Eugenie McEvoy

Eugenie McEvoy was an American artist known for her landscapes, flowers, portraits, and, particularly, the painting, Taxi! Taxi! (1928) which depicts a busy city street as seen from the back seat of a taxicab. She also performed in a sharpshooting act on the vaudeville stage, ran a kennel for breeding show dogs, served as manager and technical director of theatrical production companies, operated a large resort property in the Catskill region of New York, and worked with her husband in a piano restoration business.

Eugenie McEvoy
Born
Eugenie Wehrle

(1879-03-12)March 12, 1879[note 1]
New York[note 2]
Died1975
Woodstock, New York[1]
Known forArtist and performer

Early life and training

Eugenie McEvoy learned to paint sometime before 1906 while she was living in France.[2]:5 Because there is no record that she received any formal instruction, it is possible that she learned from her first husband, the American painter, George A. Aldrich, who was an illustrator and decorative artist specializing in romantic rural landscapes.[3][4][note 3][note 4][note 5]

Mature style

In 1918 McEvoy became a student at the School of the Art Institute of Chicago.[2]:6 Two years later McEvoy and Aldrich spent time at a village on the Breton coast called Quimperlé where Aldrich made sketches for a series of paintings. The location presented views of a type he favored: quaint structures clustered around a broad expanse of water crossed by an ancient bridge, in this case the Ellé river crossed by the 16th-century pont fleuri. McEvoy also made pictures of this scene and, in 1922, showed a painting called Quimperlé in an exhibition at the Art Institute of Chicago containing work by alumni of its school.[6] In 1928 she placed a painting of hers in the Twelfth Annual Exhibition of the Society of Independent Artists held at the Waldorf-Astoria.[7] Originally entitled Lenox 2300, the painting became well-known under a later title, Taxi! Taxi!.[8] (The name, "Lenox 2300", was displayed on the door panels of New York's yellow taxicabs during the 1920s.)[note 6] Reviewing the Independents' show, Helen Appleton Read, the art critic for the Brooklyn Daily Eagle, called McEvoy's painting "an amusing canvas of what can best be designated as a petting party in a yellow taxi."[8]

Eugenie McEvoy, "Taxi! Taxi!", 1928, oil on canvas, 36" x 32", collection of Jason Schoen

When in 1931 McEvoy contributed a painting called Cuban Village to Society of Independent Artists exhibition at Grand Central Galleries, New York, a critic described it as "red roofs surrounded by tropical greenage, extremely well painted."[10] The following year she put works in an exhibit sponsored by Salons of America[11][note 7] and when she exhibited at the Salons the following year she showed her 1928 painting, Lenox 2300, now renamed Taxi! Taxi!. This time the painting drew the attention of critics for both the New York Sun and New York Times. The Sun's Henry McBride said it gave a "cinematic version of congested street traffic", rising above the quality of other works in the show, though "laboriously expressed."[13] Edward Alden Jewell, in the Times, praised the painting for "the amazing skill with which technical difficulties have been tossed off by this artist" adding "not often does one encounter such sang froid at that.[14] The painting's point of view is that of an unenthusiastic woman passenger who is permitting a male companion to nuzzle her neck. The two can be seen reflected in the glass screen that divides the front of the cab from the back. The driver's head is seen from behind and his image shows on his cab license on the back of the front seat. The viewer sees the hats of the cab's passengers and their intertwined feet. Through the cab's front and side windows can be seen a street crowded with pedestrians and traffic, including two autos comically teetering. The fare shown on the meter is high, suggesting a lengthy and unhurried trip.[note 8] McEvoy exhibited this painting at an exhibition held by the Woodstock Art Association later in 1933,[16] in 1949 at a solo exhibition at Town House in Woodstock,[17] and again in 1956 at the Woodstock Museum of Art (where it drew comment as "Eugenie McEvoy's renowned canvas.")[18]

Following the Salons of America exhibition of 1933 McEvoy showed her work mainly in Woodstock and vicinity. She appeared twice or three times a year in Woodstock galleries and less frequently in places like Poughkeepsie[note 9] and Albany, New York.[note 10] In a Woodstock Gallery exhibition of September 1935 she showed the painting, Quimperlé, which she had first shown in 1922. It was described as "a picturesque hillside town with a brilliant spot of sunlight on the topmost turrets, high above the gloomier buildings at the foot of the hill."[21] In 1943 she placed a painting in a group show held in a New York Department store, Macy's Gallery of Tomorrow's Masterpieces.[22] In 1948 and 1949 her work appeared in solo exhibitions in Woodstock. Of the first, a local reporter noted a gay atmosphere in the show and praised the lively appearance of McEvoy's subjects and her subtle use of color.[23] The second included landscapes, flowers, houses, and portraits, as well as her well-known Taxi! Taxi!. A news account of the show said, "There is a feeling of strength about this artist's work. Also noticeable is an exceptional quality gained through the use of white."[24][note 11]

Apart from Taxi! Taxi! McEvoy's work received scant review from New York art critics. Reporting on an interview conducted late in her career one reporter said her paintings showed "solid brushwork and rich colors" and praised her ability to transform "commonplace subject matter into a bold and exciting statement."[note 12]

Personal information

Little is known of McEvoy's life as a child. The date and place of her birth are uncertain. She once reported that, as a child, she had received marksmanship training from her father, a captain in the French army,[26] but on another occasion said that she had been orphaned as a baby and raised in France by her mother's family.[25] The conflict between these accounts can be reconciled if it is assumed that she treated the uncle who was her guardian as if he were her father. In any event, her parents' names are listed in a 1923 record of her marriage to J. P. McEvoy as Ernst Wehrle and Eugenie A. Lerradde. These may be the names either of her birth parents or of the family members who brought her up.[27]

McEvoy was described as petite. She was five feet tall, had blue eyes, and spoke English with a "soft-spoken French accent".[25]

Date and place of birth

Public sources provide various dates for McEvoy's birth. Brief biographies on art reference web sites give 1879, yet as an adult she frequently said she was younger than she would have been had she been born that year.[1][28][29] For example, on returning from France in 1906 she reported her age as 26, giving a presumptive birth year of 1880.[30][note 13] Other presumptive birth years recorded in official records are 1888,[note 14] 1889,[note 15] 1890,[note 16] 1891,[note 17] 1895,[note 18] and 1898.[note 19] Some sources list her place of birth as New York[25][35][36][37][38][39] and one gives "United States",[36] while others give France as birthplace.[1][27][28][32][34] An obituary says she was born in the United States and on the death of her parents was raised in France by her mother's family.[25]

Those public records which give a day and month for McEvoy's birth all say she was born on March 12.[note 20]

Other names

Her maiden name was Eugenie Wehrle.[note 21] One source gives her name as Eugénie.[36] She used Eugenie McEvoy as her professional name as artist and that is the name used in most newspaper reports regarding herself and her work. As a performer she used Mlle. or sometimes Mme. D'Aures.[note 22] As a breeder of purebred collies, she gave her name as Mrs. G. Ames Aldrich.[41]

Wife of George Ames Aldrich

At age 26 or 27 she married the artist George Ames Aldrich in Paris and in 1906 returned with him to New York.[2]:28[30][note 23]

Collie breeding

Aldrich and McEvoy moved about frequently during the early years of their marriage. Their travels took them to California, New England, and the Mid-Atlantic states of the U.S. as well as to Winnipeg, Canada, and, in 1910, back to Europe.[2]:5[42] One purpose of the trips was a business they had begun in 1910 to raise and sell purebred collies.[2]:5 Between 1914 and 1917 issues of the trade journal, Dog Fancier[note 24] contained notes and display ads from McEvoy and Aldrich offering their dogs for sale.[note 25] In 1917 they sold off their dogs and closed down their kennel.[2]:29[45][46][47] A biographic sketch published in 1975 says that McEvoy "once owned 47 collies, among them blue ribbon winners and champions several times over" and had become a recognized author on collie breeding (although no record of a publication by her survives).[25]

Citizenship question

On July 19, 1919 Aldrich and McEvoy married again, this time in Chicago.[31] No reason has been given for this second marriage. It may be that she thought U.S. officials would not recognize her first, French, one. In 1920, during a period when U.S. citizens were required to hold passports, Aldrich applied for one that listed both himself and McEvoy as his wife.[32][note 26] It also may be that evidence of McEvoy's birth in the United States was weak. If so, that would explain why the passport application showed McEvoy as born in France to French parents and a public document of 1923 says she became a U.S. citizen by being naturalized through marriage.[33][note 27]

Vaudeville sharpshooter

In 1919 McEvoy began to appear in a sharpshooting act on the vaudeville circuits of Illinois, Indiana, and Iowa. Billing herself as "Mlle. D'Aures" she called her act "The Curtain of Victory."[note 28][note 29] Regarding one of her performances, a newspaper reporter said, "From the first line trenches on the western front to the vaudeville stage is a long step, but it is one taken by M'lle D'Aures and company, another feature of the Orpheum bill for Thursday, Friday and Saturday. M'lle and assistant present a most thrilling sharp shooting act entitled "The Curtain of Victory." M'lle D'Aures is a dainty little miss who received her training as a sharpshooter from her father, who was a captain in the French army. At one time, while shooting in a public gallery, she shot a match with King Leopold of Belgium, who appeared incognito, and she bested him."[26] A news item appearing in 1975 reported that McEvoy had learned to shoot as a young child while living in France and at that age had been able to shoot a pipe from her cousin's mouth with a rifle.[25][note 30] In 1921, on her separation from Aldrich, McEvoy stopped appearing on the vaudeville stage and concentrated on her career as professional artist.[2]:7

Wife of Joseph P. McEvoy

On February 15, 1923, McEvoy married J.P. McEvoy, a successful author of comic strips, humorous stories, newspaper feature articles, and satiric plays.[2]:29[40][note 31] He was born in New York on January 10, 1895,[40] and, like her, he had (1) been raised by a couple who were not his parents[40] and (2) been previously married and divorced.[note 32][note 33][note 34] He had assumed the name Joseph Patrick McEvoy in 1910 when entering his first year as a student at the University of Notre Dame.[note 35] J.P. and his first wife had two children, Dorothy (born April 3, 1916)[51] and Dennis (born July 27, 1918).[52] By a previous marriage, J.P.'s first wife had a son, Reynold Thomas Wurnelle (later known as Renny McEvoy).[40] When J.P. and his first wife divorced, Dorothy and Dennis remained with J.P. while Reynold stayed with his mother.[53][note 36]

A few months after their wedding J. P. and Eugenie founded a New York theatrical production company called the Masque Producing Corporation[54] and later the same year she drew designs for a one-act play he wrote called "Adam and Eve."[55] Before the year was out they had bought a 20-acre estate in Woodstock, New York. Over the next few years they remodeled the manor house and added two wings to it, and later built a guest house, two studios, stable, and swimming pool on the property.[56] In 1937 J. P. wrote a humorous article about it.[57] Living there, Eugenie showed herself to be an accomplished horsewoman.[25] J. P.'s success as a writer continued to grow and by 1928 he was producing his own plays with Eugenie as technical director.[58]

In 1931 J. P. and Eugenie separated and he provided her with a substantial income.[note 37] A year later Eugenie obtained a divorce in Reno, Nevada, and continued to receive monthly payments. In 1936 J. P. remarried.[note 38] The same year he changed the settlement agreement with Eugenie, providing her with a monthly income and conveying to her the Woodside estate with its mortgage.[59][62] The following year she sued him for failing make more than a year's worth of monthly payments for which the settlement had provided.[63]

In 1939 and 1940 McEvoy had limited success in finding tenants for the Woodstock estate.[17][56][64] In 1941 she converted it to a resort, called Fountainebleau, using musicians and other performers as service staff and in 1942 she sold off some of the land.[65][66]

Wife of Philip O'Dell

On October 4, 1949, McEvoy married for a third time. Her new husband was a musician, Woodstock resident Philip O'Dell. The report of their wedding said they planned to open a school in Woodstock to teach piano and painting.[67] Later, he taught her piano tuning and she helped him repair fine old pianos.[25] In the 1950s, as a member of the Woodstock Garden Club, McEvoy created flower arrangements for the club's annual flower shows.[68]

Close of life

During the two and a half decades of the 1950s, 1960s, and early 1970s, McEvoy remained married to O'Dell and continued to live in Woodstock. She had been 26 or 27 when she married George Ames Aldrich, 42 when she married J. P. McEvoy, and 70 when she married Daniel O'Dell. She had been 40 when she began performing on the vaudeville stage, 49 when she first showed her famous taxi painting, and 57 when she assumed ownership and management of the large estate in Woodside. She was 29 when she participated in her first, and 86 when she participated in her last exhibition in New York. On July 22, 1975, Eugenie McEvoy died in Woodstock at the age of 96.[25][28][note 39]

Exhibitions

Between 1931 and 1957 McEvoy's paintings usually appeared twice a year during the summer season in Woodstock. Between 1934 and 1947 she showed in group exhibitions of the Woodstock Artists Association. In the early 1950s she showed at the Walk Up Gallery. This list of exhibitions is representative rather than comprehensive. It is taken from notices in local newspapers, particularly the Kingston Daily Freeman.

  • 1922 Group exhibition, exhibition of work of alumni, Art Institute of Chicago
  • 1927 Group exhibition, Woodstock Art Association
  • 1928 Group exhibition, Society of Independent Artists, New York
  • 1928 Group exhibition, Woodstock Art Association, Woodstock, New York
  • 1931 Group exhibition, Society of Independent Artists, Grand Central Galleries, New York
  • 1931 Group exhibition, Salons of America, American Anderson Galleries, New York
  • 1933 Group exhibition, Salons of America, New York
  • 1935 Group exhibition, County Association, Poughkeepsie, New York
  • 1937 Group exhibition, Capital District Artists, Art Institute, Albany, New York
  • 1937 Group exhibition, Twelfth Annual Exhibit of Artists of the Upper Hudson, Albany, New York
  • 1940 Group exhibition, Blossom Festival Show, Woodstock, New York
  • 1942 Group exhibition, Little Gallery, Woodstock, New York
  • 1943 Group exhibition, Macy's Gallery of Tomorrow's Masterpieces, New York
  • 1948 Solo Exhibition, Mollie Smith Gallery, Woodstock, New York
  • 1948 Group exhibition, Deanie's Gallery Room, Woodstock, New York
  • 1949 Solo exhibition, Town House, Woodstock, New York
  • 1952 Group exhibition, Terry National Art Exhibit, Terry Art Institute, Miami, Florida
  • 1955 Group exhibition, Recent Work Show, Woodstock, New York
  • 1956 Group exhibition, Woodstock Museum of Art, Woodstock, New York
  • 1956 Group exhibition, Guild of Craftsmen, Guild Galleries, Woodstock, New York
  • 1961 Group exhibition, Woodstock Museum of Art, Woodstock, New York
  • 1961 Group exhibition, Long Island University Galleries, Brooklyn, New York
  • 1961 Group exhibition, Post Office, Woodstock, New York
  • 1965 Group exhibition, Britts Kingston Plaza Shopping Center, Kingston, New York

Notes
  1. There is disagreement regarding McEvoy's birth date. See the discussion of this topic in the "Date and place of birth" section.
  2. There is disagreement regarding McEvoy's Place of birth. See the discussion of this topic in the "Date and place of birth" section.
  3. George Ames Aldrich (1872–1941) was an American landscape artist. Born in Worcester, Massachusetts, he studied for a short time at the Art Students' League in New York. His paintings are generally romantic views of streams, mills, and rural villages. In subject and treatment, they resemble the work of the Norwegian painter, Frits Thaulow. He made a precarious living, seeking buyers mainly through exhibits in the civic clubs, libraries, and hotels of the central Midwest—Rockford, South Bend, and other towns and cities of Illinois and Indiana.[5] Aldrich was said to be an artistic poseur who made up a biography aimed at boosting the sale of his pictures in local shows at clubs, libraries, and similar venues in the towns and urban centers of Northern Illinois and Indiana.[3][4] According to one source, "In Indiana, in a place like South Bend or Sioux Falls, he would arrive as this European-trained professional artist and everybody would be dazzled by his high international stature, which was completely something he created for them."[4]
  4. Aldrich's paintings were commercial in the sense that he frequently copied of his own work and that they were sometimes purchased for use in commercial settings, such as the walls of hotel guest rooms, and they varied very little in subject (almost all feature a stream flowing toward the viewer accompanied by houses and other structures in what contemporaries saw as a romantic setting),[2]:6–9 but they have sufficient interest to have received modern critical attention and presentation in a retrospective exhibition of 2013.[2]:1–2
  5. Wendy Greenhouse, the principal author of the catalog for the 2013 exhibition of Aldrich's works, wrote in a recent article: "With their blend of naturalistic verisimilitude and poetic sentiment, his paintings fulfilled a popular ideal of art as a soothing refuge from modernity, at once accessible and refined, familiar and removed. His approach was almost invariably euphemistic, 'reveal[ing] a romanticist' who 'sees an idyll in a French village and a magnificent pageant in a steel foundry,' according to one contemporary. Combining romantic scenery, elegiac sentiment, and facile technique, Aldrich's typical paintings offer comfort laced with a touch of melancholy and regret, promising a safe haven in an era of dizzying change."[4]
  6. "Lenox 2300" was the dispatcher's phone number at American Yellow Cab Operators, Inc., which ran the cab pictured in McEvoy's painting. The business and its cabs are described in some detail in an article appearing in the National Taxicab and Motorbus Journal of June 1922.[9]
  7. In 1922 by Hamilton Easter Field founded Salons of America to give artists an alternative to the Society of Independent Artists whose financial and publicity methods he found objectionable. A reporter said he aimed "to give equal opportunity to every member, whether he or she be a conservative or a post-Dadaist."[12]
  8. For a full description of the painting see Jerry N. Smith's Auto-America: The Automobile and American Art, Circa 1900–1950.[15]
  9. In 1935 McEvoy showed a painting called Deserted House in a group show at a fair sponsored by the Poughkeepsie county association.[19]
  10. In 1937 McEvoy participated in a group exhibition at Albany's Art Institute.[20]
  11. The Kingston Daily Freeman listed the 25 works included in the solo exhibition at Town House: African Violets, Along the Sawkill, Ashokan Reservoir, Black Eyed Susan, Cactus in Bloom, Callas, City Improvisation, Deserted House, Flowers, French Village in the Voges, Haunted House, Home Coming, House in Plymouth, Iris, Iris and Peonies, Landscape in Woodstock, Mt. Marion Church, Nasturtiums, Peonies, Show, St. Augustine, Sun Flowers, Taxi! Taxi!, Three Potted Plants, and Vase of Flowers.[24]
  12. This reporter also somewhat misleadingly said that the New York Times "suggested in 1943 that her fine paintings would be among 'Tomorrow's Masterpieces' whereas in fact the Times item referred not to McEvoy or her paintings but to the name of a group exhibition (i.e., "Tomorrow's Masterpieces") which was hung in a ninth floor gallery of Macy's department store on Herald Square in New York.[22][25]
  13. This record allows for a birth year would be 1879 if, as is likely, she her birthrate fell between January 1, and July 5. The ship's manifest for her arrival from France in 1906 shows her as a U.S. citizen under the name "Mrs. Geo. A. Aldrich."[30]
  14. On re-marrying George A. Aldrich in 1919, she reported her age as 31 giving a presumptive birth year of 1888[31] and in 1920, when Aldrich applied for a passport for himself and his wife, her birth date was reported as March 12, 1888.[32] She gave her age as 35 on returning to New York after travel in Europe later in 1923,[33]
  15. The United States Census for 1920 reports her age as 31 giving a presumptive birth year of 1889.[34]
  16. The U.S. Census for 1930 reports her age as 40[35] and, on returning from a trip abroad in 1931, she gave the same age.[36]
  17. She gave her age as 36 again on arriving in 1927 from further travel abroad, giving a presumptive birth year of 1891.[37]
  18. In 1923, when McEvoy married Joseph Patrick McEvoy, she reported her age as 28 giving a presumptive birth year of 1895[27] and she gave her age as 36 on returning from another trip to Europe in 1925.[38]
  19. The 1940 Census reports her age as 42 giving a presumptive birth year of 1898.[39]
  20. The record for Aldrich's passport application in 1920 and the passenger list for her return to New York from Paris, with her family, in 1925 both give her birth date as March 12, 1888.[32][38] The passenger lists for return to New York from France in 1927 and 1931 give her birth date as March 12, 1890.[36][37]
  21. There is no definitive evidence that her surname was Wehrle and not Wherle, but reference sources favor the former.[2][27][28][40]
  22. See for example an article appearing in the issue of the Daily Illini for December 11, 1919, which refers to her act as "M'lle D'Aures and company" in "The Curtain of Victory."[26]
  23. Aldrich had been making frequent trips to France and nearby countries to find locations for his trademark paintings of quaint rural landscapes. In 1894 he had made his first trip to Europe both to paint and study painting. He remained there for six years. He returned to France again between 1904 and 1906.[2]:28
  24. Published in Battle Creek, Michigan, and founded in 1891, this illustrated monthly publication contained calendars of events, notes from kennel owners, advertisements, and reports of shows.[43]
  25. In 1914 McEvoy, as Mrs. G. Ames Aldrich of Philadelphia, put a notice in this magazine seeking customers,[41] the following year she was listed as co-owner (with Aldrich) of a registered collie bitch called Amescroft Futuriste, and in 1916 she whelped collies named Amescroft Pichounette and Amescroft Atlantis which in 1918 were listed in the American Kennel Club Stud Book.[2]:28[44]
  26. Passports were required of U.S. citizens from August 18, 1918, to March 3, 1921. See the Wikipedia entry on U.S. passports.
  27. Note that in 1923, when she married Joseph Patrick McEvoy, McEvoy was again listed as born in France[27] yet and on ships' manifests and census reports after this date she listed her birthplace as New York or the United States.[35][36][37][39]
  28. See announcements in the South Bend News-Times of February 21, 1919 (p. 15), the Rock Island Argus of March 26, 1919 (p. 13), and the Free Trader-Journal (Ottawa, Ill.) of February 28, 1920 (p. 5); as well as display ads appearing in the Daily Illini for December 11 and 12, 1919 and for February 3, 1920; and notices in the New York Clipper of May 5, 1919 (p. 31) and May 12, 1920 (p. 20).
  29. McEvoy sometimes used "Mme." rather than "Mlle." and at least once billed herself as "Mlle. D'Aures, the French Actress."[2]:28
  30. The 1920 U.S. census McEvoy occupation listed as actress,[2]:28[34]
  31. The marriage record gives her childhood name, Eugenie Wehrle, rather than her married one, Eugenie Aldrich, and gives her marital status as divorced.[27]
  32. J.P. McEvoy's first wife was Mary Wurn. Born Mary Crotty, she had married Arnold B. Wurm (later changed to Wurnelle) about 1904.[40][48]
  33. Mary Crotty Wurn was an actress. J.P. had married Mary Crotty on April 14, 1915, in Lake, Indiana.[40][48][49]
  34. There is another record for a marriage between J. P. McEvoy and Mary Crotty in Chicago on April 3, 1915.[40][50]
  35. His birth name was Joseph Hilliek or Hillick and McEvoy was the name of the couple who adopted him.[40]
  36. In 1923 and 1925 passenger arrival lists for returns from European travels say that McEvoy was accompanied by her husband and two children, Dorothy and Dennis. There is no mention of Reynold Thomas Wurnelle. (The list of 1923 also shows her to be 35 years old, naturalized through marriage, and living in New York.)[33][38]
  37. In the separation agreement J. P. put up a bond of $50,000 as security against monthly payments he promised to give her. In addition to the cash, the bond was secured by the 20-acre estate in Woodside.[59]
  38. On December 20, 1936, in Las Vegas, Nevada, J. P. was married for the third (and final) time. He wife was journalist Margaret Santry, ten years his junior.[60] They had two daughters, Patricia and Margaret.[61]
  39. The calculations of McEvoy's age at various points in her career assume that she was born early in the year. There is some warrant for this assumption in that the only month and day given for her birth in any public record is March 12.

References
  1. "Eugenie McEvoy – Artist". askart.com. Retrieved 2015-09-29.
  2. Wendy Greenhouse; Gregg Hertzlieb; Michael Wright (2013). The Art of George Ames Aldrich. Bloomington, Indiana: Indiana University Press. ISBN 978-0-253-00913-5.
  3. "George Ames Aldrich: A Decorative Impressionist In Indiana". Arts and Music—Indiana Public Media. Retrieved 2015-09-30.
  4. Wendy Greenhouse. "Escape Artist: George Ames Aldrich". Traditional Fine Arts Organization, Inc. from an article published November 20, 2002 in Resource Library Magazine also published in the brochure for the exhibition "The Art of George Ames Aldrich", held August 21 – November 16, 2012 at Brauer Museum of Art. Retrieved 2015-09-30.
  5. "George Ames Aldrich". M. Christine Schwartz Collection. Retrieved 2015-09-30.
  6. Art Institute of Chicago (1922). Catalogue of the Second Retrospective Exhibition of Work by the Alumni of the Art Institute of Chicago. Chicago, Ill.: Art Institute Alumni Association. p. 31.
  7. Society of Independent Artists (1928). 1928 Catalogue of the 12th Annual Exhibition of Work the Society of Independent Artists: the Waldorf-Astoria, New York, from March 9th to April 1st, inclusive. ISBN 0253009138. OCLC 8466638.
  8. Helen Appleton Read (1928-03-18). "News and Views on Current Art; Independents 12th Annual Yields but Few Examples Of Undiscovered Genius". Brooklyn Daily Eagle. p. E7. Eugenie McEvoy with an amusing canvas of what can best be designated as a petting party in a yellow taxi, entitled "Lenox 2300."
  9. McEvoy, J. P. (June 1922). "From Host to Guest in One Generation". National Taxicab and Motorbus Journal. Chicago: Dowst Brothers Company. 2 (6): 17–20. JSTOR 25114901.
  10. "Local Artists Represented at Art Exhibition". Kingston Daily Freeman. Kingston, New York. 1931-03-14. p. 12.
  11. "News of Current and Coming Events in the World of Art". Brooklyn Daily Eagle. 1932-05-08. p. 6.
  12. "Salons of America a New Art Society". The New York Times. 1922-07-03. p. 12.
  13. Henry McBride (1933-05-06). "Salons of America Gradually Drawing Away From the Independent Society Conventional Paintings Dominate the Exhibition; Display Has Air of Being 'Chosen,' Though, of Course, It Wasn't as No-Jury System Still Obtains". New York Sun. p. 23.
  14. Edward Alden Jewell (1933-05-07). "Salons". The New York Times. p. X8.
  15. Smith, Jerry N. (2012). Auto-America: The Automobile and American Art, Circa 1900–1950 (PDF) (Ph.D.). pp. 163–164. Retrieved 2015-10-10.
  16. "Woodstock Art Gallery Exhibits". Kingston Daily Freeman. 1933-07-31.
  17. "Horse Show to Be Staged as Planned". Kingston Daily Freeman. Kingston, New York. 1939-08-16. p. 1.
  18. "Art Museum Will Open Monday". Kingston Daily Freeman. Kingston, New York. 1956-06-29. p. 3.
  19. "Artists Show Work At Fair". Poughkeepsie Eagle News. Poughkeepsie, New York. 1935-08-28. p. 10.
  20. "District Artists Exhibit Works at Art Institute". Albany Evening News. Albany, New York. 1937. p. 10. Retrieved 2015-09-30.
  21. "Final Exhibit at Woodstock Gallery". Kingston Daily Freeman. 1935-09-06. p. 5.
  22. "Display Ad: Macy's Gallery of Tomorrow's Masterpieces". The New York Times. 1943-09-26. p. 25.
  23. Peg Hard (1948-09-13). "Eugenie McEvoy's Show Attracts Large Crowds". Kingston Daily Freeman. Kingston, New York. p. 7.
  24. "Eugenie McEvoy Has Show at Town House". Kingston Daily Freeman. Kingston, New York. 1949-07-12. p. 7.
  25. Tohie Geertsema (1975-07-22). "The Late Eugenie McEvoy O'Dell; An Unforgettable, Many-Faceted Talent". Kingston Daily Freeman. Kingston, New York. p. 9.
  26. "At the Orpheum". Daily Illini. Champaign-Urbana, Ill. December 11, 1919. p. 4. From the first line trenches on the western front to the vaudeville state is a long step, but it is one taken by M'lle D'Aures and company, another feature of the Orpheum bill for Thursday, Friday and Saturday. M'lle and assistant present a most thrilling sharp shooting act entitled "The Curtain of Victory". M'lle D'Aures is a dainty little miss who received her training as a sharpshooter from her father, who was a captain in the French army. At one time, while shooting in a public gallery, she shot a match with King Leopold of Belgium, who appeared incognito, and she bested. him.
  27. "Joseph Patrick Mcevoy and Eugenie Wehrle, 15 Feb 1923". "New York, New York City Marriage Records, 1829–1940", database, FamilySearch; citing Marriage, Manhattan, New York, New York, United States, New York City Municipal Archives, New York; FHL microfilm 1,653,807. Retrieved 2015-09-28.
  28. "Aldrich Eugenie". Janus Galleries. Retrieved 2015-09-29.
  29. "Mrs.Geo.A. Aldrich, 05 Jul 1906". "New York, Passenger Arrival Lists (Ellis Island), 1892–1924", database, FamilySearch; citing departure port Boulogne-Sur-Mer, arrival port New York, ship name Statendam, NARA microfilm publication T715 and M237 (Washington D.C.: National Archives and Records Administration, n.d.). Retrieved 2015-09-28.
  30. "George Ames Aldrich and Eugenie Wehrll, 19 Jul 1919". "Illinois, Cook County Marriages, 1871–1920", database, FamilySearch; citing Chicago, Cook, Illinois, 835153, Cook County Courthouse, Chicago; FHL microfilm 1,030,703. Retrieved 2015-09-28.
  31. "George Ames Aldrich". "United States Passport Applications, 1795–1925", database with images, FamilySearch; citing Passport Application, Illinois, United States, source certificate #39340, Passport Applications, January 2, 1906 – March 31, 1925, 1220, NARA microfilm publications M1490 and M1372 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,638,479. Retrieved 2015-09-28.
  32. "Eugenie McEvoy, 25 Aug 1923". "New York, Passenger Arrival Lists (Ellis Island), 1892–1924", database, FamilySearch, Eugenie McEvoy, 25 Aug 1923; citing departure port Boulogne-Sur-Mer, arrival port New York, ship name Volendam, NARA microfilm publication T715 and M237 (Washington D.C.: National Archives and Records Administration, n.d. Retrieved 2015-09-28.
  33. "George Amos Aldrich". "United States Census, 1920", database with images, FamilySearch; Eugenie Aldrich in household of George Amos Aldrich, Chicago Ward 21, Cook (Chicago), Illinois, United States; citing sheet 7A, family 81, NARA microfilm publication T625 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,820,332. Retrieved 2015-09-28.
  34. "Eugenie McEvoy in household of Joseph P McEvoy". "United States Census, 1930", database with images, FamilySearch, Manhattan (Districts 1001–1249), New York, New York, United States; citing enumeration district (ED) 1218, sheet 3A, family 151, line 14, NARA microfilm publication T626 (Washington D.C.: National Archives and Records Administration, 2002), roll 1562; FHL microfilm 2,341,297. Retrieved 2015-09-28.
  35. "Eugenie McEvoy, 1931". "New York, New York Passenger and Crew Lists, 1909, 1925–1957", database with images, FamilySearch; citing Immigration, New York, New York, United States, NARA microfilm publication T715 (Washington, D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,756,722. Retrieved 2015-09-28.
  36. "Eugenie McEvoy, 1927". "New York, New York Passenger and Crew Lists, 1909, 1925–1957", database with images, FamilySearch, Eugenie Mc Evoy, 1927; citing Immigration, New York, New York, United States, NARA microfilm publication T715 (Washington, D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,755,727. Retrieved 2015-09-28.
  37. "Eugenie McEvoy, 1925". "New York, New York Passenger and Crew Lists, 1909, 1925–1957", database with images, FamilySearch, Eugenie Mc Evoy, 1925; citing Immigration, New York, New York, United States, NARA microfilm publication T715 (Washington, D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,755,464. Retrieved 2015-09-28.
  38. "Eugenie Mcevoy, Woodstock Town, Ulster, New York, United States". "United States Census, 1940", database with images, FamilySearch; citing enumeration district (ED) 56–94, sheet 6B, family 168, NARA digital publication T627 (Washington, D.C.: National Archives and Records Administration, 2012), roll 2796. Retrieved 2015-09-28.
  39. Alex Jay. "J.P. McEvoy". Stripper's Guide: Ink-Slinger Profiles. Retrieved 2015-09-30.
  40. "Amescroft Notes". Dog Fancier. Battle Creek, Mich.: American Federation of Arts. 23 (4): 10. April 1914. Retrieved 2015-09-29.
  41. "Mrs.Geo.A. Aldrich, 14 Nov 1910". "New York, Passenger Arrival Lists (Ellis Island), 1892–1924", database, FamilySearch; citing departure port Rotterdam, arrival port New York, ship name Rotterdam, NARA microfilm publication T715 and M237 (Washington D.C.: National Archives and Records Administration, n.d.). Retrieved 2015-09-28.
  42. Catalog Entry: The dog fancier. (Journal). WorldCat.org. 1922. OCLC 9606705. Retrieved 2015-10-02.
  43. "Collies—Bitches". American Kennel Club Stud Book. New York: American Kennel Club. 32: 743. 1915.
  44. "Amescroft Notes". Dog Fancier. Battle Creek, Mich.: American Federation of Arts. 26 (7): 12. July 1917. Retrieved 2015-09-29. To the editor: Since having moved to Chicago, have for the most part neglected my Collie interests... —George Ames Aldrich
  45. "Amescroft Notes". Dog Fancier. Battle Creek, Mich.: American Federation of Arts. 26 (8): 10. August 1917. Retrieved 2015-09-29. Amescroft Notes. Our advertisement in the Fancier has brought many unexpected results. We have practically cleared everything in our kennel, and have had to refuse several telegrams. I had rather expected that on account of the war, Collies, together with other luxuries, would be on the decline, but I am hoping that the interest displayed is but a forerunner In a general boom for the handsomest of all dogs. We had the pleasure of entertaining Messrs. Dodd, Murphy and Friel at the farm, some few days ago, and they found Commander a better dog than ever. We have him here In Chicago, at present, and I think he will stay with us, and at home, for all time.
  46. "Display Ad: Amescroft Kennels". Dog Fancier. Battle Creek, Mich.: American Federation of Arts. 26 (9): 30. November 1917. Retrieved 2015-09-29.
  47. "Mary Cratty Wurm in entry for Wurm, 22 Jan 1905". "Ohio, Births and Christenings, 1821–1962", database, FamilySearch; citing, reference; FHL microfilm 1,852,668. Retrieved 2015-09-28.
  48. "Joseph Patrick Mcevoy and Mary Crotty, 14 Apr 1915". "Indiana Marriages, 1811–2007", database with images, FamilySearch; citing, Lake, Indiana, county clerk offices, Indiana; FHL microfilm 2,414,693. Retrieved 2015-09-28.
  49. "Joseph P. Mcevoy and Mary Wurm, 03 Apr 1916". "Illinois, Cook County Marriages, 1871–1920", database, FamilySearch; citing Chicago, Cook, Illinois, 723715, Cook County Courthouse, Chicago; FHL microfilm 1,030,617. Retrieved 2015-09-28.
  50. "Dorothy Mary Mcevoy, 19 Jul 1916". "Illinois, Cook County, Birth Certificates, 1871–1940", database, FamilySearch; citing Chicago, Cook, Illinois, United States, reference/certificate 51540, Cook County Courthouse, Chicago; FHL microfilm 1,276,267. Retrieved 2015-09-28.
  51. "Dennis Mcevoy, 27 Jul 1918". "Illinois, Cook County, Birth Certificates, 1871–1940", database, FamilySearch; citing Chicago, Cook, Illinois, United States, reference/certificate 26438, Cook County Courthouse, Chicago; FHL microfilm 1,308,839. Retrieved 2015-09-28.
  52. "Reynold Wurnelle in household of Mamye B Mcevoy, Chicago (Districts 1751–1976), Cook, Illinois, United States". "United States Census, 1930", database with images, FamilySearch; citing enumeration district (ED) 1856, sheet 19A, family 359, line 43, NARA microfilm publication T626 (Washington D.C.: National Archives and Records Administration, 2002), roll 493; FHL microfilm 2,340,228. Retrieved 2015-09-28.
  53. "Display Ad: Amescroft Kennels". Dog Fancier. Battle Creek, Mich.: American Federation of Arts. 70 (3): 47. March 12, 1923. Retrieved 2015-09-29.
  54. Catalog of Copyright Entries: Musical compositions. U.S. Government Printing Office. 1923.
  55. "Mrs. McEvoy Says Famous Property May Go as School Studios Where Leading Creative Persons Toiled Considered by Sect for Boys' School". Kingston Daily Freeman. Kingston, New York. 1940-02-09. p. 1.
  56. J. P. McEvoy (Autumn 1937). "From Host to Guest in One Generation". North American Review. 244 (1): 39–52. JSTOR 25114901.
  57. Mark Hellinger (1928-11-11). "About Broadway". Buffalo Courier-Express. buffalo, N.Y. p. 10. J. P. McEvoy—with Eugenie McEvoy serving as technical director, has become his own producer. He has been very successful since he branched out from writing The Potters and greeting cards for the Christmas trade, His Show Girl is a best seller plus and his show interests are paying royalties. The New Americans is loud and what is known as hot.
  58. "JOSEPH P. McEVOY et al., Appellants, v. CENTRAL HANOVER BANK AND TRUST COMPANY, as Trustee, Respondent; Court of Appeals of the State of New York. Argued March 3, 1937. Decided April 27, 1937". Casetext. Retrieved 2015-10-04.
  59. "J.P. McEvoy Takes Bride". The New York Times. 1936-12-21. p. 19.
  60. "J.P. McEvoy Dead". The New York Times. 1958-08-09. p. 13.
  61. "Would Divorce McEvoy". Utica Daily Press. Utica, N.Y. 1932-07-02. p. 1. Reno, Nev. July 1. Joseph Patrick McEvoy, author and playwright, Woodstock N.Y. was sued for divorce on grounds of cruelty here today by Mrs. Eugenie Wehrle McEvoy.
  62. "Ex-Wife Asks $10,039 From J.P. McEvoy, Humorist". Chicago Tribune. 1937-01-03. p. 8.
  63. "Archbishop Is Names In Papers". Kingston Daily Freeman. Kingston, New York. 1940-09-17. p. 1.
  64. C. R. Roseberry (1941-08-02). "The Melting Pot". Knickerbocker News. Albany, New York. p. 9. Fountainebleau is the now commercialized estate of Eugenie McEvoy, divorced wife of J.P. McEvoy, the writer. She's a diminutive Frenchwoman who paints pictures of her pets and flowers and was once champion woman sharpshooter of France. It is said she was retained by the government to instruct French soldiers in marksmanship during the last war.
  65. "Real Estate Transfers". Kingston Daily Freeman. Kingston, New York. 1942-07-02. p. 7.
  66. "Eugenie McEvoy, Artist, Is Bride Of Philip O'Dell". Kingston Daily Freeman. Kingston, New York. 1949-10-06. p. 22.
  67. "Woodstock Garden Club". Kingston Daily Freeman. Kingston, New York. 1953-06-30. p. 12.
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