleman named Bird, although there were plenty black businessmen in Springfield Illinois with that surname. What I do know is that Mary Donegan moved from Springfield to Chicago by 1880. In the Windy City, she raised for children alone, listing herself as a widow.

Mary and her children all went by the mast name Donegan in 1880: Lawrence E. “Ed” Donegan (b. 1865), Maggie Donegan (b. 1866), Della Donegan (b. 1866), and Peter J. “Pete” Donegan (b.1870). The small family was living at 1027 Wentworth Ave. in Chicago. Lawrence’s occupation at the time was listed “works in painting house.” “Painting House” possibly meant scenic studio. At fifteen years old, he was the right age to start an apprenticeship, working as a paint boy. All five of the Donagans listed their birthplace as Illinois, and all five listed their parents as Irish. This is suspect; Mary’s children (Lawrence, Maggie, Della, and Peter) should have listed Illinois for their mother’s (Mary) birthplace (Illinois), and not Ireland.

In 1885, the two of Mary’s children were using variations of Donegan for their surname. That year, Lawrence was listed as a Sosman & Landis employee – Ed Donnnigan – and his sister Maggie listed her name as “Margaret E. Donnegan” when she married William Smith O’Brien (1852-1929) on Jan. 7, 1885, in Cook County, Illinois. By the way, William was also a painter; one would continue to work as an artist until his passing in 1929. In 1885, Lawrence was 20 yrs. old, Maggie and Della were 19 yrs. old, and Peter was 15 yrs. old. Lawrence, Maggie’s husband and Peter were all painters at this time.

About the time that two of her children moved to St. Louis, each changing their surnames, Mary moved west to settle in Langston, Oklahoma Territory. Between the Civil War and Statehood, approximately 27 all-black towns were established in Oklahoma. Langston, Kansas, was founded by African-American Edward P. McCabe, a former State Auditor in Kansas. McCabe sought to escape create a black-majority state in Oklahoma Territory. Encouraging African-Americans to settle in an All-Black town. Langston was named after John Mercer Langston. Across the country, including in Chicago, lots of land in Langston were advertised in African American newspapers and by traveling salesmen who visited communities. For more information about the establishment of All-Black Towns in Oklahoma visit: https://web.archive.org/web/20121103020841/http://digital.library.okstate.edu/encyclopedia/entries/A/AL009.html

In Oklahoma Territory, Mary married Frank Hatchell. Now known as “Mary Bird,” she still listed her parents as Sidney Gray and Wiley Donagan on the marriage license; so, same woman. On June 13, 1901, Mary Bird married Frank Hatchell in Kay County, Oklahoma Territory.

Marriage application and license for Mary Bird, daughter of Wiley Donegan and Sidney Gray, to Frank Hatchel.

At the time, Mary was 55 yrs. old and her husband was 61 years old. The color for both bride and groom were listed as “black.” The marriage license listed that the current residence of Mary Bird was in Langston, Oklahoma, and that of Frank Hatchell was in Peckham Oklahoma. Peckham was due north of Langston, but quite a ways away – about 80 miles.

The two lived in Newkirk, Kate County, Oklahoma Territory. On June 21, 1901, “The Republican News Journal” announced, “Frank Hatchell, an old colored soldier living west of the city was married Saturday June 15, 1901, to Mrs. Mary Bird of Langston, Oklahoma, by Rev. Adams, the colored Methodist minister of this city” (page 5). Hatchel had fought in the Civil War with the 1^st Michigan Colored Infantry and the 102 Regiment of the USC Infantry.

Sadly, their marriage only lasted a few years, as Hatchel passed away in 1906.

On Feb 23, 1906, The Democrat-Herald of Newkirk, Oklahoma, announced, “Frank Hatchel Dead” (page 4). His obituary reported, “Frank Hatchel, a veteran of the Civil War died on his farm southwest of Peckham, on the 15h inst. The funeral services were held at A.M.E. church, this city, at 2 o’clock Sunday afternoon. Rev. Adams officiated assisted by Rev. Jones of the Baptiste church and Rev. G. W. McKay of the A.M.E. church. The deceased met death bravely, being perfectly resigned to his fate. He leaves a wife and two daughters to mourn his loss.” On Feb. 28, 1906, Mary placed an announcement in the Republican News Journal:

“Card of Thanks.

I take this means of thanking my many friends who so kindly assisted me during the illness and death of my husband.

Mrs. Mary Hatchell” (page 5).

Mary never returned east, but remained in the area with her two step-daughters, Eveline and Genevieve Hatchel. They sold the Hatchel property that winter. On Dec. 14, 1906. The Democrat-Herald listing the following real estate transfer:

“Eveline Hatchel, Mary Hatchel and Genevieve Hatchel to John Werner et al, ne ¼ 28-28-1e” (page 1). Mary continued to live in Newkirk, Oklahoma, until her passing in 1935. She was 88 years old. In both the 1920 and 1930 US Federal Census reports, Mary listed her birthplace as Kentucky and the birthplace of both parents as Tennessee.

Her mother Sidney returned to Springfield and lived with her son George at 1038 S 3^rd Street, until her passing the year after Mary wed Hatchel. Sidney Donavan lived with her son George, who supported his family by working as a janitor at a school house. In 1900, the US Federal Census report listed the “color” for the entire Donegan family as “B” [black]. Interestingly, the Donegan’s were the only black family in the neighborhood. All of their neighbors were white, with the exception of a few household servants.

Sidney Donegan, passed away at the age of 77 years old.

Gravestone of Mary Hatchel (Mary Donegan, mother of Lawrence and Peter Donigan).

Her obituary was published in the Illinois State Journal, of Springfield, Illinois, on Jan. 27, 1902. It provides a little more information about the Donegan family:

“Died Jan. 26, 1902, at the residence of her son, George W. Donagan, of apoplexy, Mrs. Sidney Donagan, aged 77 years and 10 months. She is well known among the colored population of Springfield. Born in Orange county, Va., she came to Kentucky when 12 years old, and finally to Illinois with her husband in 1846. Mr. Donagan farmed in the vicinity of Springfield eleven years. He died in 1865.” She was survived by six children: George W. Donagan, Presley Donagan, Leana Outland, Susan Dinagan, and Mrs. Mary Hatchel. All of her children, with the exception of Mary, remained in the Springfield area. Sadly, non of the grandchildren were mentioned.

Lawrence E. Donigan/Laurence E. Donohue

The surname change from Donigan to Donohue happened sometime between 1885 and 1890.

In 1890, Lawrence E. Donigan was listed as Laurence E. Donohue in the Chicago Directory, residing at 20 Gurley. Four years later he married, also using the surname of Donohue. His name was listed in the Marriage License section of The Inter Ocean on June 26, 1894 (page 8) –

“Laurence Donohue, Mary Dennewille (27-21).” Many African American last names hold the weight of slavery; individuals who used the surname of an enslaver. We will never know what promoted Lawrence to change his surname, or if his mother completely severed contact with her family. In the back of my mind, I hope that Lawrence changed his name from an enslaver to a liberator. Again, the family that helped slaves to their freedom in St. Clair County during the time that Wiley Donegan secured his emancipation papers was the Donihoos.

Regardless of reason, it cannot be discounted that all of Mary’s siblings in Springfield were consistently listed as “col.” [colored] in the Springfield Directory. In Chicago, Mary passed for white, and was not listed by anything else.

Fifty years later, Lawrence’s two surnames were mentioned in his obituary:

On March 2, 1944, the Oak Park Leave announced,”Mr. Donahue (known as Lawrence Donigan, professionally) was a scene painter and in years past painted scenery in the theatre throughout the United States, including New York Civic Opera House, Detroit Opera House, and Civic Opera House in Chicago and Ravinia.”

Shortly after marrying in 1894, Lawrence and his wife relocated to St. Louis, Missouri. In St. Louis they celebrated the birth of their first child, Lawrence Edward Donohue Jr. (May 1895). At the time, their address was listed as 1302 Sidney St. Lawrence and his family remained in the St. Louis area for a few years, listed as artist in the St. Louis City Directory in 1895 and 1897. In 1897, their address changed to 1448 S 16^th. Their second son, James P. Donohue, was also born in St. Louis in 1898. In 1899 the Donohues returned to Chicago.

Lawrence and Mary were living in Chicago when their third son, Walter J. Donohue, was born in 1899. The 1900 U. S. Census report listed L. E. Donohue and his family living at 20 Vernon Park, Chicago; a location where they would remain until the 1930s. In Chicago, Donohue resumed painting under the name Donigan, going by Lawrence E. Donigan, or L. E. Donigan.

In 1900, Donigan was listed as “scenic artist for the Grand Opera House” in the Memphis City Directory, rooming at 441 ½ Main. This was a very common occurrence. Despite having a permanent residence and family in another city, scenic artists would list themselves in directories for the cities they were working in at the time. This meant “rooming, “boarding,” or just listing the address of the theater where they were working; this was to ensure that they were able to receive mail during extended absences from their permanent residence.

In 1901, Lawrence and Mary celebrated the birth of Mildred.

By 1902, Lawrence worked at the Academy of Music in Chicago, placing an advertisement in the “Chicago Tribune” on July 20, 1902: “WANTED FRESCO PAINTER: Must draw and paint ornaments. Academy of Music. L. E. Donigan.”

In 1906, Lawrence and Mary celebrated the birth of their last child, Mary Florence. And this is about the time where a third Donegan relation becomes a scenic artist.

Their Nephew: George Pat Woods

George Pat Woods was the nephew of L. E. Donigan and Peter “Pete” Donigan. Woods was Sosman & Landis employee No. 98. George was one of Della’s sons.

George Patrick Wood was born in Chicago on April 10, 1891, although his birth was not registered with the State of Illinois until July 31, 1891. Later in life, he would go by George Pat Wood in newspaper article. He was one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (b. abt. 1870). His two younger brothers were Arthur Francis Wood and Walter James Wood. In 1900, the three boys were listed as “inmates” at the “St. Louis Home of Refuge.” The term “refuge” is a little misleading, as the home was well known as an abusive penal institution for juvenile offenders, as well as orphans. It remains unclear as whether all three boys were arrested for delinquent acts or committed by a family member, but their young ages suggest the latter. The ages of the three boys were listed as 9, 7, and 5 yrs. old. I have no idea how long they stayed at the St. Louis Home of Refuge or remained in the St. Louis area.

In later years, Wood credits that his uncle, Pete Donigan, as the one who helped George get a foothold in the scene painting business. On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush” (page 33). The article reported,

‘Pat,’ as he is known by members of the Stuart Walker Company got his start in the scene-painting business when he visited his uncle in Chicago. This uncle, one Peter Donegan, is a sort of scenic baron in the Windy City, doing the stage sets for the Chicago Opera Company and for most of the large theaters. His studio proved a fascinating place to hang out, and presently the nephew began dabbing in paint. Soon he was a regular member of the force. And so he began, rather far up the line as scenic artistry goes, by designing stage sets for the Chicago Opera. Following other successful positions, Pat was retained to assist in fashioning stage sets for Max Reinhardt’s first production of ‘The Miracle,’ the most stupendous and magnificently stages spectacle the American stage has ever seen. In between these high-light occurrences, Pat was for two seasons with the Metropolitan Opera Company. He was with Stuart Walker when Mr. Walker had the Portmanteau Theater and made all the original sketches for the company one season. Between times he has taken jaunts to Europe to provide him with inspiration for his work; there have been visits to old world museums and cathedrals where he has studied color and technique and gained experience which he had been able to translate into renewed efficiency when he has returned to his duties.”

Although there is no direct mention of Wood working at Sosman & Landis, he likely started at the firm about the same time as John Hanny and Art Oberbeck, c. 1905-1907. His uncle L. E. Donigan was still living in Chicago and associated with the firm in 1902. He was part of the crew sent to Cincinnati to paint for Sosman, Landis & Hunt. For historical context, in 1894, Sosman & Landis partnered with David H. Hunt to lease the Pike Theatre in Cincinnati and manage a touring stock company.

On Dec. 14, 1902, the Cincinnati Commercial Tribune reported, “CHRISTMAS ATTRACTIONS. The Christmas pantomime of ‘Cinderella’ will be presented one week from today at the Pike. Manager Hunt has done something never before attempted by a stock organization – prepared in four weeks an extravaganza such as David Henderson and other spectacle producers required four or five months to build. Scenic artist Reid had as his assistants, L. E. Donigan, Otto Schessling, William Thompson, George Smith and four helpers. Scenic carpenter Buck has had twelve carpenters in his department. Property Master Bruehl has had four assistants. Electrician H. Homer has had four assistants, the services of three women have been required for four weeks sewing on the scenic materials and the supplies for the stage alone have required an outlay of over $5,000. In the big transformation scene in the last act there will be 175 grown people and 75 children. A gold coach, drawn by eight of the smallest ponies on earth, will be the feature” (page 26).

That year Donigan was also associated the Academy of Music. On July 20, 1902, Donigan placed a want ad in the Chicago Tribune (page 7):

“WANTED – FRESCO PAINTER; MUST DRAW and paint ornaments. Academy of Music. L. E. Donigan.” Donigan remained in Chicago, continuing to list his surname as Donohue in census reports.

The 1910 US Federal Census listed Lawrence Donohue living at 857 Vernon Park Pl., in Chicago with his wife and children. Donahue, now 47 years old, listed his occupation as a theatre decorator. Other members of his household included: Mary M. Donahue (36 yrs.), with children Lawrence E. (14 yrs.), James P. (13 yrs.), Walter J. (10 yrs.), Mildred (8 yrs.) and Florence (3 yrs.). The report also notes that Mary gave birth 6 times, with 5 surviving children.

On July 8, 1913, both Donigan and Wood were mentioned in the “Des Moines Tribune” while working at the Empress Theatre in Des Moines, Iowa. The article reported, “…the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”

The Donohue family’s home remained at Vernon Park Place in Chicago, although the renumbering of streets shifted their house number from 20 to 857.

By 1922 Lawrence E. Donigan became associated with the Oliver Player production,. He painted scenery for the at least two of their productions, including the adventure melodrama, “The Barrier” and “Fair and Warmer.” His scenery for “Fair and Warmer” was mentioned in the South Bend Tribune on April 29, 1922, (page 6). The article reported, “Scenery for the play is of necessity of the rudest sort representing the rough cabins of Alaska. L. E. Donigan, scenic artist for the Oliver players has endeavored to reproduce the actual atmosphere of the mining country with the aid of Mr. Burnham, who has himself spent many months in Alaska (page 6).

L. E. Donigan was listed in the 1923 Grand Rapids MI Directory, working as an artist, and boarding at 621 Shawmut NW. He continued to work throughout the region. On November 14, 1925, the South Haven Daily Tribune reported,

“L. E. Donigan of Grand Rapids, theatrical scenic artist, was here Friday to look over the auditorium of the new Central school building with the view of submitting a bid on the scenery and other equipment. Mr. Donigan equipped the stage of the auditorium of the high school building at Covert” (page 2).

The Market Crash of 1929 changed everything for many scenic artists, including Donigan. John Hanny described the shifted in a letter to Dr. John Rothgeb: “The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musical, etc. if any were being produced in New York and Hollywood. At this point the studios disappeared but the scene painter couldn’t disappear and had to become freelancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay.” Despite a downturn in the industry, Lawrence’s little brother continued to soar. On Oct. 29, 1930, the “Detroit Free Press” reported. “At the studios of the Detroit Opera society in the old Fox-Washington theater, Peter J. Donigan, chief scenic artist of the Ravinia Park Opera, was introduced and his work for the last two months exhibited” (page 7). In article entitled “Opera Backers See 1931 Equipment.” Peter is the subject of my next post.

The 1930 US Federal Census reported that Lawrence Donahue was still painting, but now in the building industry. He was seldom employed as “L. E. Donigan. During the 1930s, the Donahue family home moved from Chicago to Oak Park, the same western suburb that had housed many other scenic artists since the 1890s, including Thomas G. Moses and Joseph Landis (Perry’s older brother). Over the next decade, Lawrence slowly fades from public record and simply retired.

The 1940 US Federal Census listed the Donahue residence as 829 South Cuyler, Oak Park. The household included: Lawrence (head, 76 yrs.), Mary (wife, 68 yrs.), Marie (Mary Florence) Krbec (daughter, 33 yrs.) and Marcelle Krbec (grandson, 9 yrs.). Their son James P. Donohue’s 1942 draft registration card still listed this address. At the time he employed by the U. S. Army Signal Corps in Chicago.

Both Lawrence E. and Mary Donahue passed away in 1944, within weeks of each other.

On Feb. 13, 1944, Mary Donahue’s obituary was published in the “Chicago Tribune” (page 18). It announced:

“Mary Muir Donahue, of 821 S. Cuyler avenue, Oak Park, beloved wife of Lawrence, fond mother of Lawrence E., James P., Walter T., Mildred M. Cotey and Mary F. Krbec, sister of Walter Dinnerville, Ina Frank and Louise Humphries. Resting at funeral home, 17, Madison street, Oak Park, Funeral notice later.”

Ten days after the announcement was published, Lawrence passed away on Feb. 23, 1944. The Illinois Death Index lists both surnames for Lawrence on his record: “Lawrence E. Donigan or Donahue.” The entry verifies his identity, listing his father as Peter Donahue, mother as Margaret Kelly, and wife was Mary Meier Donahue.

On March 2, 1944, the Oak Park Leaves announced,

“L. E. Donohue Dies;

Scenic Artist

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

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 111: Mrs. J. S. Curran

Mrs. J. S. Curran worked at Sosman & Landis in 1885. On August 2, 1885, the Chicago Tribune listed her as an employee who donated fifty cents to the Grant Memorial Fund.

I immediately recognized that exploring the life and career of Mrs. Curran would be a challenge. The initials “J. S.” were likely her husband’s, meaning that even the “J” could stand for John, James, or Joseph. There were also dozens of men with the surname of Curran in Chicago during 1885. Of these numerous individuals, historical records and newspaper articles would include variations of Curran, such as Curren and Currin.

1885 listing for John S. Curran in the Chicago Directory.

Throughout my research, there was one name that kept catching my eye – John S. Curran. It was his address that made me look twice, and then a third, fourth, and fifth time. In 1885, he lived at 277 Clark and operated a cigar store at 283 Clark; this was on either side of Sosman & Landis’ studio. From 1880 to 1886, the firm was located at 277 and 279 S. Clark from 1880-1886.

1884 listing for Sosman & Landis in the Business Section of the Chicago Directory.

Note that in the 1880s Sosman & Landis also listed 277 and 279 S. Clark St. as their address.

There was also an Inter Ocean article that helped me connect a few dots. On Oct. 28, 1887, the newspaper announced, “Fred Bowman, J. S. Curran, Charles Tracey, Tressa Nelson, Carmero Passo, Joseph Spitts, George Bordenau and Mary Kee charged with violating the statute against selling tobacco to children, were fined $20 and costs each by the Justice R. H. White yesterday morning. The fines were subsequently suspended on payment of costs. About fifty small children were in court as witnesses against the prisoners” (page 6).

It was this event that linked J. S. Curran to Fred Bowman, another individual who weaved in an out in previous biographies. Bowman was tied to C. M. Crouse, Sosman & Landis employee No. 106. Crouse and Bowman were part of the Wood’s Museum/Aitken’s Museum theatre crowd, located at the corner of Clark and Randolph Streets in Chicago. The venue included a lecture hall, complete with a stage and stock company. Bowman and Crouse were part of the company.

In the end, Mrs. J. S. Curran was Mrs. John S. Curran; her maiden name being Warner. Sosman & Landis employee No. 111 is Mrs. Josephine Curran.

Josephine “Josie” Warmer was born in New York in 1858. She was the youngest daughter of Seth Porter Warner (1811-1892) and Statira Frary (1815-1907). Her father became a very successful Chicago blacksmith who funded the construction of Warner Hall in 1851. In fact, Seth Warner is considered a Chicago pioneer. On June 14, 1892, his obituary in the Chicago Tribune, detailed his arrival in 1837:

“Seth P. Warner Passes Away.

He was one of Chicago’s pioneers – the funeral will be held today.

Seth P. Warner, who died at the house of his daughter, Mrs. James [Mary] Wallace, No. 388 La Salle avenue, last Sunday, was one of Chicago’s pioneers. He was born in Amherst, Mass., Sept. 18, 1810, and came to this city in 1837. In 1849 he went to California but returned to Chicago in 1851. That year he built Warner Hall at Randolph and Clark streets, one of the former landmarks of the downtown district. Mr. Warner assisted in organizing the first fire company of the city. It was a hook and ladder company, with quarters near Lake and Dearborn Streets. He was also one of the organizers of the First Presbyterian Church. Later he became a member of the Second Presbyterian Church, where he remained until he joined Prf. Swing’s congregation, of which he was a member at the time of his death. Mrs. Warner leaves a widow and the following children, Orin Warner and Mrs. James Wallace of this city, Porter Warner, proprietor of the Times, Deadwood, S.D., and Mrs. James Chrisman of Glen Ferry, Idaho. The funeral will be held at 2 p.m. today at the residence of Mrs. James Wallace. Prof. Swing will make the funeral arrangements” (page 6).

Warner Hall (see arrow) from Chicagology.com

For geographical context, Warner’s Hall was located right across the street from Wood’s Museum. The proximity of the buildings was noted in a newspaper article published after President Lincoln’s assassination. On May 2, 1865, the Chicago Tribune announced, “Suspended across the street from Col. Wood’s Museum to Warner’s Hall were two flags, and between then a mammoth banner, having in its center the picture of a spread-eagle, and over it the following: Col. Wood’s motto: Victory, one destiny, one constitution, one country.’ Three flags floated half-masted from the roof. Bulletin boards in front of the Museum were shrouded in black, and everything denoted the deepest grief.”

Warner’s Hall also places Josephine within the midst of not only a theatrical community, but also a gathering place for many progressive political movements. For example, from Oct. 6-8, 1853, Warner’s Hall was the site for the “First Convention of Colored Citizens of the State of Illinois”, where members at the event resolved to fight the Illinois law that prohibited free Black Americans from visiting Illinois longer than 10 days. Frederick Douglas was a speaker at the convention, and members resolved, “we most especially recommend to our people throughout the state to become owners of land, to build houses and cultivate the soil, as the surest means of making themselves and families independent and respectable.” One decade later, war meetings were held at Warner Hall, including an enlistment event for the Union Army’s First Illinois Colored Regiment.

War meeting at Warner’s Hall in 1863.

A year later, little Josephine Warner also made the news. On Oct. 19, 1864, the Chicago Tribune reported, “The Efforts of Little Ones – a fair was held a few evenings since at the residence of S. P. Warner, Esq., No. 284 Michigan avenue, by Miss Josephine Warner. The proceeds netted $110 which were handed over to the committee of the Young Men’s Christian Association for the relief of soldier’s famine. We are glad to record these noble efforts of the little ones. They are worthy of all appreciation” (page 4).

Josephine came of age four years later, in 1870. For whatever reason, Josephine did not marry young. The 1870 US Federal Census listed 18-yrs.-old Josephine Warner living with her parents and baby sister, Mary, in their new home. The previous year, Warner built a mansion in the Austin neighborhood of Cicero, Illinois. Cicero is a western suburb of Chicago, a little southeast of Oak Park. Other members of the Warner household in 1870 included ticket agent James Wallace, his wife Mary Wallace, and a few German servants. I have yet to locate a connection between the two families, yet James Wallace (18135-1891) continued to work as a ticket agent for decades, always citing his place of employment as somewhere on Clark Street.

The Seth Warner home is still standing, having once housed the Austin Academy of Fine Arts. It has repeatedly made news over the years, as it is one of only thirteen Chicago landmarks that predate the 1871 Chicago Fire.

The Seth Warner home in the Austin neighborhood of Cicero, Illinois.

By 1878, Josephine was 26 yrs. old and living with John S. Curran, having just given birth to their first, and only child, Eva. That year, John S. Curran was living at 279 Clark in Chicago, working as a watchman. Eva Curran was born on April 16, 1878. I have yet to track down any more information about Josephine during the first two years of Eva’s life, specifically any marriage certificate or wedding announcement.

In 1880, Curran was still working as a watchman, living with his wife Josephine and 2-yrs. old daughter Eva. The 1880 US Federal Census listed the small Curran family living at 274 Clark Street. Josephine listed as his wife and “housekeeper” in the census. This is odd, as the tradition occupation for wives was “keeping house,” instead of housekeeper. It made me wonder if the Currans were financially struggling, and Josephine was working. Oddly, on June 6, 1886, their names were listed in the “Marriage License” section of the Chicago Tribune. At the time John Curren was listed as 26 years old, and Josephine Warner was listed as 29 yrs. old.

Part of me wonders if Josephine had a child out of wedlock, causing immediate estrangement from her family. It would explain a lot, especially her seeking nearby work in 1885 when their daughter was 7 years old. Getting married in 1886 just made everything legitimate as Eva entered school. During the 1880s, everything began to change as her husband transitioned from watchman to cigar store owner. Through it all, the Currans remained living on the exact same street – Clark.

And this brings us back to the mention of J. S. Curran and Fred Bowman in 1887 – the article that really helped me connect the dots. On Oct. 28, 1887, the Chicago Tribune reported, “Fred Bowman, J. S. Curran, Charles Tracey, Tressa Nelson, Carmero Passo, Joseph Spitts, George Bordenau and Mary Kee charged with violating the statute against selling tobacco to children, were fined $20 and costs each by the Justice R. H. White yesterday morning. The fines were subsequently suspended on payment of costs. About fifty small children were in court as witnesses against the prisoners” (page 6).

Their criminal charges were part of a much larger legislative shift that addresses under-age tobacco use.

On October 27, 1887, the Chicago Tribune elaborated on a change in legislation that led the charges: “June 15 last the Legislature approved the section to be added to the criminal code that ‘hereafter no person or persons in this State shall sell, but, or furnish any cigar, cigarette, or tobacco in any form to any minor under 16 yrs. old unless upon written order of parent or guardian.’ The penalty was placed at $20. The new law has never been enforced in the city, but some time ago the Mayor took the matter under consideration, and yesterday announced his resolve to stop the sale of tobacco to children. Orders to this effect were given to the police. The result of a morning’s work was the issuing of nearly 100 State warrants for the proprietors of small stores near the public schools, and a raid was made in the vicinity of Jones School.” J. S. Curran, No. 283 South Clark Street and Fred Bowman, No. 214 Clark Street” were included with the list of individuals” (page 8)

This entire event prompted Curran to change his business, having may have been his “series of unfortunate events” moment. About this time, Josephine also left him, remarrying her second husband in 1888.

Between 1887 and 1891, the Chicago Directory listed Curran in the boots and shoes business, still operating his business as 283 Clark. Curran was also mentioned in a Chicago Tribune article published on June 29, 1888 (page 8). He was named in an article about suspected fraud by John J. Clifford, a M. D. Shay & Co. employee. The article reported, “J. S. Curran, a shoe dealer at No. 283 South Clark street became suspicious when Clifford ordered the twenty-four pairs and reported the matter to police.”

The last mention of Curran in the newspapers that I have located is from 1890. On Sept. 3, 1890, the Chicago Tribune” reported, “Hyman Isaacs, the proprietor of a clothing house at No. 285 Clark street, sued his neighbor, John S. Curran, for $10,000 damages in the Circuit Court for false arrest. Curran took out warrants against Isaacs and a runner in front of his place under Sec. 1,799 of the ordinance, which prohibits a man soliciting business in front of a store. Justice Bradwell held that a proprietor could not be punished, but a fine of $10 was imposed against the runner” (page 9).

Curran passed away on May 28, 1894, and was buried at Calvary Cemetery in Chicago. Meanwhile, Josephine settled in Salt Lake City with her second husband.

Josephine’s second husband was William Chalmers Chrisman (1858-1928). Chrisman worked as a railroad engineer, having entered the profession as a mechanic in 1878, achieving engineer status in 1880. The two were listed in her father’s obituary as living in Glens Ferry, Idaho, at the time of his passing in 1892.

In his last will and testament, Seth P. Warner wrote, “To my daughter Josephine, I give the sum of twenty-five ($25) dollars, which is all she shall have of my estate.” When reading the rest of Warner’s obituary, this made quite a statement. Josephine’s three other siblings (Orren Warner, Porter Warner and Mary Wallace) were bequeathed “the balance and remainder of his property and estate” – a substantial sum. Even a granddaughter, Irene Vandewater, and in-law, Roderick B. Frary, received $300.

Six years after the passing of her father, Josephine and her husband moved to Salt Lake City, Utah. They couple never celebrated the birth of any children, and I don’t know if they were Eva’s guardians as she grew to adulthood. Later census reports indicate that Josephine only gave birth to one child; as child that was still living. This was likely her only daughter, Eva H. Curran, who I believe remained in Chicago after her mother remarried and left the state.

In 1899, Eva H. Curran married James Henry Minor in Cook County. Minor was employed as a cornice maker, and in 1900 they were living at 262 W Erie Street in Chicago. Their names were listed in the Marriage License section of the Chicago Tribune on Jun 16, 1899. Actual wedding took place on July 2, 1899. I have been unsuccessful in learning much about Eva’s life and family.

As far as Josephine, she slowly fades from public record. Her name only pops up a few times between her arrival in Salt Lake city and passing in 1915. The first mention that I have located of Josephine in Salt Lake is in 1908, a full decade after her arrival. On Feb. 28, 1908, The Salt Lake Herald listed Josephine Chrisman in the Real Estate Transfers section. She purchased a plot of land from Isaac G. Quinn (part of lot 1, block 150, plat A).

By 1913, there are a couple mentions of her involvement with the literary society. On Sept. 13, 1913, the Salt Lake Telegram includes her name in an article about the newly founded Salt Lake City Literary Club (page 16). That’s really it.

Josephine passed away on Jan. 23, 1915. She was 64 yrs. old. Her death certificate confirms here father as Seth Warner, but her mother is listed as “unknown.” This does make me pause and contemplate various scenarios; none of which I can confirm at this time.

In 1915, the cause of Josephine’s death was listed as mitral regurgitation, with an arteriosclerosis as a contributing factor. This meant that the valve between the left heart chamber didn’t close completely.

Josephine’s obituary was published in The Salt Lake Herald-Republican on 24 Jan. 1915 (page 21).

“CHRISMAN – In this city, January 23, Josephine Chrisman, aged 64 years, wife of W. C. Chrisman was an active members of the Ladies Literary society. Funeral Service will be held at S. D. Evans’ chapel, 48 S., State street, Monday at 2 o’clock. Interment Mount Olivet cemetery.”

Her last residence was listed as 217 Reed Ave. William C. Chrisman continued to live at this address for another 13 years. On Dec. 26, 1926, the Salt Lake Telegram announced that after forty years of service, William C. Chrisman was making his last railroad trip to Junction City (page 26). The article reported, “Declared by railroad officials to have been one of the most skilled engineers in their employ, Mr. Chrisman has piloted and engine on every branch of the Oregon Short Line railroad. He passed away only eighteen months later.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 110: Hugo Schoessling

Hugo Schoessling in front of his hardware store in Jefferson Park, c. 1910.

Hugo Schoessling worked a scenic artist at Sosman & Landis during the mid 1880s. In 1885 his name was included in a list of the firm’s staff members who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” reported that Schoessling donated 50 cents.

Hugo G. Schößling was born in Germany, on May 19, 1869. He was the third child born to Friedrich Wilhelm Schößling (1840-1914) and Louisa F. Hufield (1843-1918).

In 1872, Hugo and his family emigrated from Germany to the United States. Sailing aboard the ship Rhein, they arrived in New York Harbor on June 15, 1872. Passenger lists included the following family members:

Fritz Schoessling (31 yrs., farmer),

Louise Schoessling (26 yrs.),

Adolph Schoessling (5 yrs.),

Carl Schoessling (4 yrs.),

Hugo Schoessling (3 yrs.),

John Schoessling (9 months)

There was an infant son, not included on the passenger list, who also arrived with his parents. Hans, was born March 18, 1871, and also traveled with his family.

Like many Germans, names were slightly altered, Hugo’s father, Friedrich “Fritz” Schößling, became Fredrick Schoessling in the arrival lists of incoming passengers. Although listed as a farmer, Schoessling was a music professor.

Shortly after their arrival, the Schoessling family settled in Pennsylvania where they welcomed the birth of another child, Lena in 1873. By 1876, they had moved west to Chicago, where the family expanded again, and they celebrated the birth of another son, Fred, that July.

The Chicago Directory listings for the next few years shows that the family moved around quite a bit, yet Frederick continued to support his family as a music teacher.

1876 – Schoessling, Prof. Frederick, h. 389 North Ave.

1877 – Schoessling, Prof. Frederick, h. 136 North Ave.

1878 – Frederick Schoessling, teacher, 661 Larabee.

The 1880 US Federal Census listed the Schoessling family living at 566 Sedgwick St. in Chicago. The household included Frederick (39 yrs., music teacher), Louisa (36 yrs.), Adolph (14 yrs., machinist), Paul (12 yrs.), Hugo (11 yrs.), John (9 yrs.), Lena (7 yrs.) and Frederick (4 yrs.). By Feb 1881, another daughter was born to Frederick and Louisa -, Frida, arrived in Feb. 1881. Paul and Frederick Jr. followed in their father’s footsteps, going into the music profession, periodically performing at various venues. Paul became a very well-known cellist. Although musically gifted, Adolph and Hugo entered the technical theatre profession by the mid-1880s, specifically, scenic art, machinery, carpentry and hardware.

The 1886-1887 Town of Jefferson Directory listed both Hugo and his older brother Adolph as scenic artists, living with their family at the southwest corner of Strong and Everett in Jefferson Park. Here were their two listings. This means that when Hugo was listed as part of the Sosman & Landis staff in 1885, it was likely in the capacity of a scenic artist assistant. At the time, Hugo was 17 yrs. old and Adolph was 19 yrs. old. I don’t know how long the Schoessling brothers worked at Sosman & Landis, as I only have located the one Jefferson Directory.

Schoessling, Adolph, scenic artist Hooley’s theatre, city, r Strong sw cor Everett, Jefferson Park

Schoessling, Hugo, scenic artist, r Strong sw cor Everett, Jefferson Park

Schoessling listingsi n the 1886-1887 Jefferson Directory

On Feb. 15, 1894 “The Iron Age” announced, “Hugo Schoessling will soon open a Hardware store at Jefferson Park, Ill.” (page 341). He succeeded in his endeavor, and was soon listed as a hardware dealer on Milwaukee Ave.

On March 14, 1900, Hugo married Ida Sievert in Jefferson Park. At the time, he was 31 yrs. old and Ida was 20 yrs. old.

1900 US Federal Census listed newly married Hugo and Ida Schoessling living as 4319 Orr in Chicago. Although the census listed Hugo as a naturalized citizen, I have yet to locate any records. Ida had emigrated from Germany at the 2 yrs. old in 1882, but there was no indication as to whether she was naturalized or an alien.

On August 15, 1904, Hugo and Ida welcomed their first child, Edward H. Schoessling. That year, Hugo was listed in the Hardware Section of the Chicago Directory: Schoessling, Hugo G. 4319 Milwaukee av.

In 1906, the Schoesslings celebrated the birth of a second son. Robert George Schoessling was born on August 23, 1906.

The 1910 US Federal Census paints a pretty picture of the Schoessling family. They are living at 4875 Milwaukee Avenue in Jefferson Park, Chicago. Hugo is gainfully employed as a Hardware Dealer. That year, their household included: Hugo (40 yrs.), Ida (29 yrs.), Edward H (5 yrs.), Robert G. (3 yrs.), and Ida’s younger brother, Fred Siewert (21 yrs., salesman in the hardware industry). Whether it was premonition or care for his loved ones, Hugo also drew up a will on March 8, 1910, and filed it in Cook County.

Postcard showing Milwaukee Ave. in Jefferson Park.

Less than four years later, Hugo passed away. There was one section that caught my eye:

“I do hereby make, constitute and appoint my wife Ida C. Schoessling sole Executrix of this, my last Will and Testament and it is my wish, and I do hereby request that she may not be compelled to give any bond or security as such executrix, or as Guardian, and that she may settle the estate in her own way and sell any or all of the real or personal estate, at public or private sale, as she may think best, and pay the debts without being compelled to account to the Probate, County, or any other Court; and I do hereby revoke all and every former Will by me made.”

His passing seemed a surprise; his little family was doing so well and his business was booming. The year before his passing, Schoessling was listed in the Plumbing section of Construction News on June 14, 1913: “Plumbing Hugo Schoessling, 4875 Milwaukee Ave.” (page 21). While tracking down his business, I was amazed to find a picture and his young son standing in front of the Schoessling Hardware Store in Jefferson Park. Illinois. It was included in the Jan. 2020 issue of the Northwest Chicago Historical Society Newsletter (No. XXXI).

He is actually shown with both sons, and possibly his brother-in-law who was living with them at the time, c. 1910.

Fred Siewert, who lived with the Schoessling’s and listed his career as “hardware salesman” in 1910. It would make sense that he was working at his brother-in-law’s store while living with him.

Here is the link to the newsletter and photograph: https://nwchicagohistory.org/wp-content/uploads/2020/09/NWCHSJan-2020.pdf

Hugo Schoessling died on May 26, 1914, at the age of 45 yrs. old. His father soon followed, passing away on July 13 of the same years. Hugo was buried in Union Ridge Cemetery in Chicago on May 29, 1915. His father was buried at Montrose, with his occupation still listed as a music teacher. Frederick Schoessling was 73 years old when he died, whereas his son was only 45 yrs. old.

The gravestone of Hugo G. Schoessling in Union Cemetery, Chicago.

The gravestone of Hugo’s parents, Friedrich and Louisa Schoessling

Ida Schoessling was left a widow with two young sons, ages 7 and 9. His death certificate listed Hardware & Plumbing Business as his occupation.. At the time of his passing, his address was listed as 52^nd and Strong Ave.

Hugo left Ida and with two young sons, ages 7 and 9, to raise. Ida remarried Henry H. Diedesch (1871-1940); Ida died Aug, 1967 (b. March 5., 1881). This was also Henry’s second marriage; his first wife was Jeanette Kneedler Kiefer Diedesch (1872-1920).

On Sept. 1, 1967, in the Chicago Tribune” announced:

“Diedesch.

Ida C. [Schoessling] Diedesch, beloved wife of the late Hugo G. Schoessling and Henry H. Diedesch; loving mother of Edward H [Jewell] and Robert G. [Evelyn]; grandmother of Richard, Phillip, and Anita Barrett; five great grandchildren. Services Saturday, 2 p.m., at John V. May Funeral Home. 4553-61 Milwaukee avenue. Interment Union Ridge. Past W. M. of Providence chapter, No. 287, O. E. S. Past president of the Altrui club and past president of Ladies aux. Master Plumber’s Assoc. Eastern Star services Friday, 8 p.m.” (page 21). She was buried next to Hugo.

The gravestones of Ida and Hugo G. Schoessling in Union Cemetery, Chicago.