Frank Bostock’s Menagerie: Roaming Marvels and Exotic Wonders

In the colorful tapestry of entertainment history, Frank Bostock’s menagerie stands out as a fascinating chapter that brought the exotic wonders of the animal kingdom to the doorsteps of audiences. Born in 1866, Frank Bostock was a showman and menagerist who created a traveling spectacle that captivated the imaginations of people across continents.

Bostock’s journey into the world of menageries began at a young age. His fascination with animals and a keen sense of showmanship led him to establish his own menagerie, showcasing a diverse collection of creatures from every corner of the globe. Bostock’s vision was not just about displaying exotic animals but creating an immersive experience that transported spectators to far-off lands.

The Travelling Menagerie: A Moving Marvel

What set Bostock apart was his mobile menagerie – a traveling caravan of wonders that brought the allure of the wild to both urban centers and rural areas. From lions and tigers to elephants and exotic birds, the menagerie featured a breathtaking array of creatures. This traveling spectacle became a cultural phenomenon, providing a taste of the exotic to audiences who might never have the chance to see such animals otherwise.

Educational and Entertaining: A Dual Purpose

Bostock’s menagerie wasn’t merely about entertainment; it also served an educational purpose. His shows often included informative talks about the habits, habitats, and characteristics of the animals on display. Bostock sought to cultivate a sense of wonder and respect for the natural world, fostering a connection between people and the creatures that shared the planet.

Royal Connections and International Success

Bostock’s menagerie gained royal approval when he presented his traveling show to King Edward VII, further solidifying its prestige. Beyond the shores of England, Bostock expanded his menagerie empire internationally. The success of his shows in the United States and Australia attested to the universal appeal of his carefully curated exhibits.

Challenges and Controversies

Running a traveling menagerie posed numerous challenges. Animal welfare concerns were raised, and Bostock faced criticism for the conditions in which the animals were kept. However, it’s important to contextualize these issues within the historical understanding of animal care during the time. Bostock, in his era, was at the forefront of popularizing and showcasing wildlife.

Legacy and Influence

Frank Bostock’s menagerie left an indelible mark on the history of entertainment. His innovative approach to combining education with spectacle laid the groundwork for future zoos and wildlife exhibitions. The legacy of Bostock’s menagerie endures in the collective memory of those who experienced the thrill of encountering exotic animals in the midst of their everyday lives.

Conclusion: A Wild Ride Through Time

In the grand tapestry of showmanship, Frank Bostock’s menagerie remains a vivid thread that weaves together the realms of entertainment, education, and wildlife appreciation. Bostock’s traveling spectacle brought the wild to the urban and rural landscapes, leaving an imprint on the cultural fabric of the times. While the methods and ethical standards of animal exhibitions have evolved, Bostock’s menagerie remains a fascinating chapter in the history of human fascination with the wonders of the animal kingdom.

Dwarfism as depicted in European art from the 17th century to the early 20th centuries in Europe

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.’

CHATGPT, the Artificial Intelligent chatbot , praises George!

Here is answer to our question: Do you know George Wombwell?

“Yes, I am familiar with George Wombwell. He was an English menagerie owner and showman who lived from 1777 to 1850. He is particularly famous for his traveling menagerie, which he took around the country exhibiting exotic animals such as elephants, lions, tigers, and bears. His menagerie became one of the most famous in the world and he is considered one of the pioneers of modern zoos. He was also known for his philanthropy, and was a supporter of the Royal Society for the Prevention of Cruelty to Animals.”

Nothing about dog fights in that answer. So what was response when the question was : Did George arrange lion fights?

“There is no evidence to suggest that George Wombwell arranged dog fights. In fact, Wombwell was known for his love of animals and was opposed to any kind of cruelty towards them. He was a proponent of treating animals with kindness and respect, and he took great care to ensure that the animals in his menagerie were well looked after. Wombwell’s legacy is that of a pioneering showman who helped to popularize the idea of exhibiting exotic animals to the public, and of a philanthropist who cared deeply about the welfare of animals.”

Maybe we cannot trust a chatbot, but clearly the underlying data suggest otherwise! It’s nice to know that consensus agrees with this websites persuasive , but well researched arguments.

Nottingham Goose Fair 1929

Recent addition to the collection is this 1929 programme for the annual Nottingham Goose Fair, still taking place in the centre of the city. It includes the layout of the fair and it strikes me that B&W are still the biggest attaction, with their pitch taking up a considerable section of the square. This was one of the last fairs that B&W attended before their demise in the early thirties.

In at Number 11: George Wombwell Biography – The Real Wombwells (Vol III)

Posted on November 22, 2019 by admin

At last the project is complete! The third and final part has just been published. It went straight into the Top 100 Best Sellers of Circus Books at No. 11!

In addition, the covers of all three volumes have been updated to the one above. Look out for the distinctive red covers and the subtitles ( volumes I to III, Events at Warwick, The Greatest Showman and The Real Wombwells)

In paperback:

Kindle ebook: https://www.amazon.co.uk/George-Wombwell-1777-1850-Wombwells-ebook/dp/B081QKS46H/ref=sr_1_2?crid=3UY6MCZVGPSIN&keywords=shaun+villiers+everett&qid=1574437347&sprefix=shaun+vill%2Caps%2C135&sr=8-2

This volume also contains many previously unpublished images from the Wombwell Collection and a menagerie events calendar between 1800 and the late 19th century. It is a major addition to the genealogical map of menageries families in the UK and beyond.

Post Free

George Wombwell’s NEW Royal Appointment

After 172 years, George Wombwell’s visit to Windsor Castle is to be celebrated at a family event day at the Castle! Queen Victoria’s Circus will be a true family affair, with circus acts and stuffed elephants and even a lion tamer!

Date: Saturday, 14th September 2019

reproduced by kind permission of the copyright owner, 2019

A storyteller wil relive, on the very spot, the menagerie’s visit during 1847. Lots of events and children can also join the circus for a day! I trust you know somebody that might want to attend, especially if they have never been to Windsor Castle. It’s all included in the standard price tickets.

A programme is being produced which includes the above image. I have permission to reproduce it here. It is a very rare image of the day at Windsor Castle in 1847. I’ve only ever seen one in many years of searching for it.

I think George Wombwell would appreciate the involvement of children as it was his wish to let everyone see the beasts of the wild, no matter how poor they were at the time. There are many instances of newspaper reports of George allowing whole school classes in to see the menagerie for free.

The website is here

New PostCards received

The following two cards are displayed for the first time and concern Tom Thumb, a well known entertainer from late Victorian society.

The NFA has a page on the American Tom Thumb: Charles Sherwood Stratton. These cards show what one card claims as ‘The English Midget’ and the other as ‘ The Turkish Tom Thumb’

The former card shows Harold Pyott, aged 32 and just 23 inches high. The latter card shows Pasha Hayati Hassid, born 1852 at 30 inches. he was introduced into the English entertainment industry by Lloyd Forsyth, according to the card (verso). requires further research.

Both persons appear top me as rather sad.

Bostock’s Smallest Horse in the World?

Bostock and Wombwell’s claimed at several times in their history, to possess the smallest horse in the world. Indeed, several competitors made the same claims to draw crowds to their booths.

Where Bostock succeeded was in not quite telling the truth. In this card they show the ‘smallest horse in the world’, but closer examination of the photo-printed card, reveals it is a composite of two photographs. Doctoring photographs for financial gain, is not a new phenomenon and showmen were ‘at it’ here in 1911 (used card, franked Jul 24 11). I doubt anyway, that a horse and a dog would stand still in that position long enough to have their portraits taken!

Bartholomew Fair Watercolour by Charles Green R.I. (1840 – 1898)

Whilst researching for volume two of the George Wombwell biography, I discovered a November 1949 article in the popular newsapaper The Sphere concerning Charles Green’s depiction of Bartholomew Fair in central London. It referred to its place in a collection under the aegis of The National Gallery of British Sports and Pastimes, which had been founded by Walter Hutchinson (1887 – 1950) during 1949. It consisted of over 3600 paintings, prints and other works, which belonged to Hutchinson and adorned his house in London: Hutchinson House. Formerly known as Derby House, Stratford Place, the house was originally built for Edward Stratford, the Second Earl of Aldborough in 1776 – 1777. The current occupants are the Orient Club which have maintained residence since 1962.

There is a catalogue of items from the collection.

National Gallery of British Sports & Pastimes (LONDON) – The First 600 Selected Pictures. National Gallery of British Sports and Pastimes … List of sports and pastimes, etc. (London, c.1950)

Following Hutchinson’s death, and the breakup of the Sports and Pastimes Gallery, all works were offered up for auction. The current whereabouts of Green’s painting is not known and there is no record of its existence in the Courtauld’s Witt Archives (as of summer 2017). The Sphere article is quite sparce, but describes a busy scene, full of incidents after the manner of Frith. The entertainments include Wombwell’s Menageire (rear left), swings, roundabouts and all the fun of the fair. In the background is the entrance to Bartholomew’s Hospital. It is probably the most representative of all views of Bartholomew Fair, although it must have been painted after 1855, the closing date of the fair.

Green was a well known illustrator for the works of Charles Dickens and other examples of his work can be found in collections such as those of the Victoria and Albert museum in central London.

This painting was excluded from the biography due to insumountable, multiple copyright issues, and is published here for the purposes of non-commercial research or private study, reference, criticism or review or news reporting, of not more than one item (article or page) from any one issue of a newspaper of periodical. Copyright issues should not be allowed to interfere with the discovery of hitherto unknown artworks from being researched and presented for public display.

Any information concering the current location of the watercolour would be gratefully received.

End of Days: Last Performance Soon by Ringling’s and Barnham’s Circus

Pointed out to me by Terence Ruffle, I think this is well written and quite sad. Possibly not for the animals, but who really knows what they are thinking? The ‘ Greatest Show on Earth’ comes to an end in May 2017. Quite tearful. TJ would be quite angry and George Wombwell the World’s Greatest Showman, George Wombwell would be very sad, and probably wondering how he could capitalise on Barnham’s demise!

A 14-year-old girl named Zazel was the first to be shot out of a cannon, in 1877 London.

On the subject of old ‘trains’, I often wonder if there are any of the caravans that Bostock and Wombwell travelled in, languishing somewhere in a farm outbuilding in the UK? It would make a really good project to refurbish one of them, provide young people with skills training, etc. If anyone knows of one please let us know. Where to look? Farm barns, fields, zoos (Whipsnade, etc.), railyards…

The information age has surely killed live perfomances. Young people will never know what it was like to see tigers and lions,etc.