Nothing is known about this act except it appeared in Frank Bostock’s ‘Jungle’ in Sheffield and on the road between at least 1901-1910.
There appears to be no information regarding Batty and whether he was from the famous family of equestrianers.
On show at the Circus Hall of Fame Sarsota, Florid, USA.
Edward Cross, a notable wild beast merchant of the 19th century, owned and operated the menagerie at Exeter Exchange in London. Among his collection of exotic animals were several lions, and he famously named multiple lions “Wallace.”
Number of Wallace Lions:
It is documented that there were at least three lions named Wallace at different times. Each of these lions gained some degree of fame:
The practice of reusing the name “Wallace” for successive lions helped build a lasting brand and reputation for Cross’s menagerie, attracting visitors who were familiar with the famed lion by that name. This tradition of naming multiple animals with the same name is not uncommon in the history of menageries and zoos.
George Wombwell was a prominent British showman and the founder of Wombwell’s Traveling Menagerie, one of the most famous traveling animal shows in the 19th century. His menagerie was renowned for its exotic animals, and among them, a lion named Wallace became particularly famous.
Fame and Legacy:
George Wombwell’s lion, Wallace, remains one of the most famous lions in the history of traveling menageries. Wallace’s reputation for being a magnificent and gentle lion made him a star attraction and helped cement George Wombwell’s legacy as a leading showman of his time. The story of Wallace highlights the public’s enduring fascination with exotic animals and the rich history of animal exhibitions in the 19th century.
However, the Wallace depicted above was from the USA, and, according to the card, was from the Wombwell and Bostock Wold Animal Show. Reported to have killed 3 of its trainers and had to be ‘executed’.
It was Frank Bostock that went to the USA in the late 1800s and successfully traveled the country with his Wild Animal Show. He also had a permanent site on Coney Island, New York.
Frank C. Bostock, known as the “Animal King,” was a pioneering figure in the world of traveling menageries and animal shows. Originating from a family deeply entrenched in the circus and menagerie business in the UK, Bostock expanded his operations internationally, achieving remarkable success in New York in the late 19th and early 20th centuries.
Born in 1866 in England, Frank Bostock was part of the famous Bostock and Wombwell menagerie family. From a young age, he was immersed in the world of exotic animals and show business. Frank eventually branched out to create his own menagerie, distinct from his family’s legacy, which would go on to become a global sensation.
In the early 1890s, Frank Bostock brought his menagerie to the United States, where he quickly made a name for himself. New York, with its burgeoning entertainment industry and appetite for spectacle, provided the perfect setting for Bostock’s grand exhibitions.
Frank Bostock’s tenure in New York marked a significant chapter in the history of traveling menageries and animal exhibitions. Through his innovative approach to animal training and showmanship, Bostock captivated audiences and set new standards for the industry. His legacy as the “Animal King” endures, reflecting his contributions to entertainment, animal welfare, and cultural history.
I. Introduction
Travelling menageries were a prominent feature of British society during the 19th century, offering audiences the opportunity to encounter exotic animals from around the world. This literature review(without references) explores the multifaceted impacts of travelling menageries on British society, focusing on their social, cultural, and economic dimensions.
II. Historical Background of Travelling Menageries
Travelling menageries emerged in Britain during the late 18th century, capitalizing on public fascination with exotic wildlife and the growing interest in natural history. These exhibitions featured a diverse array of animals, ranging from elephants and lions to monkeys and birds, and were often accompanied by spectacle and entertainment. Menageries toured cities and towns across the country, drawing crowds eager to witness the wonders of the natural world.
III. Social Impacts of Travelling Menageries
Menagerie exhibitions provided a form of entertainment accessible to people of all social classes, offering a rare opportunity for individuals to interact with exotic animals. Working-class audiences, in particular, were drawn to menageries as a means of escape from the drudgery of daily life. However, debates surrounding animal welfare and ethical treatment also emerged, sparking discussions about humanity’s relationship with the natural world.
IV. Cultural Impacts of Travelling Menageries
Travelling menageries played a significant role in shaping British culture during the 19th century, influencing artistic expressions, literary works, and popular imagination. Artists and writers drew inspiration from menagerie exhibitions, incorporating exotic animals and scenes into their creations. Moreover, menageries contributed to the construction of narratives of exoticism and colonialism, reflecting broader cultural attitudes towards the “other” and the fascination with the unknown.
V. Economic Impacts of Travelling Menageries
As commercial enterprises, travelling menageries had a substantial economic impact on British society. Menagerie owners operated lucrative businesses, charging admission fees and selling souvenirs to patrons. The tours of menageries also provided economic opportunities for local communities, stimulating commerce and attracting visitors to towns and cities. However, the profitability of menageries was often precarious, with financial challenges leading to the eventual decline of the industry in the late 19th century.
VI. Methodological Approaches in Studying Travelling Menageries
Scholarly research on travelling menageries employs a variety of methodological approaches, including archival research, historical analysis, and cultural studies. Primary sources such as newspaper articles, diaries, and advertisements provide valuable insights into the experiences of audiences and the operations of menageries. However, researchers must navigate challenges such as biased representations and gaps in the historical record when studying this topic.
VII. Themes and Trends in the Literature
Existing scholarship on travelling menageries reveals several recurring themes and trends. Scholars have explored the intersections of entertainment, education, and exploitation in menagerie exhibitions, as well as the broader implications for understanding human-animal relationships. However, gaps in the literature persist, particularly regarding the perspectives of marginalized groups and the long-term legacies of menageries on British society.
VIII. Conclusion
Travelling menageries left a lasting imprint on 19th-century British society, influencing social interactions, cultural representations, and economic dynamics. Despite their eventual decline, menageries continue to fascinate scholars and enthusiasts alike, offering a window into a bygone era of exploration and spectacle. By examining the social, cultural, and economic impacts of travelling menageries, we gain valuable insights into the complexities of human-animal relations and the intersections of entertainment, commerce, and culture in the Victorian era.
As a subject area, dwarfs were referred to as Midgets whenever they appeaed in newspapers advertising etc. The term “midgets” is considered outdated and offensive today. It’s more appropriate to use terms like “dwarf” or “little people.” That being said, historically, individuals with dwarfism were sometimes employed as court jesters or entertainers in various European royal courts. These individuals were often part of performances and events that amused the royal families and their guests. Later, particularly during the 19th and 20th centuries, participants were referred often as Midgets, as the above photographs show.
In art, the representation of individuals with dwarfism has been both historical and symbolic. Portraits and paintings from different periods may depict court jesters or dwarfs as a reflection of societal attitudes and norms at the time. These depictions could serve various purposes, such as entertainment, curiosity, or emphasizing social hierarchies.
The above card shows the Royal Hungarian Midgets circa 1910. A fairly obscure musical entertainment act headed by ‘Prince Andru’, alledgedly the world’s smallest man, traveling with a small group of dwarfs. Prince Andru apparently stood twenty-seven inches tall, weighed thirty-two pounds and was in his early twenties. The dwarfs perform in a beautiful well- lighted, airy miniature canopy erected on a stage, presenting a high-class program of vaudeville acts with musical numbers.
Whether this group of musicians were forced to do this to survive is not known, but it is possible in late Victorian England they would be seen as a speciality or novelty act. The Times newspaper in December 1913 recorded a dispute that was taken to law at Bow Streeet Court:
Although they had not been singled out for loss of earnings, it must have been disheartening to be considered not worthy of a full day’s pay!
There is a long history of the depiction of dwarfs in Court paintings, especially in Spain. Diego Velázquez, the prominent court painter to the King Philip IV during the 17th century.
Velázquez depicted a court dwarf in the service of King Philip IV of Spain. The title of the painting is commonly referred to as “Portrait of Sebastián de Morra,” although the actual identity of the sitter has been a subject of debate among art historians.
The painting is thought to have been created around 1645 during Velázquez’s second trip to Italy, where he was exposed to various artistic influences. Sebastián de Morra, the subject of the portrait, was a member of the court entourage and was likely employed for the amusement of the royal court. In the painting, Velázquez presents a sensitive and sympathetic portrayal of the dwarf.
One notable aspect of Velázquez’s treatment of the subject is the dignified and humanizing way in which he depicts Sebastián de Morra. Instead of relying on the typical conventions of the time that often sensationalized or exoticized dwarfs, Velázquez presents his subject with a sense of humanity, capturing his individuality and character.
The dwarf is portrayed in a relatively simple setting, emphasizing the direct gaze and engaging expression of Sebastián de Morra. Velázquez pays careful attention to details, such as the rendering of fabrics and textures in the clothing, showcasing his mastery of technique.
The portrait is characterized by its psychological depth and the artist’s ability to convey the humanity of the sitter. Velázquez was a master of capturing the personality and essence of his subjects, regardless of their social status or physical appearance.
“Portrait of Sebastián de Morra” is part of Velázquez’s larger body of work, which includes numerous portraits of the Spanish royal family and court members. It stands as a testament to Velázquez’s skill in portraiture and his ability to transcend the conventions of his time to create empathetic and humane representations of diverse individuals.
Harold Pyott, ‘The English Midget’ was another 19th century performer. According to the HeywoodHistory.com:
‘He was born in Stockport in September 1887 to Isaac and Harriet Pyott, who were both of average height, as were his two sisters. His parents died when he was 12 and he was placed under the care of his uncle, who took him to the local doctor for examination. Harold was found to be ‘normal’ in every way except size and weight. It was reported that he was visited by some of the most eminent doctors in Europe, who declared that he had a ‘strong and healthy constitution, but was certainly the smallest human being they had ever seen’.
Harold then lived at the Edinburgh home of his cousin William Beeley, who became his manager. William is listed in various records as working for the Post Office in both Edinburgh and Stockport. The exhibiting of short-statured people and midgets had been popularised by P.T. Barnum with the famous Tom Thumb (Charles Stratton). Barnum’s novelty act arrived in England in 1844 and Stratton became one the most highly paid and famous performers of the Victorian era. Many similar acts followed, including ‘Major Mite’, ‘Anita the Living Doll’ and of course Harold Pyott, who was billed as the ‘world’s smallest man’ and variously known as ‘Tiny Tim’, the ‘The English Midget’, the ‘English Tom Thumb’, or the ‘Living Doll’.
Harold travelled to various pantomimes and circus sideshows around Britain, Europe and South Africa for 35 years, and he performed before royalty on several occasions. Part of his act involved being carried around on the palm of a man’s hand and sitting in a top hat.’
During the 18th and 19th centuries, the use of wild animals in London theatres was a common and sensational practice. The use of animals, often exotic and dangerous, added an element of spectacle and excitement to theatrical performances. These displays were known as “animal acts” and were popular attractions in a variety of entertainment venues, including theatres, circuses, and menageries.
Wild animal acts in London theatres were diverse and ranged from dramatic reenactments of exotic scenes to more dangerous displays featuring trained animals. These performances could include scenes depicting jungle hunts, battles between humans and animals, or simply showcasing the exotic nature of the creatures. These acts were often included as part of larger theatrical productions or as stand-alone attractions between acts.
The animals used in these acts were sourced from around the world, and their presence in the city was a testament to the colonial and imperial interests of the time. However, the conditions in which these animals were kept and the treatment they received were often inhumane. Many animals suffered due to inadequate care, confinement, and the stress of performing in unnatural environments.
As public attitudes towards animal welfare began to shift during the late 19th century, concerns about the treatment of animals in entertainment grew. Activists advocated for better conditions and raised awareness about the ethical concerns associated with using wild animals in performances. Eventually, legal regulations and changing societal values led to the decline of such practices in theatres.
Overall, the use of wild animals in London theatres during the 18th and 19th centuries reflects a complex blend of curiosity, entertainment, and exploitation. It’s a historical reminder of how attitudes towards animals and entertainment have evolved over time.
Isaac A. Van Amburgh was a 19th-century American entertainer known for his performances with wild animals, particularly lions and tigers. He gained fame for his daring and often controversial acts in which he interacted closely with these dangerous animals in front of live audiences.
Oil on canvas | 113.7 x 174.8 cm (support, canvas/panel/stretcher external) | RCIN 406346, Royal Collection
Van Amburgh’s performances were a precursor to the modern concept of animal training and the use of exotic animals in entertainment. He would enter cages with ferocious animals, often using a combination of fear, dominance, and conditioning to control them during his acts. His feats included putting his head inside a lion’s mouth, commanding multiple lions and tigers at once, and engaging in mock battles with them.
While he was praised for his audacity and showmanship, there was also criticism and concern about the treatment of the animals in his care. Many animal rights advocates and observers questioned the ethics of subjecting these creatures to potentially harmful and stressful situations for the sake of entertainment.
Van Amburgh’s popularity waned in the latter half of the 19th century as public sentiment shifted towards more humane treatment of animals. His performances are remembered as a reflection of the attitudes and entertainment preferences of his time, as well as a catalyst for discussions about the treatment of animals in captivity.
The Exeter Exchange, also known as Exeter Change, was a building in London that housed a menagerie, or collection of exotic animals, during the 19th century. It was located on the Strand and operated from the late 1700s until the mid-1800s. The menagerie at Exeter Change was a popular attraction for Londoners, showcasing a variety of animals including lions, tigers, monkeys, birds, and other exotic creatures.
However, the conditions for the animals at Exeter Change were often poor, with small and cramped cages that did not provide proper care or space for the animals. This led to concerns about animal welfare, and eventually, public sentiment turned against the menagerie. Animal rights activists, including figures like William Wilberforce, campaigned for the closure of Exeter Change due to the inhumane treatment of the animals.
In 1826, the menagerie was finally closed down, and the building was later demolished. The closure of Exeter Change marked a turning point in public attitudes towards the treatment of animals and contributed to the growing movement for animal welfare and rights. The change was on the current site of The Strand Palace Hotel.
Four new monochrome views from the British Empire Exhibition in Wembley. All postcards, unused. The last one, HRH Prince of Wales representation in ‘Butter’ is fascinating. I assume the enclosure was temperature controlled! The following article states ‘in 1924, the Canadians used a large refrigerated case in their Pavilion to display a life-sized sculpture in butter’. Link produced by Brent Council, provides information on the exhibition and other ‘Butter’ sculptures.
I wonder if HRH sat for the artist?
Earlier in the blog, I mentioned the view from ‘Flip-Flap’ at the Japan-British Exhibition held in London during 1910. This card shows ‘Flip-Flap’ towering over the main pavilion on the site. A cross between the Ferris Wheel and Tower, my guess is that it ‘flipped and flapped’ from side to side. I doubt though that it was very fast!
Interesting to compare with the earlier card, reproduced below. The chimneys are missing and a garden or plazza has apeared in the view. Possibly, the pavilion in rear centre was still being constructed in the colour photograph, dating it to 1910 or earlier
