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Message Archive: Messages 2401 - 2450

Reply: 04 Jun 2008 - The Liverpool Circus at this time would consist of "booked-in" acts rather than being a complete circus. Around 1935 would be my guess at the year. John Morris, john.d.morris@btinternet.com

Reply: 19 Jun 2008 - There's a copy of this poster on ebay at the moment.
http://cgi.ebay.co.uk/1935-circus-poster_W0QQitem
Z250260889290QQihZ015QQcategoryZ2017QQss
PageNameZWDVWQQrdZ1QQcmdZViewItem.
This confirms the year as 1935. Amazing that one should turn up on ebay! John Morris, john.d.morris@btinternet.com

Reply: 15 Jul 2008 - What did the Billy Griffin your referring to do on the circus? I knew a Billy Griffin but may not be the same one. David Terrell, dterrell53@yahoo.com

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Reply: 01 Jun 2008 - Hello Theresa, The Dubsky family and my family have been friends for many decades. You should try Sarasota, FL information. The last time I had contact with them they lived in Fruitville just east of Sarasota. You night try Harry Dubsky. Best regards, Erny Karoly

Reply: 10 Jun 2008 - Dear Miss Brewis, Are you sure their name was “Cosmos Brothers” and not “Como Brothers”? In case they did a perch-act, it must have been Como Brothers, they came from Holland and I still have the address of one of them. Best wishes – Charly Ross.

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Reply: 31 May 2008 - There were literally dozens of shows on the road in the early 1900s, of every shape and size. You'll need the specific name or names of any show. If any documentation survives (there are various collections around the US) you might have the best luck with a route book. My understanding is these sometimes list more important employees by department, in this case, likely with the "kid show" or sideshow. One important note, the word "barker" isn’t used in circus slang — I believe the proper title would be "talker," although I suspect you might find "lecturer," "orator" or "interlocutor" still used in this time period. Lance Burton

Reply: 30 May 2008 - Linda Stewart - In my opinion 1843 is too early for either a lady riding an elephant or performing on the trapeze. If you have a reference citing either I'd like to see it. Stuart Thayer (sthayer@tattersall-design.com)

Reply: 30 May 2008 - Elephant riders have to cover their legs well, because elephant skin is rough to chafe against. Nowadays elephant riders wear something like two 60 denier nylons over each other, with nets over that. The nets protect the tights and when they do ladder you don´t see it so much. I guess in those days lisle stockings wouldn´t be an option, they would desintegrate. An elephant rider costume depends very much on the theme, and what the elephant is covered in, etc.
      One thing you have to take into account is that when you mount an elephant, you hoist yourself up to land right behind the head, with your legs behind the ears. Now however well an elephant is washed - and today that's with a hose with a little pressure, in old times it would be bucket and brush - any chance they get they. Many elephant keepers will rub the thinnest part of their skin, behind the ears, with a palm fat onguent to keep things supple. Disregarding this and showtime, eight out of ten times the elephant will promptly delight in spraying herself with sand again :( :) The result, you understand, is a gungy mess right where your knees are (you might be able to use this as a detail in your book :)) anyway so... you cannot wear white on your legs. Tights therefore are usually tan or fawn. So in old times I guess thick cotton breeches in a sandy colour would be the best bet. I doubt that in 1843 (female) riders would show much leg, like today. I don´t have much insight into the circus fashions of those days, because there weren't so many picture posters yet, at least here in europe, and if there were, they were mostly of the chapiteau or building or equestrians. One thing I do know about the period that this was also the heyday of Victorian colonial fashion (the tiger claw in gold pendants that are still worn a lot in the circus especially are from around those times) So for the elephant theme I think it would be highly likely that they would have something like a maharadja style costumes. I think you couldn't go wrong for your rider to wear brownish cotton leggings topped by an embroidered tunic (possibly with a waistcoat) with high side splits (remember you have to spread wide to sit on an elephant), gold curl toe slippers on the feet and possibly a turban in the same material as the tunic, with a peacock feather and a paste jewel on the front. Both men and women could wear this, maybe a lady combined with a yashmak, however culturally incorrect.
      The aeralist costume is harder to ascertain. Cotton leotards (named after the aeralist Jules Léotard, born 1942) didn't come into use until Léotard himself had retired, the late 1880's. Renoir painted circus aeralist in the 1860s that wore ballet-like costumes, with slack tutu's.
      There are few picture posters from that time, at least here in Europe. I found one poster on www.circusmuseum.nl (type 1850 as search) with parterre costumes, which looks like adapted daywear of the time.But already seeming unlikely for ground acrobatics, it's really hard to imagine an aeralist working in something like that. You might want to shop around on that site, or otherwise inquire somewhere what the ballet clothes of those years were, and 'trim that down' to unhindering basics. Hope to have been of help, NG

Reply: 31 May 2008 - Answer to Stuart Thayer. I don´t think it was too early for a lady to be riding an elephant, both equestrian ladies and elephants were already present in the circus at the time, so why not a lady riding an elephant? As to trapeze/aerealist I'd come to the same conclusion looking for costume possibilities. The first aerialist I could find was in 1855, the first trapeze (with great explanation in the review what it looked like and what was done) in 1862. Natasha Gerson

Reply: 01 Jun 2008 - Reply to Natasha Gershon - my advertisements are strictly American and Canadian, The Zoological Institute of 1835 shows howdahs being used by audience members when riding elephants. The Gregory Washburn Menagerie of that year has this in their ad - "A showgirl rides the elephant ("Flora") around in style of Eastern princess." I take this to mean she's in a howdah.
      In trapeze history we must distinguish between the slack rope and the true trapeze, as advertisements are not always clear. The single trapeze dates from 1856 when two circuses had such acts. Sands, Nathans & Co. and Flagg & Aymar. These performers did acrobatics while hanging from the still bar. We find the swinging bar described as a "flying trapeze for the first time in 1864 on the Tom King Circus. Specifics on demand. Stuart Thayer.

Reply: 03 Jun 2008 - Hi, Linda Stewart, I second Stuart Thayer's view. My own research in the primary documents of the years before the Civil War showed no evidence of a person riding an elephant, except on a howdah, and that rarely. Having ridden elephants on Ringling, I was especially alert to the possibility but I never saw it mentioned. By current notions, it's a short step from riding a horse to riding an elephant but the era's ads, reviews, letters, diaries, images, and books simply don't mention it in performance. (Perhaps because riding a horse was ordinary, they felt that riding an elephant would make the rare and valuable commodity of an elephant seem ordinary.)
      For a look at the sights, sounds, and smells of circus in the 1840s, Thayer's books are a great source, especially his three-volume Annals. There are a few other sources on antebellum circus that also rely on primary evidence, including my book, Dan Rice: The Most Famous Man You've Never Heard Of, with a narrative look at the same era.
      I emphasize primary evidence because after the 1860s, sentimentality began to dominate views of the circus. What had been primarily adult fare, full of violence and sex (including display of women's legs), was increasingly seen as something mostly for families, especially children. Sentimentality even crept into first-person recollections by troupers looking back. For instance, in the 1880s Dan Rice hid his raw, rowdy start, spouting politics when he wasn't fighting local bullies, to create a nostalgic fiction of himself as sweetly innocent, a favorite of children. Similarly, Mark Twain - who had seen Rice and knew how rowdy circus had been - crafted a sentimental image of an 1840s circus for Huckleberry Finn. That sentimental image was especially notable because in this book Twain otherwise reserved his poetic words for nature, while satirizing human institutions. But he wasn't writing history, he was writing to suit Gilded Age sentimental views. David Carlyon

Reply: 04 Jun 2008 - The oldest image of a woman with elephants on www.circusmuseum.nl/eng is from 1879. The costume of Elise Winkler is not from the requested year but could be interesting. She wears a dress in combination with pants. Very modern nowadays. Search: 0306. Herman Voogd

Reply: 30 May 2008 - I believe the film "The Greatest Show on Earth has some quick images of Bill's sidewhow banners. You might also try the Ringling Museum of the Circus in Sarasota, as they have some of his materials. I worked with Bill the last two years he was Dean of Clown College and we remained close friends. His widow, Berta, who just passed away, told me last year the museum was interested in acquiring some of his art work. Robert Momyer.

Reply: 31 May 2008 - Rick, I may be able to help you in your quest for information about the 1954 Ringling show. I have spent most of my years of research on the Ringling show of the late 40's early 50's. I have many photos covering this era. The Bill Ballantine sideshow panels for 1954 were painted black and white. The Shadow boxes were painted alternately black then white, etc. Each wagon had two black panels and two white panels. The pictorials themselves were very colorful.
      Now to the "Haitian Primitive" decor on the menagerie cages. I believe contrary to what we have all read that they only had this design for the 1954 season (not 1953 & 1954). For many years I have been trying to find out why Ringling in 1953 would paint the two donniker wagons the same sky blue color as the ammo cages and then paint the palm trees on the sides. It just didn't add up. Why would they have jungle decor on the donnikers and Haitian Primitive on the cages. I finally got my answer several months ago when I acquired several photos from the 1953 season. The cages are definitely painted sky blue. Several panels are visible and they show the palm tree design. That makes more sense now. Probably they were painted in the winter of 53-54 and that's why everyone thinks it was both years. This is most likely why very few people remember the Haitian Primitive design (since it was only the one year). Incidentally the donniker wagons for 1954 had a similar decor as the Haitian Primitive cages. If I can be of any help in your search for data on Ringling 1954 please contact me at domyodice@yahoo.com, Dom Yodice

Reply: 02 Jun 2008 - I have some excellent footage of the 1954 show including the black and white side show bannerline. I believe that it was most attractive. I believe that Pat DiPanzio also have excellent footage. The spec as designed by Miles White was also very attractive. I think that I also have over a hundred of color slides of 1954. What are you looking to accomplish. Please advise. Best Robert F Sabia

Reply: 03 Jun 2008 - Gentlemen, Thank you so much for the information. It is very gratifying to get the kind of support and offers for help that you sent. To elaborate a little, I am trying to document, in as detailed a way as is possible, the physical layout of the Ringling show under canvas in 1954. The show visited my hometown of Sandusky, Ohio, in August of that year for only the second time in its history. That day was the most exciting and fun day of my childhood. Not only would I like to sharpen my memory of that event, but also preserve it as much as I can for future generations. Ultimately I hope to commission a large scale model of some or all of the show. Although the show was at its smallest while under canvas, it was enormous to me. As I mentioned earlier, Bill Ballantine’s artwork, which seemed to have the most widespread influence on the ’54 show, is of particular interest. The bannerline, main entrance, and menagerie artwork is my immediate goal. I would very much like to locate any and all photos, slides, footage, etc. of that season in general and Mr. Ballantine’s artwork in particular. I was a CHS, CFA, and CMB member in the 1970s — I was the VP of Operations at Ringling Bros.and Barnum & Bailey Circus World in the late ‘70s — but somehow got distracted with life for the past 25 years and am now just getting back to the circus hobby. So I am trying to make up for lost time! I will definitely contact the main circus museums and probably visit them within the next year or so. And I will try to start making the various national conventions. I would love to correspond with anyone who has items to share, sell, loan, whatever and I would love to correspond with anyone who shares my passion for the last years of the Ringling show under canvas. It’s great to be back among like-minded circus fans! Rick Faber rfaber@schlitterbahn.com.

Reply: 07 Jun 2008 - I spent two days on RBBB in 1954 when it came to Atlanta, Sunday October 31st, train arrival and set up, and Monday November 1st, show day. I took over 100 b&w photos, including 5 of the Ballentine bannerline (some of them close ups). I got a press pass and while the Monday matinee was underway, I went into the menagerie and took 5 close ups of the cage wagons with Ballentine's Haitian primitive art work - Richard Reynolds

Reply: 12 Jun 2008 - Hello Richard and thank you for your posting. I would love to get in touch with you regarding the 1954 show. All the best, Rick Faber, rfaber@schlitterbahn.com.

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Reply: 02 Jun 2008 - The litho with a date tag is most likely 1928. Best, Robert F Sabia

Reply: 07 Jun 2008 - The first step that you need to take is to measure the dimensions of these two posters. Both of these poster images have been reproduced over the years starting in 1970 when the Ringling Bros. and Barnum & Bailey “Greatest Show on Earth” celebrated their 100th Anniversary, which was actually based on the first year that P.T. Barnum’s name appeared in a circus title. The first Ringling Bros. Circus did not appear until the 1880’s, and the combined title was first used in 1919. Original Circus Posters starting in the late 1870s and into the 1880’s were based on dimensions of lithographic printing stones that a single printer could carry by himself. The largest stone of that description that used a single image produced a poster called a One-sheet that had the dimensions of 28” x 42”. This was probably the most common sized poster in the 1920s and into the early 1930s. Posters called Half-sheets had dimensions of 28”x 21” and they became much more popular in the late 1920s and through even into the 1980s (although printing methods dramatically changed), as merchants were not as happy to surrender as much of their store windows to other advertising besides their own and they certainly did not want to cover up their own merchandise displays! Dimensions of circus posters are absolutely critical in determining whether a circus poster is original or not. In 1970, Ringling Bros. and Barnum & Bailey completely shifted their advertising focus to nostalgia and went full tilt into advertising their current shows at that time to place them into a century-old entertainment context. To do this, they also started producing millions of reproduction posters from their history that were sold strictly as souvenirs to circus goers and fans. These posters were printed using a photographic off-set printing process and NOT stone lithography that pretty much had fallen out of use by the mid-1930s. These millions of reproductions were printed in non-traditional dimensions and most of these reproductions are found to be approximately 16-17” x 30”, nowhere near a traditional standard one-sheet or half-sheet size. It also needs to be noted, that these reproduction posters were NOT actually used by the circus for advertising purposes and starting in 1970, RBBB also began to convert to using a single poster design for all of their advertising needs each year. I remember when RBBB played Detroit in 1970, they had a huge in-store display at a local Buster Brown Shoe Store and after the show was over, my parents took me into the store so that I could ask for the posters. I was lucky enough to get the entire batch of several different designs that were originals from earlier years in the 1960s and the store manager gave me a stack of folded up posters that he said had been given to him to hand out to “special customers.” This stack of posters were reproductions of the famous Leaping Tiger image that first appeared on the Ringling Bros. show in 1914 and their dimensions were smaller than the original posters that the advance people had used throughout the store. The RBBB Advance continued to use up their old stocks of leftover posters from the 1960s into the early 1970s, but by 1974 these stocks were depleted, so only the single design posters were used from then on. So, you need to measure your posters first. If the measurements are not close to the standard sheet sizes, then your posters are reproductions.
      Another way to tell if posters are reproductions is to look at the back of the poster paper compared to the front. In original posters, the back of the poster paper should be identical to the paper on the front that is seen in the unprinted margins (accounting for light damages, tape stains, etc.). In reproduction posters, since a photograph was taken of another poster, often the margins have also been printed with ink, so the color in the margins on the front of the poster will not match the actual color of the unprinted paper on the back. In fact, one of the RBBB reproduction posters of a striking clown face on a dark blue background with yellow lettering, has a tear printed along the top border, since the original poster that was photographed had a tear in it. To the true circus poster collector, these reproduction posters are virtually worthless. If you look on eBay, for example, 99% of the RBBB posters being sold are reproductions and it’s really a shame when unsuspecting buyers pay hundreds of dollars for a reproduction that is worthless. Today, there are numerous other sources for reproduction posters and the market has been flooded with millions more reproduction posters than the millions that RBBB flooded the market with in the early 1970s. In today’s market, if one is shopping for original circus posters, one had better be extra careful and well-informed or seek a professional opinion/assessment before plunking down hundreds of dollars. Another huge problem in the market today is that many sellers and often many poster dealers do not know the difference between an original poster and a reproduction one, but their ignorance or in some cases downright thievery should not be thrust upon a potential buyer acting in good faith. I hope that your posters turn out to be originals, but as a collector with over 40 years experience and over 10,000 original posters in my personal collection, I would bet that they are probably not. For more information on original posters check out my article at http://palimpsewst.stanford.edu/waac/wn/wn17/wn17-2/wn17-205.html or check out this web site for an updated copy of my article that appeared in Bandwagon. Neil Cockerline

Reply: 27 May 2008 - According to Parkinson's "Directory of American Circuses 1793-2000," pp. 79, 142: Carl Clark's Circus, 1912-1926, Carl H. Clark, proprietor. Also, Fowler & Clark's Circus, 1913-1916, Fred D. Fowler and Carl H. Clark, proprietors. Judy Griffin

Reply: 03 Jun 2008 - The Flying Victors arrived Argentina in the´50, the name of the troupe is taken from its main flyer Victor Gesmundo. They performed in a amusements park of Buenos Aires soon to pass to Chile. From return to Argentina they was contracted by Juan “Bebo” Stevanovich, the owner of the Norteamericano circus. In that time the troupe is modified and the original catcher is replaced by one Argentinean: Santiago “Yaco” Grotto. The success was immediate and the old circus fans still remember it: double somersault with double twist (pirouette). Victor was married with Susan Stevanovich sister of the circus owner. After I know Victor performed in the Mexican circus Atayde and married with Tosca Canestrelli, its son Ottavio Gesmundo-Canestrelli have one link in the Web. Somebody said me that Victor death in USA in one street accident. Cesar Ortega. fliaortega@netverk.com.ar

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Reply: 24 May 2008 - There's much more to the story than is evident in the limited "New York Times" coverage. It's a case of the last gasps of the Wild West business in the years immediately before the U. S. entered World War I.
      The situation involved: the Miller brothers of Oklahoma [owners of a huge ranch enterprise and a traveling Wild West]; second-generation circus man Ed Arlington [who'd been in partnership with the Millers]; boxer Jess Willard [who toured with the Sells-Floto Circus in 1916]; western legend Buffalo Bill [with Sells-Floto in 1914-1915]; and showman and newspaper man, respectively, Tammen & Bonfils [owners of Sells-Floto, who exercised domain over the Buffalo Bill name in 1916]; and banker Ray O. Archer. The outcome of this mix after World War I had started in Europe was Willard's purchase at Hartford of the Arlington-operated, ex-Miller property. In 1916 it was the Miller & Arlington Wild West and in 1917 it started out as the "Jess Willard (Himself) and the Buffalo Bill Show, Inc." The Millers were apparently "not with it" in 1917.
      Some of the above can be found in the summary article by the late Bob Taber [not Tabor as printed], "Jess Willard, Prize-Fighter, Wild West Attraction, Circus Owner," in "White Tops," journal of the Circus Fans Association, March-April 1965, pages 3-8. It was based upon items in Taber's possession [he's long since deceased and his collection either scattered or secluded] and his research in issues of the weekly trade journal "Billboard." There should also be coverage in the other weekly show trade journal, "New York Clipper," and very likely in the local Hartford newspapers around the June 9 transfer. The trade journals may be available via interlibrary loan; check with your local librarian. You will likely find that there had been on-going discussions between Arlington and Willard for some period of time before the transaction took place.
      One must remember that Buffalo Bill passed away on January 17, 1917. By then control of his name had been either legally secured or otherwise taken over by Tammen & Bonfils. You can learn more about them in Gene Fowler's book "Timberline." Cody biographers superficially cover the last four years of his life, but none comprehensively explains the entire circumstances because they fail, generally, to fully comprehend the railroad-based Wild West, and circus, as a for-profit entertainment business. By then, Cody had become what Russell described in a chapter heading as "The Hero Less Heroic." His financial failures and chronic indebtedness kept him before the public eye.
      I don't have immediate access to the 1917 Jess Willard routes [they may not be available in compiled form], but it would seem that Hartford was likely a contracted date and that's when and where the deal came to fruition. Look at the Hartford newspapers for a several week period before June 9 and likely you'll find advance advertisements of the scheduled appearance. Your searching will have already revealed that Willard had been in Hartford on August 9, 1915, when he was traveling with Miller Bros. & Arlington 101 Ranch Wild West. At that time he received the telegram containing a challenge from Frank Moran. Likely, that was another coincidence.
      There were other instances of boxers [and wrestlers] being featured with traveling shows. For example, Joe Louis was engaged by the Cole Bros. circus. Circuses, in particular, would adapt parts of popular culture for use at the circus. One elephant was re-named "John L. Sullivan" when he was a popular pugilist and in 1888 there was a Doris & Sullivan-titled circus. Fred Dahlinger

Reply: 25 May 2008 - As for the route of the Buffalo Bill/Jess Willard Show in 1917 the show opened in Norfolk, Va, April 11, then to Philadelphia, Washington D. C., Baltimore, Brooklyn, Boston and into New England. The show played Connecticut - New London, June 5, New Haven, June 6, Torrington, June 7, Waterbury, June 8, & Hartford June 9. There were two additional players Tom Jones and Jack Curley that Willard was dealing with. According to a July 2 interview in the Cleveland Leader, "Willard was inclined to pass lightly over his split with Tom Jones and Jack Curley, his former managers. "As long as I was working on a salary for the Arlington Buffalo Bill show," explained Willard, "Jones and Curley got their percentage of my earnings. But the war and the bad weather hurt the show business some, and Arlington gave me notice that he'd canceled my contract. That left me out in the cold, so I bought the circus. And as the owner of the circus and not an employee I can't see where Jones and Curley are entitled to any share of the gross proceeds". It appears that Hartford just happened to be the place where the show was hurting after being on the road for two months. Willard decided to buy it, and it looks like he had an angel that financially backed him to make it the JESS WILLARD AND THE BUFFALO BILL WILD WEST show until they closed November 3 at Jacksonville, Florida. John Polacsek

Reply: 28 May 2008 - Thank you to Fred Dahlinger and John Polascek for their extremely detailed information on Jess Willard. I truly appreciate it. Mark Dursin

Reply: 08 Jun 2008 - I am a boxing fan,I read somewhere that Jess Willard became bitter later in life because he felt he was scammed by one of the circus owners,that left him holding the bag. Anyone know what exactly Jess Willard did while with the shows? Did he give boxing exhibitions? Also I have never heard of Joe Louis aka the Brown Bomber as ever being with a circus, but I know the Mannassa Mauler aka Jack Dempsey appeared with the Sells-Floto circus not too long after he knocked out Jess Willard in Toledo Ohio July-4-1919 to become the heavyweight champion of the World. R.L.

Reply: 24 Jun 2008 - My apologies for the error in stating Joe Louis was with Cole Bros. Circus. He actually toured in 1950 with the Dailey Bros. Circus, another railroad show. There's coverage, including a photo of Louis on the Dailey lot, in "Bandwagon," Nov-Dec 1970, pages 21-30. Fred Dahlinger

Reply: 18 May 2008 - Found on newspaperarchives.com: Cass County Fair (Indiana), September 17th to 22nd, 1928. "The free acts program in front of the grand stand will be headed by the great Merrell Troupe in Circus acts. . . . Merrell Sisters in aerial act. . . . These and other feature acts under the direction of the Merrell Agency." Logansport (IN) Press, September 8, 1928, p. 7. "The Merrell Sisters. One of the 6 Big Acts procured from the Merrell Agency for the free acts during the week of the Cass County Fair . . . The Merrell Sisters Double loop trap. The most sensational aeril [sic] act of the day, 50 feet in mid-air." Logansport (IN) Press, September 7, 1928, p. 11.
      Lorain County Fair (Ohio) at Elyria, OH, September 6-8, 1926. "Assisting the Hunter troupe will be the Merrell troupe, acrobats, who are said to be top-notchers in their line." Chronicle Telegram (Elyria, OH), August 18, 1926, p. 2.
      West Liberty Fair (Iowa), August 21-24, 1933. "Free Acts Booked . . . Acts are being supplied by the Merrell troupe, which comes highly recommended to fair officers. . . . daring acrobatics by the Merrell troupe . . . " Muscatine (IA) Journal and News-Tribune, August 16, 1933, pp. 1-2.
      "The Merrell Troupe. This company of five clever artists presenting a versatile program of five high class acts, including old time circus leaps, flying trapeze, comedy acrobatics, unique double loop-the-loop, a startling rolling globe novelty, plus three roaring clown numbers, will be seen twice daily at the Harper Memorial Park at Shade Gap, July 31st to August 3rd. This act is a circus in itself." Daily News (Huntingdon, PA), July 26, 1935, p. 8. - Judy Griffin

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Reply: 18 May 2008 - Don't under estimate yourself. Your love of the circus is what being in the Circus Historical Society is all about. Loving it, learning more about it and sharing it with others. Fell free to click on the membership at the top of this page. You'll find more information about circus history in one issue of the Bandwagon than you'll find in most public Libraries. No one says you have to be able to write an article. Enjoy them!
      As for your train project, there are numerous home movies available on eBay through Bobby Hakes. There are numerous slide and film projects by professional sources that touched on it. The movie the Greatest Show on Earth probably shows more train shots both inside of the cars and out than anything else. The Circus World Museum train taking all the parade wagons to Milwaukee every year has been videotaped many times. Carnivals and Circuses are two different things but the train travel, loading, and unloading of the trains was almost the same. I certainly would not discourage your project. You'll need sources of information as well. Right now, the Circus World Museum in Baraboo, WI and the Ringling Museum in Sarasota, FL are the two major sources of Circus archives. The Smithsonian may be of some help. Princeton University has a large collection of circus posters but I don't know about film.
      Probably thee largest single collection of circus film and slides will be in the Howard Tibbals collection through the Ringling Museums. You certainly cannot forget all of the circus fans, and historians, and model builders out there either that have all of their own personal collections. You might find some that will share their footage with you. Hope this helps. Bob Cline

Reply: 16 May 2008 - Ray and Clara Hunter, 16, May 2008, possibly they are the Flying Le-Rays? in the 1930, Thank you again. setcheson@hotmail.com

Reply: 15 May 2008 - If you search under the "Bandwagon," "History" and "Publications" buttons on the CHS home page you will be able to find a number of articles relating to the Newton family. Some of the back issues of Bandwagon and White Tops containing these pieces are available for purchase as back issues. Cly Newton is specifically noted in at least one of them. A 1992 Bandwagon article by Orin Copple King looks quite interesting. The edition of the Walter L. Main circus that is of interest to you is likely the 1935-1937 version, which was operated by Honest Bill Newton, Jr. Fred Dahlinger

Reply: 27 May 2008 - An article on Cly Newton and his Jack Hoxie Big 3 Ring Circus that toured in 1937 is in Bandwagon, Vol. 32, No. 5 (Sep-Oct), 1988, pp. 9-22. There is some biographical information on Cly on p. 10. The article states that all the children of "Honest Bill" Newton, Cly, Horace, Bernice and Birdie were adopted. It also briefly traces the early career of Cly. You can order this issue, click on Bandwagon on the navigation bar, then on "Back Issues." Judy Griffin

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Reply: 20 May 2008 - There are some European bicycle acts on www.circusmuseum.nl/eng. You have to search with the following words: bicycle, bicycles, fiets, fietsen and fahrrad. Herman Voogd, hvoogd@teylersmuseum.nl

Reply: 25 May 2008 - Was this farm in Denmark or America? What years are we talking about here? Natasha Gerson

Reply: 14 May 2008 - Bill Johnston wrote a lengthy biography of Frank "Cheerful" Gardner that appears in "Bandwagon," journal of the Circus Historical Society, XXXV, 2, pages 29-33. Therein it is related that he died in Los Angeles on March 17, 1952 and was buried in Venice, CA on March 21, 1952. The International Circus Hall of Fame, Miami County Historical Museum, or perhaps the Peru Library surely have the issue and can provide a copy to you. If not, perhaps you can gently suggest to them that they subscribe to the journal? If you Google his name, and variations thereon, you will find other relevant material. Fred Dahlinger

Reply: 14 Sep 2008 - For Karen: You were previously given Cheerful Gardner's date of death as March 17, 1952, and his date of burial as March 21, 1952. His final resting place is Pacific Coast Showman's Rest. It is helpful for you to know Showman's Rest is a section of Evergreen Cemetery, 204 North Evergreen Avenue, Los Angeles, California 90033-3654. Check the internet for Evergreen Cemetery for further information, and go to MapQuest for driving directions. He is in good company with many great circus folks buried with him, including Louis Roth and Eugene "Arky" Scott. Roger Smith

Reply: 11 May 2008 - As you probably know deOrlo was with Sparks' circus in 1927 and Downie Bros. (Sparks owned) 1933-1935 (found on newspaperarchives.com, but articles only mention that he was with the shows). You might try the Circus World Museum Parkinson library (contact Erin Foley) and Harvard Theatre Collection. Links to contacting these two sources are on the Research page on this website. J. Griffin

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Reply: 13 May 2008 - John McConnell's excellent book "A Ring, A Horse and A Clown," (1992) which is an extended account of the Hanneford family's circus activities, provides an answer. Poodles was with Sells-Floto 1920-1922, 1926, and 1929. The ACC wanted Poodles for 1927, but he was booked elsewhere [in the Broadway musical "The Circus Princess"], so George was with SF for 1927-1928. One of the latter years would probably be the date for the altered poster. Fred Dahlinger

Reply: 08 May 2008 - Hello Patsy, Please take a look at my diary pages for that period when Carl Dane was the strongman with our family circus, a giant of a man as I used to remember him, perhaps 6ft 6 inches tall. It is said that he used to be the model that 'banged the gong' for the J Author Rank films. Regards, Tom Sandow [Link to Tom's diary pages can be found on the History page. - webmaster]

Reply: 12 May 2008 - Dear Tom, Thank you for your response. Do you recognise any of the other names? They are on photos that my mum had when she died. Ralph Denver I think was part of a knifethrowing act. My mum spoke of several people including Carlos, I think he was a teenager when I was born. Apparently mum used to get one of those elephant stands turn it upside down put straw and a blanket in it and put me in it, and various people, including I believe Carlos,kept an eye on me. Although mum left dad (Carl Dane) when I was young, mum was adamant about certain things about dad. He did bang the gong, he did pull a bus with his teeth, he had a pony called that could do tricks and he could bang big nails through a wooden plank with his hand. Unfortunately she never told me where he was born and who his parents, my grandparents were, so I am trying to find out. But I also want to know what it was like when I was little, there must have been other children like us, you didn't say that you remembered Carl having a baby, but hopefully there is someone somewhere in the circus world who remembers me. Once again thank you for responding. Regards Patsy

Reply: 13 May 2008 - Hello Again Patsy. Nice of you to say nice things. I was only little when your Dad toured with Sandow's Circus but he impressed me greatly. Just goes to show how totally fair my father was who had been a fine strong man himself but then gave up that act and engaged your Dad who was excellent! I have, of course, heard of the other names you mention but can not help there - sorry. You could try our own Fairground Heritage Trust site that seems good at reaching people. Best Wishes, Tom (Tom Sandow)

Reply: 07 May 2008 - I assume you have seen the information on the Sanyeahs in Slout's Olympians on this website? I've done some research on a female Sanyeah/Senyah and the results have been confusing. There may have been more than one female Sanyeah/Senyah? Sanyeah was with Yankee Robinson 1869, Older’s 1870 and 1872, Noye’s 1871. There is a photo of her at Circus World Musuem [CWM] Parkinson library. Peta Tait, in her "Circus Bodies, Cultural Identity in Aerial Performance," examines live performances including trapeze performer Sanyeah. Tait's information on Sanyeahs is available online, search Google Books. - Judy Griffin
      In the Hutchinson Papers, a business card reads, “J. L. Hutchinson. Agent for Sanyeah, the Beautiful Cretan.” It is possible Hutchinson was her agent during the time he was with Older’s or when Sanyeah was with Yankee Robinson in 1869.
      Clipper, 29 May 1869: Ad. "The Wonder of the 19th Century! The Greatest Sensation Traveling. Madame Sanyeah, in her terrific flights through mid-aid and daring fests on the lofty trapeze. Madame Sanyeah in three leaps, including M. and Madame Sanyeah's new and original Double Leap for Life, both starting from the platform and landing on the trapeze at the same time. The most thrilling fest ever accomplished by any artists. This leap is entitled the 'Sanyeah Leap.' Madame Sanyeah in her graceful equestrian acts on the flying charger "Ma?,' now performing with Yankee Robinson's Circus. At liberty for starring engagements in the commencement of November."
      Clipper, 31 July 1869, p.135: "Yankee Robinson's Circus and Menagerie will be in Buffalo, N. Y., on the 7th of August. Mad. Sanyeah is reported to have left this party." [did she really leave? see Aug. 28] Clipper, 28 August 1869, p.167. Circuses. "Great Success. - Yankee Robinson's big show . . . Sanyeah, female gymnast, as per announcement, is veritably the sparkling sensation of this popular show."
      In March 1870, Mons. Senyah was performing on the trapeze with a Mlle. Geraldine at the Olympic Theatre in Brooklyn, New York.
      Clipper, April 9, 1870, p. 8. Ad. "MAD. SANYEAH, QUEEN GYMNAST. The graceful and beautiful Madam Sanyeah, allowed to be the most fascinating artist on the boards of the United States, has just concluded a brilliant engagement at the Opera House, Beloit, Wis., where she was greeted with thunders of applause during her classical and daring exploits on the lofty trapeze, with her beautiful Roman and Grecian statuary not equalled in the profession. She is THE Sanyeah, not a FRAUD, but a 'FROST' that shines in the estimation of American audiences. Madam has met with such marked respect and patronization from the American people that she has decided to make the LAND OF COLUMBIA her adopted home. Her performances are entirely alone; she needs no one to hold her on or be in readiness to catch her or place her in position, as she is competent in her own muscular powers. Madam commences an engagement at Wood's Theatre, Cincinnati, under the management of B.(?) Macauley, March 11th (her second engagement). From there to Hudson, N. Y., 20th [29th?], being her second season with the same concern, (formerly under the name of Yankee Robinson), the same management and proprietor, F. [sic] A. Older." [Note 'Frost,' her real name is said to have been Phoebe Frost.]
      Clipper, April 9, 1870. "CROSBY'S OPERA HOUSE. - The Sanyeah is a brunette, and in face is actually much more attractive than her pictures make her out to be. Her form, of necessity most liberally exhibited, is beautiful enough "to teach an anchorite a new lesson." The ease, grace and strength displayed in her feats indicate long and arduous practice in her difficult art, and prove the mathematical certainty that these feats can be reduced to by persistent effort. The first display of strength last nigh was in the use of the swinging rings, where the SANYEAH indicated abundant muscular power and stady nerve. Her feats with these were in every way graceful and artistic; hen followed a handsome descent, upon a single rope, from the ceiling of the auditorium, and lastly, came the flying leap across the house. The leap was made with the utmost confidence and ease, and her performances on the trapeze, at a giddy height, were instances of physical courage and daring that would be remarkable in any one, and especially so in the sex that is popularly supposed to be weak in such nervous practices as these. The audience was much delighted over this exhibition, and with one accord called the performer out a second time at its close."
      P. A. Older’s 1870 Elmira, New York advertisement described her as “the handsomest woman in face and form in this country.” Elmira, New York on May 10, 1870 (CWM)
      Clipper, 1 October 1870, p.207. Ad. "MONS. SANYEAH, GYMNAST (second season with Yankee Robinson's circus), will be at liberty the commencement of November for Circus, Variety Halls or Combination Troupes, for his lofty performance on the Flying Rings, Dancing Barrell, etc., in conjunction with MLLE. SANYEAH, in their double trapeze performance. Address M. Sanyeah, care of Dr. W. C. Wren, 33 Lee avenue, Williamsburgh, L. I."
      Clipper, 17 December 1870, p.291: "THE SANYEAHS. THE ORIGINAL SAMUEL SANYEAH, brought to this country by Mr. Jarrett, of Niblo's Garden, N. Y., for the opening of the Tammany Hall, and MAUDE SANYEAH, The Great American Gymnast and Flying Lady, now performing to crowded houses at the Theatre Comique, Detroit (fourth week), in their daring and graceful evoluations upon the double trapeze. MADAME MAUDE SANYEAH, in her TERRIFIC LEAP FROM GALLERY TO STAGE, and her performances on the SINGLE TRAPEZE, IS THE TALK OF THE TOWN. THEATRE COMIQUE. - The great gymnasts Mons. and Madame Senyeah, are still giving their wonderful performances, and are one of the chief features. The startling LEAP FOR LIFE was immense, evincing a most prodigious display of nerve on the part of Madame Sanyeah - Detroit Post, Dec. 7th. Will be at liberty shortly for the above performances, including their great DOUBLE LEAP. Proprietors please address "THE SANYEAHS," Detroit, Mich. Open at the National Theatre, Cincinnati, January 2d. NOTICE. - Samuel Sanyeah wishes managers to clearly understand that he is in no way connected with his first Madame Ada Sanyeah (Mrs. George Holland) he having separated from her (not she from him) on the 6th of August, 18?? [fairly certain the date is 1869]. Mrs. Holland claims to be the original of the feat called the "Leap for Life." She forgets that we copied it from "Perrier," the Spanish lady gymnast, then performing at the Bridge Street Amphitheatre, Manchester, England, December, 1867, although it had been done years by men before we arrived in this country, and by at least a half-a-dozen lady gymnasts since."
      A Maude and Samuel Sanyeah: Mt. Albion Cemetery - Route 31, Town of Albion, Orleans County, New York Transcribed from stones and cemetery records. Sanyeah, Aurelia; born Aug 1873; died Mar 21 1874, dau of Samuel Sanyeah & Maude. (www.rootsweb.com/~nyorlean/mtalbs.htm)
      NY Clipper, March 25, 1871, p. 407. The Sanyeahs, trapezists, are at present traveling with C. W. Noyes circus in Texas.
      P. A. Older at Rochester, MN Jun. 17, 1871. “Madame Sanyeath [sic], the lady who showed herself so beautifully in Older’s Circus when they were here, has recently quit the concern, and she alleges, in consequence of ungentlemanly conduct of the manager, and published a most damaging circular, charging that the Cardiff Giant is only paper and paste, and that the concern practices other deceptions. The allegations that there is any humbug of deception about a circus is terrible to contemplate.” Post (Rochester, MN), cited in Loeffler, Robert, “Home of Famous Mayo Clinic Has Lengthy Circus History,” White Tops, Vol. 57, No. 5 (Sep-Oct), 1984, p. 32.
      Appleton (WI) Crescent for Sept. 30, 1871. "Olders Museum, Circus and Menagerie will visit our City on Thursday next, composed of three distinct exhibitions given under one vast three centre pole Pavilion. In the Museum will be seen the Famous Cardiff Giant that caused so much Journalistic speculation at the time of discovery. . . . See the wonderful gymnast make her Niagara 'Leap for Life' from centre-pole to centre-pole, a distance nearly 100 feet. See Sanyeah, the accomplished gymnast, do his wonders. . ."
      [Older's] Come and see the European Gymnasts Mons. & Madame Sanyeah, the most wonderful performers in the world. Atchinson (Kansas) Daily Champion, May 7, 1872, p. 4, col. 3. Orin King files, CWM.
      Circus World Museum, Newspaper Advertisements 1866-1872: Older’s Museum, Circus and Menagerie. “Madame Sanyeah, Lady Gymnast,” . . . “with Mons. Sanyeah, The Man of Iron Muscle . . .” Advertisement for show on July 31, 1872 at Du Quoin. Conklin Bros’ Commonwealth Circus. Sanyeah, the Great Lady Gymnast. Advertisement for show on July 4, 1872 at Sheboygan, Wisconsin. [note that Olympians states that she married John Conklin in Nov. 1872.]
      1876? South London Palace ... The empress of the air, Sanyeah (British Library Board, Evanion Catalogue, online)
      Entertainment at Cremorne Gardens, Chelsea, 1876. Royal Cremorne Gardens. "Proprietor and manager - Mr. John Baum, ... Now open! . . . Mdme. Sanyeah the wonderful gymnast." British Library Board, Evanion Catalogue, www.bl.uk/catalogues/evanion/welcome.asp
      Princess Theatre, 20th May, 1877. Mr. And Mrs. Senyah (www.leodis.net/playbills/item.asp?ri=2003723_2956789&p=29#)

WORLDS GREATEST SHOW. In a box in the right upper corner is the words: Dancing Birds, Clown Parade, Flying Balois, Amazing Curtis Animals. The lower portion of the banner reads: Taylor Ball Amazing Shows.

I love this advertising banner and would love to know more about this circus and the period this could have been produced. Are these banners collectable and may be appreciated by a true circus collector which I am not? I wondered if this was a Canadian circus? If you have any info in your archives or know of a collector who could explainto me what I have I would be greatly in your debt? Tara. Reply to this message, replies go to this board, not to the message sender.

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Reply: 17 May 2008 - I would recommend Katya Tabares. She would represent the industry with poise, grace and charm. She has fantastic abilities - aerial, tumbling, and other skills. A Monte Carlo award winner with the Tabares Troupe. Another plus is that her show tours California almost exclusively. barb, barbaradurtche@gmail.com

Reply: 13 May 2008 - Without seeing the actual representation, it's very difficult to provide an accurate response to your query. A frequently reproduced image of overland circus activity is Joel Salter's painting "Mud Show," apparently inspired by Ringling movements. It's reproduced on page 75 of Freeman Hubbard's book "Great Days of the American Circus." It is the artist's concept, as one of the "Ringling" wagons was lifted from the design of a later M. L. Clark wagon. Other details of Ringling wagons, the horse teams, etc., also reveal the shortcomings in the artist's research. The original Salter painting is now in the Circus World Museum. Salter ( -1976), at one time affiliated with the University of Wisconsin system, was apparently commissioned to paint a number of Wisconsin scenes for installation in a museum. Two others by him are in the Wisconsin Historical Society collections, attributed to the 1957 to 1963 era. The Hubbard book was issued in 1962. Fred Dahlinger

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Reply: 03 May 2008 - Look for photos and posters. 1 photo Adolf Konyot 1927; circus Carl Hagenbeck Scheveningen.Nl. Family Schwarz photos and posters. www.circusmuseum.nl/eng. Mevr. Best-Otte, besto013@planet.nl

Reply: 23 May 2008 - You may wish to check out the book White Rider: My 60 Years as a Circus Equestrian by Arthur Konyot, which was published in 1961. This book will give information on the Konyot Family. The Konyots were a famous circus family originally from Hungary, who appeared with Ringling Bros. and Barnum & Bailey in the 1930’s and 40’s and included Arthur, his wife and daughter Dorita aka Dorothy (the anglicized pronunciation). The book is available through amazon.com for about $60.00, but it is somewhat rare, having been published in a relatively small edition by a Vanity Press. The Konyot Family is still well represented in the contemporary circus in Europe, as a descendant of the family with the Konyot surname is a very famous clown today. Neil C. Cockerline

Reply: 02 May 2008 - Bisbee's Comedians wasn't a circus but an under-canvas dramatic company, generally called a repertory or "rep" show. Many people also referred to this type entertainment as a Toby show for reasons I'll explain. The show was originally owned by Jess Bisbee and after his death in the early 1950s by Billy Choate. They generally stayed in a town for several days and presented different plays every night with vaudeville acts or "olios" between the acts.
      Many of the plays would feature a rustic comic character named "Toby." The first time I saw Bisbee's, Toby was played by Lawrence Lamar "Boob" Brasfield (brother of Rod) but in later years Choate became the show's Toby.
      Jess Bisbee was a magician and even after he performed as such the show almost always had a magician in the company. The great Harry Willard ("Willard the Wizard"), hands down the best magician I ever saw, was with Bisbee's in 1962.
      Bisbee's was last out in 1966 in which year they attempted to make the season by setting up at a resort in Kentucky for the summer. Billy later wrote a fascinating book of his life called "Born in a Trunk." - Ole Whitey

Reply: 02 May 2008 - Quoting the Robert Parkinson book "Directory of American Circuses 1793 - 2000" he lists a Busby Bros. Circus from 1902 to 1904 and another J.M. Busby Shows from 1909 to 1911. That's all the book lists. There is not a Bisby listing. The book, while it is an extensive collection of show titles and owners, is not 100% complete however. Do you know where the show was calling home or even a town it might have played? If you have one of those pieces of information, you can try the Historical Society of the town it called home to see if they have anything or the local library of where it might have been to look in the newspapers which are usually on microfilm. Robert Parkinson was with the Circus World Museum for over 25 years heading up the Library collections and archives. It is possible that someone has given a collection to the Museum since Mr. Parkinson's book stopped in 2000 that would add some new information to this. Erin Foley is the archivist there now and has what they call yellow cards with just very brief references to names and titles that she can look at over the phone. The Ringling Museums in Sarasota, Fl. have just built a massive Research and Archives facility. They have the Howard Tibbals collection as well as all they already had now being digitized for public access and thorough sorting out. If you have a good idea of what year, the entertainment weekly called the Billboard, always had a section on Circus news that you could search through. Again this is found on microfilm now and is available through interlibrary loans. You can also try looking on newspaperARCHIVE.com which has about 80 million newspaper pages and a search engine. I hope this helps you a little bit. Bob Cline

Reply: 03 May 2008 - Great answer, Dave. That explained some things I had heard about before. Bob Cline

Reply: 21 Oct 2008 - A quick online search mentions Bisbee’s Comedians as being out of Memphis. Gary Violette

Reply: 08 May 2008 - I saw Walt King Jr., alive and well on the Circus Sarasota lot this past Feb. Send me an e-mail (Circus4Youth@earthlink.net ), I might have Walt's e-mail address that I can give you. Jimmy Cole

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Reply: 03 Jun 2008 - Mary, Jack is mentioned in showman Ward Hall's self-published booklet "My Very Unusual Friends" (1991). Ward says, "Jack Connor, who weighed in at 600 pounds, did a comical act dancing to the sideshow band during the Beatty-Cole Circus dates at Philadelphia's Lighthouse Field." You might be able to contact Ward through the folks at www.showhistory.com/ as Ward writes articles for this website. - Tom Hernandez

Reply: 27 Apr 2008 - Mr. Brungess - I have Lee & Marshall ads for each year 1852 to 1859. The Wetterman name does not appear in any of them. Many artists used false names. Is there any chance that is the case here? Stuart Thayer.

Reply: 28 Apr 2008 - Kenneth Brungess - Henry Charles Lee (1815 - 1885) came to the US in 1848. Formed Lee family act with Lavater Lee. With three apprentices and John R. Marshall framed National Circus (Lee & Co.) in March 1852. By June 3 in San Fransisco in 1852 the title was Lee & Marshall (John R. Marshall, banjo player). Lee & Marshall was the title through 1856, when it became Lee & Bennett (H. M. Bennett). The title was H. C. Lee for 1858 and 1859. Stuart Thayer.

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Reply: 25 Apr 2008 - Quoting out of the Robert Parkinson book "Directory of American Circuses, 1793 to 2000", Hoxie Tucker formed the Hoxie-Bardex Circus with David L. Bartok in 1962 and then the Hoxie Bros. Circus existed under the ownership of L. B. "Hoxie" Tucker from 1963 until 1984. He also started a second show during these years called Hoxie's Great American Circus. It was in business from 1976 until 1982. He then partnered with Allan C. Hill on Hoxie's Great American Circus in 1983 and 1984. Allan C. Hill became sole owner in 1985 and now called it the Great American Circus, keeping it on the road until 1994. By the way, the book is available at the Circus World Museum in Baraboo, Wisconsin. It is a wealth of historical data on circuses and owners. Bob Cline

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Reply: 27 Apr 2008 - Found on newspaperarchives.com: "Circus Girl, 19, Hurt in 50-Foot Fall. MILWAUKEE (UPI) - A 19-year old circus performer was hospitalized Saturday after suffering injuries during her 50-foot free fall act. Authorities said Barbara Seal, a member of the Sponge Girls act of the Ringling Brothers, Barnum and Bailey circus, suffered back, neck, and ankle injuries in the fall. She was listed in satisfactory condition. Another girl in the act was not injured in her fall. Authorities said an air mattress used in the act was not fully inflated when Miss Seal leaped off her 50-foot high platform at the Milwaukee Arena." Wisconsin State Journal, October 18, 1971. - J. Griffin

Reply: 22 Apr 2008 - Hello Bonnie, By clicking the Tab on the upper left titled "History", I examined the Olympians of the Sawdust, NY Clipper biographies, 1910 list of performers, and finally the 1890 Ringling route book. She is not listed anywhere in any of these. You could try calling Erin Foley at the Circus World Museum Library in Baraboo, Wi. She has a quick reference file she calls the yellow cards. If there is anything of note in the Library about her, It is supposed to be referenced on these cards. While she won't have time to do any research on the phone, if she has anything, she'll tell you how to place a request for information and you would then be added to the list of emails to get in line. The Howard Tibbals collection is at the Ringling Museums. They just built a huge new Research Center. Fred Dahlinger is their Historian on staff and might be able to help you. Do you know what town she resided in? It is possible that the local newspapers covered her in an article or snippet of news from time to time. Those newspapers are usually found on microfilm at the local Library. If you are close enough you could read them yourself. Most were just a weekly newspaper back then. If not, you could try contacting the Library staff to see if they could look for you, but most Libraries are not staffed to assist in a project that will take any kind of time. I hope this helps. Kindest regards to you and Adam. Bob Cline

Reply: 23 Apr 2008 - Dear Bob, Thank you very much for the information I think I have a long hard search ahead of me. If I do find anything out I'll let you know! Here is my e-mail address to stay in touch, singringm@aol.com. Thanks, Bonnie Bale-Hill

Reply: 24 Apr 2008 - A "Daisy Hall" is mentioned in conjunction with Cecil B. DeMille's production of the "Greatest Show on Earth" in David Hammarstrom's book "Big Top Boss." That time frame is much later than late 1800s. Her employment card, giving name, home address, next of kin, position, years of employment, wages, etc., is in the RBBB business records in the CWM library.
      There's also "Miss Daisy," who was really Albert Hodgini [real name Hodges], dressed in drag as a rider on Ringling. His story is in "Bandwagon," XXIV, 6, pages 26-28 and XXXVII, 3, pages 4-11. A quick look at several Ringling Bros. route book rosters of the late 1890s to 1901 failed to reveal the name "Daisy Hall" in the rosters. Referencing your citation for Daisy Hall might help to provide a more complete response. Fred Dahlinger

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