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Message Archive: Messages 2551 - 2600

Reply: 14 Oct 2008 - Sverre O. Braathen compiled many circus band rosters. Copies of these lists are at Illinois State University-Bloomington/Normal [where the bulk of his collection is located], Circus World Museum Library and also the John and Mable Ringling Museum of Art-Circus Museum. At CWM [Circus World Museum] there are also the rosters compiled by Isaac Marcks, which may run into the 1930s, as well as the "yellow ticket" compilation of proper names that also has staff rosters. Musicians often joined out in their own locale and traveled until they've reached their "goal," or their wanderlust was satisfied. Some did this on a repeat basis, for several years running. You might scan local newspapers to see what shows visited his community of residence in the time frame of his departure. Their advertisements stand out amongst others.Bridgton is a modest community, likely no more than 1500 to 2000 in the 1930s, and it's not likely that many shows scheduled dates there. You could then check other resources with the show identities in hand. Routes can also be checked by scanning the route listings in the weekly trade publication "Billboard," which your local librarian can assist in locating. Fred Dahlinger

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Keep the American heritage of the circus alive, join CHS today! Membership

Reply: 17 Oct 2008 - YES! Gunther Gebel-(note spelling!) Williams was the major feature of Ringling Bros. and Barnum & Bailey from 1969-1989 and stepped in at times after that to work certain animal acts. During this period, RBBB started filming and producing their own “souvenir” videos of every edition, as well as others, including “The World’s Greatest Animal Acts” that featured Gunther Gebel-Williams. Millions of these videos were produced and sold on the show. Unfortunately, GG-W was retired by the time DVD’s came about. Check out eBay or other used video suppliers to find these videos for sale. Neil C. Cockerline

Reply: 20 Oct 2008 - do you know something about his family - his father and other? Jette Goldkette Sørensen

Reply: 21 Oct 2008 - Look for his book "Untamed". It tells his life story quite well. His wife, and children still reside in Florida. Bob Cline

Reply: 21 Oct 2008 - Hi Jette, I only know a little bit. I worked at Cirkus Krone in their winter quarters in Munich during the winter of 1950. Gunther did a little voltege on a pony and his mother was the wardrobe mistress. He later went to cirkus Williams where he later adopted the Williams name and later still, then also married the daughter Jennette (sp). Of his father I know nothing. My nephew Mark Karoly told me that Gunther was always very pleasant and friendly. Oh yes, I was around 7yrs old and Gunther was around 10+ -. I also remember he could do over a 100 chin ups which impressed me at the time. ERNY KAROLY

Reply: 21 Oct 2008 - He was adopte through Madame Carola Williams-Althoff – german circus of medium size.Look for photos www.circusmuseum.nl/eng H.Best-Otte

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Reply: 05 Oct 2008 - The Circus Hall of Fame in Sarasota had the former Ringling Winter Quarters accross the street. There was the Ringling museaum of art, the former home of Ringling (mansion) and another building with circus displays and wagons. The Circus Hall of Fame is now in Peru, Indiana. David Terrell, dterrell53@yahoo.com

Reply: 08 Oct 2008 - I don't believe the attraction was the Circus Hall of Fame. The Circus Hall of Fame was on Highway 41 north just about across the road from the air port. Ringling winter quarters was way across town towards Fruitville south east of town on I believe, Orient rd. which is now part of Beneva rd. My sister Evy Karoly and my mother Magarete, both performed there during the winters. I can't recall a show on rt 27; though there very well could have been one. I hope this helps a little. Erny Karoly

Reply: 09 Oct 2008 - Back in the late 1970's early 1980's while Circus World was in operation and Buckles Woodcock was there as the head elephant man, he told me he found out there was a circus wintering across the street behind a gas station that he had no idea how long they had even been there. I don't even remember what the name of the show was that was wintering there anymore. Perhaps this is the answer you are seeking. Bob Cline

Reply: 14 Oct 2008 - Thanks for everyone's reply. I sent a copy of this post to John Zweifel's President's Hall of Fame and reveived the following response. "Hi. I am the manager of John Zweifel's museum in Clermont, FLorida. The place spoken about was the Circus museum at 4 and 27. Mr. Zweifel was in partnership with this attraction, which closed in the late 1980's. The wagons and other items are in a museum in Baraboo Wisconsin at the moment. One of his wagons was recently displayed at the Civic Fest which was a part of the Republican Convention. Thanks for your interest Carol" Ty

Reply: 18 Oct 2008 - Now there's a confusing response. The Circus Hall of Fame was bought by John Zweifel when it was in Sarasota. Most of the wagons were taken to the Royal American Shows winter quarters in Tampa, Florida by the early 1980's and stored there for a good while. The Circus Hall of Fame then was sold to the Peru, Indiana Organization around 1992 giving them the title and a lot of the collection. John Zweifel kept the Two Hemispheres bandwagon and many of the artifacts and archives. The Two Hemispheres Bandwagon has been at the Circus World Museum in Baraboo, Wisconsin for many years now where it has been restored and preserved but is on its way back to Orlando in November to be placed in storage once again. Bob Cline

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Reply: 17 Sep 2008 - Look for bicycle arts by woman the poster friedlander no.4888 year 1909 “Die Todesfart uber’m Löwenkafig” www.circusmuseum.nl/eng, search of dutch – fietsen - H.Best-Otte The Netherlands

Reply: 17 Sep 2008 - Illustrations, females in bicycle acts, in Bandwagon: Sep-Oct, 1983 cover, Forepaugh's 1882, bicycle family (two females) and a female with bicycle on tight wire, (relatively small illustrations); May-Jun, 1989, p. 35, Sells Bros., photo Stirk family; Sep-Oct 1989, p. 47, bicycle act, King, Burk & Co. 1885, performers not listed, illustration (fair); Mar-Apr 1990 p. 31, Melrose family, Sells Bros. 1886, illustration (fair quality); Jul-Aug 1990 p. 41, Elliot/Elliott family photo, Coup Show 1887, two females, 2 males, p. 40 brief text information. Judy Griffin

Reply: 18 Sep 2008 - To my knowledge the Goodrich Show did not have a bicycle act on the show in 1901. All they did was to purchase stock paper, in this case from the Donaldson Litho Company, and have the name of the show crosslined on some existing artwork. They were paying 3 cents a sheet to have their show name added, much cheaper than having artwork commissioned. I did not find a bicycle act in the program, nor in the 1901 employment contracts, just a reference to a bicycle lot on the show grounds where one could keep their bike secured, for a fee, while attending the show. John Polacsek

Reply: 27 Sep 2008 - As you probably have seen by now there are many women on bicycles on WWW.CIRCUSMUSEUM.NL/ENG Here are some more keywords to use in your search on this site: Cyclists, onlaw, marth, yokoi, theron, rodyes. Loube. Herman Voogd, hvoogd@teylersmuseum.nl

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Reply: 07 Oct 2008 - Hi, my name is Bruce Siebrand. Pete and Hiko were my great uncles as well. The other brother, Sam, was my grandfather. My father and his two brothers grew up in Northwood, ND. He traveled with the show for many years,and met my mother at the circus. Her father had a dog act, pony act and a stallion act and her mother ran a zoo and a pony ride. The only story I have ever heard about Siebrands was that Lawrence Welk played in the band as a young man. Evidently it's true. I had dinner with Pete Siebrand (Pete's grandson) last summer here in San Diego. He also confirmed that the Lennon sisters were with the show at one time. For the last year I have been collecting photographs of Siebrands from everywhere I can. I just recently found "the circus blog" on the internet. It's by a man named Ivan (forgot his last name) who, with his father, traveled with the show for many years. He has a section on "Siebrands" with some old pictures. Maybe you can contact him and he can give you more information. Best of luck!!

Reply: 15 Sep 2008 - I think you mean Davidson was with Barnum in the 1880s. I found one article on NewspaperArchives.com. This article stated that Iver (Ivor?) was with Barnum 1886-1889 and that he was one of the Shields Brothers (giants). Iver was born February 1, 1864, died May 1905. From Evening Tribune (Albert Lea, MN), December 18, 1930. If Iver did perform with the Shields Brothers, there is is book on them: "The Texas Giants: The Shields Brothers" by Weldon Shields. Judy Griffin

Reply: 30 Nov 2008 - According to a book "The first one hundred years 1856-1956" of Zumbrota, Minnesota, the following appeared in the Zumbrota news in the year 1890. "Iver Davidson, the Roscoe giant visited Barnum's circus in Minneapolis on Monday and greeted some of his old time associates. He was formerly employed by same." Another quote from the same newspaper in the year 1896. "Iver Davidson was the "Giant of Roscoe" at the age of 32. Standing seven feet, one and one half inches and weighing over 300 pounds, he traveled with the Barnum shows." The only reason I ever had an interest was that my father always would talk about the fact that he "Iver" was a relative. Because of that I had marked the pages in this book. Elaine Tatham

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Reply: 16 Sep 2008 - Greetings. Your request isn't very specific so we have along road in front of us. Is there any possible way you can find the name of the show these folks were with? It's irrelevant at this point whether it was a circus or a carnival. Maybe there is a photo in an album or a letter or something that the family might have to give us a name. You say the 1920's. Perhaps any info you can find will narrow down a closer time frame. We can search on newspaperARCHIVE.com for many word phrases for example but they may or may not help if you don't have a show title to start with. Get back with us if you find out anything else and we can help or point you in another direction. Bob Cline

Reply: 27 Sep 2008 - The Dept. of Transportation has an online database of the ICC Railroad Accident Reports. A search gives basic info and in some cases, a PDF version of the original published findings report is provided: http://dotlibrary1.specialcollection.net/scripts/ws.dll?
websearch&site=dot_railroads

      The only event that comes close on a search for "carnival" brings up file #706, a collision at Atoka, Oklahoma, on July 4, 1920 on the Missouri-Kansas-Texas (also known by its reporting marks as MKT, or its nickname as the "Katy"). Unfortunately, there is no copy of the investigation report. This was the Katy's only route through the state, so the show may have played McAlester or have been en route to Dennison, Texas, which appear to be the nearest big cities in the 20s.
      July 4, 1920 was a Sunday, which could explain why the men were off inspecting the fairgrounds. As there would be no public performances that day, it’s possible they arrived early and went to inspect the lot before unloading and setting up the show. Found nothing else to suggest this may be the location of the accident in question, however there is a county museum:
Atoka County Museum
Highway 69 N
Atoka, OK 74525
Phone: 580-889-7192
Lance Burton

Reply: 06 Jan 2009 - My great aunt died in this train wreck at the Atoka yards 30 miles south of M'Alester, OK on July 4, 1920 around 10 PM. I found an article in the Wichita Daily Times date Monday July 5, 1920 that told about the accident. It also listed the dead and injured. If you would want, I could E-mail you a copy of the newspaper article. L Jervis

Reply: 17 Sep 2008 - The best source for such information would be the weekly news columns of the "Billboard." Contact your local interlibrary loan librarian about securing it for you, or identifying a location where it can be searched. You could also check the annual histories of motorized circuses that toured during the war. Pieces published in "Bandwagon" by Joseph T. Bradbury and others, who brought a broader perspective to the topic because they personally lived through the war, might provide valued insights. These can be found via the article index on this website. There may also be relevant coverage in "White Tops," the journal of the Circus Fans Association, which was published on a bi-monthly schedule through the duration of the war. War era programs, couriers and route books might contain show-prepared comment upon various aspects of wartime operations and indicate how shows adapted to various requirements or restrictions. Circus people were experienced at "foraging" and supporting themselves in times of adversity. Those skills were surely pressed into service during WWII. There are a few motorized circus veterans of that era alive today. The senior George Hanneford could be a good contact in that regard. He had been at Ft. Lauderdale Swap Shop, but perhaps someone has current contact information? Fred Dahlinger

Reply: 18 Sep 2008 - Dear Fred Dahlinger, Thank you so much for the leads. I will get to work! Jessica

Reply: 08 Oct 2008 - Hello, everyone. I found an interesting (if confusing) item about gas rationing from the Chicago Tribune, Feb. 1, 1945. The Polack Brothers circus had run into trouble because of gas rationing; it seems that the animals made it to St. Louis, but the performers and managers were stuck in Hammond: “When the circus finished its engagement in Hammond, R. B. Jones, manager, told Isbell, the animal cages, carried on trucks, were granted gasoline by the office of defense transportation for the trip to Louisville, the next stop.
    “But the cars and trailers carrying the performers, he explained, are under the jurisdiction of the OPA, which refused to grant the necessary gasoline.”
    I found the reference through Google's new News Archives Search. By the way, I can be reached by email at jaroeder2003@yahoo.com. Thanks. Jessica

Reply: 11 Oct 2008 - Jessica, there is some information on the effect of rationing, shortages and restrictions on moving the shows on railroads, as well as on trucks in Robert J. Loeffler's "Circus in Wartime" article (Bandwagon, Vol. 13, No. 4 (Jul-Aug), 1969, pp. 15-19). You can either order this issue (click on Bandwagon on the navigation bar, scroll down for information on ordering back issues) or obtain the article via inter-library loan from your local library. Judy Griffin

Reply: 18 Oct 2008 - Thank you so much, Judy. I've ordered the article. I apologize for not responding sooner--it's grad school! Best, Jessica

Reply: 19 Oct 2008 - I heard that it was Paul V McNutt, chairman of the War Manpower Commission, who along with FDR declared morale on the home front of such value that circuses were able to circumvent some of the standard restrictions such as being able to buy gas and tires as needed. Possibly just an urban legend but I got this from Francis Kitzman who had the Russell Bros advance during WW II. Ole Whitey

Reply: 09 Jan 2009 - Thank you so much, Ole Whitey. That makes sense with what I've read elsewhere. Jessica

Reply: 17 Jan 2009 - Hello Jessica: I have in my collection some war ration books for food from two different clowns that travelled with RBBB during the war. Although RBBB was on rails, it may be pertinent to truck shows as well. It appears that the show helped these performers to obtain the ration books in Sarasota, listing Sarasota addresses as their “home” addresses. I wonder if the shows helped staff to get ration books and then pooled the rations to purchase food for the cook houses? I’d be happy to scan these books and e-mail them to you if it would help with your research. Neil C. Cockerline

Reply: 28 Jan 2009 - Dear Neil, Thank you for your reply. Pooled rations make sense. I would be grateful for the scans, if scanning isn't too much trouble. My email is jaroeder2003@yahoo.com. - Jessica

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1. Does anyone know the dates she was traveling with Wood?
2. Does anyone have a picture of Wood?
3. Is there any other connection to Cincinnati for Lavinia Warren that I'm missing?

Thank you in advance. My contact info: Steve DeGenaro, Poland, Ohio, sdegenaro@aol.com. Reply to this message, replies go to this board, not to the message sender.

Reply: 17 Sep 2008 - A book length manuscript about the two different and often confused showmen named Woods was deposited in the Circus World Museum library. I think that a search of past CHS queries might provide further information about it. There's also a memoir by Lavinia Warren, edited by Arthur Saxon, on the shelf. Slout's "Olympians," on this website [see entry under "Thumb, Mrs. Tom"] suggests a year for Lavinia Warren Bump on the inland rivers as circa 1861. An examination of the history of vessels once owned and operated by Spalding and Rogers would likely provide insights. I believe Wood may have chartered or otherwise acquired control of the "Banjo." Some of the vessels are covered in floating theater histories, also check Thayer's "Annals" and the dissertation about Spalding & Rogers by Penelope Leavitt Moy. River city newspapers will provide details on specific engagements, as will the news columns of the "New York Clipper." Fred Dahlinger

Reply: 27 Sep 2008 - One of the persons attending the 2008 CHS convention at West Springfield said that the Middleborough, MA Historical Society has a collection of material on Lavinia Warren. Might be worth a try. Judy Griffin

Reply: 16 Sep 2008 - Does the Tiger head look anything like the one at this link? If so, this was my great uncles' Hiko and P.W. Siebrand's Carnival and Circus poster. I would be interested in seeing what you have. www.goantiques.com/scripts/images,id,1522889.html, TammmJ@aol.com

Reply: 27 Sep 2008 - You could look at the more then 800 circus posters with tigers on www.cicusmuseum.nl/eng. Search with the word “tigers”. Herman Voogd, hvoogd@teylersmuseum.nl

Reply: 11 Sep 2008 - Hello Karen, It's been a while since our Circus Kirk days hasn't it? I haven't talked to your dad in a while now. To answer your question, your best source of information would be Ward Hall and his old time side show which is playing Fairs all the time. Is the York Fair still on? They usually have a side show. You can contact Erin Foley at the Circus World Museum in Baraboo, Wi. and see if she can provide a quick overview. Anything that will require a lot of time in research will have to wait quite a while as she is just swamped with requests. Jim Zyjchek has a Side show on the Fair circuit. He responds on Buckles blog and Wade Burck's. I'll see if I can get an email address for you. There is the Jim Rose Side show also which is discussed on the internet a lot. You may be able to track them down. Checkout www.sideshowworld.com also. You might just try searching the internet for Women Fire eaters. Who knows what you'll find. I hope this gets you started. If I can help you anymore, email me at home. Bob Cline fivetiger@marlboroelectric.net

Reply: 17 Sep 2008 - A Google search will turn up the usual textual references about Mollie Bailey and her circus activities, the familiar Olga Bailey book and other articles. You might supplement this with a query to the Circus World Museum library requesting copies of the file cards and notes about her in the George Chindahl and Tom Parkinson collections. There may also be relevant materials in the vertical file and small collections file. They will provide additional references. You might also peruse federal [and state] census documents to determine if a link in residency, or travel together on the troupe, may have existed. They might provide a listing of troupe members. Fred Dahlinger

Reply: 25 Oct 2008 - Hello. Go to Ebay. They have Ringling circus programs for both 68 and 69. Lyn

Reply: 02 Sep 2008 - Mr. Pellegini - I think the best source of early circus activity in the Hudson valley would be my book "Annals of the American Circus, 1793 - 1860." See the "Publications" portion in this website. I hate to blow my own horn, but I know of no better source. Stuart Thayer.

Reply: 03 Sep 2008 - As for the early history of circuses and the menageries, Stuart Thayer's books are some of the best researched materials available. I have been researching nautical circuses for a number of years, and there are only two or three that used that Hudson River as the primary route of the show. Most headed away from the river and went inland. Please note that no tented shows steamed up the Hudson on a boat and onto the Great Lakes. A few like Dan Rice in the 1850s were towed up the Hudson by steamboats to connect with the Erie Canal and then he took his show by canal boat across New York. At Buffalo, Rice hired a steamer to tow the show to Cleveland, Ohio. They almost lost the show when a storm came up as they were going across Lake Erie, but they continued down the Ohio Canal and on to the Ohio River. In the 1890's the Frank A. Robbins Circus went up and down the Hudson on a steamboat, and Bob Sabia covered the story in a recent Bandwagon article. Since Nyack is in the Tri-state area you could cover one ring shows in New York, Penna. & Conn. from the 1890s - 1910s. There are a number of small shows that came out of the area like Washburn & D'Alma from Corona, New York, The Goodrich Circus out of Bridgeport, Conn., The Price & James Circus from New York City, Charles Griffin a major sideshow manager out of Suffern, New York, and Donald Burns a exotic animal importer who opened up a small summer show on Long Island. John Polacsek

Reply: 05 Oct 2008 - Mr, Pellegrini, I'm a little late to this discussion but I'd like to add to this answer. First, Stuart Thayer's work is definitely the place to start. Second, any careful look at circuses in the Hudson Valley in the 1800s has to include the history of violence on the shows. Though I suppose a grant application will emphasize sweetness & light, fights were routine, almost daily occurences in the good, old days of circus. Not surprisingly, battles occurred most often in places full of young men, such as mining towns, college towns, and river towns. In this violent world of circus, Hudson River towns were especially notorious. David Carlyon

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Reply: 02 Sep 2008 - Hello Robyn, I have just self published my Book (Sawdust & Headaches) on our family The Perry's, and I talk to my Aunt Doris now 97 often. I can not sat I have come across Mr Frederick Figg. He may have been a tent Rigger if so could have been thousands over the years. Some would only stay maybe a week some for years. Will still talk to some old circus people to see if I can find out. Robert.perry3@bigpond.com

Reply: 03 Sep 2008 - You are referring to Poodles Hanneford, the famous British riding clown. Born in Barnsley, England in 1891, his given name was Edwin Hanneford Jr. - but everyone knew him as Poodles. According to family lore he was born while his parents, Ned and Elizabeth, were working for the Lord John Sanger Circus. His aunt Kate visited when young Edwin was only three days old and said "He looks more to me like a big happy poodle. That's what I'll call him, Poodles." The nickname stuck.
      Poodles joined the Hanneford family act as a child. A trick rider, he created the "step off" - where the rider steps off the horse as it gallops, then calmly strolls off. Most trick riders step off the back of a horse, but Poodles stepped off the side, a much more difficult trick. He was also an expert with the Australian whip.
      In 1915, John Ringling signed the Hanneford family to appear with the Ringling-owned Barnum and Bailey Circus where they were a center ring attraction. In addition to his work with various circuses, Poodles made more than forty films including movies with Shirley Temple (Our Little Girl), “The Red Pony”, “The Bells of Rosarita and “Springfield Rifle” (with Gary Cooper). Throughout the 1920s, 30s, and 40s he and the Hanneford family appeared with many circuses including Sells-Floto, Hagenbeck Wallace and several smaller shows. He retired from performing trick riding in 1954, though he continued his whip act in the mid 1950s.
      Poodles Hanneford’s final performances were at an amusement park in upstate North Hudson, New York where he played the role of an old prospector and clowned. His wife Grace ran the store in the frontier town and his daughter Gracie Hanneford had a dog act at the amusement park. Poodles worked at Frontier Town until his death December 9, 1967. He is buried in Glens Falls, New York under a memorial that features him image stepping off of a horse. Chris Berry, circusposters@gmail.com

Reply: 03 Sep 2008 - The clown was actually a highly skilled equestrian, Edwin "Poodles" Hanneford, Jr., who performed a comedy routine as part of a family riding act. It sparked many imitators, but few if any equals. The story of Poodles and the entire Hanneford family is covered in John McConnell's excellent book, "A Ring, A Horse and A Clown." Glens Falls, New York, just south of Lake George, was the location of a family home where Poodles' daughter Gracie resided. You might inquire of your local library to obtain it on loan for you, or try and secure it via a second-hand book source. McConnell's chronology of the Hannefords doesn't place Poodles on RBBB in the 1950s, so I'm uncertain about your statement regarding the poster illustration. He was with RBBB in 1919 and numerous other circuses thereafter, returning briefly in 1962. Perhaps that's the date of your poster? Members of the Hanneford family remain active in the business today. Fred Dahlinger

Reply: 30 Aug 2008 - The Caroli family, from Italy, is one of the largest ever in the European circus, dating back 1830s, and they still have few circuses. During WWII, a couple of small Caroli circuses were touring Italy. The most famous of their circuses, named Cirque Caroli, active in Belgium in the 1920s-30s. Dozens of other Caroli were and still are active worlwide as performers. If you are more specific, I maybe can be helpful. Raffaele De Ritis, Italy - www.raffaelederitis.blogspot.com.

Reply: 30 Aug 2008 - Many images of the Caroli family circus on www.circusmuseum.nl/eng. Herman Voogd, hvoogd@teylersmuseum.nl

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Reply: 01 Sep 2008 - Using www.newspaperarchive.com I found the following photo caption in a 1969 edition of the Cumberland (Maryland) Evening Times: "FIRST LADY - Keyser photographer Al Thomas, an avid circus-goer and a member of Circus Fans Association of America, scooped all cameramen at the Ringling Brothers - Barnum & Bailey Circus in Washington last week by getting this close-up of the First Lady, Mrs. Patricia Nixon. Thomas is a personal friend of clown Lou Jacobs, seated with Mrs. Nixon." Other news photos mention that Mr. Thomas was a free-lance photographer working in the Keyser, Maryland area. The last credit I could find of him as photographer was in Dec. 1977. The Circus Fans Association of America website http://www.circusfans.org/ mentions a photography contest in his honor. Perhaps the folks there can be of further help. Regards, Tom A.

Reply: 03 Sep 2008 - It's not as visual as a filmed demonstration, but there's an article about the "Concello" seat wagons in the "Bandwagon," Nov-Dec 1994 issue, pages 21 to 32. [Click on Bandwagon on the navigation bar for information on ordering back issues.] You can also view the original patent and work your way through the description at the link following. Fred Dahlinger. http://www.google.com/advanced_patent_search and insert 2635889 into the requisite search box. Or: http://www.google.com/patents?
id=YL9aAAAAEBAJ&printsec=abstract&zoom=4&dq=patent:2635889
&as_drrb_ap=q&as_minm_ap=1&as_miny_ap=2008&as_maxm_ap=1&as_maxy_ap=2008
&as_drrb_is=q&as_minm_is=1&as_miny_is=2008&as_maxm_is=1&as_maxy_is=2008#PPA1,M1

Reply: 07 Sep 2008 - There is considerable amount of information in the Ringling archives at CWM [Circus World Museum library] correspondence between Concello and the Lewis Diesel Engine Co that produced the seat wagons. There was also a plan for the wagon in the "Little Circus Wagon," the magazine of the Circus Model Builders, and notes in the question and answer section about changes and configurations of the wagons. The first wagons had the gearing to raise and lower the center section in the front, but was soon changed to the rear and was on the left hand side of the wagon along side of the gearing for the left wing. Ned Kronberg

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Reply: 24 Aug 2008 - I believe you are referring to Melvin Burkhart, the Anatomincal Wonder. One of the acts I remember seeing him perform was the two-faced man where he could make one side of his face smile while the other side frowned. He would also pound a spike up his nose and had an amazing ability to control the muscles in his abdomen. Mel Burkhart died at age 94 in 2001. Robert Momyer

Reply: 24 Aug 2008 - His name was Sam Alexander. After Clyde Beatty he had his own sideshow for awhile. He passed away Sept 1996 in Dallas, Texas. - Tom H.

Reply: 26 Aug 2008 - Sam Alexander was the two faced man over on the Clyde Beatty Circus side show for several seasons in the early 1950's. I believe one season he and Charlie Cox were partners in running it. Sam was in the blow-off. Later he teamed up with Lou Dufour and presented side shows at amusement parks during the summer and then played the CNE in Toronto, then London, Ontario fair and back into the U.S. The last side show he had out was on the Bill Lynch Shows in the maritimes in the early 1980's. He ended up in Dallas, Texas working for Bruna at the tent shop plus having a part in the side show when Buno took a show to Guam and other islands. I believe Sam died in Dallas. I don't know what happened to Red White. He was a great side show man and pitchmen. His parents had a mental act in side shows and at one time they trailed the Ringling show with their own side show. Red had the Beatty-Cole side show at least one season later on. Al Stencell

Reply: 09 Nov 2008 - As Stencell wrote Sam died in Dallas. As for Red White he spent his last years as a stagehand in L A. He had twin sons and his wife died of MS. He latter remarried and was very strong in AA. He was in his eighties when he died, was one of the greatest sideshow talkers. Fritz Lauber

Reply: 01 Sep 2008 - Please email me, I may have some information. Michael Joe Uchniat, muchniat@yahoo.com

Reply: 23 Aug 2008 - Finding circus photographs taken in a specific city of a certain circus within a certain time frame is usually strictly by luck, unless the show is well documented or there was a local photographer who favored the tent shows. The best sources are often the local city, county and state libraries, archives and historical societies, supplemented by local history and postcard collectors, antique shops, as well as any surviving photo studios.
      In the mid to late 1910s, the Ringling show was heavily photographed by Steve Albasing, a wardrobe guy also known as "101 Heck." Copy prints of his work were broadly circulated in the 1950s and turn up infrequently today, identified by the 1950s-era RPPC-type inscriptions he applied [they appear in white, usually along the bottom edge]. His originals repose in the Circus World Museum library. Unfortunately, he did not date most of his work and it is only by much analysis that tentative dates can be applied to many of them.
      Good general references on the Ringling Bros. World's Greatest Shows include C. P. Fox's "Ticket to the Circus" and Jerry Apps's "Ringlingville USA," both of which are heavily illustrated.
      Between 1900 and 1914 the Ringling show played Olean, NY, three times, on June 23, 1914, June 24, 1916 and July 8, 1918. The local newspapers will have published textual coverage, but generic photos appearing before the date are unlikely to have been snapped in Olean. Images reproduced that specifically are identified as Olean would appear after the date. During this time the Ringling show was a massive 80-car enterprise. It usually changed little between engagements within a season, but obviously the set up on the lot, the unloading site and the routes between the train yards and the lot and for the parade varied with each community. Communities often had "typical" sites where the show trains were parked and also where the tents were erected. Usually a little local research will reveal these locations, which can also be viewed on period plat, street and insurance maps. For the dates in question, you can also check the circus pages of the weekly trade publications "Billboard" and "New York Clipper" to see if there was any coverage of the Olean appearances.
      There's a 1914 photo of the Ringling parade in Oneonta, NY in Fox and Kelley's book "Great Circus Street Parade in Pictures." Other 1914, 1916 and 1918 images would depict the circus as it appeared in Olean. Fred Dahlinger

Reply: 21 Aug 2008 - I don't think that anyone has derived or abstracted a "timeline" per se for all of the performance types you list. The standard references on the topics you mention, as far as use and introduction in America, are Stuart Thayer's book "The Performers," and Steve Gossard's "A Reckless Era of Aerial Performance, the Evolution of Trapeze." Each is likely still available from the author. Both include an abundance of notes and bibliographic references. Thayer covers to circa 1860, Gossard reaches into the 20th century. Other good books on development of various aspects of ring performance include George Speaight's "A History of the Circus" and Antony Hippisley-Coxe's "A Seat at the Circus." The series of articles by Pierre Couderc in "Bandwagon" in the 1960s covers some topics, as do other European volumes. George Chindahl's "A History of the Circus In America" has some value. Janet Davis's new book about Tiny Kline has some information about iron jaw act origination. Be aware that "ring acts" could and were presented above a variety of stages, in theaters and other venues, also outdoors, and that the story lines don't always originate or advance within just the circus. There are also nuances of description and interpretation, as well as latter day claims versus period evidence to trip up the researcher. Gossard does a good job in sorting through much of the confusion in trapeze development. Fred Dahlinger

Reply: 21 Aug 2008 - Quoting from my book "The Performers," (2005, pg. 138): We can date the American introduction of the single trapeze to the season of 1856. In that year there were two circuses that had such acts. They were Sands, Nathans & Co., who carried Denzer and Bliss, and Flagg & Aymar, who put forward Henry Harris. These men did acrobatics while hanging from the still bar. The history of the still bar began with English performers hanging beneath hot-air balloons as early as 1851. When presented in a tent, the hanging trapeze was usually hung from a spar that was cantilevered from the center pole. Without the impetus provided by swinging, these artists treated the bar much as the horizontal bar was used in later years. As might be expected, their actions were overshadowed by the higher swinging feats performed on the slack rope. Eventually, the slack rope became used as a swing itself. We first find it referred to as the "flying trapeze in 1864 on the Tom King Circus. The origin of the flying trapeze, but not of its name, lies with the antics of Jules Leotard in Paris in 1859. Stuart Thayer, Seattle.

Reply: 23 Aug 2008 - I started once to structure a similar timeline of circus techniques, and it should be an interesting work to pursue one day.
      Concerning the origins of trapeze, they are must find in the mid 1850s, I believe for different reasons. One is the spread of sports and gymnasiums with the rise of the middle class in France and England. The other is the improvement in the architecture of the French circus buildings, assuring stability and heights, and offering the potentials for novelties and changes from the equestrian-based programs. The same aerial offer fit well with the new pleasure places, as the Crystal Palace in London or new large halls and theatres in both emispheres.
      The modern concept of trapeze can be seen as a sort of compromise between the swinging of the slack wire and the gymnastic of the still bar. Slack wire existed for centuries among open-air fair acrobats, as widely documented: in the famous “Southwark Fair” print of William Hogarth you can see the most famous of them, Jacob Hall.
      The first to introduce a trapeze in gymnasiums is considered the trainer Colonel Francisco Amoros in France (at least according to the main French circus and sports historians). In the circus, an interesting anticipation is in France the celebrated vaulter Antonio Diavolo, as by some Franconi programs between 1816-24. He is also the subject of the most celebrated of Robert-Houdin performing automata. In a kind of Pierrot costume he performed an act, at very modest heights, with the typical gymnastic feats of the still bar but with a considerably swinging apparatus. Observing a recent performance of this restored automata, it is very interesting to admire those pre-Leotard feats. An example closest to the actual trapeze is the “triangle”: another almost aerial evolution of the still bar credited to a certain professor Clias (according French historian Adrian), author and trainer. Is probably from this that in the 1850s spread the baloon trapezes that can be considered the first step in the aerial feats. In those times, Speaight mentions a certain Signor Le Tort as the first still trapeze gymnast in a British circus or theatre. Finally, as known, Leotard appeared in Paris in 1859. With his father, who had a gymnasium in Tolouse, he invented the concept of “flying” between two trapezes. But still at a modest height. I believe (but I can be wrong) that the first to apply the idea at a considerable height was William Hanlon, presenting his “Zampillaerostation” two years later in a New York Theatre. Anyway, the Hanlon family in the early 1870s can be consideresd the first modern act of “flying” trapeze even if still relying much on still bar tricks.
      The spanish web also originated around the 1850s. About this, and the early still trapeze, there are eloquent illustrations in wonderful Hugues Le Roux “Les jeux du cirque et la vie foraine”.
      Concerning tissue: I think I was lucky enough to witness the first public presentation ever of a tissue act. It was in January 1995 at Cirque d’Hiver in Paris for Festival Mondial du Cirque de Demain. It was performed by Isabelle Vaudelle, a student from the Rosny-sous-Bois circus school in France. I remember that many of us dismissed this as a nice novelty. The idea came from aerial teacher Gerard Fasoli. At this Festival, Soleil booked Miss Vaudelle, then assigning to André Simard a coreography: the following year, in “Quidam”, the first proper tissue act was born. - Raffaele De Ritis, Italy - www.raffaelederitis.blogspot.com

Reply: 09 Sep 2008 - Concerning Tissus, the English Public Record Office has a poster showing a woman doing tissus while supporting another woman doing a dental hang. The date given is October 1894! It's on plate 66 in 'Fun without Vulgarity - Victorian and Edwardian Popular Entertainment Posters' by Catherine Haill, isbn 0 11 440263 9. Charlie Holland www.palaceofvariety.co.uk

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Reply: 21 Aug 2008 - By "Prince Leo," I assume that you mean the balloon aeronaut and parachutist [Albert?] Leo Stevens (born Cleveland?, circa 1871? 1873? 1876? 1877?), as per other posts on-line. http://lists.pglaf.org/pipermail/project-wombat-fm/
2008-February/subject.html#4104
      For readers, "Prince Leo" is mentioned in passing in "Spangled World," on this website, as well as Leo Stevens being profiled in Cleveland Moffett's book "Careers of Danger and Daring" and the predecessor article in "St. Nicholas" magazine. His circumstances were used to highlight the abuse heaped on apprentices by their masters, in this case, reportedly a circus acrobat [as identified in 1876 "Harper's New Monthly Magazine" article, page 294]. Moffett states Prince Leo was a slack wire artist and at age 13 was known across the country as Prince Leo, a "marvel of the air," apparently doing wire walking. Whether he did the walks under a circus tent, as an outdoor free act to the top of the big top, or as special exhibitions unrelated to the circus business wasn't clarified.
      The exposure of Prince Leo's abuse in November 1875 resulted in an 1876 law in New York State. Reportedly tight rope-walking "Prince Leo, the wee acrobat," was rescued from the Tivoli [German] Gardens, Eighth Street, near the Bowery, New York by officers of the Henry Bergh - led Society for the Prevention of Cruelty to Children.
      The New York Times of November 8, 1875 stated that Prince Leo was under the control of acrobat "Walter Leonard." http://query.nytimes.com/mem/archive-free/
pdf?_r=1&res=9506E6D7133BEF34BC4053DFB767838E669FDE&oref=slogin. This may be one and the same with "Walla" Leonard, and wife Nellie, as listed in Slout's "Olympians," an "aerialist, trapeze and running globe performer," whose first circus employment is given as J. E. Warner, 1876, the year after the abuse incident. Leonard's inconsistent circus affiliations suggest work outside the tents, as with the Tivoli Gardens, with small troupes, or in ensemble presentations, where his personal identity was not proclaimed. Leonard was charged with assault and battery on Prince Leo for compelling him to do both a tight rope walk and an ascension act with what could be described as a less than adequate safety rope around his waist. Leonard and his wife reportedly found the boy, age seven and of diminutive size, in a Philadelphia "Home" and secured him on the pretext of wanting to adopt him. His real father apparently "borrowed" out all of his children for various monetary reasons, to "lead the blind" and so on. Beating, whipping and other actions followed while in the care of his new master. Prince Leo recalled his father as an abusive German drunk and his mother as a rag picker. The boy had little actual recollection of his origins, or at least expressed little knowledge at the time he was removed. He'd never been to school and never learned the alphabet. The "Home" was termed a Philadelphia orphan asylum in the Eau Claire (WI) "Free Press" of November 18, 1875. The Fort Wayne (IN) "Daily Sentinel" of December 18, 1875 recorded that the SPCC succeeded in having Prince Leo adopted by a "suitable person" and "his reputed father and real tyrant have been held for assault." The Newark (OH) "Daily Advocate" of February 4, 1885, in commenting on another abuse case, flashbacked to the "Prince Leo law" situation. It stated that the boy was adopted by a gentleman in Brooklyn and was then, 1885, in Missouri.
      Given the high profile of the landmark case, there's a good chance that additional coverage will be found in the "New York Clipper." It might identify the alleged master of the boy and the case outcome, since the status of apprenticeships would have been of interest to showmen.
      An examination of the annual reports of the SPCC might be fruitful. A secondary paper to consult can be found here: http://journals.cambridge.org/action/
displayAbstract?fromPage=online&aid=82181. The record of the court case might reveal more about Prince Leo's origins, family and status, and especially the ultimate disposition made of his person.
      Child abuse was not uncommon throughout 19th century American society, nor were deplorable working conditions in sweat shops and factories. The prevalent practices are what caused the formation of anti-cruelty groups, like Berg's MSPCC in 1874 [which came after the SPCA of 1866!] and laws banning the practices. James A. McGinnis was similarly abused by his own older sister at home, faked his death to run away and eventually joined the circus for a safe harbor. He became James A. Bailey, of Barnum & Bailey. There are legions of such stories, part of the mystique of "running away with the circus" to escape brutal conditions at home.
      The show title you inquired about, "Baird and Greenlee" might be interpreted as a show owner [perhaps J. W. Baird, 1848-1908] and an unidentified financial backer, or perhaps a show owner and a manager or principal performer, but Slout's "Olympians" lists no Greenlee. Slout doesn't mention a Prince Leo or [Albert] Leo Stevens, which might suggest apprenticeship status [you mention one in 1875 with a Philadelphia affiliation], use of a different stage name or alias, a subordinated name in a group act, or limited presence under the circus tents. He also mentions no "Don Carlos," another name for Leo, only a Clarence Carloss, gymnast, with Howes & Cushing 1875.
      The single year listed for a Baird-owned circus, Baird, Howell & Co., Howell being H. V. B. Howell, is 1875. The title is not, however, listed in either the Sturtevant or Parkinson title lists, likely meaning it was very obscure, perhaps an indoor show, or quasi-circus. Afterwards, Baird was in the minstrel game, 1876-1889, and then retired. If Prince Leo was recruited from the "Home" by Walla/Walter and Nellie Leonard at Philadelphia in 1875, the Baird, Howell & Co. troupe almost has to be the circus in question. The New York Tivoli Garden engagement may have followed at the conclusion of the summer tour.
      It's a bit of a guess, but you might also try Greenwood, Greenleaf, etc., or Greenlee as a middle name, the name perhaps not being recalled or printed entirely correctly. It would be of interest to learn the context of the 1892 mention of Baird & Greenlee.
      George Chindahl was interested in small circuses and his note cards at the Circus World Museum library might contain some pertinent references to A. W. Baird's activities, though Slout would have accessed them during the course of his research for "Olympians." You might also check standard stage histories, such as Odell's "Annals of the New York Stage" and M. B. Leavitt's book on theater history. Keyword searching of the New York and Philadelphia newspapers might also prove purposeful.
      "Prince Leo" was a contortionist, a member of Hi Henry's Premium Minstrels in 1885. [Hagerstown (MD) "Daily News," October 7, 1885] There are several balloon ascensions reported for Prince Leo in 1891, one of which gave his age as sixteen. Someone named Prince Leo put on a tight rope exhibition before the Hagerstown fair grandstand in 1894 and in the published accounting statement was identified as "Leo Stevens, high wire walker." [Hagerstown (MD) "Herald and Torchlight," October 18, 1894 and December 20, 1894.] Fred Dahlinger

Reply: 22 Aug 2008 - You can add the year 1874 to Baird's activities as the show - Baird, Howell & Company Oriental Circus and Whitney's Great Hippodrome was on the road. It opened May 2 at Salem, Ohio played around eastern and northeastern Ohio most of May, then into Pa and as far as Lykens, Pa on July 31. At that time the title of the show changed to the Chicago Zoological Exposition. In August it played Pa, and in October it went south to Virginia. The show reportedly closed Oct 31 or Nov. 2 at Farmville, Va. according to the N.Y. Clipper. Ted Bowman Circus Route Collection

Reply: 26 Aug 2008 - Thank you very much indeed for such a thorough reply. I can now add some details.
      In the matter of Walla Leonard, the acrobat (and his wife Nellie) who was sued for custody of Prince Leo in NYC, there were actually TWO such children, both with the same stage name. The first Prince Leo was hired or 'adopted' in Philadelphia (by Walla) in July of 1875 and regained by his mother Anna H. Stevens. This is the putative link to the later balloonist Leo Stevens. The problem is that there seems to be no father with that last name. When the first child was regained in Philly by his mother (Oct 2), Walla moved to NYC and the Tivoli Gardens, with his second Prince Leo, whose real name was Freddy Berger. This 'new' child was 'freed' by the (NY)SPCC in the famous case you mention.
      Although the Biography section of Olympians has J. W. Baird (1848-1908), his correct name was I. W. Baird, the owner of Baird's Mammoth Minstrels. I do not yet know what the initials stand for. As to partner Greenlee, I now see an ad from 1887 (Reno, NV) for this group with an associate James Green. Perhaps that name became confused with Greenlee? The name was first mentioned by Leo Stevens in a late (Aug/Sept) 1892 Interview, 'Feelings on a Tightrope.'
      It is possible that the Prince Leo as a child contortionist is the same person, in the late 1880s. He started with the high wire, then jumping from it, then ballooning and jumping from it too (with a parachute). He was eventually credited with 3400 ascensions before he died in 1944 (various ages in the obits). He was married twice but had no children. He claimed that he married Julia, his first wife, in 1897 (he met her at Niagara Falls), but no certificate has turned up. His brother Frank Stevens was also a balloonist for a while but soon turned to the steadier manufacture of awnings. - Allen

Reply: 21 Aug 2008 - In 1976 I was brought in as Assistant Dean and Magic Master for Clown College. Part of my responsibility was to teach and produce magic/illusions to be used the following year. In 1977 the clowns did a gypsy gag where they produced Michu out of an empty 'treasure chest'. I believe that was the same year that Gunther did a leopard production from a suspended cage and the King Charles troop used the flaming and vanishing basketball Bobby Kaye usually did a clown illusion and always used magic in his walk-arounds. Robert Momyer

Reply: 24 Aug 2008 - Although there were magicians and illusionists on the SIDESHOWS of Ringling-Barnum both before and after the shows combined in 1919, a special “Black Tent” was featured on the Barnum & Bailey “Greatest Show on Earth” during the 1898 tour of Great Britain. The “Black Tent” featured an illusionist by the name of “Roltair” who produced a series of “black art” effects that took advantage of the fact that the tent was dark – and the assistants who made the spirits appear, etc could work very effectively under that cover. Disembodied heads, “sprites” and “gnomes” flitted around the tent creating a supernatural effect. It is interesting to note that although Harry Kellar and Alexander Hermann were the top magicians of the day, Barnum & Bailey’s illusion show of 1898 was seen by more people that saw either Kellar or Hermann. During Ringling-Barnum’s “indoor era” the most notable featured illusionist was the Austrian magician Ferry Forst, who John Ringling North brought to the United States in 1961. During the 1961-62 seasons Forst presented a series of amazing illusions in the center ring – made possible in great measure because of his good fortune to have beautiful identical twin daughters. The audience never saw them together and when the girl disappeared at one end of the arena, she would then appear instantly across the hippodrome track. After Ringling-Barnum, Ferry Forst moved to Clyde-Beatty Cole-Bros. His daughters both married circus executives (Bridgette Forst married John Pugh and Jutta Forst married Ned Toth). In 1974 Ferry Forst, Ned Toth and illusion show producer Richard Berry jointly produced a stage show, “The Mystical World of Magic” which featured Jutta as the illusionist “The Baroness von Forst”. The highlight of that tour was a performance at Sarasota’s Van Wezel auditorium which was attended by many from the circus world and magic fraternity. Chris Berry, circusposters@gmail.com

Reply: 24 Aug 2008 - In the 1890s, Barnum and Bailey used to involve magicians in some special side-show illusions. One of those was the "black tent", doing use of the then new theatrical "black art", allowing to display bodyless heads, headless bodies, mermaid and other apparent miracles. It was devised by the famous magic expert and writer "Professor" Angelo Louis Hoffmann from London. Some posters exist about that. Few year later, a similar spectacle was done again by Barnum and Bailey under the supervision of Roltair, another magician of the era. Before that, P.T.Barnum had documented connections with the European magic scene, including Robert-Houdin, and with special interest in automata (including the famous talking machine). In the very recent year, you won't forget of course David Larible in season 2002-03: it is probably the only pure magic act (even in a clown context) ever presented by RBBB (but I maybe wrong). I'm very interesting too in knowing more about magic and RBBB. Especially, I am grateful to whom can provide more about the connection between J.A. Bailey and Professor Hoffmann, and to know what pictures or articles are exixting about the "black tent". Raffaele De Ritis, Italy - www.raffaelederitis.blogspot.com

Reply: 02 Sep 2008 - This is a quick reply to correct or amplify some of the above comments made regarding magic as part of the Barnum show in the 19th century. Briefly, the black tent with its illusions was present for more than just the 1898 English tour. It was present for both the 1889 and 1890 seasons in the US under the direction of Frank Hoffman and featured effects that were far more optical-based than black art such as the standards Stella and Thauma. While Frank Hoffman is an elusive figure in the historical record, there is no evidence to suggest that Angleo Lewis, the famous English popularizer of magic who wrote under the pseudonym "Professor Hoffman," had any connection with the 1889-90 black tent productions. Roltair, on the other hand, was an important illusion creator and builder (on the same level as the man who is now assisting the Ringling organization with its forthcoming 139th edition) and might have had a hand in the Frank Hoffman-managed creations. Roltair was English but came to the US in 1870, just after the Pepper's Ghost effect had swept England inspiring a number of imitative mirror illusions, and he worked for Alexander Herrmann about the time when W.E. "Billy" Robinson (later famous as Chung Ling Soo and the known possessor of some circus books) was constructing several of Herrmann's famous mirror tricks. Also interesting, moreover, is that Roltair was the first human cannonball act in the US when, following several magic tricks he did in the ring, he was fired 60 feet from a cannon and billed as "Mephistopheles Shot from a Cannon." His magic and cannon act appeared in 1878 on the Bailey side of the Barnum & Bailey title before they merged, clear evidence that he had an early business association with James A. Bailey that continued in later years. In addition, to fully answer the query question, it must be noted that Barnum himself was a practicing magician throughout his life and while he performed for the public early in his career, he never did so in his own circus ring but rather reserved his continuing interest in conjuring as an amateur to delight his friends in the parlor. – Richard Flint, Baltimore, MD (rwflint@gmail.com)

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Reply: 20 Aug 2008 - Zack Terrell [not Terrill] (1879-1954) had a long career in the circus business, starting by at least 1905 and continuing until he sold Cole Bros. in late 1948. It included time spent as a staffer, manager and owner [generally 1935-1948, though he likely owned a modest percentage in the American Circus Corp. in the 1920s, when he served as Sells-Floto's manager]. He was likely born in Owensboro, Kentucky in September 1879 as he's listed in the 1880 census as Zachariah, the son of John L., a farmer, and Isabel, his wife keeping house. His mother died in Owensboro in April 1937. He had a personal residence in Owensboro by 1934, when he took a break from business to return there.
      With the same name but no proven familial relationship, there were also the three Terrell brothers of Paducah, owners of a rough and tumble 1890-1891 circus and later a tough Buckskin Bill's Wild West outfit about 1900-1901. I've never seen anything to connect the Terrell brothers with Zack Terrell, but his career between 1905 and 1929 was tied up with known grifters Ben Wallace, Jerry Mugivan and Bert Bowers. His initial employment, as documented in the Sturtevant list, is given in 1905 as an assistant manager with the Great Wallace Shows. One suspects that he'd had prior experience with other traveling enterprises before then. You simply didn't join a show at 26 years of age and be appointed an assistant manager for Ben Wallace.
      Zach Terrell married one of the Nelson girls, Estrella, a member of a somewhat large and famous circus acrobatic performing troupe. She outlived him, re-married and apparently remained at their place in Owensboro for some time thereafter. Very recently [July 31, 2008], it was announced that country singer Toby Keith had bought a portion of the planned Heartland Crossing shopping center in Owensboro, which was identified as Terrell's former estate. You've likely heard about it in local media coverage.
      The Cole Bros. circus winter quarters were in Rochester, Indiana between 1935 and 1940, and in Louisville, at the fairgrounds, from the winter of 1941 through the winter of 1948. At best, a baggage wagon loaded with show financial records ended up on his farm, but I'm sure that they long ago went to oblivion. As far as I know, there was no other connection between the circus and Owensboro, other than the typical summer visits by itinerant troupes. You might check with your local library and historical society to see what they have in vertical or clipping topical files.
      Other troupes managed by Terrell have also been profiled in the circus journals, as well as the Cole show winter quarters in Rochester, Indiana [BW May-June 1972] and Louisville [BW Sept-Oct 1980; WT Sept-Oct and Nov-Dec 1975]. There is also a brief recollection of the late William "Bill" Low's visit to the Terrell's Owensboro farm in the BW March-April 1983 issue, page 34. At least three circus vehicles, two baggage wagons and a coach, were apparently at the farm at one time, but none are thought to exist today. That may be the closest that Terrell's circus ever came to having an affiliation with Owensboro other than his personal residence.
      The Cole show played dates in Owensboro on April 28, 1941, April 26, 1943 and April 23, 1945, and perhaps before and after those dates [others will know]. You might check the newspapers around those dates for coverage of Owensboro's resident circus owner and his big railroad show. Through the 1940s it was second only to industry leader RBBB.
      Joe Bradbury, Gordon Potter, Bill Rhodes and others contributed literally hundreds of pages about 1935-1950 Cole Bros. Circus history to the pages of "Bandwagon" and "White Tops." You can locate these articles in the indexes on this website, under the "Bandwagon" icon on the left margin. Some of them are readily available for purchase as back issues, or available in other on-line auctions periodically. At least one book has also been published about the Cole show.
      Zack Terrell's Cole Bros. outfit has no relationship to today's circus of that name, other than the use of the same title. - Fred Dahlinger

Reply: 21 Aug 2008 - One small addition to friend Dahlinger's excellent response: Terrell managed Standard Oil's "Live Power" show at the Century of Progress in Chicago in 1934 and later brought the features of this show, Allen King's wild animal act and an elephant act, to the new 1935 Cole Bros Circus. Dave

Reply: 27 Sep 2008 - Most interested in this message for my father also ran away to join Sanger’s circus when he was a young teenager and later trained to be acrobat in 1912. You might like to visit my Life Diary running on the History section and also my photographs of the Sanger show taken, whilst I was there, in 1961 upon the All The Fun Of The Fair WebPages here in England. Best Wishes, Tom Sandow

Reply: 25 Oct 2008 - Hello. I typed in the words "Fanny elephant Coney Island" on my AOL search and two articles came up. Hope that can help you. Jean

Reply: 18 Aug 2008 - You might want to take a look at Mark Dery's 1999 book, "Pyrotechnic Insanitarium." Fred Dahlinger

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Reply: 19 Aug 2008 - Look for posters and photos Fillis Circus 1887 www.circusmuseum.nl/eng. H.Best/Otte, The Netherlands

Reply: 21 Aug 2008 - Hello Mark, what was your Grandfather's name and what did he do for Fillis? Is that his name in brackets? (Nahra/Nohra)? According to Prof F Vd Merwe's book on Frank Fillis, his show was back in South Africa in Nov 1894 in Kimberley. One of the acts were "the 'Bedouin Arabs' (Elisias Nabra, Saba Nahra, Mausoon Hanna, Saleem Jahjah and their trainer Mohammed Musfid) who made a great impression with their fighting techniques, stick fights and tricks with weapons". I hope this helps? regards, Jim Stockley (Pietermaritzburg)

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