Summer 2022 Volume 22.2 | Deutscher Kulturverein | www.germanstl.

org

Männerchor, Ernst Herzwurm, and the

38–th Sängerfest in St. Louis
Michael C. Wendl
Introduction
During the years 1824 to 1827, a German attorney named Gottfried Duden lived in, farmed, and studied the country-
side of Missouri around Dutzow in Warren county, just west of St. Louis, in what is now often referred to as the Missouri
Weinstrasse. He subsequently published a book about his experiences back in Germany that would quickly come to play
a very influential role in emigration to America. Bericht über eine Reise nach den westlichen Staaten Nordamerika’s und einen
mehrjährigen Aufenthalt am Missouri * was a promotional tour–de–force that prompted a massive rise in emigration of
Germanic peoples from the 1830s. Numbers grew dramatically further after the failed 1848 revolutions in Germany and
several neighboring countries and, excepting the years around the First World War, continued to be relatively strong for
decades into the 20th century. And, of course, there was another wave after the Second World War that nucleated the
American Aid Societies, leading ultimately to our present German Cultural Society. Today, at more than 40 million strong,
German–Americans are among the largest ancestry groups in the United States, according to the US Census Bureau.

But I’m getting a little ahead of myself here. This piece is not
actually about Duden, nor his Bericht, nor emigration per se,
all of which are interesting topics perhaps for future exami-
nations. It is rather about one of the distinct cultural revet-
ments that swept–in with German arrivals and that further
developed into a large, nationally–organized movement. I
am referring here to the phenomenon of the male chorus.
Along with many traditional organizations and activities like
Sport & Turnvereine, Schiesswettbewerbe, Volkstanzgruppen,
and Blasskapellen, ** came the Männerchor. This was not the
informal Gemütlichkeit variety of card–playing and beer
garden singing, but rather consisted of organized and di-
rected orchestral groups that gave formal performances and
recitals. And, as with many of the other traditions just noted,
festivals and friendly competitions geared around singing
arose soon thereafter. This article introduces some of the
history of the Männerchor in America, ultimately coming to
focus on a large event that took place in St. Louis in 1934,
namely the 38–th Sängerfest (Fig. 1) and the contributions
of one of its important directors, Ernst Herzwurm.

Figure 1: Official banner of the North–American Sän-

gerbund’s 38–th Sängerfest (postcard from author’s
collection). It depicts the Greek Muse of song, Erato,
and her cherubic attendants on a throne supporting
a pendant of King Louis IX of France, namesake of St.
Louis. This edifice is flanked by names of classic com-
posers, as well as portraits of Franz Schubert (left)
and Stephen Foster (right), reflecting the emphasis on
music of both the Old Country and the New Homeland.
A scroll at the top announces the festival. The staff at
bottom is from the Richard Wagner opera “Die Meis-
tersinger von Nürnberg”, which symbolizes the high
level of singing skills to which Männerchor aspired.
* The title translates roughly to The story of my trip to the western states of North America and my several–year stay in Missouri. See reference [1].
** These are clubs and activities respectively organized around soccer & gymnastics, rifle–shooting competitions, folk–dancing, and brass music.
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Growth of Männerchor in America

By the 1840s, German–American Männerchor were springing–up all over the midwest and the east coast, with notable early
groups in Cincinnati, Louisville, and Columbus and significant clusters of groups appearing in cities like Cleveland, Detroit,
Chicago, Buffalo, Milwaukee, and St. Louis. There soon was a call to coordinate activities, including visiting performances among
clubs, with some sort of larger structure that would organize Männerchor at a national level. In 1849, that vision was realized in
the form of the newfound North–American Sängerbund. Chartered in Cincinnati, the Sängerbund organized a national singing
festival, a Sängerfest, in that same year. A total of 5 societies attended, with singers numbering about 120. This was impressive in
the days of horse and buggy and when rail travel was still relatively unusual.
A national Sängerfest would subsequently be held every year for more than a decade, mostly in various Ohio cities, until the
existential crisis of the US Civil War erupted. Priorities changed immediately, of course, and singing was among the many activi-
ties that were set aside as men went off to fight. After 4 bloody years, the war’s conclusion brought earnest attempts to return
to normalcy. For many German–Americans, this meant that singing with the Männerchor would now blossom into a new era.
National gatherings had already resumed by 1865, with 17 groups numbering about 300 singers meeting in Columbus, Ohio for
the 13–th Sängerfest. But interest expanded briskly. The 1866 festival in Louisville swelled to 800 singers from 31 groups and the
1867 gathering in Indianapolis topped 1000 singers [2]. The growing logistics of moving and hosting such large groups prompt-
ed the Sängerbund thereafter to switch to a schedule of every other or even every third year for roughly the next 5 decades.
These figures are interesting, but it would be a mistake to boil
this all down to just collegial singing performances and festival
attendance numbers. The Männerchor phenomenon in the
United States actually developed into something much more,
namely a social structure having its own customs, traditions,
and hierarchies. This was especially true in cities sufficiently
populated with German–Americans to sport multiple clubs,
rather than just one or two. Membership certainly depended,
to some degree, on where one lived, since transportation
was still very primitive by the standards we are accustomed
to today. But, it was also a function of other factors, including
where a man’s family had come from in the Old Country, as
well as how he made his living (e.g. laborer, professional, or
businessman) and what his social and financial statuses were.
For example, in St. Louis, the Deutsch–Ungarischer Arbeiter
Männerchor (of which my maternal grandfather was a mem-
ber) catered to the “working man” (the literal translation being
the “German–Hungarian Workingman’s Chorus”), while the
Liederkranz Club was comprised moreso of professionals and
businessmen, counting among its members restaurateur Tony
Faust, brewers August A. Busch Sr. and William Lemp, and gro-
cer Herman Kroeger [3]. You could actually know a lot about a
man from his Männerchor affiliation and, in fact, the question
“Which Männerchor group do you belong to?” (asked invari-
ably in German in those days) served much the same func-
tionality as the question “Where did you go to high school?”
does today. However, these Männerchor also had a great deal
in common, including a keen sense of musical taste, from the
great composers, to folk songs of the Old Country, to classics
of the New Homeland. This musical unity was reflected in, for
example, the North–American Sängerbund standard reper-
toire (Fig. 2), which included works by Beethoven and Wagner,
volkslieder like Muss I Denn, and patriotic songs like America
(My Country, ’Tis of Thee) and The Star–Spangled Banner.

Figure 2: First edition of the standard repertoire for Männerchor chapters of the North–American Sängerbund published
in 1902 (author’s collection). The repertoire was sanctioned by the Sängerbund advisory board and separate staffs were
published for different voices, this one being for bass singers. The stamp in the upper right corner indicates that this
particular copy once belonged to the Chouteau Valley Männerchor, one of the many groups that once existed in St. Louis.
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St. Louis was certainly among those cities in which the Männerchor phenomenon flourished to its fullest cultural extent.
Duden’s book [1] attracted early settlers, whose economic successes gave rise to something of a feedback loop that at-
tracted evermore German immigrants. Most found ready employment in St. Louis’ growing industrial and commercial
bases, becoming permanent residents rather than passers–through. Many would join the ever–expanding collection of
active Männerchor. Rippey’s St. Louis Index [4] already listed 24 separate groups by 1888, among them the Apollo Gesangv-
erein (1408 Salisbury, north St. Louis Hyde Park neighborhood), the Chouteau Valley Männerchor (2817 Chouteau Ave. in
midtown; one of their songbooks is shown in Fig. 2), Germania Sängerbund (Broadway and Park Ave., downtown), Har-
monie Männerchor (4820 North Broadway, north St. Louis near O’Fallon Park), the Liederkranz Club (13th and Chouteau near
Lafayette Square), the Orpheus Sängerbund (226 Market near the riverfront), the North St. Louis Bundeschor (1623 North 14–
th Street, old north St. Louis), Rock Spring Sängerbund (Manchester and Clayton Roads), St. Louis Liedertafel (3419 1/2 South
Broadway at the Lemp Brewery), and the Teutonia Gesangverein (22nd and Benton, St. Louis Place). By 1912, Glaesser’s
Directory [5] had expanded this list to 39 active singing groups and clubs within the St. Louis area.
Although many of these clubs met and rehearsed at rented facilities, the more affluent ones were able to erect massive
“temples of song” that rivaled the great halls raised by other building–minded societies, like the Masons, Odd Fellows,
and Elks. This was probably nowhere more true than with the Liederkranz Club, which owned and/or built several such
structures. Fig. 3 shows perhaps their most well–known home, the New Liederkranz Hall, which opened in 1907. Following
the southwesterly expansion of St. Louis City that had already established itself by that time, the Club sold its original hall
on 13th and Chouteau, moving about 3 miles further out to the corner of South Grand and Magnolia at the eastern edge
of Tower Grove Park. The building, designed by the firm of Helfensteller, Hirsch, and Watson, fronted 120 feet on Grand
Avenue, with a depth of almost 180 feet and was erected at a cost of $100,000 [6]. (That sum translates to about $3 million
today.) It sported all the necessary facilities for the society’s members, including bowling alleys, billiard parlors, banquet
rooms, library, separate ladies’ facilities with a private cafe, and of course, a 5,000 square foot concert hall and ballroom. ***

Figure 3: The Liederkranz Club Hall at South Grand and Magnolia circa 1910 (image cropped from a postcard
furnished by the Mary Alice Hansen Postcard Collection, courtesy of the Missouri State Archives).

Typically, clubs’ social functions also extended into the realm of dances, formal balls, and masquerade parties (especially
Karneval a.k.a. Fasching during the period preceding the Lenten season), which, as “society events”, were duly covered
by newspapers of the day. A February 12, 1888 article in the St. Louis Post–Dispatch recounted the almost 2,000 Karneval
revelers that had descended upon the Liederkranz Club the prior evening, giving detailed descriptions of individual ladies’
costumes and noting the long lines of horse–drawn carriages up and down Chouteau Avenue that resulted in what was
*** For more Liederkranz–specific history, see Michelle Heitmann’s article in the Summer 2020 issue of the Rundschreiben [7].
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probably one of the earliest traffic jams in St. Louis. For the Orpheus Sängerbund Faschingsball the following season, that
same newspaper wrote on February 17, 1889:
At 10:30, Vollrath’s Orchestra struck–up the Pappenheimer March and the grand entry took
place…The costumes were remarkable, not only for their beauty, but also for their histori-
cal accuracy…Dancing was kept up until an early hour in the morning, and all departed
greatly pleased with the entertainment.
There was another aspect, too. As is typical with almost all socially–structured and/or ethnic communities, marriage pros-
pects had to be considered and perhaps even promoted within socially–acceptable norms. Männerchor balls also served
in this more subtle capacity for debutante and match–making purposes [8].
Other types of social functions were also common, with the old–style card party being a perennial favorite. Revelers
tended to play “trick–taking” card games popular in the Old Country, like Pinochle, Fuchser, or Euchre, as well as Lotto, a
“covering” type of game that was a forerunner to modern Bingo. Fig. 4 shows an admission ticket to a card party thrown
by the Herwegh Sängerbund in 1923 at the German Freethinkers (Freie Gemeinde) Hall, a.k.a. the Dodier Hall, at 20th Street
and Dodier in the St. Louis Place neighborhood. Note the ticket number of 894. As with the masquerade balls above,
these gatherings were large, significant social events within the German–American community. They were important
to attend, as well as to be seen attending. The practice of organizing social events around games (as opposed strictly to
music and dancing) would diffuse into larger American culture and remains alive and well today, for example in the bingo
and trivia nights held by numerous non–profit, civic, and church organizations. Note also that, except for the society’s
name, the entire ticket is printed in English, rather than German. In the years following the First World War, Männerchor
became evermore conscious of avoiding the fallout of ongoing anti–German sentiments.

Figure 4: Admission ticket to a 1923 Herwegh Sängerbund card party (author’s collection).

Ernst Herzwurm: Männerchor Dirigent

Around this same time, one Ernst F. Herzwurm was completing his studies at the Aachen Conservatory and Cologne State
University in Germany. Intending to leave for America, he made his way to the port of Antwerp, boarded the SS Lapland,
and arrived in New York City in October of 1922. As an educated man, Herzwurm (Fig. 5) had little difficulty with passing
then–mandatory immigration tests and had already arranged his final destination to central Kansas, specifically to a tiny
hamlet called Belpre, where he had an uncle. However, by 1927, he was living in Edwardsville, Illinois, a small community
a few dozen miles northeast of St. Louis. He had tacked–up a shingle as a piano teacher, operating out of a small studio
at 117 1/2 Purcell, being one of six professional music instructors listed in Polk’s Edwardsville City Directory [9]. Earning a
living in music has never been considered especially easy, or even necessarily secure. Then, as now, it usually meant culti-
vating a large and stable clientele of paying students to augment whatever professional income one might make. In the
meantime, Ernst had met and married his wife Helen, and they would soon start a family. Nearby St. Louis seemed to offer
much more opportunity for the young couple.
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Ernst and Helen eventually set–up housekeeping in a $62.50 per month apart-
ment on Harter Avenue in Richmond Heights, an inner–ring suburb of St. Louis,
with their infant son Ernest. The 1930 US Census lists Herzwurm’s profession as
a teacher of both piano and organ, but he also gave other lessons, especially
in voice. Because he spoke English, he could cater both to established St. Louis
society, as well as to the more affluent German immigrants who desired first–
rate professional instruction for their children. A piano was a relatively expen-
sive musical instrument to own in those days and proficiency of voice and key
was one hallmark of a cultured Ausbildung. Polite society still considered such
cultivation to be especially important for the eligible young lady of the house-
hold, a point personified by a scene in the 1944 MGM movie Meet Me in St.
Louis, with Lucille Bremer at the piano and Judy Garland singing in the parlor
of their home prior to the opening of the 1904 World’s Fair.
Besides teaching and performance fees, there were various other ways a pro-
fessional musician might augment income, including arranging and transcrib-
ing music. (This generally had to be done by a union–affiliated musician, who
in St. Louis would have been a member of the American Federation of Musi-
cians Local 2.) However, in those Männerchor heydays, there was yet one other
Figure 5: Ernst Herzwurm at about 36 avenue open to certain qualified music professionals, that of chorus director.
years old, circa 1934 (image from Ref The director’s position was a technically demanding job and groups were
[2], author’s collection). extremely eager to have educated music men at their helms. Of course, since
singing was both in English and in German, bilingual ability was also a must.

In April of 1931, the longtime musical director of the Liederkranz Club, Hugo Anschuetz, passed away unexpectedly at
the age of 51. The Sunday edition of the May 3 Post–Dispatch estimated that 2,000 people had gathered at the St. Louis
German House on Lafayette Avenue to pay their respects. With banners of 40 Männerchor clubs surrounding the casket,
eulogies were delivered by a passel of dignitaries, including the German Counsel Georg Ahrens and the North American
Sängerbund president Fred Nuetzel. A combined chorus of over 200 sang Schubert’s Sanctus. With Anschuetz’ passing, the
Liederkranz had big shoes to fill, especially as it and the other Männerchor would soon start preparing for the next national
Sängerfest to be held in St. Louis. After some consideration, Ernst Herzwurm got the nod as the new dirigent (conductor)
of the Liederkranz and would go on to make his debut at the 1932 spring Liederkranz concert held at the Grand and Mag-
nolia building (Fig. 3).

The 38–th Sängerfest in St. Louis

Planning a national Sängerfest presented the same kinds of logistical problems as something like the Olympic Games do
today in that thousands of people had to be transported, housed, ferried to venues, and fed. The prior 37–th Sängerfest,
held in Detroit in 1930, had drawn more than 4000 active participants from 110 Männerchor clubs [2], not to mention their
families and many thousands of paying concert–goers who attended. The 38–th Sängerfest slated for 1934 in St. Louis was
expected to top those figures. The national gathering had not actually been held in St. Louis for more than 30 years, when
the 31–st Sängerfest in 1903 was among the “warm–up” events preceding the gigantic Louisiana Purchase Exposition,
a.k.a. the 1904 St. Louis World’s Fair. (The 31–st festival was actually held in the not–yet–completed Palace of Liberal Arts on
the fairgrounds at the east end of Forest Park.) A suitable venue would be needed here, but the established stand–by was
the old St. Louis Coliseum at Washington and Jefferson Avenues and it had seen better days, not to mention the significant
logistical headaches it posed. On the other hand, the St. Louis Arena bordering the south edge of Forest Park had just been
completed in 1929, and, with a capacity of more than 14,000, it would fit the bill. The Sängerfest organizers secured the
Arena for the main 3 days of concert activity scheduled for May 31 through June 2, 1934 (Fig. 6).
Ernst Herzwurm’s reputation had grown considerably since becoming the Liederkranz director only a few years prior and
he was invited to serve as a member of the musical advisory board for the 38–th Sängerfest, which he accepted. In fact,
Herzwurm and fellow board member Karl Reckzeh from Chicago were further tapped as the head choral conductors for
the festival (Fig. 6), with Herzwurm slated to direct the gigantic Empfangs Konzert (reception concert) on opening night [2].
In its May 29, 1934 issue, the Post–Dispatch predicted the attendance for the 38–th Sängerfest at over 10,000. This would
include a massed chorus of 4000 singers, a combined chorus of 2000 children drawn from St. Louis catholic and public

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Figure 6: The North–American Sängerbund ran this advertisement in the St. Louis newspapers promoting the upcoming
38–th Sängerfest. The festival’s venue, the St. Louis Arena, appears in the background (lower right). At this time, the Are-
na still sported its grand entrance towers, which would later be damaged in a 1959 tornado and subsequently removed.
school glee clubs, as well as noted soloists Helen Traubel and Frederick Jagel of the New York Metropolitan Opera, and recent-
ly–retired New York Symphony Orchestra conductor Walter Damrosch directing the musical accompaniment of 76 pieces [2].
The allegorical banner designed for the festival (Fig. 1) hinted at the program and, on opening night, Ernst Herzwurm presided
over a massive vocal interpretation of the works of Beethoven, Wagner, Schubert, and Foster [2]. The concert, which began
promptly at 8:15 PM, sported such a power–packed schedule that the program announced that no encores would be given.
Helen Traubel was accompanied by Damrosch’s orchestra and Herzwurm also directed the Ladies Auxiliary Chorus, which sang
several selections from Max Reger near the end of the evening. The closing piece was Psalm 150, in which Herzwurm conduct-
ed the entire ensemble. Thomas Sherman, who was covering the festival for the Post–Dispatch, wrote the following day that:

…the singing was remarkable for its solidity, coherence, unity, and the balance between
the four sections of basses and tenors…Mr. Herzwurm, by an illuminating distribution of
emphasis and careful regulation of the dynamics made the interpretation very expressive.
Ernst Herzwurm’s magnum opus had been a success, even with the critics.
The festival would continue for several days, but Herzwurm could now relax to some degree and enjoy the rest of the shows.
Directorial responsibilities for the full–scale evening concerts would now shift to Herzwurm’s Chicago counterpart, Karl Reck-
zeh. The smaller matinees would feature individual groups led by their own conductors, including the Catholic and Evangelical
Church choirs, the McBride High School Glee Club, the Akron Liedertafel, and the United Singers of Chicago. Well–wishes for
the success of the 38–th Sängerfest had rolled in from all corners, everyone from local dignitaries, like St. Louis Mayor Bernard
Dickmann, all the way to the German Reichspräsident Paul von Hindenburg and the President of the United States, Franklin
D. Roosevelt. Reprinting these greetings ran to 13 pages in the souvenir program that commemorated the event [2]. These
well–wishes were born out and, by any measure, the festival had been a smashing success. The Sunday edition of the Post–Dis-
patch for June 3, 1934 reported an attendance of 7500 for the closing concert the prior evening and said all that remained was
the delegates’ meeting at the Jefferson Hotel to select new national officers and to open preliminary discussions for the next
festival. The 38–th Sängerfest was now in the history books.
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Epilogue
Ernst Herzwurm would go on at various times to direct not only the Liederkranz, but also the Harmonie Männerchor, the
Apollo Chorus, and the Bäckermeister Gesangverein (Master Bakers’ Union Chorus). He and his wife Helen would ultimately
have 6 children, 3 each of boys and girls, and live a comfortable life in the Holly Hills neighborhood of south St. Louis City
near Carondelet Park. Ernst died in 1964 and Helen followed in 1992.
Singing societies remained strong in St. Louis for many decades after the 38–th Sängerfest, but by the 1970s they were ex-
periencing the kinds of membership pressures that inevitably arise as the social landscape evolves. Some groups disband-
ed, while others joined forces. Today’s Deutscher Männerchor was born out of the 1986 merger of 4 independent organiza-
tions [10], the Eden Club Männerchor founded in 1928, Harmonie Männerchor founded in 1885, the Swiss Singers founded
separately as the Schweitzer Männerchor in 1872 and Schweitzer Damenchor in 1907, and finally the Schwaben Sängerbund
founded in 1903 (Fig. 7), to which my maternal grandfather Nick Holzinger belonged. Led by longtime president Klemens
Wolf, they are still singing. Norman Cleeland is still at the helm of the Liederkranz Club, which has the distinction of being
the oldest extant society (from 1870) in St. Louis [10] and which recently welcomed members of the ladies’ chorus of the
German Cultural Society into its ranks.

The venues I have mentioned in this article have generally not

fared as well. While the Schwaben Hall (Fig. 7) is still standing,
others are gone. The New Liederkranz Hall on South Grand (Fig.
3), which had since been a Masonic building for some decades,
was torn down in 1963. The St. Louis Arena (Fig. 6) had a long and
storied history as a sports venue. I fondly remember my father
taking my brother and I to many St. Louis Steamers’ soccer games
there as kids, long after the voices of the 38–th Sängerfest had
faded. It was torn down by a spectacular implosion in 1999 and
a passel of smaller commercial buildings now stands in its place.
The demise of the Dodier Hall (Fig. 4) in north St. Louis is much
more tragic. Vacant and later abandoned, it was left to gradually
deteriorate for decades, partially collapsing in 2013, until it was
finally destroyed by a suspicious fire in 2021.
Germans first arrived in America in 1683 [10] and Americans of
Germanic heritage have contributed enormously to the cultural,
commercial, and intellectual developments that have built our
country into what it is today. There has always been an element
of conscious assimilation, perhaps somewhat more than with
other large immigrant groups, like the Italians and the Irish,
Figure 7: Membership badge of the Schwaben because of the long shadows of two World Wars. Today, many
singing society, founded in 1903 (author’s people of German descent might only have a vague awareness
collection). Like the Liederkranz, the Schwa- of their heritage or fuzzy memories of their grandparents or
ben owned their own hall, acquired in 1915, great–parents speaking or singing in German, playing Fuchser, or
at 3514 South Jefferson, just a block north talking about the Old Country. There is a good chance that some
of the present German Cultural Society hall. of these same ancestors once belonged to a Männerchor group.
That building would be their home until they Today’s growing collection of genealogical organizations and re-
combined with 3 other organizations in 1986 sources, including online tools, open–up many opportunities for
to form the Deutscher Männerchor. researching these ancestral connections and the many contribu-
tions these people made to American life.

Acknowledgement
The author wishes to recognize the late Karl Kasper for gifts of several historical Männerchor–related artifacts, including
the Liederbuch in Fig. 2. This book belonged to the Chouteau Valley Männerchor that Kasper once directed and for which he
was, in fact, the director–of–record at the 38–th Sängerfest [2]. Like Ernst Herzwurm, Kasper was prolific in that he ulti-
mately conducted many of the various St. Louis groups at one time or another throughout his career, including the Bäcker-
meister Gesangverein and the Eden Club Männerchor.

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References
[1] Duden G: Bericht Über eine Reise Nach den Westlichen Staaten Nordamerika’s und Einen Mehrjährigen Aufenthalt am Mis-
souri. Bonn: Eduard Weber, 2nd edition 1834.
[2] Der Nord–Amerikanische Saengerbund: 38th Nationales Saengerfest des Nord–Amerikanischen Saengerbundes. St. Louis
MO: Kohler & Co. 1934.
[3] Marquis AN: The Book of St. Louisans: A Biographical Dictionary of the Leading Living Men of the City of St. Louis. Chicago:
Marquis and Company, 2nd edition 1912.
[4] Rippey J: Rippey’s Index Map and Business Guide of St. Louis MO. New York NY: Joseph Rippey Co. 1888.
[5] Glaesser J: Deutsch–Amerikanisches Vereins–Adressbuch. Milwaukee WI: German–American Directory Publishing Co.
1912.
[6] Choisel FW: New Liederkranz Building on Grand Avenue Will Afford Fine Home for Singing Club. The Realty Record and
Builder 1906, 13(4):11.
[7] Heitmann M: The St. Louis Liederkranz German Singing Club. Deutscher Kulturverein Rundschreiben 2020, 20(2):17–20.
[8] Bungert H: The Singing Festivals of German Americans, 1849–1914. American Music 2016, 34(2):141–179.
[9] Polk RL: Edwardsville City Directory. St. Louis: Polk Co. 1927.
[10] Cook N, Hammes J, Hammes M: German–American Tricentennial Celebration: Zum Andenken. St. Louis MO: German–
American Tricentennial of St. Louis Mo Inc. 1983.

Your Kolbasz Maker

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