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Note: Additional comment made to Test Your Circus IQ, quiz question #3, Cole Bros., check it out on the Main page.

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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: 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

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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

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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: 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

CHS Convention, July 21-24, 2010   Information

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

CHS Convention, July 21-24, 2010   Information

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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