circus broadside (3 resultados)

Very attractive early 19th-century broadside with a beautiful, large woodcut of a spectacular medieval show, enlivened with fireworks. The text below announces the show of a gymnastics (circus) company under the direction of Bartholomäus Ramini (dates unknown). According to the playbill, the show consisted of four parts: an acrobatic performance by a four-year old; a horse dressage by "lustige Kaspar"; an acrobatic act with, among others, balancing and a human pyramid; and a play of "Otto der Stählerne im Kampfe mit dem rothen Feuerriesen und die Befreiung der Prinzessin Clotilde" (translation: Otto the man of steel, fighting with the red fire giant and the liberation of Princess Clothilde), which included fireworks. This last part of the performance has also been mentioned as part of another circus show, which was held at Prague in June 1827, under the direction of a citizen of Prague named "Beranek" (Journal für Kunst, Literatur und geselliges Leben). The present broadside most likely announces the same theatre or circus company, now performing in a different location.The work has been folded in the past. Otherwise in very good condition.l Cf. Journal für Kunst, Literatur und geselliges Leben, nr. 74, 21 June 1827, p. 592. With a large woodcut illustration (ca. 27 x 38 cm). The text is set in a Gothic type. Pages: [1] l.

Eleven verses, set in two columns, as performed by Miss Crofts and Master Wilton. Untrimmed, laid down on modern paper within a double ruled border. v.g. 35.5 x 24.5cm. Unrecorded on ESTC, or WorldCat. In 1782 the equestrian Charles Hughes, together with Charles Dibdin the Elder, opened the Royal Circus (later the Surrey Theatre) in St. George's Fields, a few hundred yards south of Westminster Bridge. 'The licences granted to Astley's and the Royal Circus 'for public dancing and music' and 'for other public entertainments of the like kind' were broadly interpreted to include not only displays of equestrianism and circus acts but a variety of lesser dramatic entertainments as well.' Originally these consisted of burlettas, pantomimes, and ballets d'action, for whose performance a separate 'dramatic' company (as opposed to the 'equestrian' company) of professional actors, singers, and dancers was engaged. At the same time the circus artists, in keeping with the versatility that has always been expected of them, frequently helped out as well. Thus a graceful equestrienne might interpret the role of a young prince in the opening stage spectacle, adding a piquant note by dressing in close-fitting breeches, while a featured rope-dancer or strongman might appear as Harlequin or a bereaved father in the concluding pantomime.' ref: Saxon, A.H. The Circus as Theatre: Astley's and Its Actors in the Age of Romanticism. 1975. Miss Crofts (fl 1786-1790) first came to public attention acting and dancing at Hughes's Royal Circus in St George's Fields. On 28th October 1786 she was an unspecified character in the burletta 'The Peckham Gardener'. On 31st October the Royal Circus bill announced amongst other pleasures, 'N.B. Hughes's famous horse Chiliby, will be rode every Evening this week by Miss Croft.' Ref: A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800. SIU Press, 1975.

Poster for the circus, printed on both sides, 65 x 22 cm. on a 74 x 26 cm. sheet. "Programme No. 1." Text in various sizes and styles of type, bordered by small vignettes of animals and circus acts. Title on verso: "UNCEASING ENTHUSIASM! / VanAmburgh & Co's / NEW GREAT GOLDEN / Menagerie, Circus & Colosseum / Manager for 32 consecutive years. Mr. Hyatt Frost / WORLD-WIDE IN REPUTATION! / THOUSANDS FLOCK TO SEE IT. [followed by eleven illustrations of featured animals, including the Two Horned Rhinoceros, the White Yak of Tartary, the African Ostrich, etc. plus acrobats, trapeze artists, and other performers. In the margin, left blank to allow for adding the location of the show, this copy is stamped in bold letters "Fryeburg: Sept. 6." A few shallow chips to margins, one short closed tear extending slightly into the illustration of the kangaroo, else a boldly printed, wonderfully illustrated copy. Isaac VanAmburgh (1811-1865), born in Fishkill, New York, is considered one of the originators of dramatic and daring trained wild animal acts, incorporating them into his traveling menageries. Known as "The Lion King" for his bold performances, he was touring England and the Continent by 1834, entering cages with lions, tigers, and other big cats and occasionally putting his arm or his head into their mouths, much to the delight of Queen Victoria and other royalty. His long-time manager Hyatt Frost penned a biographical sketch of VanAmburgh in 1872 calling him "the original beast conqueror- a pioneer in entering their dens. no man has been able to effect as marvellous feats, or exercise such power of control over the brute creation." Frost continued to use the VanAmburgh name and to manage the show after VanAmburgh's death. Frost was also a partner with P.T. Barnum in the Barnum Museum on Broadway in New York City until two fires, one in 1865 and another in 1868 closed it down, at a great loss to both men. Frost thereafter traveled the country and Canada with a wagon show and later a railroad show, though competing with larger circuses became increasingly difficult. By 1884, he gave up the work and auctioned off the remaining parts of the VanAmburgh menagerie. [see his obituary in the Amenia Times, Sept. 7, 1895]. This copy, with the Fryeburg [Maine?] stamp was likely printed in 1878, when Frost was in his 32nd year as manager. We found a different poster for the VanAmburgh menagerie, dated 1885, which notes that Frost was then in his 39th year as manager, helping to date this copy. OCLC lists one copy at the Connecticut State Library, which gives the date as 1880.