Home > Trail End Exhibits
Temporary Exhibits > Home Is Where the History Is
The Design, Construction & Decoration of
Trail End, 1908-1913
A Whole-House Exhibit at the Trail End State Historic Site, March 2003 - December 2006
Best Laid Plans |
Architects & Designers |
Trail End Technology |
Work Rooms |
The Hired Help |
The Family at Home |
Construction Time Line
"This home they
call 'Trail End,' because to them it was the end of the cattle trail which began
in Matagorda Bay in 1879 and ended in Sheridan, Wyoming.
Beach, in Women of Wyoming, 1927
Researching the history of Trail End and its construction
has been a
fascinating, ongoing project. By sorting through hundreds of documents – blueprints,
drawings, correspondence, diaries, newspaper accounts and photographs – we have
learned more than just what a room looked like when it was built and how much it cost.
In some instances, we’ve learned why a given room was designed and built the way it
was, what changes were made over the years, and what family members were thinking at
the time they made their decisions.
Is Where The History Is” focuses solely on Trail End – its construction, its
furnishings and its occupants – as well as what went into making it the historic
treasure it is today.
BEST LAID PLANS
In September 1908, the following
announcement appeared in the pages of the Sheridan Post:
John B. Kendrick has
accepted the plans for his magnificent new home on Nielson Heights. Teams are now
excavating for the foundation, and while the work will take several months, it will be
pushed as rapidly as possible.
Unfortunately, "as rapidly as possible"
proved to be not very rapid at all. Because of design differences, construction difficulties, low cattle prices,
and labor disputes, it would take nearly five years before the Kendrick
family – John, his wife Eula and their children, Rosa-Maye and Manville – would be
able to move into their new home.
Although Trail End took five years to build,
work was not in progress that entire time. The first major work stoppage came in 1909
when a delay in the delivery of foundation granite caused John Kendrick to advise
architect Glenn McAlister, "Unless [the granite] reaches us … every man on the
building will be paid off and the work entirely stopped."
In 1910, work was halted for nearly two years
when a drought caused such serious reversals in the cattle market that Kendrick had no
extra cash to spend: "I feel it is best to bend all my energies and employ all the
available funds at my command in protecting the business on which I depend rather than
assuming further obligations."
Construction resumed in the spring of 1912 and hopes ran high
that the family would soon be able to move into their new home. Unfortunately, 1912
brought even more problems. Along with a misplaced rail car full of woodwork (later
located on a siding in Nunica, Michigan), Trail End’s principal contractor was plagued
by labor disputes. As noted by Charles Lindner, president of Lindner Interior
Manufacturing, "We [are] having trouble with our Finishers, in fact, with the entire
factory force during the past two or three weeks, which of course has delayed all
work." Nevertheless, Lindner remained optimistic:
We note what you say about the completion
of your home so that you might be settled by the first of April, and wish to state,
that so far as we can see at the present time, and unless something unforeseen
happens, there should be no reason why this should not be accomplished.
Of course, the unforeseen happened: a fire at the main warehouse
of electrical contractor Burgess-Granden led to a delay in installing the last of the
On July 25, 1913 –
three days before Rosa-Maye Kendrick’s sixteenth birthday – she
and her family finally moved into Trail End. The first party was given on
in honor of both Rosa-Maye’s birth and the opening of the long-awaited Kendrick home.
A series of teas and open houses followed during which friends and family were invited
to see what five years of hard work had created. Not everyone could make a personal visit, however, so Eula
Kendrick hired the Fuller Studio to take a series of room portraits. These were sent
to vendors such as E. A. Wallace of Berkey & Gay, who received his set of
black and white photographs in 1914. He quickly responded with his thanks,
I was very much pleased to receive such a nice selection of photographs
of your beautiful home. I have taken pleasure in showing them to all of our
people and am going to have them framed.
Mr. Wallace also noted that, after such a long
time, it might seem a little odd to live without the constant confusion of
over-attentive vendors, under-attentive workmen, delayed shipments and other assorted
It must seem
strange indeed to think [all] is so nearly complete and that you are
so soon to be through with the many annoyances you have had for so many
years. Well, I trust you will enjoy it for you certainly deserve it.
Though the annoyances continued for awhile –
the furnace wasn’t operating correctly and the landscaping wasn’t finished – at least
the family was home!
ARCHITECTS & DESIGNERS
From the beginning, John Kendrick knew what kind of home he wanted.
He also knew how far he was willing to go to get it:
Concerning my wishes as to the general plan of the interior work,
I should like to have it treated along the lines of the utmost simplicity consistent
with the best artistic effect, in a character that would not only be livable when we
first moved into the house but would continue to grow in favor as we become more and
more accustomed to it, and, while inclined to avoid any unnecessary expense, I deem it
only fair to you to say at this time that I am not in the least inclined to avoid any
outlay that would increase the beauty or practical utility of the house when it is
In order to achieve this high level of “beauty and practical
utility,” John and Eula had to rely on architects, manufacturers and designers from all
over the country. While general laborers were hired locally, most specialized tradesmen
came in from Nebraska, Illinois, Michigan, and other eastern states. Even the architect
was an out-of-towner.
Glen Charles McAlister, a self-taught architect
from Billings, Montana, was chosen from a pool of architects who had submitted their
drawings as early as 1907. He had already designed and built two of Sheridan’s more
impressive structures: the Sheridan County Courthouse on Main Street, and a private
residence called “Mount View.” Though McAlister had an office in Sheridan, he was rarely
here. He spent most of his time either on his ranch in southern Montana or in his office
in Billings. This was quite vexing to John Kendrick, who noted:
I will say that I have had no end of trouble in
trying to worry through with this work under the direction of McAlister, and since we
have arranged for the assistance of the New York man [D. E. Waid], he is so far away that I do not
get very much better results from him.
With its most of its designers, decorators and fabricators located
well over five hundred miles away, pulling together Trail End’s interior was a Herculean feat.
Since the Kendricks acted as their own general contractors, it was up to them to
coordinate all activities. Visiting all the individual manufacturers was costly and
time-consuming. Therefore, the Kendricks used catalogs, drawings and samples to make
many of their decisions. Occasionally, though, John or Eula would have to meet with the
vendors face-to-face, as John noted in 1911: "Mrs. Kendrick is down East now and I am
leaving tomorrow for a short trip to Grand Rapids, Michigan to have a final word with
the interior manufacturers of the wood work in our house."
John and Eula were well aware of the fact that they did not know
everything it took to put together a spectacular house. In 1911, they enlisted the aid
of an interior designer to finalize the decorating plans and provide guidance on the
overall look of the house. D. Everett Waid, Kendrick's "New York Man" who later served as head of the
American Institute of Architecture, was hired to lead the Kendricks toward the tasteful.
This he was not shy to do:
Regarding the fireplaces, I would say that to
my taste, both for aesthetic and practical reasons, onyx would be very objectionable. A
very quiet, dignified and yet rich effect can be obtained appropriate to the style of
the interior design by a proper selection of either tile or marble.
The Kendricks followed Waid’s suggestions and the fireplaces were
finished in a dignified Italian Pavanazzo marble.
Even though John Kendrick had two architects
working for him, it fell to a third individual to coordinate efforts between the
woodworkers, the furniture makers and the interior finishers. Charles A. Lindner of the
Lindner Interior Manufacturing Company of Grand Rapids, Michigan, was hired in late 1909
and quickly gained the respect of the Kendrick family. John referred to Charles Lindner
as “one of the most satisfactory men with whom I have dealt,” and had the utmost
confidence in his abilities:
The question of our interior wood work has
given both Mrs. Kendrick and myself an endless amount of anxiety, but since our talk
with you we have a feeling of complete assurance as to the outcome so that we have
practically dismissed it from our minds.
Under Lindner’s personal supervision, the firm
not only manufactured and installed all the woodwork in the house, but also took charge
of matching the furniture finishes to the walls, locating a stained glass firm, and
coordinating final installation with the interior decorators. Lindner’s job was somewhat
simplified by the fact that several of the manufacturers with whom he had to deal were
located in and around Grand Rapids.
The growth of
technology during the early years of the twentieth
century was phenomenal. Americans went from horse-drawn to horse-powered; candlelight to
electric lights. By the time Trail End was being built, the Kendricks had a wide variety
of "new-fangled" devices to choose from, most for the purpose of making life easier for
both the homeowner and his employees.
One of the best labor savers available to the
early twentieth century homeowner was electricity. It made dozens of household tasks
easier, provided illumination for longer work hours, and provided several new means of
communication, including intercoms and telephones. Sheridan got its first electricity in
1893, when the Sheridan Inn turned on a homemade generator. By the time Trail End was
finished twenty years later, most new homes and businesses in town were wired for electric
lights. Gas fixtures and kerosene lamps still lit the rooms of older homes, but they were
being replaced as quickly as possible.
At Trail End, light fixtures included chandeliers
and wall sconces, a variety of fancy floor and table lamps, plus plain but functional
ceiling fixtures. The lights were turned on and off by push-button switches while the
electricity itself was controlled by marble and copper fuse boxes. Electricity also powered a number of the home’s labor-savers,
including the intercom, annunciator, curling irons, an
alarm for the walk-in vault and even a stationary vacuum cleaner.
rugs and floors has always been a tedious job. By the 1910s, however, the housekeeper had
a helpful new tool: the vacuum cleaner. The term “vacuum cleaner” was first used by Hubert
Booth to describe his 1901 kerosene-powered suction cleaner. Each unit sat on a
horse-drawn wagon and was parked outside the home to be cleaned. Flexible hoses were fed
through the windows to access each room. By 1906, Booth had developed a portable electric
model, but its weight – close to 100 pounds – made it less than practical!
The United Electric Company (TUEC) offered another alternative: a built-in stationary air cleaner. Their
advertisements held tantalizing promises of ease and convenience: "A built-in stationary
cleaning system will keep your home sanitary, sweet and clean without work just as your
stationary heating system keeps your home warm and comfortable without effort."
A 1911 testimonial from M. A .Hockman went on to extol to device:
The "TUEC" is the greatest labor saver in the way of an aid to
housekeeping that it has ever been our pleasure to come in contact with, and what was
formerly the drudgery of housecleaning has now been reduced to a pleasant pastime. I
consider it as essential an equipment to a modern house as a bathroom or a kitchen sink.
The Kendricks purchased their new TUEC
system in 1913. Powered by an electric motor, the system operated through a maze of pipes
connecting the basement motor to outlets located throughout the house. Hoses, tubes and
various attachments were stored on each floor.
John B. Kendrick was a progressive man. If a
modern piece of equipment or a new technology made a task easier or less expensive, he
wanted to make use of it. Therefore, it is not surprising that he took advantage of many
of the communications options available on the market. Early discussions centered around a
Private Branch Exchange (PBX) system – a combination telephone-intercom supplied by Bell
Telephone. Though versatile, this system had a few problems that could be distressing to
You can talk out of
the building from any point or you can communicate to any station in the house
or Garage without getting Central [Exchange]. ... The only disadvantage
[is] the servants can listen to any conversation if they want to and can also
monopolize the use of the ‘phone.
Eventually, Kendrick went with separate telephone and intercom
systems. Powered by three dry cell batteries, the intercom was manufactured by Kellogg
Switchboard of Chicago. The Burgess-Granden Company of Omaha supervised the installation
to ensure that this modern system suited the Kendricks’ desires, both technologically and
We are writing now to see if it is possible to
get the face of the telephone boxes finished to match the woodwork in each place where
they will go. This system which we have selected, I believe, is one of the best that is
As for the phones, none of the originals still
exist. We do know, however, that there were at least a couple of desk phones in
the home. These would have been the dial-less “candlestick” variety (dials were
introduced several years later).
Unlike the OW Ranch, the Kendricks’ new home had indoor plumbing –
and they weren’t shy about using it! City water and waste lines were run to the kitchen,
butler’s pantry, eight full bathrooms, four partial baths, a twin-boiler furnace and the
laundry room, plus sinks in three staff bedrooms and the third floor hallway. There was
also a sprinkler system for the grounds, but its water was pumped uphill from Big Goose
Many of the plumbing fixtures at Trail End were purchased from James
B. Clow & Sons of Chicago, which apparently took over from another plumber. Being
substitutes, Clow & Sons were eager to please the Kendricks. As stated by manager W. J.
Spillane in 1912:
Under ordinary circumstances we would not consider
making a change at this late date, but as stated to you on the occasion of your recent
visit to Chicago, we will do everything in our power to assist you in completing this most
Clow even went so far as to provide custom-made, solid
porcelain bathtubs for the family bedrooms – and to accept their return when
Eula Kendrick decided they weren’t to her liking.
We are trying
to get together an organization that is more modern in
their ideas, sober and thoroughly reliable. We have engaged a designer to take charge of
our Interior Decorating Department, one whom the writer knows to be a thorough artist,
expert colorist, but not a salesman. What you really want on your work is to have the
decorations you have purchased executed in a thorough and artistic manner.
So said George W. Laier of the firm Beaton & Laier in 1913, at a time when the
Kendricks were despairing of their home ever looking the way they wanted. Through
the combined efforts of Laier, interior designer D. Everett Waid, Charles
Lindner and other primary contractors, however, Trail
End eventually became a well-decorated home with harmonic flow and consistency of style
from room to room. By examining a few of Trail End's rooms – the Foyer, Drawing Room,
Dining Room and others – as well as the materials and furnishings used therein, we get a
good insight into the design and decorating concepts and techniques utilized throughout
the entire house.
it came to decorating Trail End, color was a tool that could not to be ignored. Color
could add drama, whimsy, lightness or freshness, depending on what colors were chosen and
how they were used. In the foyer, color plays an important role. The ruby red rugs with
their brown and gold geometric border, the red draperies and portieres, the gold and green
hand-stenciled ceiling, the rich brown woodwork – all combine to give Trail End’s main
entrance a richness that is missing from the white-painted rooms found in many of today’s
The foyer is not a sterile room; it is
one of warmth and comfort – an inviting place to enter and be with friends. While the
original design specifications don’t mention specific colors, they do note the foyer
ceiling’s treatment was to have a warm, rich, aged appearance:
Main hall ceiling
[is] to receive a frescoed decoration to imitate stucco work ... to be
painted with an enamel gloss and glazed with old ivory glazes and wiped out with
cloths to an antique ivory finish. The prevailing color of the old ivory will be
warm colors rather than cold.
Furniture is also an important decorating
tool. While most of the furniture in Trail End is original to the house, it doesn’t all
date to the 1910s. Over the years, the family purchased additional pieces and added them
to their collection. Included in this category is the Empire love seat near the entrance
door. Several items have been in the foyer from the beginning: the slant-top desk, the
curved mahogany plant stands and the “Shakespeare” clock all appear in the 1913 room
While most of the
furnishings and finishes in Trail End were made in America, a few were imported. The
mahogany for the beams and wainscoting in the drawing and dining rooms, for example, came
from Honduras. It was then machine-tooled by the Lindner Manufacturing Company of Grand
Rapids, Michigan. The “piano finish” was attained by the application of multiple coats of
imports in the drawing room include the Italian Pavanazzo marble surrounding the
fireplaces and the French silk damask wall coverings stretching from wainscoting to
ceiling. There is a tall brass and glass lamp from Russia, while the silver tea service is
English. A large floral study over the fireplace was painted by Raoul deLongpres, a 19th
Century French artist renowned for his exquisite paintings of roses, lilacs and peonies.
One of the home’s most impressive imports
is the massive hand-knotted Persian carpet overlaying the drawing room’s hardwood floor.
As rug salesman A. J. Miller put it in 1911, "You are getting, without question, a most
unusual, exclusive and pleasing rug." Made by nomadic Bijar weavers of northern Persia
(Kurdistan), the rose and blue rug – already an antique when Mrs. Kendrick purchased it –
contains roughly five and a half million knots. Its purchase price was the same as a
typical three bedroom house in 1911: $3,125.
fireplaces, two vestibules, twelve bathrooms, a kitchen and a butlers pantry all needing
tile and/or marble work, the selection of the proper tile company was essential. After
rejecting bids from firms in Minneapolis, Chicago and St. Paul, John Kendrick hired F. M.
Hamling of Omaha to complete the job at a cost of approximately $4,000. While the Hamling
Company crew did the actual work, they had to coordinate their efforts with the architect,
interior designer, woodwork manufacturer, general contractor and the decorators in order
to match styles and colors. Everything then had to be submitted to the Kendricks for
review, as noted by Hamling manager William Nollmann in 1912:
The selection of tile
for the owner's room, according to my notation, was a gray shading to an old
rose, but on taking this up with Mr. Henderson
[interior decorator] he advises either a plain white or light cream. ... In
regard to the green tile in north and south vestibules, I suggest we take this
up with the decorator, and if he has any suggestion to make will be pleased to
submit it to you.
mid-1912, before the project was completed, F. M. Hamling unexpectedly died. The firm was
quickly reorganized by William Nollmann as the Omaha Marble & Tile Company, and the
Kendricks were reassured that their job would indeed proceed: "Mr. Hamling left a complete
record of this job in the files, and same will proceed just the same as tho he were here,
as all information has been taken and a careful record kept."
The tile work was completed in late 1912.
By early 1913, cracks had begun to appear in several areas of the house. While the
Kendricks questioned the workmanship, William Nollmann was adamant that the cracks were
caused by shrinkage of lumber used in the floors:
It is very evident that the cracks
were not produced by faulty construction or workmanship on the part of the tile setter, as
the cracks have gone through the center of tile showing that there was a perfect bond
between the cement and tile. If this was not the case, a crack would have appeared in the
joints, and tile would drop from the wall.
Nollmann was apparently correct in his
evaluation. In all the years since the tile was set, none has dropped from the walls.
Several of the original cracks, however, continue to widen as the house settles.
Trail End library’s layout and American Gothic design were patterned after one that Mrs.
Kendrick had admired at a home in Virginia. The hallmark of Gothic styling – pointed
arches – can be seen in both the chandelier and the wall panels. The diamond-shaped leaded
glass doors add to the Gothic feeling. In September 1912, project manager John Gross of
the Lindner Interior Manufacturing Company attempted to advise Mrs. Kendrick about her
ideas for the bookcase doors:
[diamond-shaped glass] gives a very pleasing and artistic effect, [plain
glass] displays handsome books to a far better advantage than the leaded
glass, which tends to obscure from view, the titles of the volumes.
In the end, Eula ignored Gross’s advice,
choosing to adhere to her original vision – one she shared with her husband: "Mr. Kendrick
is very much pleased with the beam ceilings, and the gothic effect in the library is
entirely satisfactory, and we are sure it will be a charming and livable room."
One part of that vision that did change
was the type of wood used in the library. Early room specs called for the same mahogany as
the drawing room. Plans changed around 1912, however, and the room was finished in a warm
Golden Oak instead.
As indicated in correspondence, Eula
Kendrick was not fond of the “clumsy” oak library furniture popular in 1913. Instead, she
ordered an older-styled “ropetwist” mahogany table. The delicate piece is ornamented with
a spiral edge and sharply angled spiral-turned legs terminating in mahogany balls gripped
by three-toed brass claws.
The attention paid
to details in the furnishing of Trail End was impressive. The effort made to match colors
with textures with materials with lighting was appreciated by everyone, especially the
Kendricks. In 1913, they expressed their delight to the design firm of Beaton & Laier, who
responded as follows: "We are very glad to learn that you are well pleased with your
furnishings. From all the reports that we get it is the finest home ever furnished in your
section of the country."
of the home’s finest furnishings are contained in the dining room. Like the drawing room,
the dining room contains the dark richness of piano finish mahogany. It is decorated in
soft shades of ivory and blue with just a touch of Old Rose added here and there. The wall
panels and ceiling canvas, with their fruit motif, were hand painted. The wood mantel is
carved with fruit to match the canvas, while hand-cast plaster medallions and moldings
complete the ceilings and walls.
Trail End’s dining room suite was
manufactured by the Retting Furniture Company of Grand Rapids, Michigan. Retting worked
closely with Lindner Manufacturing to match the color of the tables and sideboards to the
mahogany mantel and wall panels. The twenty dining chairs, fashioned in the Jacobean
style, were originally covered in Florentine tapestry. Retting Furniture sent them to
Omaha for upholstering in 1911-1912, but they were not delivered until the summer of 1913.
The blue velvet portieres and draperies were delivered at about the same time.
Along with the chairs, the massive dining
table and two large sideboards were ordered in early 1911. The smaller table in the corner
is a miniature version of the dining table. It has a split top – one half swivels up so
that the table can stand against the wall, taking up less space.
According to Manville Kendrick, the amily never ate in the
kitchen; they took all their meals in the dining room. Every morning, until the time he
moved out of the house, Manville ate his breakfast at the dining table – usually
a steak, fried tomato and toast. As he noted in 1982, "I would defend any indication that
she was snobbish, but I don’t think my mother planned for us to spend much time in the
their years in Cheyenne and Washington, the Kendrick family met many famous people:
politicians, statesmen, and European royalty. As was the common practice at the time, they
exchanged portraits with these people. At one time, the large wall above the bookcase in
the second floor hallway was home to dozens of these large framed portraits. The original
set contained photos of presidents Wilson, Hoover and Coolidge, Queen Marie of Roumania,
and many of Wyoming’s leading politicians such as Joseph Carey, Robert Carey and Nellie
Tayloe Ross. There were also U. S. Senators and political appointees as well.
of the portraits were autographed and inscribed with statements of friendship or
affection. Eula Kendrick’s predecessor in the Governors’ Mansion, Mrs. Joseph Maull Carey,
signed her 1931 portrait as follows:
your old time friend of many years,
John and Eula weren’t the only ones who
collected portraits. Both Rosa-Maye and her sister-in-law, Diana Kendrick, were recipients
of similar photographic remembrances.
In most early references, the third floor space was identified as the “attic
playroom.” As the building process continued, however, the name (and function)
eventually changed to “ballroom.” Some even referred to it as the “assembly
room.” Despite the architect’s 1911 vision, the ballroom was finished very
simply. Leaded glass windows and an elaborate mantel were abandoned in favor of
a more subdued approach.
few frivolous touches remained: the stained glass windows in the south alcove,
for example, and the four large “Tiffany-styled” verdigris chandeliers. The
diamond-patterned swinging windows were a later change instigated by Eula
Kendrick. As Lindner Interiors noted in 1912, "Your suggestion to use leaded
instead of plain glass, is a great improvement, and we are enclosing herewith a
copy of our shop drawing showing the glass panels according to your idea."
The rough-hewn Georgia Pine beams, the
natural birch wood trim and the simple Maryland Maple dance floor all contribute to the
simplicity of the room. The plain stucco ceiling, fairly unusual for an interior finish,
was part of the design from early on. It was described in the 1911 plaster specs as
follows: "Entire ceilings and walls of play room in attic to be finished in rough cast
sand finish with pebble dash surface. Pebbles to be placed thinly on surface. All pebbles
and sand to be washed thoroughly clean."
With ten of them in the house, it's not
surprising that considerable time and effort was put into decorating (and redecorating)
Trail End's bedrooms.
Trail End’s decorative work was done by Miller Stewart & Beaton of
Omaha. They followed detailed specifications, such as these for Rosa-Maye’s room:
Window draperies to be made of rose colored satin striped Damask as
selected. Lined with Parma Satin, finished on edges with harmonizing braid. Ceiling is to
be tinted in a color to harmonize with the walls, and the walls are to be laid out in a
series of panels … The center part of the panels are to be hung with a pink paper to
harmonize with the draperies, and in the event that we cannot get a paper we propose to
hang the walls with Sanitas and paint it in a pink to harmonize …
Like others in the house, Rosa-Maye’s original curtains and drapes,
installed by Beaton & Laier in 1913, no longer exist (the current window coverings were
installed in 1992). When fabrics are continuously exposed to dust, sunlight, insects and
water, they eventually begin to show wear and must be replaced – as noted by Eula in her
1933 diary: "[Get] new drapery materials for RMK room – have to make new ones as
others have completely wore out, hanging 20 years."
The furniture in Rosa-Maye’s room is made in the neoclassical
revival style, finished in shaded ivory. The crests of the headboard, footboard, dresser,
vanity and desk are draped with rose garlands, echoing the patterns in the walls and
chandelier. Most of the furniture was made by Berkey & Gay of Grand Rapids.
Since the company did not stock all the furnishings they desired, however, the Kendricks
had to do some shopping around. Additional pieces – the coat tree, daybed and suitcase
stand, for example – were obtained from a variety of different firms, including the
Century Furniture Company of Grand Rapids.
Most of Trail End’s rooms look essentially the way
they did in the 1910s. The master bedroom is one of the few rooms in the house that has
undergone extensive redecorating (the others are in the Guest Wing). Fortunately, we have the 1913 room portrait to show us what the
space looked like in the early years. We also have several written descriptions of the
decor, such as this one by designer George Henderson of Miller Stewart & Beaton:
The walls are to be
blended from the base up in a soft old silvery rose with a two toned Cameo
effect decoration in the frieze, and the ceiling to harmonize with same. The
draperies for this room [have] a two toned indistinct pattern of old rose
suggesting the Adam’s period with a rug to harmonize with same.
A great deal of effort was expended to make the
room a harmonious place. As one decorator noted in 1912, "In as much as the old rose
draperies are in this room, I would be afraid of putting an old rose tile in the mantel
facing as I am afraid that they would not dwell happily together."
The original master bedroom suite, finished in Circassian walnut,
was manufactured by Berkey & Gay of Grand Rapids, Michigan. Later pieces such as the cane
daybed were stained to match. A large cane rocking chair was custom-made for John Kendrick, who
demanded a “comfortable chair” for the bedroom. Because Berkey & Gay did not carry such a
chair, the company had it made by the Wallace Furniture Company, also of Grand Rapids.
Following the style set by the Astors and the Vanderbilts in the
nineteenth century, the Kendricks had two double beds. There was ample space in the large
master bedroom to follow the practice of sleeping comfortably in separate beds,
particularly in hot weather. John Kendrick wasn't happy with the twin beds
originally ordered for the room, and Berkey & Gay had to make adjustments:
I note what you say
regarding the twin beds and I have entered order for a pair of the full size beds together
with box springs and hair mattresses which we hope to ship in about three weeks and I am
very glad to do this. In fact, anything to keep Mr. Kendrick happy.
Sometime after her husband’s death, Eula made
changes in the room’s decor. While the new design retained the original rugs, furnishings,
tile and fixtures, other changes were extensive: the creamy woodwork was repainted white,
the wall canvas was removed and replaced with a salmon and pink paper, and the original
rose silk draperies were replaced with blue-trimmed salmon drapes.
Of all the rooms at Trail End, Manville’s bedroom
best reflects the Arts & Crafts style of furnishing popular in the early 1900s. A reaction
to the overly ornate character of Victorian-era furnishings, Arts & Crafts (or “Mission”
style) pieces were simple, with plain designs and little ornamentation. This room’s oak
furniture and antiqued brass lighting fixtures are straight from the decorating catalogs
of the day.
The lights were designed by
Omaha's Burgess & Granden, and cast in the Braun
Manufacturing Company's foundry in. In his 1912 correspondence with Eula Kendrick, salesman
Wilbur Burgess did not use terms like Arts & Crafts or Mission. Instead, he let the
drawings do the talking: "For Manville’s Room, Mr. Ricklefs suggested an entirely new scheme.
Am mailing you finished drawing S-13756. I think the character of the fixture is fine for
a boy’s room."
The room’s first decorating plan was apparently
NOT appropriate for a boy. The 1911 specs called for “fine leaf stenciling” to match the
“lace curtains.” Definitely not very boyish! It is not known who asked for the changes,
but by 1912, the revised specs described “a Navajo stenciled border to continue around the
molding.” The lace curtains had been replaced with simple cotton curtains surrounded by
The smallest of the family bedrooms, Manville’s
was nonetheless full of furniture: desk, chair, barrister-style bookcase, gun case,
mirrored dresser, and bed. Manville slept on a built-in “Murphy” bed – a closet-like piece
of furniture in which the bed was folded up and stored during the day. It stood between a
pair of wall sconces and had a mirrored front.
The north end of the second floor, now housing
staff offices, contained three guest bedrooms, each with a private bath. While no
early-day photographs exist of the rooms, we do know a few things about them. The east bedroom,
for example, was the largest of the three. It had cream colored
walls and an arched window alcove. The north bedroom, or “Yellow Room” was the only one
with balcony access. The west bedroom, called the “Blue Room,” was frequently occupied by Eula’s parents.
The rooms served as an apartment for Manville and
Diana Kendrick following their 1929 wedding. The east room was used as a parlor and the
north room became their bedroom. In the 1930s, the west room was made into a nursery for
their sons. Eula Kendrick noted in 1933: "Spent morning supervising Mr. Edwards and Edgar
in moving furniture out of “blue room,” preparation to making nursery …
Before those big changes were made, however, there
occurred lots of little ones. In March of 1930, Diana Kendrick wrote a letter to Eula
Kendrick in which she described the “little changes” she had made in one part of the north
[Built] a four-layer
bookcase … unpacked all my books and shelved them … hung an etching over
it, put a pewter bowl and two pewter vases on top, hung another etching on the
wall opposite my door, and an old-fashioned, wavery-reflecting
mirror in the little space between my door and the door to the yellow room – and behold,
the little hall is no longer a passageway – it has developed a personality of its own.
A few years later, after the couple was convinced
to make Trail End their permanent home, Diana completely remodeled the east bedroom to
suit her own personality. Two large closets were installed, plus three sets of
floor-to-ceiling bookshelves. The window alcove was replaced with a sturdy window seat
surrounded by thirty-one built-in cupboards and drawers. Wide-slat Venetian blinds were
hung in place of the elaborate tapestry draperies, and the entire room was painted “rose
taupe,” a very popular color at the time.
The staff wing of the third floor – the north wing
– was occupied exclusively by women – maids, cooks and housekeepers. (Any handyman,
gardener or chauffeur who lived on-site stayed in a basement room.) Flooring, wallcoverings and wood trims were simpler and cheaper
there than in the rest of the house, and the rooms themselves were much smaller.
Nevertheless, they were far from Spartan. Although a bit more cramped, the communal bath
at the end of the hallway contains the same stained glass windows, Vermont marble trim,
porcelain walls, ceramic floors and modern plumbing fixtures as all other bathrooms in the
For a brief time, part of the staff wing was used for something
other than housing workers. 1912 correspondence from Miller Stewart & Beaton indicated
that a “smoking room” was located where the cook’s room is now: "With regards to the
Smoking Room which is marked Servant’s Room Number One on Third Floor. There has been no
decorative scheme made for it …"
Light fixtures were ordered for this smoking room,
as were curtains and draperies. Unfortunately, few other clues exist to tell us more about
the room’s function or frequency of use. The only other mention we have found is a
newspaper article noting that “gentlemen were entertained in the smoking room” during the
1914 New Year’s Day Open House. This use was short-lived, however, because staff occupied
all the third floor rooms by the 1920s and 1930s, as indicated by Diana Kendrick in 1933:
"I put [the new cook] in the room above me – and await your instructions about it. She
asked to go in the basement, but I said I’d have to wait your ok."
All three bedrooms have a built-in sink. Baths
were taken weekly rather than daily, so employees would wash their face and hands in their
rooms before going to work in the morning and prior to retiring night.
||By the 1910s, the diminishing ranks of potential
domestic servants was being felt all over the country. At Trail End, the Kendricks –
doubt hoping to tempt better quality staff –
made sure that the work areas of the house,
including the kitchen and laundry room, were comfortable places to work. Gone were
wooden-floored kitchens full of smoke and dank laundry areas with no plumbing. In their
place, Trail End had a modern sanitary kitchen, a convenient butlers' pantry, and a
basement laundry room with laundry chute and double-ringer tubs.
Historically, because they were work areas and not
public areas or family rooms, kitchens tended to be overlooked when it came to allocating
space inside the home. Most tended to be small, dark places where wood-burning stoves
poured out grease, dust and unbearable heat. Because of the risk of fire, kitchens were
sometimes housed in separate outbuildings. Around the turn of the 20th century, health
researchers discovered that improper food handling and preparation was a major cause of
illness. People soon learned that cleaner kitchens made for healthier families. Dirt
floors and bare wood were abandoned in favor of porcelain, ceramic and other easy-to-clean
End’s kitchen – built with modern materials and conveniences – is a good example of a sanitary, “hospital white” kitchen. Its ceramic
floor and counter tiles were easy to clean, as were the porcelain wall tiles, marble
trimmed windows and enamel painted woodwork. The white surfaces reflected plenty of light,
and the room’s large dimensions gave the cook ample space in which to prepare the food.
To control heat, the kitchen could be isolated
from the rest of the house by closing the doors to the pantry and hallway. The heat then
went up and out through transoms and windows that opened from the top. To prevent hot air
and noise from reaching the dining room, the cook would slide the prepared food – pan and
all – into the butler’s pantry through the small opening next to the sink. Waiting on the
other side in the Butlers' Pantry was the maid or housekeeper who would then transfer the food from the pan to a serving
Why does Trail End have a Butlers’ Pantry when it
didn’t have a butler? Because “butlers’ pantry” is the American name for what the English
called a “serving room” or “side-board room.” It is a pass-through area located between
the kitchen and the dining room used to store dishes, linens and flatware. It is also
where food was plated for service. As noted in an 1889 description of a house similar to
Trail End, the butlers’ pantry was to be situated for the convenience of both the family
and the staff:
In arranging the rooms in connection with the
kitchen, care has been taken that the servants shall be required to traverse as little
space as possible in the performance of their duties; the butlers' pantry has been put
just where it is most convenient, without interfering in the least with the more important
A spacious butlers’ pantry also provided a buffer
between the kitchen and the dining room: "In this position it serves also the useful
purpose of preventing the necessary odors of the kitchen from permeating [other rooms],
and is of convenient size, with appropriate dresser, shelving [and] drawers."
Trail End's pantry cabinets are made of butternut and birch. They were
manufactured and installed by Lindner Interior Manufacturing of Grand Rapids. The pantry sink and
drain board are made of German Silver – a
precursor to stainless steel. Because it was more flexible than porcelain, the metal sink
was the perfect selection for a room where fine crystal and delicate china would be washed
on a regular basis.
Work on the pantry was complicated by changes made
between the time the blueprints were drawn and when work was actually begun. In the
butlers’ pantry, for example, the sink was moved from the east wall to the west wall,
the door was relocated, and a floor-to-ceiling cabinet was installed in the middle of the
room. According to the manager of Omaha Marble, this caused some delay in the setting of
the tile, but not a lot:
I am sorry to note that on account of
alterations in kitchen and butlers pantry, we will be delayed a trifle waiting for
additional round corners, but as the marble will be coming along, the men will be able to
work in toilet rooms, and thereby lose very little time.
While such changes were seen as good ones, they
impacted more than just one area of the house:
You spoke of enlarging the pantry which is a
good idea but remember that the brick wall between the pantry and kitchen supports the
floors above and that iron work will have to be substituted should you wish to move this
Trail End's original icebox was a built-in model
that stood in front of a ground floor window. Outside stairs leading up to it allowed the
iceman to deposit his product in the top of the box without tracking mud and straw into
the house. An additional cold storage area was located in the basement.
Doing the laundry was once a grueling chore. In
homes without running water, buckets full of well water had to be hauled into the house,
heated on the stove and then poured into large washtubs. Clothes were scrubbed by hand
with harsh soaps, rinsed in hot water, and hand-wrung before being hung to dry. Even in
households with indoor plumbing, washing and drying clothes usually occupied an entire
day. The popularity of starched white shirts, lacy dresses and linen sheets made laundry a
task that required a great deal of time and attention.
During this time, other household tasks had to be ignored. There
wasn’t even time to cook. Wash day was often relegated to Monday because elaborate Sunday
dinners provided plenty of leftovers. (Ironing day, incidentally, was usually set for
Tuesday.) As noted in one book of household hints:
Monday is the washing day with all good
housekeepers. ... Do not have beefsteak for dinner on washing or ironing days – arrange to
have something roasted in the oven ... Do not have fried or broiled fish. The smell
sticks, and the clothes will not be sweet; besides, the broiler and frying pan take longer
This same book suggested that homemakers with
servants take washing and ironing into consideration when planning for guests:
When inviting friends
to visits of a week or more, try to fix the time for the visit to begin the day
after the ironing is done. The girl [house maid] feels a weight off her
mind, has time to cook the meals better and is a much more willing attendant
Even without electric washers and dryers, Trail
End was well-equipped to ease the wash day blues. The housekeeper and maid retrieved dirty
clothes and linens from the laundry chute, located just down the hall from the laundry
room. In the laundry room, they washed and rinsed the clothes by hand in three large sinks
along the east wall. The wet material was wrung through wringers attached to the tops of
the sinks, then hung to dry on the circular clothesline located in the west yard. While Trail
End’s laundry facilities later included a pair of electric washing machines, the family
never installed an electric clothes dryer. Clothes were always hung out to dry.
Despite their wealth and the size of the house, the Kendrick
family did not like to keep a large staff. They didn't have a butler to work in the
butlers' pantry, and the basement chauffeur's bedroom stood empty most of the time. They
did, however, like to have a cook and a housekeeper on staff at all times, to be joined on
occasion by a maid. When Diana Kendrick took over the household management in 1929,
she expressed her personal desire to do away with the maid service. As she noted in a
letter to her mother-in law,
I wouldn't get
anyone, except to have the Senator be perfectly comfortable – and may not keep
[this one] longer than his stay, if she isn't satisfactory, or if you
think best not.
Apparently Eula Kendrick though it would be a
good idea to keep a maid on staff, as Diana's hiring problems continued
throughout the 1930s, not just with maids, but with cooks as well.
the turn of the century, having a hired source of "muscle power" was seen as an indicator
of status. Unfortunately for those wishing to hire them, the number of women willing and
able to work outside the home was dropping. 1870 census records showed one servant
available to every eight American families. By 1910 that servant/household ratio had
dropped to 1/12, falling further to 1/16 by 1920. Many factors contributed to the decline
in servants, one of the main ones being increased opportunities in the job market due to
the impact of World War One. Men were needed overseas so women were offered work in factories, offices and hospitals.
Domestic service was no longer the only option for those women needing their own income.
Conditions for those working in
factories could be harsh,
but many women were willing to put up with stifling temperatures, low pay and dangerous
machinery rather than return to domestic service. Why was that? Most maids were not
treated harshly or cruelly. They were given a room of their own – for many, it was the
first privacy they'd ever known – and a fairly decent salary. According to author
Elizabeth Hale Gilman, who penned the 1916 book Housekeeping, responsibility often
lay at the feet of the indifferent employer:
Is it not a fact to be considered
deeply, not to say humbly, that girls prefer to work in factories and stores for poor
wages and to live in wretched lodging houses, rather than to receive good wages and live
in our homes? ... One woman complains that her
servants are "disrespectful," another that they are "ungrateful," another that "they do
not care anything about her." Suppose a servant should suddenly turn and ask us, "Do you
care anything about me? Do you know about my childhood? Do you know how many brothers
and sisters I have, and whether my father and mother are yet alive? Do you know what
things make me glad or gay, what interests or hopes I have ? If I am faithful to you,
will you teach me and ... protect my helpless old age?"
As a girl, Eula Kendrick learned
how to do various
housekeeping chores – cleaning, sewing, etc. – from her mother. One thing she did not learn, however, was cooking. Her
father always kept a cook in the house, so Eula and her sister Mattie were given little chance to practice
their culinary skills. While Eula later taught herself the basics, she usually had a cook
Although Eula (or, later her daughter-in-law Diana) decided what type
of meal was to be served on any given day, the cook was the one who knew which meats,
fruits, vegetables and other products were in season and what could be done with them.
Before the advent of refrigeration, a good cook’s abilities were tested daily by the
availability of needed goods at local markets and dairies.
Trail End’s cook was the undisputed queen of the
kitchen. She was responsible for everything from a simple slice of toast in the morning to
elaborate multi-course meals and impressive desserts. Here is one menu as prepared by an
unidentified Trail End cook in 1930:
Caviar & Onion Canapés
Cheese Ring with Stuffed Olives
Clear Soup with Toast Sticks
Fish Mold with Hard-Boiled Eggs and White Wine Sauce
Cucumber Ring with Chopped Radishes
Bread & Butter
Leg of Lamb with Gravy and Mint Jelly
Riced Potatoes ▪ Fresh Peas ▪ Rolls
Lettuce Salad with French Dressing
Molded Frozen Cream with Nuts ▪ Cookies
Coffee & Benedictine
Because the family appreciated a good cook so much, some
stayed for many years. Anna Simmerman, for example, a Swedish immigrant who started with
Eula Kendrick in 1916, was still working here in early 1929 when Diana Kendrick arrived as
a new bride:
She [Mrs. Simmerman] and I are getting along finely.
She tells me what we are going to have! When I get more settled, I hope to do a little
more actual house-keeping than that. Her cooking is really very good.
Anna Simmerman left her job at Trail End in May of 1929, shortly
after the death of her husband, long-time Trail End caretaker George Simmerman. In late
spring of 1930, she returned for a brief while to help out while Diana labored to find a
permanent cook, and continued to work at Trail End off and on until shortly before her
death in 1934.
In Sheridan, domestic servants – paid household
workers – came from a variety of religious, ethnic and racial backgrounds. While some
families employed Asian or African-American men as gardeners and porters, most female
workers were of European descent. Many were daughters of miners who came to Sheridan from
eastern Europe, Ireland, Austria and Scandinavia.
Most maids hired out when they were quite young
and quit working as soon as they were married. In 1930, Diana Kendrick described one girl
she’d just interviewed for a maid’s position:
I did not realize how young she was – only
fifteen – until she came and told me. She is at high school, has never worked out, but is
most eager to work here. She looks healthy, has a nice fresh complexion and dimples,
blonde hair and seems quiet and intelligent. Of course, her age and inexperience are
While some housekeepers and cooks stayed for
years, Trail End’s maids rarely lasted more than a few months. Because of their
inexperience, most made only $30 a month. As soon as higher paying jobs came
along, they left. As noted by Diana Kendrick, such was the case with “Margaret,”
a favorite maid who left in 1929: "I don’t blame her a bit, as she said she’d
had an application in for a job at the telephone office for a year, and will get
$1.75 a day to start, and $70 a month later. She really seemed to hate to go …"
Margaret had been a favorite of Manville Kendrick’s, according to Diana, because
"Margaret is a jewel – we certainly appreciate her. Manville claims she is the
only living maid who will empty an ash try without even being told!
Like most maids in wealthy households, Trail End’s
maids wore uniforms. Nearly everyone is familiar with the traditional uniform of the
American maid: the black dress with white apron and cap has been described in books and
magazines for over a hundred years. This was the same uniform worn by maids at Trail End.
The uniform immediately identified the wearer’s
place in society and its modest design allowed the maid to fade into the background in any
social setting. It was also a sturdy garment and could be worn while performing the
dirtiest work. Most uniforms were provided by the employer, thus saving the maid from
damaging her own clothes (of which she probably had few).
It was not only maids who wore uniforms at Trail
End: the cooks were supposed to as well. In 1933, Eula Kendrick received a letter from
Diana Kendrick, describing the newest cook:
I must warn you that she is unprepossessing in appearance … when you come, if you think
her attire (a vague colored kitchen apron over her dress) too unsightly, we can talk about
FAMILY AT HOME
A look at the history of Trail End's construction
wouldn't be complete without a look at the man who built the house, the family which lived
in it, and their reactions to its existence.
Trail End was the home – and long-time dream – of
cowboy-turned-politician John B. Kendrick (1857-1933). Kendrick family members say it was
his vision that guided the project from the beginning. When his wife, Eula Wulfjen
Kendrick, balked at the thought of living in such a large house, her mother advised her to
support her husband’s wishes. As cousin Mary Kendrick Morgan told Manville Kendrick, "I
heard your grandmother tell your mother not to oppose [your father] about the house, that
he had worked hard and building that house had been a dream of his for a long time."
It was also John Kendrick who gave the house its
distinctive name. In January 1914, Wilbur Burgess, owner of Burgess-Granden, noted in a
letter to Eula:
I think the name Mr. Kendrick has chosen
“Trail End” is certainly very appropriate and original, and so different from what most
people would select. I sincerely hope that the trail may not end for a great many years
Unfortunately, Kendrick’s time in his new home was
limited. After his election as governor of Wyoming in 1914, the family had to relocate to
Cheyenne – only eighteen months after moving into the finished home. Two years later
Kendrick was elected to the Senate and the family moved to Washington, D. C. After that,
Trail End became just a vacation home for John and Eula.
In one way, Trail End did became the end of John
Kendrick’s trail: following his death from a cerebral hemorrhage in 1933, his funeral
service was held in the house.
According to family members, Eula Wulfjen Kendrick
(1872-1961) was not eager to take on the responsibility of such a large home as Trail End.
Mary Kendrick Morgan lived on the ranches during the planning phase of the project. She
later told Manville,
I helped your mother a little on the plans when I
was with you folks and she said then the house was going to be a big responsibility. I
think that your Dear Father wanted the big house much more than she did.
Though she may have been apprehensive about
managing a 13,748 square foot home, Eula was eagerly looking forward to living in town.
Having attended finishing school in Colorado, Eula was trained in both music and public
speaking, but had little opportunity to express herself with either. Long isolated on the
OW Ranch, Eula was anxious to lead a more social life, similar to the one she’d known as a
Since 1895, Eula had been a member of Sheridan’s
Cecilian Club, an organization of society ladies with a shared love of classical music and
literature. Because the OW was so far from town she was not able to attend as many of the
meetings as she would have liked. After moving into Sheridan in 1909, Eula was finally
able to pursue her interest in the arts. She performed at meetings of the Cecilian Club,
and later served as president of the Sheridan Women’s Club (the successor to the Cecilian
Under Eula’s guiding hand, Trail End was the site
of frequent dances, dinners, teas and luncheons. An invitation to Trail End was an
invitation to fine food, lively entertainment and a good deal of intelligent
When it came time to move into Trail End, the
Kendricks’ eldest child, Rosa-Maye Kendrick (1897-1979), was apprehensive. The large
mansion was very different from her lifelong home on the OW ranch. As she noted in her
1913 diary, "Have been in town two or three days now. House was bewildering when I first
came in. Am just beginning to feel at home last day or so." It did not take long for
Rosa-Maye to get into the swing of things, though. In no time, she was attending dances,
hosting card parties and going to the movies. Even though she had to leave the ranch
behind, she was able to bring a part of it with her: her beloved horses were moved to town
and housed in the carriage house.
In 1915, Rosa-Maye went east to continue her
schooling, first attending Ely Court in Connecticut, and later Baltimore’s Goucher
College. Until she married in 1927, she lived in Washington D. C. with her parents, coming
back to Wyoming every summer for vacation. When Rosa-Maye married Major Hubert Reilly
Harmon, her whole life changed. She was suddenly an Army wife whose place was by her
husband’s side. As revealed in a 1932 letter to his son Manville, John Kendrick knew full
well that his daughter would never live at Trail End again: "Your sister will never find
it possible to do this. An army officer is not unlike a Methodist preacher who has neither
a home nor even a native state, but is constantly moving from place to place."
After initial postings in London and New York, the
Harmons later lived in Kansas, Georgia, Texas, California and Colorado. In 1955, Hubert –
by then an Air Force general – served as the first supervisor of the U. S. Air Force
Along with the rest of the family, Manville
Kendrick (1900-1992) moved into Trail End in 1913 … and out again in 1914. Following years
of schooling at Philips-Exeter Academy, Harvard University and Ames Agricultural College,
Manville returned to the west in 1923 to work on the ranches. In 1929, Manville married
Washington debutante Diana Cumming and moved with her into Trail End. While they saw it as
a temporary stop on the road to home ownership, John Kendrick felt that the couple should
make the mansion their permanent home:
My only interest in making recommendations is
to aid you in avoiding mistakes. Real estate … is still on the toboggan and a man could
not induce me to buy a single foot. … It ought to be more economical for you to live
with us than in your own home.
Disregarding her father-in-law’s advice, Diana
bought land in the early 1930s and had detailed house plans drawn up. Even so, she and
Manville eventually abandoned such dreams. Continued family pressure, combined with the
financial downturns of the Great Depression, convinced them to move into Trail End
Like his father, Manville centered his business
activities in Sheridan. Following John’s death in 1933, Manville took over the reins of
the Kendrick Cattle Company and held them until the properties were sold in the late
1980s. Manville and Diana lived in Trail End for thirty-two years. They raised two sons
here, and moved out only after Eula Kendrick’s death in 1961.
1929, Manville Kendrick married Clara Diana Cumming (1901-1987), only daughter
of U. S. Surgeon General Hugh Smith Cumming. Following an extended honeymoon
cruise through the Panama Canal, the couple moved to Sheridan, where Diana took
over the management of Trail End. While she and Manville were new to the task,
Diana was fierce about wanting an opportunity to prove herself to her new
mother-in-law, as she noted in March 1929 (following a few staffing
We truly, truly can handle this, and any situation – and
we’d love an opportunity to prove it to you, and promise not to wreck the house
in doing so! In any case, please don’t come west, or I’ll die of shame.
In the same letter, Diana expressed her
willingness to learn more about what it took to keep a large home running smoothly and
efficiently: "I’d be only too glad to pay the house bills. As you say, it would teach me
something about housekeeping that couldn’t be learned any other way, and I’d love the
Eula was away from Sheridan quite a lot – first
spending time with her husband in Washington and later taking trips to warmer climates for
her health. In her absence, Diana gained a good deal of practical experience in running a
she wrote to Eula about nearly everything that went on at home, Diana didn’t always seek
permission before making changes. Once, she completely rearranged the furniture in the
Drawing Room without first seeking Eula’s approval, only telling her mother-in-law about
it – rather cautiously – well after the fact!
Although John Kendrick purchased the land upon which
Trail End stands in 1895, he waited a dozen years before making the decision to begin
building his "dream home."
John and Eula begin search for architect
Glenn Charles McAlister of Billings, MT
chosen as architect
Ferguson & Pearson begin foundation
Walls and roof in place
Rough electrical and plumbing work begins
Stonework ordered and installed
Walk-in vault installed
Lindner Manufacturing Co. hired to do woodwork
Carriage House completed; Kendrick family moves in
Eula Kendrick begins shopping for furnishings
Miller Stewart & Beaton hired to do interior decorating
Hamling Tile hired to do tile and marble work
Plans in place for installation of pipe organ
Construction halts in early spring due to drought
Work on house begins again in early autumn
D. Everett Waid hired as interior designer
Morell & Nichols begin work on landscaping plan
Burgess & Granden begin creating Trail End's custom light fixtures
F. M. Hamling dies; tile work continues under Omaha Marble
Interior woodwork begins arriving by train
Plumbing fixtures installed
Work begins on grading for landscaping
Window screens ordered and installed
Stationary cleaner installed
First boiler begins to fail
Beaton & Laier take over interior decorating work
Furnishings begin arriving from Grand Rapids
Burgess & Granden warehouse and store burns down
Family moves into Trail End in July
Fuller Studio takes room portraits
First Open House held on New Year's Day
Plumbing & electrical work continues
First group of trees planted on grounds
John elected Governor in November
Kendrick family moves to Cheyenne
Furnace still causing problems
Lawn planted; landscaping finished