First Congregational Church and the Deere Family

  • By Gretchen Small
  • 26 Oct, 2020
I am often asked, “What church did the Deere Family belong to?” My answer is the First Congregational Church of Moline. The church was chartered in January 1844, three years prior to John Deere’s move from Grand Detour to Moline. Eighteen charter members are listed in the church records, including Mr. and Mrs. Charles Atkinson. More on why they are important later.

The Methodists and the Congregationalists were the early churches in Moline, which makes sense. Moline was founded by settlers from northeast United States with Puritan backgrounds. Then later as Swedish immigrants arrived a Lutheran church was organized. In 1847, John Deere moved his family to Moline. His growing business necessitated the move as his plow shop needed the more reliable waterpower of the Mississippi River and the supply lines of the river and coming railroads. It was those same northeastern founders of Moline that enticed John to select Moline as his new home. John, who was born in Vermont, probably felt comfortable with his new community.

Soon after, John Deere was added to the Congregational Church roll. Very little is known on how active John and Demarius Deere were in their church. Snippets include John being on the building committee in the late 1860s. His daughters and their spouses were also members. His son-in-law, Stephen H. Velie, participated in fundraising by hosting an oyster supper at his home.

The original fundraising goal was $15,000, but the final cost totaled $33,000. Through more fundraising the final debt came in at $7,200. J.S. Keator and John Deere started a final drive by pledging $1,000 each. Supposedly John was known for giving initially a smaller gift to a collection and would later send by mail a larger sum.

Now back to why I mentioned Mr. & Mrs. Charles Atkinson. As an original founder of Moline, Charles Atkinson was most likely one of the leaders sent to entice John Deere’s move to Moline. Included in the Deere family was their young son Charles Deere. By 1860, the 23-year-old Charles married Mary Little Dickinson of Chicago. Mary's uncle was Charles Atkinson. Mary Deere quickly became involved with the church and was an officer in the Ladies Aid Society.
Photos of Charles and Mary Deere
Charles and Mary Deere
Photo of Church pew assignment
1899 Pew Diagram with Names of Renters - C.H. Deere eighth row from front
In the late 1800s, a new generation of Deere family became active in the church. Namely Charles Deere, Merton Yale Cady and later Katherine & William Butterworth. MY Cady married Alice Deere, John Deere’s youngest daughter. Cady was known best as “so genial and skillful was he as chef for picnics and suppers,” which aided in church fundraising.
Photo of Merton Yale Cady
Grandson Warren Skinner with Merton Yale Cady
William and Katherine Butterworth’s names pop-up in the church history as actively involved in various endeavors. In 1898, the church began talking about a major remodeling of which the couple was appointed to the building committee.

I imagine that when the church decided to build a church at a new location in 1917, William and Katherine were involved. That location is still used today at 2201 7th Ave, Moline.

And finally, the story of the Deere family’s relationship ends with Katherine Deere Butterworth (Charles Deere's daughter). In 1938, the church needed more seating for their larger congregation. Katherine stepped forward and offered to remodel and enlarge the sanctuary as a memorial to her parents, Charles and Mary Deere. The remodeling would provide additional seats and a new chancel. The completed cost of the project was $122,000, paid by Mrs. Butterworth.
Katherine Deere Butterworth
“Memorable virtues of Charles H. Deere and Mary Little Deere are emphasized in left and right panels of the window by biblical characters whose lives typify the outstanding traits of the couple. The panel at left, dedicated to the virtues of Mrs. Deere, displays these figures: Ruth, for love; Martha, for service; and Esther, for loyalty to her community and people. In the panel at right, in tribute to the characteristics of Mr. Deere: are the figures of David, for music and arts; Paul, for the pioneering spirit; and Daniel, for courage." The First Congregational Church of Moline: A One Hundred and Twenty-Five Year History 1844/1969
Photo of Chancel
Charles H. Deere and Mary Little Deere Memorial Chancel
An excellent source for much of this material came from The First Congregational Church of Moline: A One Hundred and Twenty-Five Year History 1844/1969 available at the Rock Island County Historical Society Library. The book is an extensive history of the church.

Side Note: One funny story found in the book describes an event during the wedding of Katherine and William Butterworth in 1892. Not sure if this would be the lighter touch I would want at a wedding.

“When Katherine Deere and William Butterworth were married, Alice (Wheelock) and some other girls put up a ladder outside one of the church windows to watch. They were tending a baby, also named Katherine, in a carriage at the foot of the ladder. In the midst of the quiet wedding ceremony the voice of the baby-sitter came through the open window: “Lie down, Katherine, dear.” This surprise provided the lighter touch which every wedding needs.”
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If you have not watched any of our YouTube videos at our channel Deere Family Homes, we encourage you to check out the April 2022 video. The video features the story of one painting hanging in the Deere-Wiman House. The painting’s artist is Alexander Harmer.

We are lucky to have four paintings in our collection that were created by Harmer. It made sense for us to learn more about Harmer and see if we could determine why we have so many paintings from one artist. I love all four pieces and wanted to know more about the artist and determine if there was a connection to the family. Three of the paintings hang in the Deere-Wiman House and one at Butterworth Center. So, it was not just one family member that took an interest in his work.

We know that William and Anna Wiman moved to Santa Barbara in the 1890s. Then about 1906-07, William and his sons moved back to Moline following Anna’s death. The Santa Barbara house was still owned by the family, and by 1914, Katherine and William Butterworth began to use the house. In addition to the house in Santa Barbara, the Butterworths also owned a residence in the San Marcos Pass area. Mrs. Butterworth continued to spend part of the winter in Santa Barbara until her death in 1953. We also know that Charles Deere Wiman and his family had a home in the area, as early as the 1920s.

Did any of the family know Alexander Harmer? We wish we knew. It is possible since Harmer’s life in Santa Barbara does overlap with the Butterworth and Wiman families. Or maybe the family did not know Harmer but was drawn to his art and purchased pieces through art dealers.

Alexander Francis Harmer was born in 1856, in Newark, New Jersey. One source I read said that he sold his first work at the age of 11 for $2. Then at the age of 16, he lied about his age and joined the United States Army. He was stationed in California, which I think is the time period his artistic interests changed. He turned towards painting and illustrating the Apache Nation. The year would have been 1872, and the US Army would have had a large presence in the West with the enforcement of federal Indian policy (which consisted of allotment of land and assimilation.)

After just one year, Harmer asked for a discharge and left the military. He worked as a photographer’s assistant until he was able to enroll in art school. He studied art under Thomas Eakins and Thomas Anshutz at the Pennsylvania Academy of Fine Art. In 1881, he re-enlisted in the Army and headed to his assignment at Fort Apache, Arizona. Harmer probably saw the Army as a cheap way of traveling West to continue his interest in the American West and the Apache Indians. During this enlistment, he was able to serve in an Army division assigned to pursue Geronimo. His studies of Indian life created an invaluable record. Harmer then returned to the academy in Pennsylvania where he turned his sketches of the Apache Nation into illustrations for Harper’s Weekly.

In 1891, Harmer returned to California, and in 1893, he married Felicidad Abadie. The Abadie family was one of the pioneering California families. The couple settled in Santa Barbara, which led to Harmer being remembered as “Southern California’s first great painter of the 19th Century." At this time, his work revolved around a series of paintings of the Old California missions under Mexican rule. They resided on De La Guerra Plaza, which included the Adabie family home. From 1908 through the 1920s, Harmer established the first art colony on the West coast. Studios were added to the Spanish-Colonial adobe home of the Harmers, where many up and coming artists worked.
Alexander Harmer died on January 10, 1925, supposedly while admiring the sunset from his backyard. This was just six months before the Santa Barbara earthquake, which left the Harmers' adobes in ruins.

All four paintings are signed Alex. F. Harmer, but only two are dated. Below are photographs of the four paintings in the collection.
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