Charles W. Fish

In the annals of the American circus some standing riders became famous because of the intricate tricks and spectacular maneuvers they could perform. Others were noted for the polished style with which they performed, at times even the most basic feats.

Charles W. Fish was definitely in the first category. He became a great trick rider but he was somewhat short on style. "At his best, he was a great trick rider and he was a good fellow, but he hadn't the face or the manner or the shape." John A. Dingess, in his circus history, goes further by saying, "His diminutive size and general appearance were greatly against him. His self esteem and egotism overbalanced his artistic ability.

"Fish once challenged James Melville to a bareback trial of skill for $1000 a side. Mr. Melville's reply was that he considered Fish beneath his rank in the profession, but offered to match his son, Frank, 15 years of age, against him for the amount specified, when egotism, like a cascade, fell to its lowest depths."¹

It has often been pointed out that the ideal somersault rider should be flat footed. As such a rider descends to the bareback horse from a somersault, he in effect floats down gracefully as a feather. In landing, his weight is distributed over a greater area than for a rider with a higher instep. Fish's weight, with his high instep, was concentrated on a smaller area and therefore created greater localized pressure on the horse's back. The result was a shying of the horse, sometimes almost imperceptible, but sufficient to throw off the rider's timing, affect his sense of balance and prevent a smoother and more graceful performance.

Nevertheless, Fish's high instep and his lack of grace and beauty in physique and poise in no way interfered with his daring and exciting exploits. For instance, he was superior to James Robinson in performing pirouettes while riding bareback, although Robinson was more handsome and graceful. Beginning with a forward somersault through a balloon while facing backwards on a horse, he could completely turn through 180 degrees and land facing forward. In some other aspects of bareback riding Robinson held a very slight edge because of his apparently superior sense of balance. Fish's finest riding was done as he turned backward and forward somersaults and twisters over banners. He also did the running jump-up to the horse's back, landing squarely on his feet.

As described in advertising for Cooper, Bailey & Co. in 1880, his specialties were not confined to one act alone. His almost incomprehensible bareback somersault and trick riding was, probably, the most difficult; his classic impersonation of the Derby jockey and picturesque statue characters, on a trotting horse, the most novel and his wonderful skill in riding and controlling nine horses at one time the most sensational.

In an interview in 1891 for the New York Dramatic News, Fish said: "I have on several occasions done 18 somersaults through balloons in 3 parts of the ring without stopping. I can name but one trick not done by more than one rider; that is a somersault alighting on one foot. This trick is done by me, and I was the first and, as far as I know, the only one that ever did it."

However, at the Cirque Medrano in Paris, as Fish performed his phenomenal somersaults on the horse's back, the Europeans hissed him off. They preferred adagio poses and "dainty" pirouettes to his vigorous athletic stunts, the most remarkable to be seen anywhere.²

Charles Fish was not born into a circus family nor was he adopted by one. In 1856 as a lad of 8 years, after attending a circus, he decided that he wanted to be a rider. Let's allow him to tell the story himself in an interview for the Chicago Herald for November 18, 1883. "'Well,' said the little man, whose wiry frame looks much bigger when on horseback than it does in citizen's clothes, 'my family settled here in America, landing at Cape Cod in 1634, and I think I may claim to be an American. I was born in Philadelphia, and when I was but eight years old, I went to see a circus at Cincinnati. Spaulding & Rogers it was, and I saw a boy riding there, John Berry by name. I suppose that boy's performance wasn't worth a row of pins, but I thought different at the time, and I made up my mind I would eclipse that boy or die. My father opposed it. He wanted me to become something decent as he called it, but when I had cried for a week or two, he gave in and allowed me to go for a year as apprentice with Jim McFarland of Spaulding & Rogers. The next Spring in 1858 I was indentured to Rogers, the junior member of the firm, Charles Liberty, a lawyer of Philadelphia, making out the papers. It was April 2, a day which has proved quite eventful in my life, for on that day I became an apprentice, I was shipwrecked and I was married to my wife; so you may judge.

"'After being apprenticed for six and one-half years, and going in the meantime to South America, introduced to Emperor Pedro II, and all over the West Indies, I was thought to be a thoroughbred. In the spring of 1865 I saw James Robinson ride in New Orleans, and I took a notion to imitate his pirouettes on horseback. Jim Robinson was then about twenty-eight years old. I practiced until I was able to do the trick as well as he, and then we rode for the championship of the world and $10,000, but in reality only for the championship. It was conceded then that I could ride better than he. Since then I've played in every State of the Union, except Oregon, and in every town and city almost, and then I joined Hengler's Circus and exhibited in London, Dublin, Belfast and Glasgow. In St. Petersburg, at one of my representations, the Emperor Alexander I, the Grand Duke and Grand Duchess of Oldenburg, the Prince of Leuchtenberg and Count Schwaloff, and a number of the most famous men of the country, were present. They feted me and said they had never seen anything like it, and St. Petersburg, you must remember, is the gayest city of all Europe during winter.

"'In Moscow I was presented with a laurel wreath by Schamil Bey, the gallant Circassian chieftain who so long withstood the arms of the potent Czar. Then I was at Vienna, at Pesth, at Berlin. This was with the Renz combination. The Crown Prince of Germany commanded me to appear before him, and he was the first to applaud me. This was in 1873 and in the spring of 1874 I came to America and have been here ever since.'"

Although Fish had little formal education as a youth, it will be seen in communications that he later sent back from his travels abroad and from the route book that he compiled for the Frank A. Robbins Circus in 1888 that he was a lucid and interesting writer. It would be interesting to know how he developed this desire and skill to write well. Toward the end of his career he also gained a serious interest in painting landscapes and, in connection with his painting, by 1891 spent much of his spare time visiting art galleries in the larger cities where he was performing.

In 1862 during the latter part of his indenture to Spalding & Rogers Ocean Circus, Fish's travels as a bareback rider took him to Brazil, Uruguay and Buenos Aires as well as to Canada. One of his colleagues on these adventures was Theodore Tourniaire. Being shipwrecked on the show during its return to the United States in 1864, he remained with that company until his indenture expired toward the end of the year. He then joined Frank Howe's Circus at Nashville, Tennessee, where for the first time he received a salary besides food, lodging and clothes. As an apprentice he had received $40 per year.

In 1865 he briefly rejoined Spalding & Rogers on January 2nd at New Orleans. He then went with S. B. Howes European Circus for the tenting season and at Mansfield, Ohio on August 5th he was hailed as a wonderful bareback rider. He had been engaged by that show as the featured rider to succeed James Robinson. In December he appeared at the New American Theatre in Philadelphia with fellow performers -- Charles Reed, J. L. Davenport, A. F. Aymar, John Glenroy, W. F. Wallett, the Queen's jester, Frank J. Howes & Madame Howes, Mrs. Charles Warner and the clown, Joe Pentland.

The following year he was a fearless and intrepid bareback rider on Mike Lipman's Colossal Circus and Trained Animal Show and also on S. B. Howes Circus. Beginning on November 11th and continuing during the winter of 1866-67 he was one of the performers on Yankee Robinson's Coliseum & Zoological Garden & Museum at State and Washington Streets in Chicago.

For the seasons of 1867 and 1868 he was with Dan Castello related shows. In 1867 it was Barnum, Van Amburgh & Castello while the following year the title was changed to Nixon, Howe & Castello. In 1868 he was featured as one of the best bareback riders in the business, a young man who in his finish did 4 backward back somersaults. Circus managers who wished to secure him for their productions were advised to address his father at once per a New York Clipper ad. Highly spoken of for his "good as ever performance," he did have a couple of mishaps. On January 11th he fell and hurt himself but the accident did not interfere with his performance. About 2 weeks later someone stole his wardrobe. Although he was featured that season as head of the bareback riders of the world, he was still referred to as "Master" Charlie.

Continuing with Dan Castello for part of 1869, Master Charles Fish would also appear that year on Thayer's Circus and on Stone & Murray as well as J. M. French's Oriental Circus & Egyptian Caravan, where he was featured in an ad for a July 23rd date at Concord, New Hampshire. As he sharpened his skills and became more famous as a rider, he could demand higher salaries. Therefore no one of the smaller circuses could now afford the expense of retaining him for an entire season. These shows each had to be satisfied with an engagement of several weeks during the summer season. This problem did not arise with the larger circuses. That year in his "at liberty" ads in the New York Clipper, he used the slogan, "he is a good fish to catch." In 1870 Fish was again on J. M. French's Oriental Circus, where in San Francisco in June the famous Charlie Parker clowned his act. He was the noted clown with the January mule. In the daily street parade Parker could be heard along the line of march with his famous shout, "Whoa January." At that time some of the words used in describing Fish's artistry were "equestrian par excellence, champion bareback rider of world, peerless and matchless possessor of classic elegance, alone and incomparable beyond reach of rivalry." Charles Fish had come to California under engagement to George F. Ryland.

Fish appeared with J. E. Warner & Co.'s Great Pacific (Golden State) Menagerie & Mammoth Circus (John O'Brien, prop.) as early as March of 1871. At Van Wert, Ohio in July he rode opposite Fred Barclay and Marie Elise. Joining L. B. Lent's New York Circus in November at its location on 14th Street opposite the Academy of Music, he continued with that show through at least September of 1872. He was now being featured as the best ever pirouette rider as well as a super bareback somersault performer. From a P. T. Barnum herald for that year, there is also the indication that he may have appeared on that show. Also, it is possible that he was with Orrin Bros. In that year he married his childhood sweetheart and she was to accompany him on his upcoming tour of Europe. Mrs. Fish was a very attractive woman and the couple was pleasantly received as she and her husband journeyed abroad. Eventually they purchased a home in St. Albans, Vermont where they enjoyed relaxing when time permitted.

He spent most of 1873 until December 6th with Hengler's Circus in Great Britain as a champion bareback rider. Fish closed with that show at Glasgow, Scotland on December 6th when he left for St. Petersburg, Russia. Fish wrote from the Hotel Dusaix in Moscow on January 17th, 1874 stating that he opened at St. Petersburg on December 19th with G. Ciniselli at Cirque Hinne where he was recalled 5 times after his performance. Prince Kourakin kissed his forehead. He called him the "Patti of the Cirque" and presented him with a beautiful meerschaum cigar holder. After a fortnight at St. Petersburg, Fish was sent to Ciniselli's Moscow establishment where his success was great. Mr. Andrea Ciniselli was in charge of the troupe and his wife rode a manege act very well. By now Fish preferred an American tent show to any circus in Europe. He realized that there were many fine buildings in Europe but he felt that in general there were not many good performers. Renz almost monopolized Germany. His rival was Salamonsky. Hinne and Ciniselli had Russia to themselves. Hinne owned the buildings and his brother-in-law, Ciniselli, was the proprietor of the circuses performing there. The only act that attracted Fish was one in which 4 trick horses did the same routine simultaneously in the ring. Also, 8 year old Eva, an apprentice of Mr. Manly, rode a piebald horse with pad in forward and backward jumps over objects and performed in pirouettes on a horse that ran faster than any ridden by the men. Fish remarked that if she didn't receive a bad fall or get married, she would undoubtedly become the best female rider in the world.³

Returning to the United States from Russia on the steamship Spain before the tenting season of 1874, he joined the Montgomery Queen Circus in California to perform the "English" or "Bounding Jockey" act. He continued on this show in 1875 where the trio, James Robinson, Charles Fish and Romeo Sebastian, appeared, all doing back and forward somersaults over objects with a skill that alone would make any one of them a strong feature. The sensational Mollie Brown was also on the program for that season. It was during this period that James Robinson and Fish held their championship riding match. Much was made of the fact that Fish had traveled over 7000 miles from Ciniselli & Rentz's Circus in Europe to compete against Robinson.⁴ At that time it was pointed out that Charlie Fish, with an injured arm, rode with the grace of a thorough gentleman, not that of a "common" circus man.

During the season of 1876, until September of that year, he was on the John H. Murray Circus. At St. Johns, N. B., on July 20th, after turning a somersault, he slipped from his horse and, before reaching the ground, struck the ring rope. He was so badly injured that he had to be assisted from the ring. Later closing with John H. Murray, he joined the P. T. Barnum Circus for the remainder of the season.

After opening in Philadelphia on the International Circus in 1877, in March he again joined P. T. Barnum for the balance of the season. In a newspaper article at Fond Du Lac on July 7, 1877, Barnum noted: "A like sum of $50,000 will be paid as a yearly salary to as fine a bareback rider as Mr. Charles W. Fish, who is, moreover, but one distinguished artist in a circus of world wide celebrities."

In March of 1878, returning with Frank A. Gardner from a date with Orrin Bros. Circus, Fish rejoined the P. T. Barnum show. That year he was doing double front and back somersaults on horseback without a single miss. The $50,000 challenge was still regularly appearing in newspaper ads in Ohio. On the same program were Charles Reed, the dancing horseman, and Carl Antony with his 20 trained stallions from France, Germany, Russia and Italy. Other riders were James Cooke and Jennie Watson in a double equestrian act, Katie Stokes with her bareback riding and Wm. Morgan, the lightning hurdle rider. At the end of November Fish with his wife and the Lee Family of seven left for Havana to again join Orrin Bros.

For the next two seasons, 1879 and 1880, Charles Fish rode his principal bareback and bounding jockey acts on Cooper & Bailey & Co.'s Great London Circus. In the first of these years Peter Conklin clowned his acts and in the latter, Whimsical Walker.

In his astonishing riding, he displayed more skill, intrepidity and dash than ever before witnessed in the ring. In the 1881 season Fish joined Robbins & Colvin's Great American & German Allied Shows where he served as equestrian director as well as bareback rider.

He led the street parade driving three horses tandem hitched to his newly imported English dog cart. He was followed by 25 cages, 10 elephants, 6 new tableau wagons and an orchestra musical chariot together with three open dens of hyenas, lions & tigers, etc. Other highlights on the show that year were Herr Neygaard's troupe of trained horses and Mine. Martha's leaping and fire stallions.⁵

Charles Fish was a man of much compassion as is evidenced by a letter he wrote to the New York Clipper for the December 24th issue of 1881. "I am just informed by letter from Havana of the death of my groom, James Beals. No particulars have reached me and I am as much surprised as grieved at hearing it. He has been in my employ a little more than 5 years. I looked upon him more as a friend than as an employee. A tribute to his memory worthy of one so faithful and true a man in every particular cannot be too strongly worded. Had I the power or gift which place characters and virtues on pages that never perish, I could not do more than say, he was a true man, such as seldom crosses one's path. Although in a humble walk of life, he was a pattern that others, in more ostentatious positions, might copy and profit by. I can ask for no greater favor than that God may give me another as true a friend as James Beals was. I believe his home was in Syracuse, N. Y. and that he has relatives living there. His relatives can obtain whatever information I can give them by addressing me at Lockbox 50, St. Albans, Vermont."⁶

At the close of the regular Robbins & Colvin's season, he again went to Havana, this time appearing with Dockrill & Leon's Circus at the Iron Amphitheater. He was billed there from January through March 1882. Engaged on Sells Bros. for the remainder of that year, at Hays City, Kansas he was featured as the "Hero Horseman of the Universe" and he rode his horse as if it were impossible for him to fall off as he turned somersaults with ease through paper balloons.

This 1882 Sells Bros. Circus Strobridge lithograph featured Charles Fish.
Cincinnati Art Museum.

After a year on Orrin Bros. in 1883, Fish wrote from the City of Mexico in February and March of 1884 about his experiences in Mexico. He pointed out that there was no actual harbor at Vera Cruz and if a norther were blowing on the day of the arrival of a ship, no attempt would be made to land the passengers or freight. Storms could range from 12 hours to 2 or 3 days. Small boats came in from the steamer to the city. The main streets had electric lights. The official palace was in the Plaza and was 2 stories high with a gallery forming a covered walk downstairs and a lounging place upstairs. In the upper gallery a good size band played for 2 or 3 hours at a time. Lottery tickets were sold with prizes ranging from $600 daily to $100,000 annually. Fish was sent to Puebla, first, with 2 performances daily, the afternoon one in a bullring and the night one at 8:30 in the principal theatre. The company included Kate Ormond, principal rider, Fred Barclay, Indian & jockey rider, and Ned Orrin, trick horse. The mountain scenery from Vera Cruz to Pueblo was beautiful and great engineering skill was evidenced in the building of the railroad. Double header engines were required on the heavy grades to pull the 5 moderate size cars, one of which contained an armed body of soldiers. At the summit was a higher level table land. Puebla was a city of 50,000 with no gas or electric lights. The only illumination was by oil lamps. The streets were very clean and there were 80 churches. The atmosphere was clear and cool. There were no chimneys except in the kitchens. With no other heating, people had to go to bed to keep warm.

In Mexico City the 40 foot wide streets were poorly paved and had uneven sidewalks. There was no legal right of way on the sidewalks. Pedestrians passed to the right or the left of you or almost over you. Three men sauntering along side by side, blocking the way, would stop to converse in the center of the walkway. There was the contemptible habit of men staring at ladies. These stares conveyed an insult. In hotel rooms, lamps and candles were used instead of gas and men did the chamber work. Cleanliness was not one of their virtues. One towel was used until it was very dirty and the only way to give attention to this fact was to offer a tip quite often. Meals at restaurants were about 62 cents. Theatres were very plain with no carpets or draperies. There were wooden benches with stiff wooden backs and well worn leather cushions. Stage furniture was made by carpenters and was upholstered by the painters. In a local newspaper dated February 15th it was reported that Fish received the greatest ovation ever given for any artist in Mexico. In every respect, outside of the disagreeable subjects that he mentioned, he was very pleased with Mexico.⁷

Returning to the United States, by early May of 1884 Charles Fish was riding as a principal bareback rider on Burr Robbins Circus. For the first month of 1885 he operated his Charles W. Fish Champion Circus at the People's Theater in Cincinnati, later at a location in Cleveland and finally in a 41 foot ring at White's Theater in Detroit. It featured the riding of Fish and John Saunders' trained animals as well as Lottie Aymar, the Langtry of the Arena. She presented her clever act of balancing on a swinging trapeze and her original pirouette act on a trotting horse, assisted by the great clown, John Fisher. The admission price was 10 cents. For the balance of that season Fish was the featured somersault bareback equestrian on Frank A. Robbins Circus. In August while the Show was appearing in Babylon, New York, he suffered an injury to his back while riding his act.

The year 1886 was spent in Europe. On February 26th he wrote from England: "Yesterday an event took place of great interest to the equestrian world. Queen Victoria, for the first time since 1859, witnessed a circus performance; in fact, I am told it was the first time she has witnessed an entertainment by professionals of any kind since the death of the Prince Consort. What is still more notable is that this performance was given by command of Her majesty at Windsor Castle, a ring having been made in London and set up in the riding-school of the Castle. This is the first entertainment ever given by command at the Castle or any other place. You can readily understand how much honored the circus profession should feel, and that an incentive to elevate the standard of our profession should by rights follow. Everything passed off in good shape. It was a very ceremonious affair. Not a word was spoken. The clowns were not allowed to open their mouths. All the riders rode in on their horses, and, in leaving, they backed to the curtains, bowing slowly as they did so. No applause was given, except by a few of the under servants. The company, by invitation of the Queen, partook of lunch in one of the smaller dining-rooms of the Castle, at 1 o'clock. The performance took place at 3. All who participated are now entitled to add the word 'royal' to their special line of business. A special train conveyed our company to and from Windsor. No performance was given at night. Today and tomorrow are the last of the London season. Hengler goes from here to Birmingham opening in Curzon Hall for a season of about seven weeks. Dublin, for the summer season, is to follow. I go from here to Madrid, Spain for the summer with the Circo Price. Since writing the above those who took part in yesterday's performance have received, by the Queen's order, the royal favor -- a royal blue button -- to be worn in the buttonhole of the coatcollar. This also confers the right to wear the royal coat-of-arms. This is the first time the honor has ever been conferred on circus performers, or, as we are termed here, artists. Consequently, I am somewhat proud of my blue button. I forgot to mention another mark of the Queen's favor and interest in the performance. She had ordered her carriage at four o'clock for a drive. It was ready, as you may suppose. I was riding at the time, but, so great was her interest that she dismissed her carriage and remained to the end of the programme. She afterwards ordered the horses to be brought out for her inspection."⁸

The circus to which Mr. Fish was referring was Hengler's. The Queen had ordered the performance to please little three year old Princess Alice, daughter of the late Duke of Albany. The audience included the Royal household and Castle servants and their friends and totaled about 300 persons.

Later, writing from Madrid on June 6th, Fish had this to say: "I have been riding here for 6 weeks at Circo Price during the summer. This is a principal resort in Madrid, seating about 3000 people. Tuesday and Friday are grand nights. All boxes are sold for the season before the opening. The other circus, Hippodrome de Verano, is well patronized at cheaper prices."⁹

Four months later writing from Barcelona, Spain, Fish said this about conditions there: "Life is very pleasant I have been here (Circo Equestre Barcelona) for 3 months. All the Americans who have been here this season have made hits -- so that talent and America are synonymous. Business at this establishment has been steadily increasing until now the place is crowded nearly every night. Just think of it. Here is a city of only 147,000 inhabitants that supports a circus 10 months in the year. In a semi-spirit of fun I wrote a letter to Frank A. Robbins and itemized terms and conditions that might tempt me to return and travel in America. Judge of my surprise then, at receiving a letter and contracts signed, accepting my proposition, including a private stateroom for myself and wife. Shortly after signing and returning one of the contracts to Mr. Robbins, I received a very nice offer from Adam Forepaugh. As I had already signed with Mr. Robbins I couldn't accept Mr. Forepaugh's but offered my services for his New York season commencing March 1 and my offer was immediately accepted by cablegram."¹⁰

After closing his three month engagement with the Cirque Fernando in Paris in February of 1887, Fish sailed from Le Havre for New York City to join the Adam Forepaugh Circus. This was a big show with Addie Forepaugh and his 30 elephants and the Blondin horse. At the special Forepaugh-Barnum combination for Madison Square Garden, in addition to Fish, the riders were Josie DeMott, William Showles and Orrin Hollis. Fish in splendid form, did somersaults, both backwards and forwards, accurately and boldly taken and his quick riding in the finale was easy and graceful. This was a very fitting reappearance for him after his successful continental tour. In mid-season he was on Frank A. Robbins Circus, which by July 8th had traveled as far north as Frederickton, New Brunswick.

In December, after purchasing real estate on Chester Hill, Mt. Vernon, New York, he joined the Frank A. Robbins winter circus at the American Institute. There, this rider with his worldwide reputation, did somersaults with the same perfection for which he bore such high acclaim. He remained a strong attraction, his somersaults claiming much admiration through the month of January of the succeeding year. Also, Johnny Rivers and his duo of donkeys were irresistibly humorous. He continued as a principal rider during the regular season on Frank A. Robbins Circus and compiled the route book for that show for 1888. Later, on November 4th he sailed to join Santiago Pubillones in Cuba.

Still on the Gran Circo Pubillones in January of 1889, he was laid up for 6 weeks with a sprained ankle. That season this show played under a 120 foot round top. Next he joined the 4th Avenue Circus as equestrian manager.

The principal riding acts were given by Viola Rivers and Fish. There was a rotation of acts during the succeeding weeks. Other riders were Annie Carroll, W. O'Dale, bareback rider, and Wm. O'Dell, 3 horse act. He finished his date with this New York based circus on July 13th and two days later he joined Prof. Bristol's Show at Milford, Mass. At the end of September Fish cancelled his engagement with Donovan in South American to sign with Orrin Bros. for a 41 weeks season in Mexico. He left the U. S. about November 6th. He had not appeared in Mexico for a number of years.

Fish wrote this letter from Mexico City on February 5, 1890: "We opened at Merida, Yucatan, Mexico on November 18, 1889 in a new bull ring (Plaze de Toro) and theatre, a huge building open overhead, much more nicely finished and painted than any I had previously seen outside of Spain. No such company was seen in Yucatan as that of Circo Orrin and for 6 weeks we played to uninterrupted good business, the open space of the bull ring (overhead) being covered with canvas. During our stay here a branch company was sent to Izamal for 5 days where big business rewarded us for undertaking one of the most unique as well as uncomfortable journeys I ever experienced. Nine miles were made in 'volancoches,' a vehicle with two large wheels and body resting on huge straps. There are no seats, the bottom being ropes supporting a mattress on which 2 persons can stretch at full length or 4 persons can sit crosswise, 2 on each side. The motive power is 3 little mules abreast in harness of hemp. Nine miles were made in keen run over a road consisting of boulders from the size of a bucket to a sprinkling cart. The worst storm at sea is a pleasure to the rocking and pitching of one of these 'volcancoches.' From Merida, the company went to Progreso (port of entry) and played several days to the capacity of the bull ring. An experimental trip was made to Campeche, State of Campeche, the horses and half of the company disembarking at that point and the other half proceeding to Laguna, where an exhibition was given in the theatre. In both places business exceeded expectations.

"Campeche party left there on 8th, it being necessary to start at 4 AM in small sailboats, anchorage grounds of American steamer (Ward Line) being 18 miles from shore in open sea. Boarded Niagara at 9 AM. At 3 PM on our way to Vera Cruz, arriving there at noon on 9th. Opened 11th to fine business and remained until 21st. On 22nd at 2 AM left Vera Cruz by special train and arrived in Mexico City at 3 PM. Opened evening of 24th to capacity audience of best families. Business was larger than that of any previous season to date. The company is the largest and one of best that Orrin Bros. have ever brought to Mexico. Was received nicely but not as enthusiastically as on my former visit. (He was nervous because public had been incensed against him because of remarks 6 years before that he was reputed to have made but which he had never even thought.) In a restaurant overheard remarks which I, without thinking how it would sound in the reading afterward, repeated in my letter. If I had taken a second thought I should not have mentioned it as it was none of my business. Inclined to think origin of these misrepresentations is some person unfriendly to Orrin Bros.

"Our stay in the city will extend well into the spring. Some of the people have already finished their engagements and are on their way to the States. Chiarini's Circus is on its way to this city, showing enroute. Just where it is now I do not know, certainly not over 24 hours' ride by rail from here."¹¹

Practically all of 1890 was spent in Mexico with Orrin and also through January of 1891. Writing from Vera Cruz in January of 1891, Fish reported: "Orrins have uniformly good business at present. Part of the company is awaiting arrival of others who were playing at Laguira in the theatre. Heavy norther since yesterday has prevented other part (of show) to arrive and so opening is postponed. Frank Melville met with serious accident in the leaps on Christmas day (1890), missing the bed and lighting on the ground, badly injuring his left ankle. There were other injuries also to Crowther, skater and sword manipulator, and to George Wilton, bar performer. The Gilfort Bros. are having a glorious time, fishing, shooting pelicans and finding peculiar fossil remains of extinct animals and birds. All others are doing well."¹²

Returning to the States, Fish joined Barnum & Bailey on April 28, 1891. That year he was featured alone on a lithograph in five poses -- leaping from the ground to the horse's back, the twisting somersault, leaping high hurdles at full speed, hero horseman and the whirlwind finish. By then his serious interest in landscape paintings had also become full blown. On July 11th the show's route took it to St. Albans, his former home. Later, on the 8th of August in Pittsburgh, he strained his back in his principal act, compelling him to retire from riding until the 13th. With substantial success for the season, this accomplished equestrian returned to Bridgeport at the season's end and devoted the winter months to breaking new ring stock.

In heralds and newspaper ads for 1892 he was listed as being with both Barnum & Bailey and Walter L. Main as a bareback rider, but we also know that on June 17th at Grafton, N. D. he joined Ringling Bros. for the balance of the season. On that day a group of world famed equestrians was introduced in the middle ring with a special announcement as a most attractive feature. Fish was the champion with a remarkable bareback trick act. This was only the third year that Ringling had been on rails. On November 19th he opened with the Philadelphia Winter Circus and remained until it closed.

After visiting Barnum & Bailey on the afternoon of April 17th, 1893 to watch the performance and get some pointers from the scores of clever equestrians over there, he went back to Ringling Bros. and stayed there for that entire season. As usual, he was a heavily featured rider. On a herald for that year, he was hailed as " an artist who has delighted the world, pre-eminently distinguished from all other riders by his noted originality, unique style, unexampled skill, daring evolutions, picturesque poises, dangerous exploits, perfect pirouettes, peerless feats and wonderful agility; by his rapid succession of dexterous somersaults; by his bird-like flights from the ground to his flying steed; by the seemingly impossible feat of turning a complete somersault, both leaving and alighting on the back of his horse on one foot; by his daily execution of his famous 'backward back' somersault, in the performance of which he starts and alights while facing in the exact opposite direction to which his horse is running, and by his many other original, fearless, artistic and to all others impossible feats of horsemanship."

For the first part of the 1894 season, Fish joined the small Albert M. Wetter Circus which had 2 elephants, 2 camels and a 12 cage menagerie. In preparation, he had spent his spare moments working with his new horse, a beautiful dapple gray and a model of beauty. He stated that it was the finest one he had ever owned. Also on the Show were Mr. and Mrs. Frank Miller, bareback riders, who had recently arrived from New Orleans with their three horses. In preparation for the season's performances, they were rehearsing twice daily. On July 20th at Huntington, Indiana, Charlie Fish again joined Ringling Bros. Circus and in November he went to Frank Hall's Chicago Winter Circus, which was entitled the "Royal English Circus & German Water Carnival." In the 1895 early season program for that show, Fish's bareback act with the clown, Mons. J. Caban, was prominently listed. It was claimed that while he was there, he defeated Willie DeMott for a purse of $500 offered by Manager Hall. According to the account, De Mott lost the contest by default when thrown from his horse and badly hurt as he attempted to duplicate some of Fish's daredevil tricks.

In preparation for its 1895 tour, Ringling Bros. produced a beautiful lithograph which pictured three great principal riders standing with their horses. Charles Fish was in the center with Cecil Lowande to his right and Mike Rooney to his left. Portraits of the five Ringling brothers were spaced around the frame, one at each corner and Al in the center at the top. It had been planned that Fish would make the 1895 season, his fourth tour with that circus. He was a favorite with the management. He was fond of writing and was a clever pen and ink sketch artist. Utilizing his skills, he had contributed some interesting illustrations to the Ringling Bros. route book for 1894.

However, illness now overtook him and he was forced to withdraw from the 1895 schedule. A New York Clipper article for May 4th under date line of Chicago reported: "One of the most pathetic things ever seen is the struggle that Charley Fish is making to keep alive. He is surrounded by friends who see that everything is done for his comfort and he had not only the professional skill but the friendly interest of Dr. Stringfield. A week ago it was thought he could not live and a less resolute man would have been dead by this time but he hangs on and is fighting it out in a way that fills with tears the eyes of those who see the struggle. Last Saturday he had gained enough strength to be delirious and the sheet was pinned down to keep his arms from struggling. He slipped one arm out from under the cover, however, and making the same graceful salute with which he had greeted hundreds of thousands, he, in his delirium, went through with his act, talking to his horse throughout. The Elks have appointed a committee to look after Mr. Fish and his wife during their trouble and it is a pleasure to say that he is receiving the very best of attention. He has had many close calls before but there are few men who ever recover after being as far gone as he has been for the past week. His chances are now, however, a little better than even."¹³

In spite of this limited optimism, amidst intense suffering from an intestinal ailment and pneumonia, Charles W. Fish died on May 5th in Chicago at the age of 47. The trouble had started with a cold that settled in his lungs. At the end his wife and a niece were at his bedside. He was a member of the B.P.O. Elks and the Knights of Pythias. He was buried in Mt. Ida Cemetery at Troy, New York.¹⁴

Note: not all illustrations are included in this online version of the article.

Notes

1. Dingess, John A. (1829-1901), Manuscript, p. 69, 170 (Harry Hertzberg Collection)

2. Norwood, Ed., Interview, Dallas, Texas News, September 25, 1927

3. New York Clipper, February 28, 1874, p. 383

4. Ibid, April 17, 1875, Supplement, p. 1

5. Ibid. May 7, 1881

6. Ibid. December 24, 1881, p. 656

7. Ibid. April 5, 1884, p. 44

8. Ibid. March 20, 1886, p. 4

9. Ibid. June 26, 1886, p. 232

10. Ibid. October 30, 1886, p. 523

11. Ibid. February 22, 1890, p. 829

12. Ibid. February 17, 1891, p. 759

13. Ibid. May 4, 1895, p. 131

14. Ibid. May 11, 1895, p. 151

Top