The Story of Kate Warne, America's First Female Private Detective

The young woman smiled as she met her brother at a train station in Philadelphia on the evening of February 22, 1861. Her sibling was tall but stooped over and covered in a shawl, rendering his facial features difficult for passerby to discern. To anyone who asked, she explained that her brother had taken ill and needed some breathing room.

On the sleeper car of the passenger train, the woman slipped cash to the conductor, urging him to avoid placing anyone else at the rear of the car. Accompanied by three other men in addition to her sibling, she settled in for a long night’s train ride.

It was no ordinary trip, however. The woman had lied when she said the man was her brother. In fact, he was president-elect Abraham Lincoln, traveling through a hotbed of secessionist activity on his way to his inauguration in Washington, D.C. Her name was Kate Warne—and she was the first female private detective in America.

 

Given her status as a pioneer in law enforcement, surprisingly little is known about Warne’s past. No verified photos of her are known to exist, and she left behind no comprehensive chronicle of her landmark work. Then again, adopting various guises in the pursuit of intelligence meant that obscuring her true history was often a matter of professional obligation.

Warne was born in Erin, New York, in 1830 or 1833. Coming from a family of modest means, she had only a limited education. She was interested in becoming an actress, but her family opposed the idea and she soon abandoned that ambition. While she later described herself as a widow, there are no details about her marriage or the fate of a husband, who reportedly died in an accident. Warne’s life seemed to begin in 1856, when the 23-year-old walked into the Pinkerton National Detective Agency offices in Chicago and declared that she would like to become a detective.

Pinkerton was named for and run by Allan Pinkerton, a Scottish immigrant who worked as a deputy sheriff and for the Chicago police department. In the 1850s, he opened a private agency that soon had offices in several major cities. The Pinkerton name became renowned for its diligent approach to complicated matters that perplexed local law enforcement.

Pinkerton had high standards, but he was also prey to the gender biases of the era. Female police officers or detectives were virtually unheard of at the time, and Pinkerton assumed the young woman in front of him—whom he later described as “slender, graceful in her movements, and perfectly self-possessed in her manner” with “eyes filled with fire”—was looking for secretarial work.

Warne corrected him. She pointed out that he had placed an ad looking for new hires and that she had come to Pinkerton for the express purpose of becoming a private detective. She explained that his force lacked a key component when it came to gathering intelligence—being able to assume the role of a woman’s confidante. By ingratiating herself, she said, she would be likely to discover information about crimes plotted by husbands, who tended to make their wives privy to schemes that involved enriching the family’s coffers. And she would also be able to take advantage of the fact that men tended to brag when women were around.

Pinkerton was not wholly convinced. It took several meetings with Warne before he decided to ignore convention and hire her. Later, Pinkerton would describe her as one of the five best agents he had ever employed.

A compelling dossier of cases followed. In 1858, Warne was tasked with obtaining a lead on a case involving the theft of $10,000 from the Adams Express Company railroad. The agency suspected a man named Nathan Maroney, the manager of the company’s Montgomery, Alabama, offices, since he was believed to be the last employee to see the money before it disappeared. Warne was dispatched to Montgomery, and when she arrived, she quickly charmed Mrs. Maroney. She soon divulged that her husband had not only taken the cash, but that she knew where to find it—hidden in Jenkintown, Pennsylvania. Nathan Maroney was convicted, and all but a few hundred dollars recovered.

On another occasion, Warne thwarted a plot to poison a wealthy Captain Sumner by posing as a fortune teller. Pinkerton rented out a space for her to ply her trade—which she quickly learned from books on the subject—and hosted Sumner's sister, Annie Thayer. Thayer was impressed by Warne's knowledge of her life, which had been prepared by the Pinkterton agents. Trusting that Warne had a real gift for divination, she eventually disclosed that she was under the direction of a lover named Mr. Pattmore to assist in the murder of Pattmore's wife and her own brother, Captain Sumner, so they could enjoy his fortune. (Pattmore was convicted of his wife's murder and spent 10 years in prison; the pair were caught before they could murder Sumner.)

Warne’s success in these efforts was due in large part to her demeanor, which Pinkerton would later describe as being warm and affable. People seemed eager to share secrets with her, even if those secrets were incriminating. But part of it was also Warne’s unique place among law enforcement officials. Early on, no one could suspect her of being a detective because it was considered impossible that a woman would be occupying that role.

 

As successful as Warne was, it was her efforts on behalf of Abraham Lincoln that became the highlight of her career.

Shortly before Lincoln’s inauguration in March 1861, railroad magnate and Lincoln ally Samuel Morse Felton realized that the secessionists stirring against the new president were growing more dangerous by the minute. There were even rumors they might interfere with railroads to and from Washington to disrupt Lincoln's entry into office. In the absence of a Secret Service, which had yet to be conceived, Felton wrote to Pinkerton for assistance.

Though Felton didn’t yet know it, the secessionists planned on more than just blocking Lincoln’s travels from Springfield, Illinois: Lincoln was also receiving death threats involving everything from a knife to a spider-filled dumpling.

Allan PinkertonBrady's National Photographic Galleries, Wikimedia // Public Domain

Felton and Pinkerton met in Philadelphia. Pinkerton advised that any true threat against the president was likely to materialize in Baltimore, the only major slaveholding city on Lincoln's itinerary aside from Washington, as well as an inevitable stop—all potential routes to the inauguration involved a stop there. Worse, Lincoln planned to arrive at one train station and then depart from another one mile away. There would be ample opportunity for a person or persons to commit an assault.

Pinkerton dispatched several agents to investigate, including Warne, who posed as a southern ally complete with an accent and a cockade, or a knot of ribbons that signaled Southern sympathies. It was a routine she had already practiced during the train robbery investigation. Pinkerton himself also went to Baltimore to investigate, posing as a stockbroker.

Collectively, the Pinkerton agents assembled a portrait of conspirators who were planning to intercept Lincoln as he changed trains in the city. The plan had been concocted by one Cypriano Ferrandini, who transferred his love of Italian revolution to the Southern cause. The idea was that a mob would surround Lincoln while others created a distraction to draw police away from the scene. Beforehand, the secessionists would draw ballots to determine who would shoot Lincoln dead. (In fact, several men drew the fatal red ballot in a dark room, fulfilling Ferrandini’s desire to have several would-be assassins hunting for Lincoln during the stopover.)

Lincoln, when he was debriefed on the plot, was reticent to change his touring plans. Eventually, though, he relented. Pinkerton formulated a scheme, one that involved bringing Lincoln to Baltimore in advance of his expected arrival and cutting off telegram lines so his would-be assassins couldn’t be easily tipped off. Covering Lincoln in a shawl and declaring him frail, Warne, Pinkerton, and two others—Pinkerton lieutenant George Bangs and Lincoln's friend Ward Lamon—got him on board the train in Philadelphia without incident.

As they traveled through the night, Warne gripped a pistol she carried, wondering if Lincoln’s rivals would force her to use it.

When they got to Baltimore, Warne, no longer needed to pose as a sibling, departed. Thanks to a noise ordinance, the sleeper car had to be unhitched from the train and carried by horse through the city until it reached the station with the Washington-bound train. Once there, the men spent a few nervous hours inside their sleeper car waiting for the connecting train. But Lincoln stayed unnoticed. The president-elect went on to his eventual destination of Washington, safe for the moment.

The next day, Lincoln asked the agents to visit him so he could thank them, including Warne, for protecting him. “I am sensible, ma’am, of having put you in some inconvenience—not to speak of placing you in danger,” he told her.

Warne continued to work for Pinkerton through the Civil War, sometimes posing with Allan Pinkerton as a couple. Pinkerton himself was appointed head of the Union Intelligence Service, the forerunner of the Secret Service, and gathered information during the Civil War. Warne eventually became superintendent of the agency’s bureau for women, training a growing number of female detectives.

Unfortunately, she wouldn’t live to see the ranks continue to expand. Warne died in 1868 at the age of 35 (or perhaps 38) of pneumonia. It’s a testament to her mysterious background that she wasn't delivered back to family, if indeed Pinkerton knew of any. Instead, she was buried in Pinkerton’s family plot in Graceland Cemetery in Chicago. Today, her headstone is worn to the point that it reads “Kate Warn.” If time winds up taking more of her name from her final resting place, there’s little doubt that history will remember it in full.

Additional Sources: The Spy of the Rebellion.

Looking to Downsize? You Can Buy a 5-Room DIY Cabin on Amazon for Less Than $33,000

Five rooms of one's own.
Five rooms of one's own.
Allwood/Amazon

If you’ve already mastered DIY houses for birds and dogs, maybe it’s time you built one for yourself.

As Simplemost reports, there are a number of house kits that you can order on Amazon, and the Allwood Avalon Cabin Kit is one of the quaintest—and, at $32,990, most affordable—options. The 540-square-foot structure has enough space for a kitchen, a bathroom, a bedroom, and a sitting room—and there’s an additional 218-square-foot loft with the potential to be the coziest reading nook of all time.

You can opt for three larger rooms if you're willing to skip the kitchen and bathroom.Allwood/Amazon

The construction process might not be a great idea for someone who’s never picked up a hammer, but you don’t need an architectural degree to tackle it. Step-by-step instructions and all materials are included, so it’s a little like a high-level IKEA project. According to the Amazon listing, it takes two adults about a week to complete. Since the Nordic wood walls are reinforced with steel rods, the house can withstand winds up to 120 mph, and you can pay an extra $1000 to upgrade from double-glass windows and doors to triple-glass for added fortification.

Sadly, the cool ceiling lamp is not included.Allwood/Amazon

Though everything you need for the shell of the house comes in the kit, you will need to purchase whatever goes inside it: toilet, shower, sink, stove, insulation, and all other furnishings. You can also customize the blueprint to fit your own plans for the space; maybe, for example, you’re going to use the house as a small event venue, and you’d rather have two or three large, airy rooms and no kitchen or bedroom.

Intrigued? Find out more here.

[h/t Simplemost]

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Audrey Munson, America’s First Supermodel—And First Nude Movie Star

Audrey Munson photographed in 1915.
Audrey Munson photographed in 1915.
Arnold Genthe, Wikimedia Commons // Public Domain

While you might not know Audrey Munson’s name, you’ve almost certainly seen her likeness somewhere. Munson’s figure can be found in bronze, copper, and marble across New York City, and, in fact, all over the country—Missouri and Wisconsin each have a statue of her atop their State Capitol buildings, for example.

The model posed for some 200 artists throughout her brief career, earning her nicknames like “Miss Manhattan” and “the American Venus,” along with a reputation as the most well-known muse of early 20th-century America. But after an attempt at a film career fizzled out, Munson struggled to reclaim her place among New York’s artist elite. Even as Munson’s image lives on in sculptures and other works, her story is an often overlooked part of art history.

An Ideal Chorus Girl

Munson photographed by Arnold Genthe in 1915.Arnold Genthe Collection, Library of Congress // No Known Restrictions on Publication

Audrey Marie Munson was born on June 8, 1891, in Rochester, New York. Her father, Edgar Munson, was a real estate broker who was descended from one of the founders of New Haven, Connecticut, and her mother, Kittie Mahoney, was the daughter of Irish immigrants. Familial bliss, however, was short-lived—the couple separated when Audrey was only 6, after Kittie caught wind of Edgar’s affair. They divorced two years later.

After the split, Kittie and Audrey began a new life in Providence, Rhode Island. Kittie worked as a boarding house keeper, and Audrey eventually attended a Catholic high school called St. Francis Xavier Female Academy. It was there, under the tutelage of the Sisters of Mercy, that the young Munson learned how to sing and play the piano, violin, harp, mandolin, and guitar.

By 1908, a 17-year-old Munson had started performing in small shows like the touring production of the musical Marrying Mary. She and her mother relocated to New York the following year so the teenage performer could pursue a career in show business. On May 31, 1909, at 18 years old, Munson set foot on a Broadway stage for the first time, dressed in drag and playing the part of a footman in a musical comedy called The Boy and the Girl.

Around this time, Florenz Ziegfeld, Jr. was beginning to make waves with The Ziegfeld Follies, a series of extravagant variety shows that often featured large choruses of attractive young women who came to be known as “Ziegfeld girls.” Though Munson never performed in one of Ziegfeld’s revues, her arresting beauty and many musical talents made her an ideal chorus girl. She appeared in the choruses of similar productions, including The Girl and the Wizard, Girlies, and La Belle Paree.

Had Munson continued on this path, it’s possible her name would have faded into anonymity with the hundreds of other Broadway hopefuls whose careers petered out once they aged past their chorus-girl prime. But a chance encounter steered her in a drastically different direction.

From Performing to Posing

In late 1909, Munson was window-shopping on 5th Avenue with her mother when she noticed a man paying unusually close attention to her. After she confronted him, he invited her to pose for him in his photography studio.

“We did not like the idea at all,” Munson later said in a 1913 interview for the New York Sun. “But finding out that he was one of the best photographers in town my mother and I went. He took some photographs, said I had a head almost antique in line, and began to tell his artist friends about me.”

The photographer was Felix Benedict Herzog, who was also an accomplished electrical engineer, patent attorney, and inventor. Though his role in Munson’s career only lasted a few years—he died suddenly in April 1912, after complications from intestinal surgery—he jumpstarted her pivot from performing to posing.

As Munson posed for Herzog and his contemporaries, she used her newfound connections to seek out more work. This streak of industriousness led her to the studio of sculptor Isidore Konti, who asked her to model for her first sculpture, The Three Graces, to be displayed in the main ballroom of New York’s Hotel Astor.

It was an extraordinary opportunity, but it came with a catch: Munson would have to pose nude.

Making It to the Top

Isidore Konti's Three Graces.Isidore Konti, Wikimedia Commons // Public Domain

Though the ever-so-enterprising Munson was open to the idea, her more conservative mother hesitated to endorse it. But after three months of chaperoning her daughter’s (clothed) modeling sessions with Konti, Kittie finally gave Audrey her blessing to bare it all for art’s sake.

Munson quickly became one of New York’s most prolific early models, posing for what she estimated was a total of 200 artists, including photographers, illustrators, painters, sculptors, and even a tapestry weaver. If you’ve been to New York, you’ve almost definitely seen at least a few statues bearing Munson’s image, even if you didn’t realize it—many Manhattan neighborhoods have at least one, and the Metropolitan Museum of Art houses another 30 or so. The caryatids supporting the main saloon’s mantelpiece in one of J.P. Morgan’s yachts were carved from Munson’s likeness, and tapestries in George Vanderbilt’s mansion were designed in her image, too. Since some of the pieces Munson modeled for were privately commissioned, it’s not clear where they ended up (or if they’ve even survived various renovations and relocations).

As for those still prominently displayed, perhaps the most striking piece is Civic Fame, a 25-foot gilded copper statue atop the Manhattan Municipal Building that Adolph Alexander Weinman designed in 1913. It’s New York’s second largest statue, dwarfed only by the Statue of Liberty herself.

Adolph Alexander Weinman's Civic Fame atop the Manhattan Municipal Building.CelsoDiniz/iStock via Getty Images

Another gilded version of Munson—bronze, this time—decorates the top of the USS Maine National Monument in Columbus Circle, honoring the 260 sailors who died during the 1898 sinking of the USS Maine in Havana, Cuba. Funded by William Randolph Hearst in 1913, the statue depicts Columbia—the female personification of the United States—riding a seashell chariot pulled by three horse-seahorse hybrid creatures called hippocampi. Sculptor Attilio Piccirilli used metal from the sunken ship for parts of the memorial, which also includes a ship's prow jutting over a fountain and a plaque that lists the victims' names.

Attilio Piccirilli's USS Maine National Monument in New York's Columbus Circle.Elisa Rolle, Attilio Piccirilli, Wikimedia Commons // CC BY-SA 3.0

Munson is also immortalized in marble outside the New York Public Library’s main branch, the Stephen A. Schwarzman Building. Frederick MacMonnies's Beauty depicts a mostly nude Munson looking skyward as she leans against a horse.

Frederick MacMonnies's Beauty, at the New York Public Library's main branch.William de Witt Ward, Frederick MacMonnies, Wikimedia Commons // Public Domain

By mid-1913, Munson-inspired works were so prevalent around the city, the New York Sun published a profile on her titled “All New York Bows to the Real Miss Manhattan” in its June 8 issue.

But despite the hundreds of artworks to which Audrey lent her likeness, her paychecks weren't on par with today's Instagram influencers. The going rate for a model at the time—nude or not—was 50 cents an hour, meaning the Munsons lived a modest life. “It was just enough to pay our rent, grocery bills and buy a few clothes once in a while … Almost nothing for amusements,” Munson said in a 1921 newspaper article.

Between the countless hours of sitting, standing, or lying stock-still for artists, Munson branched out into another industry: film.

A False Start in Film

On November 18, 1915, Thanhouser Company released the silent film Inspiration, and Munson became the first American movie star to appear naked in a non-pornographic film. Loosely based on Munson’s own life, Inspiration tells the story of a young girl discovered in New York by a sculptor in need of a muse; it even features some real-life statues that Munson posed for. Though the film was an overall success, it did stir up some dissent from viewers who balked at the nudity. Local officials actually arrested a theater manager in Ossining, New York, for showing the “improper film,” and the city’s Civic League established a censorship committee to prevent similar calamities from happening in the future. “I saw enough and got all the ‘inspiration’ I wanted,” one member said.

Munson was characteristically undeterred. She and her mother moved to California, where the performer appeared nude again in 1916’s Purity. It was another successful (yet polarizing) motion picture, but it also marked the beginning of the end of Munson’s meteoric rise to fame. Her next film, The Girl O’ Dreams, was never released. The reasons are unknown, but biographer James Bone has speculated it may have been a dispute over film rights—no fault of Munson's.

Struggling to Stay Above the Fray

Munson in Purity, 1916.Apeda Studio, Library of Congress // No Known Restrictions on Publication

The Munsons returned to New York in late 1916. Audrey spent the next two years caught up in the high society circles of New York and Newport, Rhode Island, and allegedly struck up a relationship with shipping heir Hermann Oelrichs, Jr. Her mother claimed the two had actually married, though there’s no record to support this.

Whatever feelings Munson had for her purported beau turned sour by early 1919. That January, she sent a strange letter to the U.S. Department of State insisting the German government’s considerable investment in the film industry was preventing her from booking any roles. She listed Oelrichs, Jr. and other well-known German-Americans as co-conspirators in this plot, arguing that they discriminated against her because she was descended from early British settlers. “As you know the Kaisers [sic] $25,000,000 in the Motion Picture Industry has thrown me out of work as I am an American of English blood dating back to the Mayflower days,” she wrote.

Nothing came of Munson's baseless accusations, but her vilification of “the German” and “the German-Jew” in the letter hinted at a festering anti-Semitic streak both Munson and her mother made evident throughout other correspondence.

Things unraveled further in February, when Munson and her mother were brought in for questioning about Dr. Walter K. Wilkins’s murder of his wife, Julia. The press reported that Wilkins, who owned a boarding house where the Munsons had stayed, had been carrying on an affair with a “pretty young woman” many assumed was Audrey. She denied any relationship and even vouched for his character, but the onslaught of negative publicity certainly didn't help her career.

In 1921, Munson attempted to reclaim control of her reputation by telling her life story in 20 serialized articles entitled The Queen of the Artists’ Studios in Hearst’s New York American newspaper. The series was meant to drum up publicity for her new film, Heedless Moths, also based on Munson’s life. But the filmmakers only used Munson herself for a few shots, and gave the majority of her role to newcomer Jane Thomas. It was another instance of others enjoying and profiting from Munson's image with little regard for the woman behind it—an inescapable theme of her career as a model and muse—and her writing reflected her despondence.

“I am wondering if many of my readers have not stood before a masterpiece of lovely sculpture or a remarkable painting of a young girl, her very abandonment of draperies accentuating rather than diminishing her modesty and purity, and asked themselves the question, 'Where is she now, this model who has been so beautiful?'” she wrote in one article. “'What has been her reward? Is she happy and prosperous, or is she sad and forlorn, her beauty gone, leaving only memories in its wake?'”

Advertisements used Munson's name to drum up interest, but Jane Thomas got to be the star of the actual show.Equity Pictures Corporation, Wikimedia Commons // Public Domain

Not long after that, Munson launched a widely publicized search for “the perfect man.” But Munson had grown up valuing her own English-American beauty above all else, and her idea that marriage should be “for the good of the race” reflected her eugenic, xenophobic, and anti-Semitic tendencies. Though she did choose a husband—Joseph J. Stevenson, a World War I pilot and wealth contractor from Chicago—they never actually pursued their relationship.

By 1922, a dispirited, hapless Munson was living with her mother in Mexico, New York, north of Syracuse. In May of that year, at 28 years old, the former model attempted to swallowed mercury-based poison in an attempt to die by suicide. She survived, but she didn't try to return to the limelight.

A Quiet New Life

For almost a decade, Munson lived with her mother in upstate New York, where her mental health further deteriorated. In 1931, citing depression, delusions, hallucinations, and more, Kittie committed her daughter to an asylum.

Shortly after she turned 40, Munson moved into the St. Lawrence State Hospital in Ogdensburg, New York. Except for a brief stint in a nursing home, she remained at that hospital for the next 65 years, and her mother's death in 1958 marked the beginning of a 26-year period with no visitors. Then, in 1984, Munson's half-brother's daughter, Darlene Bradley, tracked her down and took her father to be reunited with his long-lost sister. Bradley continued to pay regular visits until her elderly aunt died on February 20, 1996, at 104 years old.

Munson was cremated, and her ashes were placed in her father’s grave at New Haven Cemetery in New Haven, New York. The tombstone listed Edgar Munson, his second wife, Cora, and their daughter, Vivian—but for 20 years, there was no mention that the former star was laid to rest there, too.

In 2016, New Haven town clerk Debra Allen and town historian Marie Strong decided it was time to honor Munson’s legacy with a tombstone of her own. Since they couldn’t allocate town funds for that purpose, they entered and won numerous county fair baking contests. The two spent their prize money on a simple, elegant tombstone etched with flowers and the words Actress & Model—the last bit of stone bearing witness to the everlasting legacy of America's first supermodel.