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Reply: 12 Mar 2010 - John Polacsek has extensively researched the topic of circuses moving by water and will hopefully provide more details, but here's some quick information. "Circus boat" is encountered in the literature and it can mean different things. So does the phrase "boat show."
    Quite a few circuses made jumps between river communities by steamboat, and some toured the greater part or an entire tour by river. These were overland shows, normally moving by horse and wagon, and using a tent. To move by steamboat, they eliminated most of the wagons and horses and carried the tent and apparatus on the vessel, erecting the show adjacent to the river landing. Yet, there are other instances when an overland show boarded a vessel and then unloaded from it.
    These moves were popular when the steamboat trade declined in the face of competition from railroads, and vessel owners sought out other purposeful means to keep or make their craft profitable investments. Circus men who utilized steamboats included Dan Castello, John Robinson, Dan Rice, C. W. Noyes, Edward Backenstose and many more. It was also incumbent upon the circus men to figure out how to "route" their circus along the rivers, knowing where to land and when during the season. Until the river navigation was controlled with a series of locks and dams, some sections were not navigable year-round.
    A few steamboats were apparently modified [presumably cabin space replaced by a large box] so that they could house "performances" of one type or another on board. The "James Raymond" was one such craft. The ability to house and present an actual circus on a self-powered vessel seems limited; most presentations, I suspect, were on a stage and not in a ring, and were largely constituted of human performers.
    One must be careful to distinguish between a circus [staged in a ring, with human and animal performers] and vaudeville programs that were a common staple of floating theaters. "Circus" acts shifted between circus, vaudeville, theater and other venues, but to be a circus one needs the essential ring and the combination of humans and animals working together on the same bill.
    The number of bonafide circuses utilizing an actual floating theater [people in the business didn't use "showboat"--credit that to Edna Ferber's popular novel] is very minimal. Spalding & Rogers exemplifies the genre with their 1850s "Floating Palace," towed [meaning pushed] by one steamboat and augmented with others in their "Circus Fleet." Much has been written about it, from tertiary articles to a Ph. D. dissertation. There's an engraving, a couple posters, even a poor photograph of the vessel. S&R were innovators, using three different forms of travel at various times [overland, river, railroad].
    A couple outfits hired steamboats and loaded the show onto barges and moved from landing to landing to make water-borne appearances. That's the case with the 1881-1882 Cole's New Southern Circus, the 1903 Great American Water Circus, the 1915 Rice & Dore carnival, and Rice & Emerson in 1924, the latter two of which may have had a circus as a "back end" show. There may have been others.
    Robert Stickney, Jr. proposed to do a "southern boat show" in 1901, but whether he actually accomplished the task I'm not sure. If he simply proposed to travel by steamboat, or use a theater on a barge wasn't stated.
    Philip Graham's book, unfortunately titled "Showboats," is a readily available resource. His vessel listing includes something called "United States Aid," described as a circus boat of the 1850s. It's characterized as seating 500 and plying the Ohio River; but I think further confirmation is in order to discern the nature of this operation. The same is true of his entry for "Dan Rice's Floating Opera," reportedly built at Cairo, IL in 1886 and having a capacity of 440. Further investigation is mandated before accepting it as a bonafide entry.
    There are large collections on the floating theater topic [Kent State University, Ohio Historical Society, Tulane University; Graham's holdings are not yet in the public domain, as far as I know], small collections in numerous places, plus all of the material now on line, etc. Most of the collections and the writings focus on the non-circus floating theaters, understandably so since theater and stage activity dominated their existence. Fred Dahlinger

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Reply: 09 Mar 2010 - The obvious course of action is to contact or visit the local city and county public libraries and historical societies. Another possibility is the photo morgue of the local Youngstown newspaper; the circus rituals provided good story material and unusual visual coverage in Baby Boomer America. Casting a broader net, you might try historical societies that cover your area of Ohio as well as the Ohio Historical Society in Columbus. You might also check old CHS, CFA and CMB rosters for members in the Youngstown area; perhaps they and/or their collections survive? The RBBB routes are available on this website at: www.circushistory.org/Routes/Ringling50.htm The show played Youngstown in 1950, 1951, 1952, 1954, 1955 and 1956. Knowing the dates, you can also check the local newspapers of the time for photo and descriptive coverage. Fred Dahlinger

Reply: 10 Mar 2010 - I am looking for informatiom on my mother who did pass away in 1999 with the secret of being a performer in the circus during the 1940s. I discovered this information when settling her estate. I also discovered I was adopted by her second husband. Her first husband was a "roust-about?" named J. Churchill. My mother's name was Dolores Mae Adams, then Dolores Churchill and then Dolores M. Estes. I found a picture in Life Magazine of her and other aerialists with one of the elephants they used in their act. She was 19 in 1941; and supposely she had joined the circus when she was 14. Any information would be greatly appreciated. I know that she got a divorce in Polk County and moved to New Orleans, LA. and had me in 1953. Thank you! PS I found this site when I was looking up exhibits at Ringling Art Museum and got fascinated by your site. Stephanie Modling

Reply: 11 Mar 2010 - Stephanie, if your mother was with RBBB starting in 1938 or later, through 1956, her employment card, detailing her birth date, home address, next of kin, job position, dates of employment and rate of compensation, is in the RBBB business records filed in the Circus World Museum library. You can purchase a photocopy. Joseph T. Bradbury published a series of articles in the Circus Fans Association journal White Tops that detailed each season from 1932 to 1956. These are probably available for purchase as back copies from the organization. They would provide further understanding of your mother's employment and life with the circus. You might also find Connie Clausen's book of interest. It's the memoir of a show girl with RBBB. Fred Dahlinger

CHS Convention, July 21-24, 2010   Information

Reply: 08 Mar 2010 - If you'll give me your contact info, I'll pass it on to Rob. He doesn't have email that I know of. Bob Cline ( 5Tigeract@gmail.com )

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Reply: 05 Mar 2010 - The Riverside/Buffalo Ranch lithos date from the Jones Bros/Thomas Wiedemann (Kit Carson) “Buffalo Ranch Wild West Show” (1910-14). There are two Riverside posters that are often seen in collections today: "Real Indian Dances” (which is the one that you have) and “Cowboys, Cowgirls, Indians, Mexicans”. As far as I have been able to determine, originals of these two posters are only found as a one-sheet “panel” (54”x20”) – itself a relatively unusual, yet standard, size. Both of these two Buffalo Ranch images have been reproduced in recent years, Check the dimensions and you will know whether your poster is an original from the early part of the 20th Century or a more recent reproduction. This poster is a great example of the lithographers skill – and original or not, the image provides a glimpse into entertainment advertising in the early part of the 20th Century. Chris Berry email: circusposters@gmail.com

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Reply: 03 Mar 2010 - The broadest survey of the American circus during the Civil War is William L. Slout's book "Clowns and Cannons, The American Circus During the Civil War" (1997). On page xi, Bill wrote "If the 1860s was a decade of transition, it was also a period of survival." He also wrote "After the declaration of war, the South was closed to traveling amusements." These statements largely summarize the situation. Like most businesses, the war efforts pushed circus survival nearly to the brink in some instances. Dramatic development and expansion took place thereafter, until the Panic of 1873 put a damper on the economy. There are a variety of articles that shed light on the circus during the war, as well as memoirs, articles, etc. If you have a specific area of interest or need, clarification thereof might enable additional references to be provided for your purposes. Fred Dahlinger

Reply: 28 Feb 2010 - If you go to www.circushistory.org/History/BriefU.htm on the CHS website and scroll down to Wirth's Circus, I think the information on a Muriel Wirth there may be your great grandmother. If so, it appears her father was Harry Wirth, one of the showmen Wirth brothers. You'll have to read down to the bottom of the section on the Wirth's Circus to view the possible family connection. You will want to try to find a copy of The Travelling Wirth Family: a history of our ancestors as musicians, miners and Wirths' Circus including descendants, by Gayle Maree Speight; Stephanie Wirth; Margaret Wright, 2005. And the publications of Mark St. Leon who has done extensive work on the Wirth and St. Leon families. - J. Griffin.

Reply: 01 Mar 2010 - I don't know how to thank you! It's my birthday today and this information is invaluable Annie Milda Muriel Wirth is the same as in the article link you sent me. She is the daughter of Harry all the history I have been researching revolved around Phillip no wonder I couldn't find her. Her second husband was W Lewis known as Bill and their farm was in Bowenfels I remember it well. My mother has many pictures from those days.I have four daughters I will pass the information on to. It explains my love and success with horses and my daughters' talent with music.Thank you thank you thank you. Susan

CHS Convention, July 21-24, 2010   Information

Reply: 27 Feb 2010 - The calliope film is controlled by the National Film Board of Canada. Their website will be found in a Google search and then you can search their site for the information you desire. Fred Dahlinger

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Reply: 21 Feb 2010 - While our website does not allow the posting of photos or images, If you'll email these photos to me, I can at least see them and perhaps ask some other historians far more knowledgeable than myself. Bob Cline fivetiger@shtc.net

Reply: 03 Mar 2010 - The back end shows were colorful, but the front end boys raised it up a few more levels. Many of the early games found on the North American fairground and the circus lot were carryovers from England and Europe. If you look in French fairground books of the late 19th century you will see drawings of games like the "swinger" that became popular, alibi joints in 1950-'60's midways were also here. The popularity of a game can go up and down and many have seen several revivals at different times.
    Grifters or operators of rigged or controlled games around the circus favored small gaming equipment that could easily pocketed away - hence three card monte, the pea under the shells or nuts. The best players could work them on top of a held newspaper or the top of an umbrella. The first "New York Clipper" ad I saw for a controlled wheel for operation in a sideshow was in the 1870's. By this time wheels, drop cases and other self-built gambling or gaming devices were common on the show grounds. The later were also in use on the fairgrounds.
    The gaming business didn't really take off until the early part of the 20th century, when numerous companies started manufacturing specific prizes for the games, bingo stands, etc. The manufacture of prizes in huge quantities allowed for reasonable priced stock. An assortment and variety of prizes made of cloth, felt, plaster, composites were cheaply priced by the dozen and usually sold by the case load - or gross. The type and style of prizes followed popular events, patriotic ideas, and fun subjects. I don't know exactly the year that plaster figures of human characters and animals came onto the show grounds but it was around the first world war. They became the dominant prizes along with pillows, blankets, and food baskets, boxes of chocolates and cigarettes and cigars. These items dominated the prize selection into post World War Two.
    The famed kewpie doll was first a plaster figure. Boxes of chocolates were big give always and in the 1930's; chocolate manufacturers worked hard to come up with a formula to keep chocolates from melting quickly in the heat.
    Not only were there big manufacturers of prizes, but also several well known manufacturers of gambling and gaming devices. E.C. Evans in Chicago was the premier company that issued catalogues and supplied showmen with various gaming devices for decades. Usually the gaffs were so clever and so simple that most players never knew what was going on when a game was controlled by the operator. Besides a half dozen game equipment manufacturers there were numerous showmen in the industry that had a small cottage industry in building carnival games to order. For years, one Coney Island showman specialized in "cat racks." A friend of mine made short range buckets and controlled wheels.
    In the teens and 1920's merchandise and paddle wheels dominated the concession business. Whole wheel joints were full of one particular stock item and wheelmen threw out tons of stock. Some shows would have a dozen wheel joints with each one throwing out a different piece of stock. You could only win that particular prize by playing that game. Midway operators would give concessionaires the exclusive to certain prizes. The gaming business became a big money making proposition as long as operators keep throwing out good quality stock.
    By the mid 1920's controlled games were the way to go for many concessionaire and for many carnival show owners. Despite numerous attempts at certain times to clean up the concessions the flat stores and alibi joints had a field day alongside hanky panks and straight sales stands well into the early 1970's. Some of the best midways had a first class concession department with numerous controlled games. Some argue that the flats and alibis finally killed the gaming industry, but it was a combination of social factors, local gaming regulations, and the fact you could buy plush anywhere. At one time you only found plush toys at carnivals and amusement parks. Once the variety of games were restricted by rules and legislation the row of midway games became a somewhat boring proposition for the average midway trotter. Fewer people carried cash and that killed the flats and alibis.
    Today you rarely see anyone over forty playing a joint. The decline in the quality of prizes (now called slum) given out to everyone on hanky panks and group games lowered the expectations of the game player to the point that many just keep walking past the games. New hot stock items mostly based on T.V. or movie characters come out every few seasons but they are not exclusive to the carnival game business. Now, Bart Simpson plush figures are not only found on carnival games but at every souvenir and gift shop, dollar store, tourist trap, and gas station in the nation. When people know they can buy the same thing for fifteen dollars it is pretty hard to get the game player past that point on the midway.
    Today few carnival owners have a concession department or even know how to properly run one. Shows rely on booked in independent concessionaires to fill the front end lot footage. The carnival game is still about selling space on either a percentage or flat fee basis. Al Stencell

Reply: 06 Mar 2010 - When a circus let the privilege on the lot such as games of chance, that type of information did not show up in the regular documentation of the shows. What was documented in the 1890 -1920 route books were the sales of concessions such as balloons, whips, etc. show. The June 19,1897 New York Clipper did carry an ad for Coe, Yonge & Co., a firm that was the headquarters for cutlery, canes, toy balloon, jewelry, notions, & novelties for streetmen, auctioneers & agents. Cane racks and knife stands a speciality. They could be reached at 700 Washington Ave. St. Louis. Another advertisement that year noted spindles, wheels, knife boards, cane racks, dice games and sporting goods of every description could be obtained from the Kernan Mfg. Co, 792 W. Madison, Chicago. Possibly catalogues from these companies would help. One of the other ways to document midway games if through photographs. I am aware of one midway stand from c1910 that may have been on the Buffalo Bill Wild West Show or other similar show. It is available in the circus file of the Michigan State University Archives and Historical Collection. It shows a young man with a crooked stick and on the stick are a number of wooden rings. He is standing in front of a knife board about 8 feet across with a slanted back. On it are a variety of awls & punches, table knives, and at least four different types of pocket knives. Some of the knives are prizes. In one case a large knife has a small pistol hanging from the handle.The awls are stuck in the board and have tags that read 10 cents, 25 cents, 50 cents and one dollar. So if you ring that particular awl or punch you get the value of the prize. I do not think that the idea of winning a pocket knife with a cork screw, a large knife with a 12 inch blade, or even a pistol would be suitable prizes in todays world. You could substitute prizes and come up with other items to toss a ring over such as a pop bottle, etc. John Polacsek, Detroit, Michigan

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Reply: 27 Feb 2010 - Pinders New Internatinol Circus was run by my grandfather William Ord Pinder. Keswick would have been visited almost yearly until 1962-3. They stopped touring in WW2 from about 1941 until 1945 when they started again. The site would most likely have been a farmers field (not always the same one). If I can find anymore info I will post it for you. Pinders circus will commence its 2010 tour in England on March 11. George Pinder

CHS Convention, July 21-24, 2010   Information

Reply: 21 Feb 2010 - If you will go to their website at www.colebroscircus.com/schedule.htm you will find their route updated throughout the year. Bob Cline

Reply: 21 Feb 2010 - The following obituary was published in March 1875: - Tom
    THE DEAD GIANT. [From the Baltimore Sun] - Mr. James Murphy, Jr. a giant who has been keeping a restaurant at 151 South Chester street, on Fell's Point, in this city, for a year or so past, died early yesterday morning of a bronchial affection or consumption. Mr. Murphy was born at Waterford, Ireland, and was therefore a full blooded Irish giant, and a large one, standing near eight feet in his stockings. He was 33 years of age and unmarried. Some months ago, when he was in comparatively good health, he weighed 351 pounds. He had weighed more when his health was better. He had been in this country twenty four years, having been brought here by his father and mother, who still live at the house on Chester street. The giant traveled three years with Barnum as one of the great living curiosities of the world. In his professional career he visited every part of the country, from Maine to California and the extreme South. After terminating his engagement with Barnum, the giant traveled with a circus, where he contracted the bronchial disease which finally ended his life. When in good health he had a fresh, pleasant face and like all large men, and particularly all giants, except those of the story books and nursery tales, was as amiable as he was great in stature. He had a very youthful expression of countenance, coal-black hair, and his hands were so large that one of them could cover the head of an ordinary man, just as an ordinary hand would cover an orange. His feet were not so large proportionately as the hands, but beside an ordinary shoe one of his shoes would seem to be a sufficient habitation for "the old woman" of the story book, who "had so many children she did not know what to do." When the undertaker came to measure the dead giant for his coffin it was found that the deceased was full eight feet long. Surely the measure of man is correctly known when he is dead. The coffin will be nearly 8 1/2 feet long. The body was visited by hundreds of people yesterday, the giant being well know on Fell's Point, where he was justly esteemed for his amiability, especially by the children, who, after the first shrinkage, generally liked to be taken in his arms and celebrated so far above the heads of their parents as he could conveniently hold them. Some of the little boys in the neighborhood knew him only by the name of "the Gi'nt." The body lay in a small room about twelve feet square, against the south wall, feet towards the west, stretching almost across the apartment from side to side. Candles were burning at the head and foot and sides of the corpse which was covered with a black pall, with a large white cross on the breast, and crosses in the corners of the cloth. The father of the giant who is 65 years of age, probably older, is a large man. When at his best, he stood over six feet in his stockings, though he is now a little bent. The mother is not a large woman, being not above the medium size for the sex. She is nearly her husbands age. Both the old people are in good health, and seem vigorous for their years. Including the giant, they have had born to them five sons and three daughters. One son only is alive. Some of the children were undersized. Only one, a son, attained to the size of the father, except the giant, who exceeded the growth of the parent by nearly two feet.

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Reply: 16 Feb 2010 - You could greatly enhance your research efforts if you can find any town he played in with an exact date. In other words, did he play in St. Joseph, Missouri on Saturday July 19th? By having a day and date, you can pin down the exact year and then it's only a matter of finding out which circus played that town, that year. Good Luck, Bob Cline

Reply: 16 Feb 2010 - If your great-grandfather left no remnants of paper or photographic documentation relating to his show life, the possibilities to identify his employer(s) will be limited. If he mentioned no titles, proprietors or artists of note, that will also be a stumbling block in the search for identity. The description that you provided could apply to a circus side show, but could also refer to other activity including a side show that frequented county fairs. What people have termed a "circus" can indeed mean different things. The best way to identify the show(s) involved will be to extract from the memoir the exact cities and dates where he traveled. From this rudimentary itinerary you must then go to: (1) compiled circus routes; (2) trade journals like the "New York Clipper"; and (3) newspapers in the communities visited. If you're lucky, a combination of these might direct you to a conclusion. Be aware that memoirs written long after the fact usually mix dates and places, and people and events. They can sometimes prove impossible to unscramble. If there's any form of daily diary, sequential listing of show engagements, etc., you might list it herein and someone might be able to assist you directly. Fred Dahlinger

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Reply: 17 Feb 2010 - www.circopedia.org/index.php/Miss_Mara "On March 1, a month and a half before making her U.S. debut at Madison Square Garden, Mara had given birth in Seville to her only child, Enriqueta. Mara would eventually spend six years in the U.S., but on September 11, 1953, in Tacoma, Washington, she fell again — this time with very serious consequences. She had to undergo no less than seven surgeries. Still, on March 4, 1955, she returned to Ringling with her original act unchanged." Bob

Reply: 16 Feb 2010 - The simple answer to your question is "no." There hasn't been a general circus history published for several years, so there's nothing covering the past few years. There's also a definitional problem in that the modern circus, starting in England in the third quarter of the 18th century, doesn't have a direct connection with ancient times other than the word (which changed meaning) and in some of the types of activity seen.
    Most general histories have major flaws in their content, or lack coverage of significant activity, which recent scholarship has exposed. Taken on a worldwide basis, the topic is also so extensive that a single volume could hardly do it justice.
    If you can narrow your focus, it may be possible to recommend one or more texts or volumes that provide coverage. A good start is to check the articles, book titles and other material that can be found on this website, under the History, Publications and other icons on the home page. If you're seeking a single volume for a course reading, it's still awaited. Fred Dahlinger

Reply: 22 Feb 2010 - Fred of course is correct. But if you are prepared to look at more than one book, and you are looking for something more than an overview, then try the following in combination.
    Circus - A World History by Robert Croft-Cooke and Peter Cotes, published in London 1976 by Paul Elek Ltd. The Astley circus doesn't begin till page 39 and the all the previous pages cover Roman and medieval developments. I've seen a French language version and would expect you should find this in the USA through one of the secondhand book search engines.
    Circus by Rodney N. Mauser, published in the UK 1987 by Richford Enterprises Ltd. A good follow on from the above, full of pictures - the first 106 pages are all pictures. The text begins on page 107 - you guessed that didn't you?!!? Concentrates on the 20th century world wide.
    The Golden Age of Circus by Howard Loxton (with David Jamieson, a UK authority on circus) published London 1997 by Grange Books Plc. One of those coffee table general interest books but none the worse for that. Covers the background briefly and then concentrates on the period 1900 to 1939 and again, world wide. Tony

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CHS Convention, July 21-24, 2010   Information

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Reply: 17 Feb 2010 - Great Coleman Circus. The Coleman Circus was a truck show in 1929. There were a number of financial problems that season and by July the show was sold to John Pluto. He reopened it August 3 at Hudson, Michigan under the Great Coleman title. One of the new features on the show was the nephew of Kit Carson, a 75 year old gentleman who last toured 17 years earlier. Your advertisement is a herald not a poster. Ted Bowman Circus Route Collection

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Reply: 02 Feb 2010 - According to the article written by the late Gordon Carver in the March-April 1985 of the Bandwagon, Maynard was a first of May on the Great Van Amburg and Howes Great London Shows in 1914. He was in the after show and worked for W.H. McFarland,Jr, along with 12 other persons. p.j.holmes

Reply: 02 Feb 2010 - Judge Robert H. Gollmar, in his book "My Father Owned A Circus," declares on page 195 that "In 1915 Ken Maynard was officially listed as a bronco-buster for Gollmar Brothers, and in 1916 Charles "Buck" Jones was boss of the concert." I suspect that "officially" means the show route book or program. The book also includes a later, incidental photo of Maynard. Better yet, Maynard wrote Gollmar about his show experience and it fills most of the pages to 201. Therein he states he was with RBBB in 1923. The Gollmar business ledgers are in the CWM library and would possibly provide further confirmation.
    It's possible that the reviews of the 1920s RBBB openers in the Garden, as printed in "Billboard," would list Maynard in the cast.
    I believe that a number of years ago an article was printed in "Bandwagon" about cowboy matinee idols. There's also a Bandwagon article about the Ken Maynard Wild West of 1936. These can be found in the article index. Unfortunately, Maynard's personal and business papers, intact until the past decade or so, were sold and dispersed far and wide. Fred Dahlinger

CHS Convention, July 21-24, 2010   Information

Reply: 15 Feb 2010 - So far as I can tell, he was born Jean Francois Gravelet then changed it to the more English-sounding Charles Emile Gravelet. He was already using the stage name Blondin in Jun 1851 - the earliest reference to him I could find in historical American newspapers. At that time he was simply referred to as a "rope dancer." - Tom H.

Reply: 19 Feb 2010 - Thank you so much! - Leslie

Reply: 02 Feb 2010 - Look for Willy Hagenbeck posters and photos www.circusmuseum.nl/eng H.Best-Otte

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Reply: 31 Jan 2010 - Your request doesn't provide much information. You'll need to be a little bit better with a time line and perhaps a last name to get any help at all. If you know what year for sure, you can check the Ringling programs which listed all the cast members. The Programs are easily found on eBay most of the time.
    Just as a shot in the dark, I was on Circus Kirk in 1974 with a girl from California named Kathy Herb. She later went to Ringling Clown College and toured as a clown with Ringling for a few years. She would have played in the Madison Square Garden on the Ringling dates at least two times. I'm not aware that she used the name Lindsey. She has since passed away. Sorry it's not much help. Bob Cline

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Reply: 30 Jan 2010 - The pleasure wheel or rotary swing, commonly known starting in 1893 as the Ferris Wheel following the design and erection of a mammoth example at the Chicago world's fair, is among the safest of mechanical thrill rides. The simple, slowly rotating assembly of structural steel has a generally excellent safety record. Death and injury associated with the wheel is usually associated with misbehavior or fear on the part of the rider(s). The elevation and motion of the wheel can impact the emotions of some, resulting in inappropriate actions, such as standing, that may precipitate their exit, falling or spilling from the wheel seats. This has been the most frequent explanation for injury or death of riders, beyond outright horseplay or risky behavior. There may be some instances when ride owners failed to properly erect, maintain or operate a ride, or fail to clear it of riders quickly before the onset of wind, circumstances that have resulted in injury or death.
    Only one circus ever featured a wheel. Fred Buchanan's Yankee Robinson show had one on his midway in or about 1915. A photograph records it there. That was the year in which ride builder C. W. Parker placed one of his "Carry-Us-All" merry-go-rounds on both Buchanan's outfit and also on the Sells-Floto Circus. They proved beyond doubt that the rides could be moved on a daily basis, but the action didn't stimulate ride sales to circuses. The pleasure wheel remained associated with the traveling carnival, the amusement park and the world's fair midway.
    There are instances of rides or entire midways being erected adjacent to a circus show grounds, attracted by the show's ability to attract a crowd. Yet, it should be understood that all such installations were not part of the circus proper.
    Thus, it was not a circus which incurred the death that you refer to in the 1930s. It may have been at another amusement site offering rides.
    Probably the worst accident in pleasure wheel history took place at Clason Point Park, in the New York City borough of the Bronx in June 1922. Seven people were killed and 26 were injured when the vintage wheel located there collapsed during a surprise, heavy wind (sounds like a freak tornado) incident that went through the area. The owner, one Paul Simon, was held on a charge of homicide. The wooden towers supporting the rotation shaft bearings failed, precipitating the fall and collapse of the wheel and the resultant death and injury. There is coverage in the New York "Times" of June 12-14, 1922, and elsewhere. This items list the dead and injured:
http://query.nytimes.com/mem/archive-free/pdf?_r=1&res=
9A05E4DB1E3EEE3ABC4A52DFB0668389639EDE
http://query.nytimes.com/mem/archive-free/pdf?res=
9504E0DF1539EF3ABC4B52DFB0668389639EDE
Emily Lawyer, a nine-year old girl, was among those who lost their lives.
    Mary Louise Wilson, a 13-year old girl from Point Lookout, PA, stood up in a Ferris wheel car, causing it to invert. She died July 9, 1930. There are likely to be other such incidents in different locals through the 1930s. You can do further searching through www.newspaperarchive.com, Google, other digitized newspapers, etc. Fred Dahlinger

Reply: 30 Jan 2010 - The Ferris Wheel is a mechanical device that is not easily put up and down on a daily basis. The Carnivals utilized them extensively allowing them to saty in one place for five to ten days at a time before having to take it down and move it again. The Circus however, made a living for the most part by being mobile and moving nearly every day. The circus provided its entertainment in pomp, circumstance, pagentry and costumed regala but most importantly in hard earned skills and training. The Carnival on the other hand provides amusement devices for you to ride for your entertainment.
    The most popular Ferris Wheels manufacturer is the Eli Bridge Co. out of Jacksonville, Ill. You can find out more about them at their website http://www.elibridge.com/ Although there have been other manufacturers and even different configurations such as the double ferris wheel (one turning wheel on each end of two giant arms that all revolves) the double, double ferris wheel which was two double ferris wheels side by side, the Big Eli is the most well known wheel.
    Concerning the accident you are asking about, I cannot offer any assistance. I can however tell you a very similiar accident occurred in Myrtle Beach at the Pavillion a few years ago. Here's the article.
http://news.google.com/newspapers?nid=1665&dat=19910724
&id=P1QaAAAAIBAJ&sjid=UiUEAAAAIBAJ&pg=5621,4617507
    Maybe this helps a little. Bob Cline

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Reply: 28 Jan 2010 - I don't recall the earliest circus date in Nevada, but it's likely a circus that came across the border from California. I'd suggest checking Chang Reynolds' book about California circuses, "Pioneer Circuses of the West." You'll probably not find too much before 1850, with most larger circus activity coming after the completion of the transcontinental railroad in 1869.
    Ascertain the existence of roads that reached into or crossed Nevada, those would have been navigated by the overland shows. Study the formation of the railroad network and you'll learn when and how railroad shows would have arrived and departed the state.
    If no one has compiled a listing of Nevada circus dates, you can start to do so by: [1] Googling around; [2] start to scan newspapers available directly or via interlibrary loan; [3] find Nevada and other newspapers with key word searching capability that may have carried news via exchange.
    1862 Nevada law governing circus appearances:
http://books.google.com/books?id=7z44AAAAIAAJ&pg=PA168&dq=
circus+nevada&lr=&as_drrb_is=b&as_minm_is=0&as_miny_is=1800&as_maxm_is=
0&as_maxy_is=1900&as_brr=0&cd=6#v=onepage&q=&f=false
    You might look into the 1869 Dan Castello Circus route, which was the first circus across the transcontinental railroad. There's a somewhat detailed article about it in the CFA journal "White Tops," in 1969. [WT index on this website]
    A hit for Virginia City, NV came up immediately for July 2, 1870 for the Dan Castello Circus, on this website: http://www.circushistory.org/Thayer/Thayer2k.htm
    The 1872 San Francisco Circus and Roman Hippodrome was in Nevada in 1872, another hit on this website: http://www.circushistory.org/Clipper/Clipper1872-73.htm
    Montgomery Queen [July 1874], James A. Bailey [Cooper & Bailey at Virgina City Aug 29-31, 1876], Adam Forepaugh [1877-Virginia City May 6-7, 1878] and W. W. Cole [1878] all took their railroad circuses across the nation to California in the 1870s on the transcontinental railroad. That means they played in Nevada; Reno, Virginia City and other communities along the railroad right of way.
    Here is something about John Robinson in Reno in 1883:
http://books.google.com/books?id=keQ7AAAAIAAJ&pg=PA377&dq=
circus+nevada&lr=&as_drrb_is=b&as_minm_is=0&as_miny_is=1800&as_maxm_is=
0&as_maxy_is=1900&as_brr=0&cd=1#v=onepage&q=circus%20nevada&f=false
    I think that John Polacsek of Detroit recently delivered a paper before the Circus Fans Association convention in Las Vegas about the circus history of Nevada. If you contact him he may be willing to share it with you, or advise on its publication.
    Bill Biggerstaff of Graphics2000 is a great and long-time circus enthusiast and collector and may have some pertinent Nevada materials. He's in Las Vegas. Fred Dahlinger

Reply: 04 Feb 2010 - There is a lithograph at the Circus World Museum of the Montgomery Queen Circus with a Virginia City date. Sid

Reply: 07 Feb 2010 - The presence of circuses in Virginia City notes that they came from the California before the northern railroad was completed in 1869. Wilson's Circus - July 1863; Lee & Ryland Circus - May 1865; Cooke, Zayara & Wilson - July 1865; Lee & Ryland - July 1866; Blaisdell & Constable's Golden State Circus - June 1868; Stickney's Circus - July 1868; Bartholomew's Great Western Circus July/August 1868; Charini's Circus - October 1868; Wilson's Great World Circus - June 1869; Dan Castello's Great Show - July 1869; Nelson's Circus - May 1870; Oriental Circus May 1870; Atlantic & Pacific Circus June 1871; Great San Francisco Circus June 1872; Conklin Brothers - September 1872; W. W. Cole's Circus - May 1873; Wilson's Circus - June 1873; Palace Amphitheatre - June 1873; Montgonery Queeen Circus - June 1874; Jackley's Circus - July 1874; Montgomery Queen Circus - June 1875; Cooper & Bailey Circus - August/September 1876; Montgomery Queen Circus - June 1877, Adam Forepaugh Circus - August 1877. Ted Bowman Circus Route Collection.

Reply: 27 Jan 2010 - The quick way to answer your questions is to identify some veterans of the era you're studying and to determine if they'll reveal inside information. Another route is to read trade coverage of the time, in Amusement Business, Circus Report, White Tops, Bandwagon, etc. Work with your college or university librarian to determine the closest repository for these journals. I'd caution you to gain a firm grasp of the industry's history in the era in question before tackling the vets, or you may find yourself unable to grasp the depth and breadth of what they tell you. Asking the right questions will also prove difficult, as will ferreting out the value of conflicting stories and outright opinions. Fred Dahlinger

CHS Convention, July 21-24, 2010   Information

Reply: 27 Jan 2010 - The late Mike Sporrer extensively scanned newspapers in the State of Washington for circus activity. His research notes were donated to the Circus World Museum library. You can contact them and ask if they can locate the engagements that he found for Tacoma. His files may be organized both by circus and year, and by the city. You might also check the Tacoma library, to determine if they have a vertical file on shows; you might get lucky and learn that they have a finding aid or clipping. One can also scan the Tacoma newspapers, if you can gain access to the microfilm, directly or by interlibrary loan. Sporrer also penned an article about circus activity in Seattle, which was published in the CFA magazine "White Tops." It's in the Nov-Dec 1967 issue, starting on page 22. If a circus played Seattle it may have also routed into Tacoma. It would provide you with a working list of titles and the dates when they were in the local area. From that you could go into the Tacoma newspapers and obtain further information quite rapidly. Ralph Decker is a long-time circus enthusiast in Tacoma and you might contact him about your search. Fred Dahlinger

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Reply: 30 Jan 2010 - Pinito Del Oro’s real name is Cristina Maria del Pino Segura. Born in Spain on November 6, 1931 she was with a number of European circuses and at the age of 18 was brought to the US where she spent the next seven seasons with the Ringling Bros and Barnum & Bailey Circus (1950-56). After Ringling-Barnum closed in July 1956 she toured as a featured act with Polack Bros indoor circus prior to returning to Europe as a headliner with Circus Schumann. Pinito Del Oro’s trapeze act is among the acts featured in the Cecil B. DeMille movie “The Greatest Show on Earth” and was memorable for her trapeze head-stand without a net. She had three very serious falls – in 1948, 1958 and 1968 and suffered many broken bones – including a fractured skull. In February of 1952 she fell during an indoor engagement with Orrin Davenport’s Shrine Circus at Detroit’s State Fair “Coliseum”, but her injuries were relatively minor (dislocated ankle and pulled ligament). She retired from performing in 1970. Chris Berry, circusposters@gmail.com

Reply: 13 Feb 2010 - Hello: Actually, Pinito del Oro never appears in the movie The Greatest Show on Earth, neither in any distant shots or close-ups. John Ringling North demanded that Cecil B. DeMille not shoot any footage of del Oro for use in the movie. North considered del Oro to be his Superstar of the era and did not want the movie-going public to see her without paying admission to the circus. North also had the desire for a relationship with del Oro outside of the ring, but apparently she was not interested. North was a major socialite of the era and was often seen out on the town with various actresses, etc. but del Oro was never interested - possibly due to her catholic upbringing or possibly because her brother, who was a wirewalker, was also on the show for the first years she was with the show. He would have had to chaperone her on any social outings as a family obligation and that would have certainly cramped North’s style. Although the Betty Hutton character is shown on a head-balancing trapeze, del Oro never doubled for her in the movie, and Hutton’s character was never shown doing any head-balancing tricks in distant shots- rather only in close-ups where a harness rigging was used to hold her upside down. All of Hutton’s distant shots show her on a regular swinging trapeze and in those shots her double was La Norma Fox. For the one-arm planges, supposedly Maryse Begary doubled for Hutton, but Begary would not appear with the Ringling show until some years later, so whether she was brought in for the shooting or not, I’ve never been able to confirm. Another head-balancing trapeze star of the era was Tiny Gallagher aka Galla Shawn, but she did not appear with the Ringling show until the early 1960’s. Galla Shawn had bleached blond hair at least, but both del Oro and Begary were Brunettes and it is doubtful that any performer could have done head-balancing trapeze wearing a wig! - Neil Cockerline

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Reply: 22 Jan 2010 - Hi! Go to google. Click on "others", click on "books". Type in "billboard". Tom H.

Reply: 22 Jan 2010 - Google books has scanned in most of the Billboard issues from 1942 on. Just search google books for Billboard and you can browse through all thier issues. Hope that helps! - Cailee

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Reply: 21 Jan 2010 - The best discussion in print about the craftsmen that furnished carved, wooden artwork for circus wagons is found in Fred Fried's book "Artists In Wood." It reviews the principal New York carvers, especially Samuel A. Robb and his predecessors in New York City. Fried references two 1880s articles, one in the "New York Times" http://query.nytimes.com/gst/abstract.html?res=
9805E0DF1239E033A25750C0A96E9C94619ED7CF and another in "Harper's Weekly," that provide background on carvers.
    The Moellers in Baraboo, WI typically utilized the Milwaukee Ornamental Carving Company, the principals of which were Germans, Kuehn and Papke. They converted over to ornamental plaster work in later years. They and their firm are discussed in a "Bandwagon" article about the Ringling Bros. Bell Wagon. Sullivan & Eagle of Peru, IN had their own in-house carvers. They are covered in passing in "Bandwagon" articles about various wagons they produced. The same is true of the Beggs operation of Kansas City and Herbert L. Witt of Morristown, TN, who are covered by "Bandwagon" pieces. The carvers utilized by the Cincinnati wagon builders have yet to be determined with specific knowledge. There is some discussion of those employed directly by the Bode Wagon Company in a "Bandwagon" article about that firm. Those that furnished figures and scrolls to Henry Ohlsen and George Schmidt remain unknown at this time.
    Spanjer [with a "j"] Bros. was a lettering, signage and carving supply house with sites in Newark, NJ and Chicago, IL. They were reportedly founded in Newark in 1897. The last I heard the Chicago plant had been abandoned, open to invasion. They later subcontracted lettering work, some to a Grand Rapids firm, C. G. Witvoet, starting circa 1932. http://www.cgwitvoet.com/company/history.html. One posting suggests that their founding was related to a carver who did work for Barnum and that they did work for all the principal circuses. I suspect that there's some truth in that, but it likely revolves around a commission that they received from Samuel Robb to provide some of the 1903 B&B wagon carvings.
    A biography of one of the founders and owners, William Henry Spanjer, can be found on pages 243-244 of: http://books.google.com/books?id=
iY0MAAAAYAAJ&pg=PA244&dq=spanjer+bros.&lr=&cd=20#v=onepage&q=&f=false. The brother was Henry J. Spanjer.
    On-line is a listing for Spanjer Signs, 189 Chrystie Street #2, New York, NY 10002, 212-473-2507. They also have a website: http://spanjersigns.com/ This appears to be a different firm, but perhaps there was a family relationship?
    Their catalogue contents suggest that Spanjer was contracted to supply some of the carved work for several traveling show vehicle commissions. These works are not confirmed in references in show trade journals, suggesting that they were sub-contractors. Only three show orders can be associated with the firm; I would discount more extensive attributions by Chindahl and Plowden. Spanjer carving work was applied to: [1] the 1903 Barnum & Bailey "Two Hemispheres" Bandwagon [some or all of the national coats of arms], which was likely a sub-contract from Samuel Robb; [2] several large bandwagons and tableaus furnished for 1910 by the Leonhardt Wagon Mfg. Company of Baltimore to the Norris & Rowe circus; [3] Indian and bison head carvings for two c.1910 Miller Bros. & Arlington Wild West tableaus, builder and date unknown.
    The B&B Two Hemispheres is well-known. The largest of the Norris & Rowe bandwagons is seen at the following link, but with a history that requires verification: http://bucklesw.blogspot.com/2007/03/barnum-bailey-floats-and-tableaux-9.html. A second tableau is found on one of the Spanjer catalogue pages listed below, with two leaping animals on the side. Also illustrated on the same page is one of the 101 Ranch tableaus, with the second Ranch tableau seen at: http://www.flickr.com/photos/8313942@N07/3745871262/.
    Two pages from one Spanjer catalogue were reprinted in C. P. Fox's book "Circus Parades," pages 78-79. He dated them to 1900, but they are from no earlier than 1909-1910. Spanjer printed numerous catalogues, some of which are preserved in various collections [Smithsonian's Cooper-Hewitt in NYC has one http://siris-libraries.si.edu/ipac20/ipac.jsp?uri=full=
3100001~!539935!0#focus]. Rutgers University has 1909 and 1927 editions. http://www.libraries.rutgers.edu/rul/libs/scua/sinclair/catalogs_n.shtml#newark
    These links will lead to several catalogue covers and related items posted on-line.
http://www.theletterheads.com/lhparts/spanjerbros.html
http://anonymousworks.blogspot.com/2009/09/peek-inside-catalog-of-spanjer-bros.html
http://www.handletteringforum.com/forum/viewtopic.php?f=2&t=759
    A couple Spanjer catalogues were once posted on-line, but the site that hosted them are now defunct. It's possible that you may be able to find them by contacting commentators on one of the above sites. Fred Dahlinger

Reply: 22 Jan 2010 - Wow! I can't believe how comprehensive a reply this is! Thank you SO much taking the time to list sources too! Alison

Reply: 23 Jan 2010 - Glad that the material was helpful. I neglected to mention that Spanjer Bros. made at least one much later attempt to obtain outdoor show work, from carnivals. They could supply the wood carvings for show fronts, selected ride cars and decorative trim, etc. They placed an advertisement highlighting "Wood Carving Special Woodwork" in "Billboard," January 5, 1929, page 71. There may be other similar advertisements, but it's unknown if any orders materialized from the activity. This is the only direct Spanjer advertising in a show journal that I recall. Fred Dahlinger

Reply: 25 Jan 2010 - This history of this act is somewhat complicated, but I will try to place it in a nut shell for you. Harry La Mar (Harry Foreman) was the nephew of Edward Foreman, of Bloomington, Illinois. Ed was a flyer with the Flying Fishers, taking the professional name of Ed La Mar. The Fisher troupe was with the Ringling Brothers show for a number of years. In 1906 when Charles Noble, manager of the Flying Fishers, died Ed and Charles Waller took over the management of the act, calling it the La Mar-Fisher troupe. The following year the troupe split up. Ed formed the Troupe La Mar, Waller continued with the Flying Fishers, and Charles Noble's brother, Clyde, formed a vaudeville stage act which he also called the Flying Fishers. All three of these were flying return trapeze acts. I have also found Mr. Hatfield working with Clyde Noble's vaudeville stage act.
    Harry Foreman was born in 1895, and worked with his uncle's act in the early 1900s. He was with the Imperial Vienese troupe with the Ringling show as well, among other acts, in the early 1900s. When his uncle Ed retired from trapeze work to manage a theater in Bloomington, Ed took out an act that he called the Flying La Mars. The Flying La Mars traveled to Australia twice. Harry was a talented flyer, but an even more proficient teacher. He was instrumental in working with the administration of the Bloomington YMCA to establish that venue as a major practice site for circus performance in the early 1900s, and he trained many flyers and catchers there over the years. Harry died in Florida in the 1970s. I would like to know more about Mr. Hatfield as well. Steve Gossard

CHS Convention, July 21-24, 2010   Information

Reply: 20 Jan 2010 - Dear Mr. Schilling: Some years ago I read a paper on the Ringling “Cinderella” spec at the Circus and Circus History section of the Popular Culture Assn. annual convention. I found nearly everything I needed for my research at the Parkinson Research Center of Circus World Museum, Baraboo. WI. It had programs, couriers, posters, and some photos and clippings. Most important, though, it had a copy of the script used for performances, setting out all the action and actors in a very detailed manner. This alone will probably answer your questions, at least most of them. Erin Foley, the archivist, is very helpful and a delight to work with. I haven’t yet been able to locate the folder with the paper, but if it doesn’t come to light in the next few days I could mail you a printed copy. Michael H. Means (m-jmeans@sbcglobal.net).

Reply: 21 Jan 2010 - “Cinderella” was actually the Ringling Bros spec in both 1916 and 1917. It consisted of six scenes and opened the performance of the circus during those two seasons. It was produced under the personal direction of Charles Ringling. The story is described in the program as being a combination of many different versions of the fairy tale but focusing on the elements that were most familiar to the majority of people. Scene I was titled “The Fairyland Kingdom – The Proclamation”. Scene II was at the Home of Cinderella and titled “The Transformation”. Scene III was set in “The Streets of the Magic City” and was titled “The Departure. Scene IV took place in the Grand Ballroom and was titled “The Loss of the Slipper”. Scene V was set on The King’s Highway and titled “The Royal Command”. Scene VI was set in the Palace of the King and titled “Triumph of Cinderalla”. The entire and traditional story of Cinderella was told in pantomime. The music was arranged by JJ Richards who also conducted the Ringling band during that time, with scenery designed and painted by Sosman and Landis Co. Costumes were designed by William Crowe and executed by Henderson-Ames Co. The ballet dresses were designed and executed by F. Schoultz with the ballet and stage action under the direction of Ottokar Baktik. Chris Berry circusposters@gmail.com

Reply: 06 Feb 2010 - Thank you Michael and Chris for your replies to my questions! Joel Schilling

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Reply: 21 Jan 2010 - There's a cameo biography of Campbell in Slout's "Olympians of the Sawdust Circle," on this website. www.circushistory.org/Olympians/OlympiansC1.htm. His obituary in the 1882 "New York Clipper" should also have further information on his career. Since he died in California, it might have been printed a couple weeks after his passing. Your local librarian may be able to obtain the "Clipper" microfilm via interlibrary loan.
    Thayer's "Annals of the American Circus" will trace him from the beginning of his career through 1860. Stuart also wrote about the first camp outfits employed by circuses and you might find it illuminating for Campbell's last show occupation, www.circushistory.org/Thayer/Thayer1d.htm You'll learn a limited amount about Campbell, but you can learn a lot about his times, his peers and other documentation that will establish context and meaning for his life.
    You'll find further information by Googling his name variations, in quotation marks, with the additional words, like circus and clown, to separate out more recent people of the same name.
    There is a large collection of John Robinson circus material in the Cincinnati Historical Society collections. You would likely need to visit there to peruse the holdings for Campbell references. Various digitized newspaper files can be accessed on-line for further information. You might check with local libraries and historical societies, perhaps they can facilitate economical access?
    His career will be largely marked by newspaper ads and reviews, perhaps an interview or two, heralds, couriers and other circus ephemera. Trade cards, cdv images and such things might exist. You might try some older established theatrical collections for his image [NYPL, NYHS, Harvard, etc.]
    There was a lot in common between the preacher in the pulpit and the talking and singing clown in the circus ring. Each had a captive audience, present by personal choice, and wanted to hear what was said by the speaker. They needed to hold the crowd's attention. Both likely spoke against evil in different forms, but on different levels. They may have also offered praise, earthly and ecclesiastical. Learn more about the clown role in Dave Carlyon's biography of Dan Rice. Fred Dahlinger

Reply: 19 Jan 2010 - Hi Bob, Wilson Poarch was a dear friend and wonderful circus fan. I have been trying to find out for the past two years! Regards, Tom Sandow

Reply: 19 Jan 2010 - Unless L. Wilson Poarch, Jr., the editor/publisher of "Southern Sawdust," or his inheritors sold, assigned or gave the copyrights to "Southern Sawdust" to others, they would be part of his estate, given his legal status as "creator." Typically, the rights endure for "the life of the creator," meaning until the date of their death, plus 75 years thereafter. For example, if Poarch passed away in 2005, his rights would endure to 2080. Thus, you would need to seek out his survivors, learn who inherited his copyrights, etc., if you wanted to secure formal approval for major reprinting, etc.
    A start would be to establish his date of death location [Sarasota, FL?], find an obituary, learn the names of the next of kin, etc. The photography utilized in the magazine came from many different sources. Each one would represent the interests of the image creator, and perhaps the subject of the photograph, if it is a real person. It can become a very tricky and difficult issue to secure formal approval; the result is that much material in libraries and archives has fallen into legal limbo, or represents a risk to the possessor or user if it is published. "Southern Sawdust was published and issued when "intellectual rights" were not yet developed as a legal growth area.
    The entire copyright issue became more complex as a result of Disney's Mickey Mouse persona copyright coming close to falling into the public domain in the recent past. Through the Congressional work of Sonny Bono and others, they were able to push out the envelope of protection for many more years and made clearance almost beyond comprehension to the layman. "Simplified copyright law" fills a ten pound book. Fortunately, there are some exceptions, such as the ability of libraries to make photocopies of a limited number of pages for educational use.
    This posting can also serve as "free advice" to the "creators of writings, photography, art work, etc. Consider the enduring value of your works and if they represent meaningful value you should take proper steps to include them in your estate planning. With proper protection, you can both protect your interests and also enable your survivors to deal with them in a proper way that will assure your works don't go into legal limbo, but become accessible in a responsible way in the future. Fred Dahlinger

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Reply: 19 Jan 2010 - RBBB never owned a carousel. It's a common misconception to associate the ride with a circus. The only season-long affiliation between a carousel operator and major circuses took place in 1915. It was not uncommon for a local carousel operator to erect his ride near a circus lot and to take advantage of the crowd gathered for the ring show. There are also instances wherein an entire carnival was set up for a week-long stand adjacent to the one-day presence of the circus. The idea was the same, take advantage of the thousands of people assembled to see the circus.
    No railroad or motorized carnival that owned one ever met its demise at the Sarasota winter quarters of the circus. Whatever the items that your friend saw amidst the other mounds, they were not merry-go-round figures. One could see the remnants of wooden wagon wheels and axle assemblies strewn about the wagon graveyard.
    Carousels and such could have been abandoned in Tampa, Orlando and Gibsonton, and elsewhere in Florida, which were the locations of carnival winter homes. Conversely, these cities were not known as railroad circus winter quarters.
    Joe Bradbury penned an excellent tribute to the Sarasota quarters in a 1961 issue of the CFA magazine "White Tops," "How Dear to My Heart Are the Memories of Sarasota." [Vol. XXXIV, 2, pages 3, 5-11, 23-26] It was based upon his many annual winter visits to the site and was composed with great nostalgia for all that it represented. I would encourage you to seek it out. Joe published a long series in "White Tops" about RBBB covering 1938 to 1956 inclusive, and you'll find much additional information about the quarters therein. There are many other accounts of the quarters, as well as innumerable photographs.
    Tom Duncan's finely crafted circus novel, "Gus The Great," also includes a visitation to a former circus winter quarters that you might find of interest. It was based upon his visitation of Fred Buchanan's place in Granger, Iowa. If you haven't read it, RBBB veterinarian Dr. J. Y. Henderson's memoir would also be an excellent read for your work. Good luck with your novel. Fred Dahlinger

Reply: 09 Feb 2010 - Thanks for the information! I just now am finding it, sorry to be late to respond. This is very helpful. Perhaps it's as you say, and the discarded carousel horses my friend remembers were from some carnival that had set up in the area of the winter quarters; I have no idea and didn't see these discarded horses for myself. What about the question of whether elephants or other animals would have been buried there? This seems unlikely to me, but I don't know the answer. Thanks again! I am hoping to track down the articles you mentioned, and have ordered a copy of "Gus the Great." I do have a copy of Dr. Henderson's memoir. Kay Frydenborg

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Reply: 10 Feb 2010 - If you mean Bill Hill perhaps I can help you he is my Uncle. E-mail me direct at: HD15218BUD@webtv.net

Reply: 18 Jan 2010 - Good Afternoon, It is very safe to say that the animals back then were not trained in the style of the Alfred Court type trainers that followed. All these animals were captured in the jungle as medium to full grown cats that had never seen a human being face to face before. Terrell Jacobs did in fact train a great many lions to work together in the arena, but having four or five out of 50 do anything isn't much of a training process. The majority of the act consisted of getting that many animals in the arena, seated, a fight or two in the process and then getting them all out the arena again. Clyde Beatty was much better at getting lions and tigers working together and they did perform a better variety of behaviors. Where as Terrell Jacobs had large groups to work with and an amazing amount of guts to do what he did, Clyde Beatty was an incomparable showman, far and beyond that of Mr. Jacobs.
    It should also be remembered that the Ringling show wanted Terrell Jacobs to throw together the Black leopard act and got all these full grown animals straight from the jungles. Terrell "failed" to produce a completed act for several reasons, including not enough time ( In all fairness, he worked hard at trying to train them ) not understanding that leopards and lions don't respond or behave the same ways and the leopards were much more aggressive and lightning quick. Frankly, when you look back on it all, its a wonder he even survived.
    Having never seen the Hagenbeck methods of the 1920's and 1930's that you are referring to myself, I can only express my opinion that NO, they were not trained the same. Bob Cline

CHS Convention, July 21-24, 2010   Information

Reply: 16 Jan 2010 - This is wonderful news Jackie and thank you so much. Please give my regards to Hawell. I will e-mail to you. Besy Best, Tom

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Reply: 19 Jan 2010 - Bob Cline: In my 16 years of research of Buffalo Bill, I have only come across one article talking about Major Burke and a potential marriage. In the Omaha Daily Bee, March 18, 1894, Page 17 col 7 the following is printed:
    Quote. Major Burke Engaged. New York, March 17 – Major John E. Burke, who has helped to make Buffalo Bill famous and rich, is to marry. The lady is said to be Mlle. Corrine Le Cauer, who was in charge of the French Exhibit in the Manufactures building at the World’s fair. The ceremony will take place some time in early summer. End quote. I have never run across any information that in fact Burke ever did marry. Richard Georgian

Reply: 19 Jan 2010 - The search for Burke's story is difficult, as his life and death were both in the shadow cast by his hero, Buffalo Bill, and he apparently left no substantial personal papers. Burke's death followed shortly after that of his beloved friend and boss, William F. Cody. Cody died on January 10, 1917 and Burke passed away on April 12, 1917, per the Philadelphia (PA) "Evening News." The 1916 date given in some accounts is incorrect. This hometown newspaper did not note any next of kin, but one might check other Philly papers for alternative coverage. One can also check the obituaries in "Variety," "Billboard" and "New York Clipper" for Burke, perhaps they mention family.
    If a wife and children didn't survive him, or if they split earlier, a search for a spouse might be most expeditiously found via genealogical and biographical search methods, such as www.ancestry.com. The site does include British and American marriage documentation. If the person isn't a subscriber, they might be able to gain access via a local library or genealogical support group. Fred Dahlinger

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Reply: 15 Jan 2010 - There are several possibilities to help you. To start with, eBay has the largest online listing of Circus related items anywhere. You might actually find what you are looking for. Some very nice circus memorabilia has appeared here over the years. In all fairness, the best price is always found in the completed items ( after the auction has ended ) as so many items are bid on at the very last second. EBay has also "Cheapened" the collecting of circus memorabilia by allowing anyone and everyone to offer anything they find for sale. As a result many people get someone's lifelong collection and plunder it in lots and groups with no knowledge of what they have, using incorrect dates and names in their sale descriptions just to make some money.
    You can talk to fellow circus collectors and try to find out what they feel something is worth. That's not an exact science but many people will remember what they paid for a certain item when they got theirs. In some rare instances, there are only a couple of that item in existence that anyone knows about such as a rare route book or poster perhaps. Actual filled out and signed contracts and checks are especially nice to find and the older they are they higher the value.
    If you feel you have a genuinely rare item, you might want to consider an antique appraiser who will do the leg work for you for a fine fee, I'm sure but you'll get a written appraisal that most insurance companies will accept when it comes to insuring the valuables in your home. Most insurance companies will require a rider at an additional premium since you are specifically insuring certain collectibles.
    Last but not least is the worth of anything is only measured by what someone is willing to pay for it. You might think it is worth a fortune and someone else wouldn't give you a nickel for it. This might not be the perfect answers but it will hopefully get you started in a direction or two of learning. Good Luck, Bob Cline

Reply: 18 Jan 2010 - The sale of the William Brinley collection on Feb 16, 2008 is still in the archives of Proxibid. There are 23 pages with 552 lots listed with photos and prices. Three or four things to remember is that these prices do not include the buyer's fee and the shipping. Another factor is that with the stock market problems, all of this material is soft since this sale. You also had antique dealers who bid and purchased this material for resale on E-bay. This drove some of the prices higher as they did not know what they were purchasing. Granted the rare items still bring a lot of money, but the average material has dropped in price. You will see original Strobrige lithographs offered on E-bay that don't have any bids on them, and only 2 or 3 years ago they wouldn't have any problem selling. But this problem is across the board in the antique market, were the really nice material (top 5% to 10%) still brings all the money, but the average item can be a real bargain. P.J. Holmes

Reply: 15 Jan 2010 - Could they not try the Circus Fans Association (America) who must have knowledge about the value of circus items? Tom

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Reply: 27 Jan 2010 - Among the earliest of photographic portraits of circus people are several images of animal presenter Jacob Driesbach. A long-time collector that owned one of them saw fit to bestow an identification of Isaac A. Van Amburgh upon it, having no knowledge of the actual sitter other than his general notoriety. There is no evidence at hand to confirm that Van Amburgh ever sat for a photographer.
    The late Stuart Thayer had descriptions of both Driesbach and Van Amburgh. He even found a newspaper reference for the session when and where Driesbach was photographed. Thayer advanced a strong case for his Driesbach identification. Despite overwhelming evidence, others interested in photographic materials refused to accept his findings for fear of alienating the collector.
    Thus, the earliest prominent portrait of an American circus owner, as well as some of the earliest photographic portraits of a circus performer are both challenged in their identification. Even with a sound argument at hand, it is often impossible to alter an entrenched mentality until a generational change takes place. Truth falls victim to allegiance, for a variety of reasons, especially in the public eye. Good luck with your establishment of the Breschard identity for the Gilbert Stuart portrait. Fred Dahlinger

Reply: 13 Feb 2010 - Mr. Dahlinger, The best any of can do is present the most compelling evidence that can currently be found, as well as point out any factual inaccuracies that we stumble upon. I am extremely grateful for the academic tools we now have at hand which were non-existent fifteen or twenty years ago. Google books is most certainly a researchers delight and it has illuminated cross-discipline connections in my research that were certainly beyond my own imagination. Peter Breschard

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Reply: 14 Jan 2010 - John F. Polacsek published an article about the McCaddon International Circus of 1905 in the Sept-Oct 1982 issue of Bandwagon, pages 13-20. The issue cover includes an image of the program cover, the name spelled MacCaddon in that piece. The issue is available for purchase from the CHS. Fred Dahlinger

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Reply: 27 Jan 2010 - An ebay dealer with the identity circusman1940 has been selling reproduction photographs of the O. C. Buck midway. You can contact the dealer via provisions in the website. Fred Dahlinger

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Reply: 08 Jan 2010 - While preparing a segment about the Rose Kilian Shows for inclusion in an article about wagon builder Herbert L. Witt [Bandwagon, Nov-Dec 2001, pages 4-11], I did not find any mention of a home base, winter quarters, or even an extended layover location. I don't have many of them, but the available annual winter quarters lists published in Billboard, Clipper and Show World don't list the Kilian show. There are several posted on this website, under the "History" page, accessible on the home page. I don't recall that anyone had compiled routes for the Kilian circus that would reveal a pattern of annual end dates and the locations thereof.
    Having just three or four decorated wagons and a troupe that consisted mostly of family and a corps of long-time dependable friends and associates, there was no real need to take a sustained, winter-long break to rebuild, develop new features, train acts, etc. Repairs could be done along the route, and performers and workingmen came and went. The show traveled throughout the southeast. The Kilian outfit was formed at Monticello, Kentucky in 1905, after the family left the Mighty Haag. In December 1910, Rose Kilian used Dudley, Georgia as a contact point for prospective employees. When the Witt wagons were completed they were shipped to Decatur, Alabama.
    A reference in 1923 stated the show had been operating for seventeen years, without closing. This was a common practice for field shows in the middle 19th century. There was no justifiable reason to enter a wintering phase, which incurred expenses without generating revenue. As an overland troupe playing the hinterlands, Kilian may simply have stopped traveling at an opportune moment in a convenient and welcoming community, taken a short break of a few days, or a week or two, and then moved on again.
    There are photos of the Kilian outfit in the Witt article, and also in Bandwagon issues of March-April 1958, page 3, and July-August 1968, page 18. Rose Kilian was a hard-working, honest woman, raised a large family, successfully operated a traveling show in rough country and faced adversity with a smile. Her story, were it possible to document, would probably prove quite heroic, showing grit, savvy and determination of the first order. As a female proprietor, she should be in the ranks with the celebrated Mollie Bailey.
    If your grandfather was associated with Karl King during his circus years, perhaps it was during his tenure with Sells-Floto or Barnum & Bailey, after which he withdrew from field shows. The Braathen collection at Illinois State University-Bloomington includes band rosters and also compilations by musician's names. Your grandfather might be listed therein. Fred Dahlinger

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Reply: 05 Jan 2010 - You can find an image on this website at: www.circushistory.org/Bandwagon/bw-1966Mar.htm. The original article, as published in the journal, had additional illustrations. You might also search the bibliographies of Lancaster biographies for source materials [Gary Fishgall, Kate Buford]. Cravat's daughter, Tina Cuccia, has a website with an image taken on Kay Bros. of Lancaster and Cravat: http://tinacuccia.com/nickcravat.html. Perhaps contact with her would yield additional images? I'm sure that if you do some further Googling [web, images, video] that more images and information will be found. You can also enjoy six different Kay Bros. posters in the on-line collections of the John and Mable Ringling Museum of Art website:
http://emuseum.ringling.org/emuseum/view/objects/asimages/search$0040?t:
state:flow=92432ea4-06cc-425a-b05f-a779c8b79e39
Also check queries 1354 and 2912 on this website. Buckles Woodcock's blog has some Kay Bros. photographs, posted on November 9, 2008. Fred Dahlinger

Reply: 08 Jan 2010 - James Harden isn't listed in Slout's "Olympians of the Sawdust Circle," or "Badger State Showmen," Dean Jensen's book, Gordon Yadon's compilation of circus greats in Delavan, Wisconsin, etc. Can you provide any specific points of information that might serve to initiate a search for him? Fred Dahlinger

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Reply: 01 Jan 2009 - Sorry, I don't have an exact answer, but you might check with Evelyn Riker. She and Dale, who recently passed away, were responsible for the Herbert manuscript being published. Knowing their comprehensive ways, they might have clipped and held a folder of relevant papers, including reviews. You might also check issues of "White Tops" and "Circus Report" in 2005 and shortly thereafter. Fred Dahlinger

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Reply: 08 Jan 2010 - The Barnum & London (1881-1887) and Barnum & Bailey (1888-1918) bandleaders are well documented and I don't believe that Mr. Summers/Somers has a place in their ranks. He may have been a musician with the circus, or perhaps a bandleader with another traveling troupe. The Braathen collection at Illinois State University-Bloomington has extensive compilations of bandleaders and musicians and he may be listed therein.
    Creston, Iowa is a city associated with the circus operations of the Taylor family. You can read about them in Joe Bradbury's article in Bandwagon, May-June 1963, pages 3-13. The version that would seem to connect with your great-great-grandfather would be the one operated by F. J. Taylor, Sr. ( -1917), commencing in 1886 and continuing with some infrequency through about 1902. One version was sold to Perry and Matthews in 1897. The Taylor operation was also accorded some coverage in the writings of Orin Copple King, via publication in Bandwagon [issues in 1993-1994] and possibly in a book he published privately. Armond Fields' book about Fred Stone, available partially on-line, also contains some Taylor material.
    Creston, Iowa was also the original location of the Beggs family of wagon builders. Their story is in Bandwagon, May-June 2004. Fred Dahlinger

Reply: 28 Jan 2010 - An inquiry re # 3209 was made on 31 Dec 2009 regarding Duncan Summers aka Duncan Somers, who may have worked for Barnum & Bailey in the 1880 to 1900 time frame. The Rare Book and Special Collections Department, Princeton University, One Washington Road, Princeton, NJ 08544, telephone #1-609-258-3184 has ephemera regarding Somers and Clark’s Minstrels in their Box #2 Folder #31. This may or may not refer to Duncan Summers aka Duncan Somers. glencar

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Reply: 24 Dec 2009 - According to Jan-Feb 1992 Bandwagon, Robert Behee died in 1991. No more information. Judy Griffin.

Reply: 14 Jan 2010 - Clayton Beehee ending up working as a phone promoter for Bill English in the late sixties and seventies. I would run into him as the billposter for the Hanneford Circus that Bill had put on the road to play arenas under service club, police, sponsorship using phone promotions. We became friends and stayed in touch. Clayton met a lady in Guelph, Ontario and pretty well stayed in the city and ran a permanent phone room year round promoting circuses, magic shows, etc. Clayton died there in the late 1980's. He was a very small man in size, a great twinkle in his eye, and in his old age in a great deal of physical pain from his flying days. His preferred medication was whiskey. Al Stencell

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Reply: 22 Dec 2009 - Dear William: Rogers Bros. Circus was owned and operated by Si Ruebens from 1947 - 1953. As you know, it was a truck show operating primarily in the mid-west. Meaningful articles on the specifics of the Show can be found as follows: 1948 - White Tops (WT) Jul/Aug 48, 1949 - WT Sept 49, 1950 WT Sept 50, 1951 - WT May 1951, 1952 WT May 1952 and 1953 WT Jul 1953. You may have the WT's in your collection. I can scan the 1950 article for you should you not have that issue. Of course, the Billboard Magazine of those years will have frequent weekly inputs. On a personal note, I lived in nearby Franklin Lakes for a number of years, perhaps only 20 miles from you. Best, Robert f Sabia

Reply: 24 Dec 2009 - I'm obliged to Robert Sabia for his swift and informative reply to my message 3203 inquiring about the Roger Brothers Circus. I thank him in advance for his offer to scan the 1950 White Tops article on the circus and wonder if he can provide info on gaining access to the other articles he mentioned. I'm not a circus historian, rather a retired journalist anxious to include in a memoir I'm preparing my experience as a young roust-a-bout and animal handler with Roger Bros in Florida in 1950. Thanks again Bob. Yours, William Gordon of Cedar Grove, NJ. (wmgordon@optonline.net).

Reply: 14 Jan 2010 - Ron perry is living happily in Ottawa, Ontario, Canada. Al Stencell

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