Please see the [Transcriber’s Notes] at the end of this text.

Monarchs of Minstrelsy,
from “Daddy” Rice to Date

By
Edw. Le Roy Rice
Author of
“1000 Men of Minstrelsy, and 1 Woman;”
“Minstrelsy That Was, and Is;”
“A Ramble Among the
Minstrels,” etc.

Kenny Publishing Company
22-24 North William Street New York City, N. Y.

Copyright, 1911.
BY
Mrs. EMMA L. RICE
All Rights Reserved

EDW. LE ROY RICE.

To
My Mother
(The Best I Ever Had)
This Book is Affectionately Dedicated.

THE AUTHOR’S FOREWORD.

There were several reasons which prompted me to compile this volume, the chief one being the fact that the subject in its entirety had never before been attempted; and whenever individual articles appeared, they almost invariably treated of old times and old timers alone.

A second reason, and one of equal importance, was that these contributions which appeared both in the various newspapers and magazines, were in the main written on hearsay alone without any apparent regard for facts.

No one is infallible, and if the data that appears between the covers of this book of living performers who furnished me with the sketches of their careers is incorrect, obviously no blame can be attached to the author.

But of those who are past, I have given the most careful search of the records that were placed at my disposal, and verified or disavowed all statements made to me, or have qualified by attributing them to those from whom they emanated.

In this manner I hope to perpetuate the names and fame in story and picture of these “Monarchs of Minstrelsy from ‘Daddy’ Rice to Date.”

New York City, Oct. 12, 1910. Edw. Le Roy Rice.

INTRODUCTION.

Is Minstrelsy dying out? How often has the question been asked and how conflicting are the opinions of those who ought to know? Some maintain that minstrelsy is here to stay, while others insist there are no more minstrel shows.

But if the question were: Are the minstrels dying out? there could be no divergence of opinion. The passing away in the last decade or so of such luminaries as Neil. Bryant, Billy Rice, Billy West, Billy Emerson, Wm. Henry Rice, Frank Cushman, Ben. Cotton, Johnny Booker, Jack Herman, Andy Leavitt, E. F. Dixey, J. B. Donniker, “Eugene” J. H. Haverly, Sam. Hague, Dave Reed and many others, eliminate the matter of doubt entirely. Granting this, it would appear that the two terms: Minstrels and Minstrelsy are synonymous.

Some of the minstrel-loving public who recall the old days when Hooley’s in Brooklyn, The San Franciscos (Birch, Bernard, Wambold and Backus) in New York, likewise Bryant’s and the Christy’s; and Carncross and Dixey’s in Philadelphia were household words, will be astonished to learn that many of the burnt-cork heroes of forty years ago, yes, fifty years, are still living, scattered about the country, though it has been years since some of them have darkened their features.

But while most of the old-timers are past and gone, and those who are living, practically in retirement; yet there are many of the younger generation of sable performers who rank in many ways with their illustrious predecessors, and it is of these as well as of the “old guard” that “Monarchs of Minstrelsy; from ‘Daddy’ Rice to Date,” will specialize on. I wish to take this opportunity to extend my thanks to the New York Clipper, without whose assistance this work could not have reached the comprehensive form it has attained; and an invaluable auxiliary was obtained when this aid was further supplemented by the files and data of the Dramatic Mirror being placed at my disposal, and for which I am also extremely grateful.

From the Albert Davis collection of photographs, Brooklyn, I have received invaluable specimens, likewise Eddie Fox, Mrs. Billy Rice, “Hank” Mudge, Harry Booker, Emil Heusel, John Unsworth, Billy Huntley, Mrs. J. T. Huntley, Tommy Granger; Charles E. Ellis, author of “Official Elks History;” Mrs. James Budworth, Mrs. G. W. H. Griffin, Mrs. Archie Hughes, “Bill” Hines, Dan Mason, Phil. A. Paulscraft, Mrs. Ben Cotton, R. H. Mayland, Gus Hill, Fox & Ward, John P. Hogan, Miss Maggie Weston, Frank Dumont, William Blakeney, New York Sunday Telegraph; Louis Morgenstern, Tom Ward, Will Webster, Mrs. Catherine Griffin, Tom Waters, McIntyre & Heath, Geo. Lewis, Nick Norton, Geo. L. Willson, Chapin & Gore, Chicago; Willis P. Sweatnam, Walter Kingsley and the late J. H. Surridge.

Note.—Where dates and miscellaneous information found in this volume differ from those in my “1,000 Men of Minstrelsy; and One Woman,” it is because careful research has shown the latter to be erroneous.

INDEX

INDEX TO ILLUSTRATIONS

MINSTREL ORGANIZATIONS, THEATRES AND PROGRAMS

SKETCH OF THE AUTHOR, WITH PERSONAL RECOLLECTIONS.

“The Inception of Negro Minstrelsy.”

Let me begin by saying that I am not a “Monarch of Minstrelsy,” not even a duke or prince; as a matter of fact I am a mere subject, perhaps it would be more exact to say I am a slave, for I cannot recall the time when the curtain having been rung up on the first part, the interlocutor saying, “Gentlemen, be seated,” that it did not thrill me through and through; in all probability they would have been seated without his invitation, but still, disappointment would have been keen had he not have done so. Then the overture accompanied by the bones and tambos; but that part of the performance seems to be obsolete now; and how I yearn for it. The second son of the late Wm. Henry Rice, who put on cork for nearly fifty years, I was born in New York City, August 24, 1871, on Fourteenth Street, nearly opposite the Armory, above Sixth Avenue. If you happen to see a crowd around there at any time, you will know it is part of the excited populace trying to carry away portions of the building which housed me on my first appearance in any country.

I can remember, as a youngster even before my school days began, my father asking me if I wanted to be a minstrel? I knew that my mother was averse to it and, as they both looked at me awaiting my reply, I vehemently said NO; that was the first lie I ever told. I have done better subsequently, but they have no bearing on this matter. When I was about six or eight years of age, my father, wishing to celebrate the occasion in a fitting manner, took me down town (Philadelphia) and giving me my choice to go in one direction and see “Jack the Giant Killer,” or take another route and see the minstrels. I had heard a whole lot about the youthful prodigy who made a business of trimming big husky gents for the sake of getting an appetite that he might better enjoy his meals, and confess to a feeling of curiosity; but it was the “nigger singers” for mine, and it was there that I obtained my first recollection of any individual performer. It was Bobby Newcomb doing Topsy. Whether it was an “Uncle Tom” show, with which the late minstrel was prominently identified at one time, or whether it was a burletta on Mrs. Stowe’s immortal work, I never learned, but Newcomb’s dress, a ragbag affair, I remember distinctly, subsequently, one made from an American flag, finishing with the well-known suit of white duck in knee-breeches. That was the beginning. I decided then that a minstrel’s life was the life for me, and for years I importuned my father to take me on the road with him, finally obtaining a promise to go the next time he took a show out. This was somewhat hazy, but I clung to it tenaciously, and when in July, 1890, he organized the World’s Fair Minstrels, my happiness was unbounded. I was in Philadelphia at the time, passing cigars and tobacco over the counter of a Smoke Emporium presided over by Lew Simmons, one of the oldest active minstrels in harness to-day; observe the date again, please. July, 1890, was it not? At that time Lew had given up the minstrel business entirely. I recall Lew Dockstader dropping in one day and inquiring how he (Simmons) liked the business? “Like it?” said the senior Lew, “why I am perfectly happy; I wouldn’t go back in the business again for $100 per week.” (I remember it was PER week.) But he did, a couple of years later, and from all appearances looks good for a few more. I joined my father’s troupe. We opened at Elizabeth, N. J., on July 17th. In the company were Billy Birch, Frank Moran, Frank Kent and Bob Slavin; all since passed away.

Old minstrel habitues will recall that nigger-act wherein one of the performers declares loudly to his friends that he is boss in his own home, how he rules the ranch and so on; and just as he is saying it his wife would show up then he would inflict dire punishment upon her, she comes running down the aisle from the front of the house saying, “Where’s my husband?” gathers her lesser half by the ear and amidst the jeers of his companions, carries him away.

Being a Truthful Portrayal of the Author’s First Appearance on Any Stage; Morristown, N. J., July 18, 1890.

At the second performance, at Morristown, N. J., I was cast for the enraged spouse. I believe I was made up for the part fully an hour before the house opened. How nervous I was awaiting my cue, but when it came, my ears seemed to hear nothing but wife, wife, wife, and instead of saying, “Where’s my husband?” I said, “Where’s my wife?” * * * I won’t repeat what my father said, but what with the tears of mortification that flowed from my eyes and the perspiration from the pores of my face, almost made washing-up a superfluity.

After that awful first night I got away with the part without any trouble, and even indulged in conversations while awaiting my cue, which I had always thought to be a physical impossibility.

Billy Birch, who was with us, used to suffer severely from rheumatism, and just before parade would say to me, “‘Cully,’ would you mind going over to the hotel, on the bureau, right hand side, and get my medicine?” Would I go? I felt honored.

At the opening performance we had a song and dance team who, like myself, were just breaking into the business. Their act was not an unqualified success and extra tickets to Morristown were not purchased. Some one asked Bob Slavin what he thought of the act, to which he replied: “As a success, they’re a failure; as a failure, they’re a success.”

The company closed early in November and a couple of weeks before Christmas I consented to wrap parcels at Wanamaker’s store in Philadelphia for a small weekly stipend. It was hard to work for wages after having received a salary.

Various mercantile positions were mine until the Fall of 1894, when the late Harry Mann opened the old Arch Street Theatre in Philadelphia for the production of the old farces such as “Box and Cox” and others of a like nature. I had heard that there were to be specialties between the acts, wrote for an engagement and shortly afterwards received a reply from Mr. Mann asking me to call. (I have that letter yet.) I told him that I had a black-face monologue that was absolutely original; he told me that he could get Willis P. Sweatnam, but decided to give me the preference, I was quick to reply that I wasn’t as good as Sweatnam. (I was frightfully modest those days.) However, I was engaged, and was to receive $10 for my week’s services; I was certain he could not get Sweatnam for less than $12.50 or possibly $15. Monday, September 24, we opened; I wore a pale-blue suit and a pleasant expression; on Tuesday I still had the suit, but had lost the expression, caused by the sudden closing of the house. I have always maintained that if I had been billed stronger, the house might have remained open longer; possibly another night; the $1.67 due me for my one performance, I never received, but as compensation, one of the papers said that my monologue, besides being good in itself, was excellently rendered. It’s not true that the reporter who wrote this, attended a prizefight that evening. I banked a whole lot on that blue suit; it was part of my plan to be different from any other monologist, and I still think I was. Instead of making my entrance in the conventional manner, I hit upon the idea of having one of the scenes part in the centre, and then walk on saying, “I just blew in,” carelessly pointing to my blue suit at the same time.

The more I thought of this, the greater the sensation I was sure I would create; I pictured the reserves being called upon to quell the riot; I saw myself taking encore after encore, and conjured the immense audience rising in their seats as one, begging for just one more glimpse of that blue suit; I was so sure of my success to be, that in a burst of confidence, I told a friend about my idea, and was horrified to learn that George Thatcher had done the self-same thing some time before. Here was a dilemma, what was I to do? I had known Thatcher from boyhood, and the idea of utilizing any of his ideas was not to be thought of; fortunately, about this time, he (Thatcher) played an engagement at the National Theatre (Philadelphia), and I decided to see him and explain the situation thoroughly. I found him one evening standing on the steps of the theatre; I told the whole story, reserving nothing, and explained that I was willing to relinquish my idea if he thought it would conflict with him in any way, but with rare generosity he agreed not to prosecute me for plagiarism or piracy.

A week later I opened at Easton, Pa. I had a cold in the head and an old wig; the cold I obtained in Philadelphia, the wig in Easton, it was an old one (the wig) having lost my good one in Philly the week previous. * * * An uncle of mine graciously advanced me the price of a ticket to Philadelphia. * * * The watch was worth considerably more than $2. Six months later I might have been seen doing my specialty in Paterson, N. J.; provided you came Monday afternoon. * * * A performer in the same dressing-room asked me how much I paid for my trunk, which was a duplicate of his; $6 I said; why, I paid $12 for mine, he averred. And that was all I got out of the engagement. But that suit, little did the young lady who made it for me dream it would one day become historical; she is now a sedate matron in Detroit. Wonder if she still remembers it?

In the fall of 1898 I was a member of one of the many California Minstrel organizations that have invaded the country in the past fifty years. The Spring and Summer of 1900 found me selling pasteboards to the Southerners while with the Primrose & Dockstader Minstrels; in the Fall of 1900 I was agent for Andrew Robson in “The Royal Box;” 1901-02, agent for “Pud’dnhead Wilson,” with William S. Gill in the name part, Walker Whiteside, and a return to Primrose & Dockstader; 1902-03, manager, Western Alphonse & Gaston Co.; 1903-04, treasurer, Great Lafayette Company.

At various times I acted as usher and lithographer at the Park, Walnut and Arch Street Theatres in Philadelphia; Columbus Theatre, New York City, and the Park in Brooklyn.

In July, 1907, I conceived the idea of appearing daily at the ball games in New York City, and in the following afternoon’s paper give an accurate account of the conversations entered into, together with the description of the parties spoken to; in addition having my own features reproduced daily together with an accurate description of myself; to any party who could single me out was given a free pass to all the ball games on the ground where I was detected.

Under the title of the “Man in the Bleachers” I ran those on the New York Evening World with great success for five weeks.

Then came the idea of giving to the world the lives and careers of the minstrels, thus “presenting to the public and preserving to posterity the peculiarities and personalities of prominent performers of the past and present;” and here it is, after three years’ exhaustive and patient labor. Now for the big show.

THE FIRST BLACK-FACE PERFORMER.

The late Laurence Hutton in “The Negro on the Stage,” states that Shakespeare’s Othello was one of the earliest black-face stage characters; giving the date of the appearance at the Globe Theatre, London, England, on April 30, 1610; Oronoko followed in 1696. But several hundred years before the jealous Moor’s appearance, a couple of young men, named Cain and Abel respectively, did a brother act, though not necessarily a brotherly act, for the first-named gentleman one day in a fit of peevishness did smite Master Abel with such force that the breath did leave his body; Cain was punished, as he should have been; his complexion was changed from Caucasian to Ethiopian; this was the first black face turn. Anyway, that’s how the story runs. With the reader’s permission we will skip about 1,700 years, and come down to the comparative present.

The late Charles T. White, who made a study of minstrelsy all his life and was himself contemporaneous with it from its inception, stated that according to Russell’s Boston Gazette of December 30, 1799, at the Federal Theatre, Boston, a Mr. Graupner sang a song called “The Negro Boy.”

Federal Theatre, Boston, Mass.
The First Recorded Black-Face Act Was Given Here December 30, 1799.

W. W. Clapp, Jr., in his “History of the Boston Stage,” avers that this would be impossible, as the news of George Washington’s death, December 14, 1799, did not reach Boston until December 24, and that the theatre was closed a week in consequence thereof. Granting this, six days would have elapsed, and the performance undoubtedly was given, for had it not, the advertisement which was inserted announcing the performance for that evening, would not under any circumstances have been printed. However, for the sake of argument, let us concede that the first black-face appearance (the term black-face as used here has reference to a single performer doing a specialty) was not on the date specified.

The next mention of a black-face performer, by Mr. White, was in 1815, when an actor known as “Pot Pie” Herbert sang “The Battle of Plattsburg” in Albany; Mr. H. D. Stone in the “Drama,” published in Albany in 1873, credits one “Hop” Robinson as the singer of the song; while “Sol” Smith, a reputed eye-witness, in his (Smith’s) autobiography, published in 1868, credits it to Andrew Jackson Allen, claiming that Allen sang it at the Green Street Theatre, Albany, 1815, playing a black-face character. Obviously there could be but one “first” and a period of fifteen years had apparently elapsed between the reputed appearance of Mr. Graupner and the last named gentleman; in other words, no claims have been made for others between 1799 and 1815. Nevertheless, there was an appearance between these dates, and by none other than Mr. Graupner himself, who, on September 4, 1809 (while “Daddy” Rice was an infant in swaddling clothes), appeared as the “Gay Negro Boy” in a circus at Taunton, Mass.; the honor then beyond any doubt is Mr. Graupner’s; and equally certain is the fact that he appeared in Boston, December 30, 1799. Black-face performers sprang up rapidly, and in earlier days no circus was considered complete without at least one of them.

SOME EARLY BLACK-FACE PERFORMERS.

The following were all popular performers preceding minstrelsy proper; unfortunately the dates of their deaths are practically shrouded in oblivion:

George Nichols; Bob. Farrell, the original “Zip Coon”; Sam Tatnall, Barney Burns, Bill Keller, Horatio Eversell, George Rice (brother of T. D. Rice), William M. Hall, Thomas Blakely, Leicester, etc. Andrew Jackson Allen, already mentioned, was born in New York City in 1776, and according to Laurence Hutton was the costumer, dresser and personal slave of Edwin Forrest for many years; he was quite deaf, and was commonly known as “Dummy” Allen. He died in New York City, October 29, 1853. James Roberts, by the same authority, sang a song in negro character as early as October 7, 1824; he died in 1833.

George Washington Dixon sang “Coal Black Rose,” the air of which was appropriated from an old ballad, as early as 1827. His first New York appearance was of the Lafayette Theatre, July 19, 1828. He later became notorious as a filibuster during the Yucatan disturbances, and died in New Orleans in 1861. Some prominent early minstrel performers whose records and deaths were likewise lost in oblivion are: Charley Jenkins, Master Chestnut, Harry Mestayer, Neil Jamison and many more. There are others, too, of nearly every decade of whom the author has made every research to gather some knowledge, but without success.

“DADDY” RICE.

Thomas Dartmouth Rice was the original “Jim Crow,” the story has been told in many ways, but the authentic version appeared in the Atlantic Monthly in 1867, and herewith is reproduced verbatim; it is from the pen of Robert P. Nevin.

“Thirty-six years ago a young man, about twenty-five years of age, of a commanding height—six feet full, the heels of his boots not included in the reckoning—and dressed in scrupulous keeping with the fashion of the time, might have been seen sauntering idly along one of the principal streets of Cincinnati. To the few who could claim acquaintance with him he was known as an actor, playing at the time referred to a short engagement as light comedian in a theatre of that city. He does not seem to have attained to any noticeable degree of eminence in his profession, but he had established for himself a reputation among jolly fellows in a social way. He could tell a story, sing a song, and dance a hornpipe, after a style which, however, unequal to complete success on the stage, proved, in private performance to select circles rendered appreciative by accessory refreshments, famously triumphant always. If it must be confessed that he was deficient in the more profound qualities, it is not to be inferred that he was destitute of all the distinguishing, though shallower, virtues of character. He had the merit, too, of a proper appreciation of his own capacity; and his aims never rose above that capacity. As a superficial man he dealt with superficial things, and his dealings were marked by tact and shrewdness. In his sphere he was proficient, and he kept his wits upon the alert for everything that might be turned to professional and profitable use. Thus it was that, as he sauntered along one of the main thoroughfares of Cincinnati, as has been written, his attention was suddenly arrested by a voice ringing clear and full above the noises of the street, and giving utterance, in an unmistakable dialect, to the refrain of a song to this effect:

“Turn about an’ wheel about an’ do jis so,

An’ ebery time I turn about I jump Jim Crow.”

Struck by the peculiarities of the performance, so unique in style, matter, and “character” of delivery, the player listened on. Were not these elements—was the suggestion of the instant—which might admit of higher than mere street or stable-yard development? As a national or “race” illustration, behind the footlights, might not “Jim Crow” and a black face tickle the fancy of pit and circle, as well as the “Sprig of Shillalah” and a red nose? Out of the suggestion leaped the determination; and so it chanced that the casual hearing of a song trolled by a negro stage-driver, lolling lazily on the box of his vehicle, gave origin to a school of music destined to excel in popularity all others, and to make the name of the obscure actor, T. D. Rice, famous.

As his engagement at Cincinnati had nearly expired, Rice deemed it expedient to postpone a public venture in the newly projected line until the opening of a fresh engagement should assure him opportunity to share fairly the benefit expected to grow out of the experiment. This engagement had already been entered into; and accordingly, shortly after, in the Autumn of 1830, he left Cincinnati for Pittsburg.

The old theatre of Pittsburg occupied the site of the present one, on Fifth Street. It was an unpretending structure, rudely built of boards, and of moderate proportions, but sufficient, nevertheless, to satisfy the taste and secure the comfort of the few who dared to face consequences and lend patronage to an establishment under the ban of the Scotch-Irish Calvinists. Entering upon duty at the “Old Drury” of the “Birmingham of America,” Rice prepared to take advantage of his opportunity. There was a negro in attendance at Griffith’s Hotel, on Wood Street, named Cuff—an exquisite specimen of his sort—who won a precarious subsistence by letting his open mouth as a mark for boys to pitch pennies into, at three paces, and by carrying the trunks of passengers from the steamboats to the hotels. Cuff was precisely the subject for Rice’s purpose. Slight persuasion induced him to accompany the actor to the theatre, where he was led through the private entrance, and quietly ensconced behind the scenes. After the play, Rice, having shaded his own countenance to the “contraband” hue, ordered Cuff to disrobe, and proceeded to invest himself in the cast-off apparel. When the arrangements were complete, the bell rang, and Rice, habited in an old coat forlornly dilapidated, with a pair of shoes composed equally of patches and places for patches on his feet, and wearing a coarse straw hat in a melancholy condition of rent and collapse over a dense black wig of matted moss, waddled into view. The extraordinary apparition produced an instant effect. The crash of peanuts ceased in the pit, and through the circles passed a murmur and a bustle of liveliest expectation. The orchestra opened with a short prelude, and to its accompaniment Rice began to sing, delivering the first line by way of introductory recitative:

“O, Jim Crow’s come to town, as you all must know,

An’ he wheel about, he turn about, he do jis so,

An’ ebery time he wheel about he jump Jim Crow.”

The effect was electric. Such a thunder of applause as followed was never heard before within the shell of that old theatre. With each succeeding couplet and refrain the uproar was renewed, until presently, when the performer, gathering courage from the favorable temper of his audience, ventured to improvise matter for his distiches from familiarly known local incidents, the demonstrations were deafening.

Now it happened that Cuff, who meanwhile was crouching in dishabille under concealment of a projecting flat behind the performer, by some means received intelligence, at this point, of the near approach of a steamer to the Monongahela Wharf. Between himself and others of his color in the same line of business, and especially as regarded a certain formidable competitor called Ginger, there existed an active rivalry in the baggage-carrying business. For Cuff to allow Ginger the advantage of an undisputed descent upon the luggage of the approaching vessel would be not only to forfeit all “considerations” from the passengers, but, by proving him a laggard in his calling, to cast a damaging blemish upon his reputation. Liberally as he might lend himself to a friend, it could not be done at that sacrifice. After a minute or two of fidgety waiting for the song to end, Cuff’s patience could endure no longer, and, cautiously hazarding a glimpse of his profile beyond the edge of the flat, he called in a hurried whisper: “Massa Rice, Massa Rice, must have my clo’se! Massa Griffif wants me—steamboat’s comin’!”

The appeal was fruitless. Massa Rice did not hear it, for a happy hit at an unpopular city functionary had set the audience in a roar in which all other sounds were lost. Waiting some moments longer, the restless Cuff, thrusting his visage from under cover into full three-quarter view this time, again charged upon the singer in the same words, but with more emphatic voice: “Massa Rice, Massa Rice, must have my clo’se! Massa Griffif wants me—steamboat’s comin’!”

“DADDY” RICENED HARPER
JOE. SWEENEYDICK. SWEENEY
BLACK-FACE PERFORMERS WHO ANTEDATED MINSTRELSYPROPER.

A still more successful couplet brought a still more tempestuous response, and the invocation of the baggage-carrier was unheard and unheeded. Driven to desperation, and forgetful in the emergency of every sense of propriety, Cuff, in ludicrous undress as he was, started from his place, rushed upon the stage, and laying his hand upon the performer’s shoulder, called out excitedly: “Massa Rice, Massa Rice, gi’ me nigga’s hat—nigga’s coat—nigga’s shoes—gi’ me nigga’s t’ings! Massa Griffif wants ’im—STEAMBOAT’S COMIN’!!”

The incident was the touch, in the mirthful experience of that night, that passed endurance. Pit and circles were one scene of such convulsive merriment that it was impossible to proceed in the performance; and the extinguishment of the footlights, the fall of the curtain, and the throwing wide of the doors for exit, indicated that the entertainment was ended.

Such were the circumstances—authentic in every particular—under which the first work of the distinct art of Negro Minstrelsy was presented.

Next day found the song of Jim Crow, in one style of delivery or another, on everybody’s tongue. Clerks hummed it serving customers at shop counters, artisans thundered it at their toils to the time-beat of sledge and of tilt-hammer, boys whistled it on the streets, ladies warbled it in parlors, and house-maids repeated it to the clink of crockery in kitchens. Rice made up his mind to profit further by its popularity: he determined to publish it. Mr. W. C. Peters, afterwards of Cincinnati, and well known as a composer and publisher, was at that time a music dealer on Market Street in Pittsburg. Rice, ignorant himself of the simplest elements of musical science, waited upon Mr. Peters, and solicited his co-operation in the preparation of his song for the press. Some difficulty was experienced before Rice could be induced to consent to the correction of certain trifling informalities, rhythmical mainly, in his melody; but, yielding finally, the air as it now stands, with a pianoforte accompaniment by Mr. Peters, was put upon paper. The manuscript was put into the hands of Mr. John Newton, who reproduced it on stone with an elaborately embellished title-page, including a portrait of the subject of the song, precisely as it has been copied through succeeding editions to the present time. It was the first specimen of lithography ever executed in Pittsburg.

Jim Crow was repeated nightly throughout the season at the theatre; and when that was ended, Beale’s Long Room, at the corner of Third and Market Streets, was engaged for rehearsals exclusively in the Ethiopian line. “Clar de Kitchen” soon appeared as a companion piece, followed speedily by “Lucy Long,” “Sich a Gittin’ up Stairs,” “Long-Tail Blue,” and so on, until quite a repertoire was at command from which to select for an evening’s entertainment.

Rice remained in Pittsburg some two years. He then visited Philadelphia, Boston, and New York, whence he sailed for England, where he met with high favor in his novel character.

Before he sang “Jim Crow,” Rice was considered only a mediocre performer. Jos. N. Ireland, in his “Records of the New York Stage,” says that he drew more money to the Bowery Theatre than any other performer in the same period of time. His appearances were generally with dramatic organizations, where he usually performed between the acts. His minstrel performances were comparatively few, and mostly confined to Charley White’s Serenaders; though he played a star engagement at Wood’s Minstrels in August, 1858, also in New York. At the Bowery Theatre in the Metropolis, he appeared with much success for several weeks as Uncle Tom, commencing January 16, 1854. He was the author of several early negro farces, the most popular being, “Oh, Hush!” “The Mummy” and “Bone Squash.” The first New York performance of “O, Hush” was given August 15, 1832. He was noted for his eccentricity of dress; the buttons on his coat and vest were five and ten dollar gold pieces, which he would give away indiscriminately as souvenirs. He married a Miss Gladstone in England, June 18, 1837. “Daddy” Rice was born in New York City, May 20, 1808. He died there September 19, 1860.

THE FIRST MINSTREL PERFORMANCE.

There has always been considerable discussion as to the exact date when this interesting event took place; two things are certain, and have never been disputed, viz.: that it actually did occur, and that the initial presentation was in New York City, between January 31 and February 17, 1843.

That the idea of amalgamating the respective talents of the original four, Emmett, Brower, Pelham and Whitlock, was conceived by the latter, there is no doubt; the following was furnished by him many years before his death.

“The organization of the minstrels I claim to be my own idea, and it cannot be blotted out. One day I asked Dan Emmett, who was in New York at the time, to practice the fiddle and the banjo with me at his boarding-house in Catherine Street. We went down there, and when we had practiced, Frank Brower called in by accident. He listened to our music, charmed to his soul! I told him to join with the bones, which he did. Presently Dick Pelham came in, also by accident, and looked amazed. I asked him to procure a tambourine and make one of the party, and he went out and got one. After practicing for a while we went to the old resort of the circus crowd—the ‘Branch,’ in the Bowery—with our instruments, and in Bartlett’s billiard-room performed for the first time as the Virginia Minstrels. A program was made out, and the first time we appeared upon the stage before an audience was for the benefit of Pelham at the Chatham Theatre. The house was crammed—jammed with our friends; and Dick, of course, put ducats in his purse.”

The house on Catherine Street was No. 37, and was kept by a Mrs. Brooks. The “Branch” was a hotel opposite the Bowery Amphitheatre.

On January 31, 1843, Dick Pelham did have a benefit, but the performance was of the ordinary nature; nothing unusual, such as a quartet of black-face performers appearing at one time, which would have caused considerable stir; thus may we eliminate January 31, 1843, as the date of the first performance in public.

The following announcement appeared on February 6:

BOWERY AMPHITHEATRE,

Monday evening, Feb. 6. 1843, first night of the novel, grotesque, original and surpassingly melodious Ethiopian Band entitled

THE VIRGINIA MINSTRELS

Being an exclusively minstrel entertainment combining the banjo, violin, bone castanets and the tambourine, and entirely exempt from the vulgarities and other objectionable features which have hitherto characterized negro extravaganzas.

11:45
from the Hotel

The New York Herald commented on the performance for the first time on February 9.

The quartet remained at the Bowery Amphitheatre until February 11; five days later they were over Cornucopia Hall, at No. 28 Park Row; February 22, they began an engagement at the Park Theatre, and shortly afterwards went to Boston, where they played at Melodeon Hall for a few weeks, and sailed from New York, April 21, 1843. May 21, they gave their first performance at Liverpool, England, at the Concert Rooms on Concert Street; subsequently playing a week in Manchester, and thence to the Adelphi in London, where they remained one month; the original four disbanded then.

BILLY WHITLOCK

was a typesetter on the New York Herald, and appeared at various theatres in the evening, while retaining his position during the day.

He made his first appearance in New York City in 1835, as Cuff in “O, Hush.” He resigned from the Herald in 1837, and went with a circus; he returned to New York, and in the Winter of 1839 was engaged by P. T. Barnum to play the banjo for John Diamond, the great dancer.

Mr. Whitlock was the first to return to the United States after the dissolution of the original company; he arrived about August, 1844; subsequently appearing with various small organizations and circuses.

For many years he traveled as a Yankee comedian, and was also an actor at the Bowery Theatre about 1853; he was the composer of “Lucy Long,” one of the great songs of early minstrelsy. His last appearance was with Dan Rice’s Circus in 1855.

His daughter married Edwin Adams, the great actor.

It is a strange thing that no one seems to know where Mr. Whitlock is buried. Billy Whitlock was born in New York City, 1813; he died at Long Branch, N. J., March 29, 1878.

DICK PELHAM (Richard Ward Pell),

like Billy Whitlock, made his first appearance in his native city in “O, Hush,” in 1835. February 13, 1840, he danced against John Diamond in New York City.

November 14, 1842, he appeared at the Franklin Theatre in New York, and on January 16, 1843, he had a benefit at the Amphitheatre, on which occasion he appeared in sixteen songs and dances, and played in the farce “Negro Assurance;” yet we think continuous performances are of recent origin. After the dissolution of the original four in England, Mr. Pelham played an extended engagement at Sadler’s Wells Theatre in London. April 22, 1844, in conjunction with Dan. Emmett, Frank Brower and Joe Sweeney, they reorganized their little band and opened in Dublin, Ireland; at the Theatre Royal, afterwards, appearing in Cork, Belfast, Glasgow and Edinburgh, after which they disbanded.

Mr. Pell subsequently organized Pell’s Serenaders, and played all the large cities in England, Ireland, Scotland and Wales. His last appearance was at Birmingham, England, August 19, 1856.

BILLY WHITLOCKDICK PELHAM
DAN. EMMETTFRANK BROWER

The above four performers gave in New York City, February 6, 1843, the first minstrel performance ever given; they were known as the Virginia Minstrels.

R. BISHOP BUCKLEYJAS. BUCKLEYSWAINE BUCKLEY
FRED. BUCKLEY
THE ORIGINAL BUCKLEY SERENADERS.

Dick Pelham was born in New York City, February 13, 1815; he died in Liverpool, England, October 8, 1876.

DAN. EMMETT (Daniel Decatur Emmett)

was better known to the general public than any of his associates, from the fact that he outlived nearly all his contemporaries, and the more important one that he was the author of “Dixie,” which will live forever.

Town Hall To-Night—Minstrels.

Mr. Emmett first blacked up at the age of sixteen, and two years later joined Sam. Stickney’s Circus. At the age of twenty-five, he learned to play the banjo, and traveled with Angevine’s Circus until he reached New York, in 1842.

In 1843, after leaving his three associates in England, he performed at Bolton, Lancashire; he rejoined Pelham and Brower in Dublin, Ireland, April 22, 1844, and played with them and Joe Sweeney for several weeks.

Returning to the United States, he appeared with various circus and minstrel companies.

In 1853-54 he was part proprietor of White’s Minstrels in New York; in 1855 he opened the first minstrel hall in Chicago, at 104 Randolph Street.

Emmett’s Minstrels opened at St. Paul, Minn., April 26, 1858; he was also associated with Frank Brower in a minstrel company in the 50’s.

Mr. Emmett joined Bryant’s Minstrels in New York City in 1858, and remained several years; after Dan Bryant’s death in 1875, he accepted a position as leader in the Star Varieties, Chicago. In the Fall of 1881 he went out with Leavitt’s Minstrels, where in conjunction with several old timers, they gave a reproduction of the original Virginia Minstrels of 1843.

His last engagement was a tour of the country with Al. G. Field’s Minstrels about ten years ago.

An account of the famous song of “I Wish I Was in Dixie,” will be found [elsewhere].

Dan Emmett was born in Mt. Vernon, Ohio, October 29, 1815, where he died, June 28, 1904.

FRANK BROWER,

the junior member of the first minstrel company, made his first appearance at Dick Myers’ Museum in Philadelphia, doing a song and dance, about 1838; subsequently he joined John Robinson’s Circus, and later Raymond & Waring’s Circus.

After the separation of the original minstrel company in London in 1844, Mr. Brower traveled with Cook’s Circus in England; and in the Spring of 1844, with Pelham, Sweeney and Emmett, they gave their old performance, opening in Dublin, Ireland, April 22, 1844, and playing engagements in Cork, Belfast, Glasgow and Edinburgh, after which he returned to America and played with some of the principal minstrel and circus organizations.

In 1851 he revisited England, appearing as clown with Welch’s Circus. February 28, 1856, he opened at Sanford’s Minstrels in Philadelphia.

His last engagement in minstrelsy was with Tunnison’s Minstrels in Philadelphia, November 2, 1867; and his last appearance on the stage was in the same city, November 22, 1867, at the Walnut Street Theatre, in “The Lottery of Love.”

Mr. Brower’s “Happy Uncle Tom” was as perfect a piece of acting, it has been said, that has ever been seen on any stage. He was original to a degree, and never stooped to vulgarity in any form.

Frank Brower was born in Baltimore, Md., November 20, 1823; he died in Philadelphia, June 4, 1874.

THE BUCKLEY SERENADERS.

James Buckley, the father of R. Bishop, G. Swayne and Fred Buckley was the organizer of the justly famous Buckley Serenaders; they were originally known as the Congo Melodists; subsequently upon playing an extended engagement in New Orleans, they adopted the title of “New Orleans Serenaders”; later using the name they were ever after known by.

Mr. Buckley was leader at Harrington’s Museum in Boston in 1840.

In 1843 he organized the Congo Melodists in Boston, and gave their first performance at the Tremont Theatre; in October they were playing the Tabernacle, the present site of the Howard Athenaeum. Their first New York appearance was in 1845; the following year they went to England, where they remained about two years. For family reasons each of the four Buckleys adopted different names on this trip, and retained them for a time after their return to the United States in 1848; James Buckley was known as James Burke.

Their metropolitan reappearance was made at the Society Library Rooms, corner Broadway and Leonard Street; they played here as early as January 3, 1849.

The Buckleys were the first recognized company from the East to visit California, which they did in 1852; they played in tents at $3 per ticket. In June, 1853, they made their third New York appearance at the Chinese Assembly Room, 539 Broadway, which they leased and made into a minstrel hall; they remained three years. August 25, 1856, they opened at 585 Broadway; their last performance there was January 9, 1858; subsequently they played a brief engagement at 444 Broadway, commencing two days later.

In May, 1858, they began a brief engagement at the Ordway Hall in Boston, and in November, same year, they began a short season at Allston Hall on Tremont Street; subsequently returning to New York at 585 Broadway, opening July 11, 1859.

On March 21, 1860, they sailed again for England, where they met with pronounced success; in this engagement they played under their own names.

As a matter of actual fact, their success was so great, that rival managers became jealous, and succeeded in digging up an old law which prevented an opera other than the Royal Opera from being given; as the Buckley’s success depended on the production of these operas, which they produced on a lavish scale, they were compelled to return to America, which they did in 1861. After playing several engagements, they returned to Boston and opened at Allston Hall, October 13, 1862. December 22, same year, they began an engagement at the Palace of Music, New York (the present site of the Fourteenth Street Theatre), and June 15, 1863, they again visited Boston, appearing at the new hall, corner Chauncey and Summer Streets, remaining until April 9, 1866.

The retirement of James Buckley and the deaths of R. Bishop and Fred Buckley, left only G. Swayne Buckley, who reorganized the company and toured with intermittent success and failure until about 1876, when the Buckley’s Serenaders passed into oblivion.

Such is the history of this famous family whose talents and versatility are beyond comprehension to the present generation.

They were the first company to produce burlesque opera, which they did on a scale of magnificence never since duplicated.

The company originally consisted of the four members of the family; later they were augmented by Sam Sanford and J. C. Collins; this was about 1846; in after years many of the prominent lights of the minstrel profession appeared on their roster. Mr. Jas. Buckley was the only member of the organization who was not active up to the time of his death.

James Buckley was born in Manchester, England, 1803; he died in Quincy, Mass., April 27, 1872.

R. Bishop Buckley, began his career in 1843 in Boston as member of the original Buckley Serenaders.

He was an excellent mimic, accomplished musician and good actor.

He was best known for his performance on the Chinese fiddle, which was never equaled except by a native Chinaman. He was the possessor of a good tenor voice, which he used easily and gracefully.

Mr. Buckley was known as J. C. Rainer in the late 40’s while in Europe and shortly after their return.

R. Bishop Buckley was born in England, 1826; he died in Quincy, Mass., June 6, 1867.

George Swayne Buckley, the most versatile of the famous Buckley family, made his first appearance as a prodigy at Harrington’s Museum in Boston, in 1840.

Later, while learning to play the banjo, the famous Joe. Sweeney took an interest in him, and “starred” him for a lengthy period through the country as “Young Sweeney,” which title he used as late as May 15, 1845.

Some idea of Mr. Buckley’s versatility may be gleaned from the fact that in one performance he sang a song and done a banjo solo in the first part, played a solo on the kitchen bellows in a burlesque on the Julien Concerts; gave Locust Hum in the third part; played a part in the burlesque opera; danced with two others in the finale, and gave his bone solo, which was a wonderful performance; with them he gave imitations of the drums, the march, the reveille, etc., concluding with imitations of two horses running a race. It must be understood that all these performances were given in an artistic manner; and this was about sixty-five years ago.

Probably Swayne Buckley’s chief fame rests on the act he did in later years; it was called “Musical Moments;” in it he performed on twelve different instruments, playing several at one time.

July 8, 1867, he reorganized in Boston the Buckley Serenaders with himself as the one remaining member of the famous family in its company.

In 1870 Mr. Buckley played an engagement with the San Francisco Minstrels in New York City; and on September 3, 1872, with Sam Sharpley he organized a company and gave minstrelsy on new lines, eliminating the time-honored first part.

The two following seasons saw Buckley’s Serenaders on the road, and on September 13, 1875, he opened with the minstrels at Beethoven Hall, Boston; their stay was brief; a road tour was even less successful.

In 1871 he played in a sensational melodrama called “On the Track;” in this he portrayed seven characters. Mr. Buckley’s last appearance was at the Walnut Street Theatre, Philadelphia, playing Zip, a negro, in “Devotion.”

George Swayne Buckley was born in Bolton, England, August; 1829; he died in Quincy, Mass., June 25, 1879.

Fred Buckley came to America with his father and brothers in 1839; when, as previously stated, the family changed their names, Mr. Buckley was known as Master Ole Bull.

He was leader of the orchestra in their organization for many years.

Some of the famous ballads of early minstrelsy were composed by him, such as “We Are Growing Old Together,” “I’d Choose to Be a Daisy,” “Laughing Jennie,” “I See Her Still in My Dreams,” “I’m Turning Gray, Dear Kate,” and numerous others.

Mr. Buckley married Fanny Brown, the actress, January 29, 1857.

Fred Buckley was born in Bolton, England, October 12, 1833; he died in Boston, Mass., September 12, 1864.

CHRISTY’S MINSTRELS

were originated and first organized by Edwin P. Christy, and after that gentleman retired from the profession, a few years later, part of his old company organized and went to Europe, giving their first performance there August 3, 1857; they were called the “Christy” Minstrels. From this company several others sprung, and for a great many years all minstrel organizations in England were called “Christy’s.”

E. P. Christy had a “card” on his program for many years, stating that his was the first minstrel company organized, the date given as 1842. In support of this at one time gave a statement of receipts covering a period of six months in 1842, and up to January 1, 1848.

It is a noteworthy fact that Mr. Christy’s “card” did not appear until after Wood’s, likewise Campbell’s—two permanent minstrel organizations like his own in New York City, had prospered and made their presence felt.

As has been stated elsewhere, black-face performers there were a-plenty long before the original four gave their first joint performance; they played chiefly in circuses and dance houses, and it was in one of the latter that Mrs. Harrington, mother of George Christy, and subsequent wife of E. P. Christy, kept, where these performances were given, and were very common occurrences at that time, and this was the only basis that Mr. Christy had of ante-dating the original company. There is no doubt that after the intelligence reached Buffalo of the success of Pelham, Whitlock, Emmett and Brower, that Mr. Christy, like scores of others, formed a company and called them Christy’s Minstrels; the date of this interesting event has never been made public, if indeed it was ever recorded. The first record of the company that the author has been able to find was in Albany, N. Y., May, 1844. On Sunday, August 17, 1845, R. M. Hooley is said to have led the orchestra for them at the Assembly Room in Buffalo, N. Y.

Their first metropolitan appearance was at Palmo’s Opera House, April 27, 1846; they subsequently played at the Society Library Rooms and later at the Alhambra, all in the same city.

But it was at Mechanics Hall, 472 Broadway, New York, that the name of Christy’s Minstrels became famous; they opened there on February 15, 1847, and remained until July 15, 1854. On September 20, 1854, the company sailed for California; they played a few weeks at Pratt’s Hall in San Francisco, but were not overly successful.

Such is the story of E. P. Christy’s Minstrels; the original company consisted of E. P. Christy, George Christy, Tom Vaughn and Lansing Durand; the careers of most of these performers, also their portraits, will be found elsewhere.

It was the withdrawal of George Christy from E. P. Christy’s Company that caused their dissolution.

Edwin P. Christy was best known as a ballad singer, although he played the banjo acceptably and played parts in his entertainments; he made a specialty of singing Stephen C. Foster’s songs.

He returned from California early in 1855, and never appeared again professionally; nor did he ever play in England, although his name is a household word there yet even to this day.

Edwin P. Christy was born in Philadelphia, November 28, 1815; he died (suicide) in New York City, May 21, 1862.

George N. Christy (Harrington), is conceded to have been one of the greatest performers that ever graced the minstrel stage; he was versatile by all the term applies; had he deemed to use his talents otherwise, his name might have been enrolled as one of America’s great actors.

His career began at Buffalo, N. Y., in 1839; although he had not yet entered his teens, he was rated a fine jig dancer.

He was associated with E. P. Christy a few years before the latter organized his minstrel company.

George Christy was with Christy’s Minstrels in New York from February 15, 1847, until October 29, 1853, during which period he played every conceivable part; male and female equally well; he was a great endman and as a bone player ranked with the best.

Owing to a misunderstanding, he left E. P. Christy on October 29, 1853, and two days later he joined forces with Henry Wood at 444 Broadway, where as Wood and Christy’s Minstrels they held forth many years.

During the 50’s Wood and Christy took the house vacated by E. P. Christy, put a show in there and ran both establishments for several months; Billy Birch and Christy played on the ends in their respective houses, after which each would go to the other theatre and contribute to the rest of the entertainment.

December 2, 1854, “444” was destroyed by fire, and the company after a brief tour, resumed at “472.” “444” was rebuilt and reopened October 1, 1855.

Subsequently the company opened at Wood’s Marble Palace, 561-563 Broadway, which was especially built for them, October 31, 1857; the other houses were then closed.

Christy withdrew from Wood on May 1, 1858, and went to California, opening at San Francisco under the management of Tom Maguire, June 7; the company was known as Christy’s Minstrels; they remained in California several months; subsequently Christy and R. M. Hooley formed a partnership and returned to New York, opening at 444 Broadway, May 23, 1859. Christy had previously signed an agreement with Henry Wood not to appear within 100 miles of New York for a period of eighteen months, commencing May 1, 1858.

When George Christy attempted to perform, he was enjoined from doing so by Wood; Christy then took the road until the time limit had expired, opening at Niblo’s Saloon, November 7, 1859; he played here about one year, and subsequently moved opposite to 585 Broadway.

In 1864 he was with J. W. Raynor’s Company; and on September 4, 1865, he began an engagement with Hooley in Brooklyn; a year later he opened with Kelly and Leon’s Minstrels at 720 Broadway; this was the initial performance of the latter company in the metropolis.

January 16, 1867, with G. W. H. Griffin, he organized Griffin and Christy’s Minstrels, opening at the Fifth Avenue Theatre (late Madison Square Theatre); they closed June 27, went on tour and reappeared in New York, July 29, at Union Hall, Fifth Avenue and Twenty-third Street; they closed on September 23 and went traveling.

His last appearance was with Hooley’s Minstrels, May 2, 1868, in Brooklyn, N. Y.

George Christy was born in Palmyra, N. Y., November 6, 1827; he died in New York City, May 12, 1868.

THE VIRGINIA SERENADERS, 1843.

Reading from left to right, in later years the above performers were familiarly known as Jim Sanford, “Ole Bull” Myers, Jim Carter, Bob Edwards and “Cool” White.

BILLY LESTER PAUL ALLEN

LESTER AND ALLEN—They came later.

William A. Christy, the younger son of E. P. Christy, was a comedian, and a fair end man.

His greatest proficiency was in the delineation of the female character.

Late in 1860 “Christy’s” Minstrels, under his management, toured for a brief season; they closed, and on July 4, 1861, they reorganized and opened at the Athenaeum, Brooklyn, N. Y.

William A. Christy died in New York City, December 8, 1862, aged 22 years.

E. Byron Christy was a son of E. P. Christy; he was a comedian, and best known for his stump speeches. He played with Sanford’s Minstrels in Philadelphia in 1859, and with George Christy’s Minstrels same year, after the latter’s return from California. In 1865 “Christy’s” Minstrels made a tour under his management.

He died in New York City, April 6, 1866, aged 28 years.

JOE SWEENEY (Joel Walker Sweeney)

was the “father of the banjo” and one of the earliest black-face performers.

Mr. Sweeney and two brothers traveled in a wagon through the South in the early 30’s, and certainly as early as 1838 when he was with a circus that played in Lynchburg, Va.

He played many subsequent engagements with circuses, notably with the John Robinson Show.

About 1843 he went to England, where he traveled with Cook’s Circus.

April 19, 1844, with Brower, Pelham and Emmett, he formed again the Virginia Minstrels; they played in Dublin two weeks, and several other cities, after which the quartette broke up; Pelham and Sweeney then performed in the principal cities of the United Kingdom, Sweeney returning to the United States about 1845.

He subsequently organized Joe Sweeney’s Opera Troupe and traveled chiefly through the South at intermittent periods up to within about a year or two of his death.

In April, 1852, he played an engagement with Charley White’s Minstrels in New York. Up to the time of Joe Sweeney, the banjo, so-called, was made from a gourd and had four strings only; he took an old cheese box, cut it in half, covered it with a skin and added another string; the fine instruments we see to-day are the evolution of the crude affair just described; this was about 1830.

Joe Sweeney was born at Appomattox, Va., 1813; where he died October 27, 1860.

Geo. Holland, father of the late Geo. Holland, and of E. M. and Jos. Holland, and who was known as one of the great comedians of the old stock days, made his appearance with Wood and Christy’s Minstrels in New York City, December 21, 1857, playing female parts in black-face, and remained with the company six months.

The famous “little church around the corner” gained its name and fame through the death of this great old actor.

George Holland was born near London, England, December 6, 1791; he died in New York City, December 20, 1870.

Edwin Forrest, America’s first great actor, at the Globe Theatre, Cincinnati, Ohio, July 17, 1823, played Cuff, a Kentucky negro, in the “Tailor in Distress.”

In this play Mr. Forrest imitated the black man in dress, accent, gait, dialect and manner; and was said to be the first actor to do so.

Edwin Forrest was born in Philadelphia, March 9, 1806; he died there December 12, 1872.

“Ole Bull” Myers (J. Richard Myers) was one of the earliest and best violinists in minstrelsy.

He entered the profession in 1835, and was with numerous black-face companies, notably the Virginia Serenaders in 1843; this organization, a photograph of which will be found [elsewhere], played an engagement at the Chatham Theatre, New York, January 24, 1844.

“Ole Bull” Myers was born in Baltimore, Md., May 9, 1909; he died in Philadelphia, September 10, 1874.

P. T. Barnum, the great circus man, in the fall of 1836 while traveling with a small show of his own, had the misfortune to lose the services of Jim Sandford, one of his principal “cards,” who was doing “nigger” business; but rather than disappoint his audience, Barnum “blacked up” and sang “Such a Gittin Up Stairs,” and other songs that were popular that day.

P. T. Barnum was born in Bethel, Conn., July 5, 1810; he died at Bridgeport, Conn., April 7, 1891.

Tom Christian, one of the first, also one of the best to do Tyrolean warbling in minstrelsy, joined E. P. Christy’s Minstrels in New York in 1847, and continued as a member of that organization until it disbanded in 1854; subsequently he joined Sanford’s Minstrels in Philadelphia, and Raynor’s “Christy” which toured the country until they sailed for England in June, 1857, when Christian went with them; he remained with the organization which afterwards was known as Moore, Crocker and Ritter’s Minstrels, until his death.

Tom Christian died in London, England, January 29, 1867; aged 59 years.

Dr. G. R. Spalding, whose “Floating Palace” and steamers “Banjo” and “Gazelle” and “James Raymond” gave minstrel performances on the rivers for many years, commencing about 1855, was a native of Coeymans, N. Y.; he died in New Orleans, La., April 6, 1886, aged 68 years.

Sam Johnson (Isaac Ray) was one of the earliest minstrel performers; as early as the Summer of 1844 he appeared in Hoboken, N. J., at Otto Cottage as one of the Operatic Brothers and Sisters.

He died at River View, Ky., about November 1, 1876, aged 62 years.

Jim Sandford (Blandford) was one of the earliest jig dancers of minstrelsy. He appeared with small companies as early as 1843; and for several years traveled with the great John Diamond. He was noted for his fastidiousness in dress.

He was born in Baltimore, Md.; he died in Philadelphia, September 2, 1855; aged 41 years.

John Washington Smith was one of the earliest and best negro delineators ante-dating minstrelsy proper, although he was later associated with several prominent organizations.

His earliest recorded appearance was with the Lion Circus in Cincinnati, December, 1838.

The following year he played in New York, and a year later went to Europe, where he performed with “Pickaninny” Coleman. Returning to America, he played at the Bowery Amphitheatre, April 25, 1842.

In 1849 he wrote and first sung the song that was afterwards in the repertoire of many famous minstrels—“Old Bob Ridley;” this occurred in New Orleans, La.

In the Fall of 1855 he was with the original San Francisco Minstrels in the California metropolis. He subsequently went to Australia and other foreign countries, where for many years he piloted various minstrel organizations.

John Washington Smith was born in the United States about 1815; he died in S. Yarra, Australia, August 31, 1877.

Francis Germon was one of the early comedians and tambourinists in minstrelsy.

December 25, 1839, at Taunton, Mass., in a concert there he was singing the old song of “Sittin’ on a Rail.”

About 1844 he joined the Ethiopian Serenaders, and continued as a member of that party several years.

September 15, 1845, Mr. Germon and the company, as shown on another page, began an engagement at Palmo’s Opera House, New York.

Francis Germon died in Philadelphia, it is said, in the 50’s.

Ned Harper was one of the early black-face performers who ante-dated minstrelsy proper.

He was the author of “Jim Along Josey,” and the first to sing it in his drama, the “Free Nigger of New York,” about 1838.

February 22, 1837, at the Lion Theatre, Boston, he played Gumbo Cuff in “O’ Hush.”

He died in England about fifty years ago.

“Bill” Ceda (Wm. Price), up to the time of his death was the oldest living minstrel in England, where he had been since 1848; he was a comedian and general performer, and made his first appearance at the Bowery Theatre, New York, in 1840; in June, 1848, he was with the Virginia Harmonists.

Bill Ceda was born in the United States; he died in Liverpool, England, March 9, 1873.

Dick Sweeney, a brother of the famous Joe Sweeney, and who traveled with him in the 30’s and 40’s, giving concerts in black-face, died in Washington, D. C., in 1860, it is said. He was born in Virginia about 1815.

FRANK WARD
(of the Original Clipper Quartette)		HARRY A. ELLIS
(of the Original “The Quartette”)
JOHNNY THOMPSONFRANK KERNS
(Thompson & Kerns were the original double song and dance team; 1862.)
CHARLEY GARDNER
(Original “Hop Light Loo”)		FRANK E. McNISH
(Original “Silence and Fun”)

“SOME ORIGINALS.”

Nelson Kneass’ fame has been handed down to posterity for his association with the song of Ben Bolt, which was composed by Thomas Dunn English; an old German tune was supplied by Mr. Kneass, and through it the verses have become immortalized.

Mr. Kneass followed the profession of negro minstrelsy for many years.

February 1, 1841, he was leader of the “orchestra” at the opening of the Museum, Albany, N. Y. In 1846 he was a member of the Sable Harmonists; in 1853 with Sanford’s Minstrels in Philadelphia, and on June 2, 1854, Mr. Kneass and his daughter, Annie, who later married J. N. Rentfrow, of Rentfrow’s Jolly Pathfinders, were with Wood and Christy’s Minstrels in New York, the former as Aunt Chloe, and the latter as Eva in “Uncle Tom’s Cabin.”

In 1859 he was with a minstrel company in Chicago, and late that same year was with Dan Scott’s Dramatic Company.

Nelson Kneass was born in Philadelphia; he died in Chillicothe, Ohio, September 10, 1869.

G. Warren White was a famous vocalist in the early days of minstrelsy. He began as a boy singer, and later was with Dumbleton’s Serenaders; also with Ordway’s Aeolians in Boston.

His later years were spent with the Campbell-Castle Opera Company, and the Kellogg Opera Company.

Mr. White was born in Boston, Mass., in 1816; he died in Somerville, Mass., in March, 1886.

Dan Gardner was equally at home as a clown in a circus, or as a minstrel.

At the age of 13, on the 13th of the month, he ran away from home, and after walking thirteen miles, joined a canal boat show.

He soon after returned to his heath, and subsequently held the position of assistant property man at Mt. Pitt Circus in New York, on the site that is now occupied by the Hoe Printing Press Company. Mr. Gardner began his clown business there.

As early as 1835 he did a wench character; it is considerably more than probable that he was the first performer to do a female part in black-face. And he was absolutely the first to do Lucy Long, a famous characterization in early minstrelsy.

In every decade commencing in the 30’s, Mr. Gardner was prominently identified with minstrelsy. He was with Sam Sanford’s Minstrels as early as 1844, and when the latter took the present Eleventh Street Opera House in Philadelphia, he played numerous engagements there in the 50’s, 60’s and 70’s.

In 1845 he was one of the famous Operatic Brothers and Sisters in New York City.

Mr. Gardner was the father of W. H. Gardner, prominent in circus business; also Lida Gardner, who was the original Mabel Santley of the Rentz-Santley Burlesquers.

Dan Gardner was born in New York City, October 28, 1816; he died in Atlantic City, N. J., October 7, 1880.

M. C. Campbell (Cainan), one of the great ballad singers in the early days of minstrelsy, first appeared prominently at Wood’s Minstrels in New York in 1851; he remained successively a member of Wood and Christy’s; Wood’s; and George Christy’s Minstrels, covering a period of about nine years.

In February, 1861, he organized a company with James Budworth.

On November 10, 1862, he gave the first performance of Campbell’s Minstrels at what is now known as the Fourteenth Street Theatre, New York; June 27, 1864, his company opened at what is now known as the People’s Theatre, New York; January 16, 1865, R. M. Hooley became associated in the management, and in the Spring of the same year he disposed of his interest to Hooley.

Mr. Campbell had various minstrel companies until about 1870, when he retired; subsequently he was identified with the Evening News, New York City.

M. C. Campbell was born in London, England, 1817; he died in New York, January 6, 1883.

Edwin Deaves was associated with some of the very earliest minstrel companies in existence in his native and other Eastern cities in the middle 40’s.

About 1850 he went to California, where he remained many years. When he first played in the great coast metropolis, the “theatre” was a tent.

Edwin Deaves had a pleasing personality and a commanding presence, which eminently fitted him for the position of “middle-man” in the various companies in which he was associated. Mr. Deaves was among the first to sing the lamented Foster’s ballads, such as “Old Dog Tray,” “Nellie Gray” and others.

When George Christy and his company arrived in San Francisco in the Summer of 1858, Mr. Deaves at once became a member. Likewise was he associated there with Birch, Wambold, Bernard, Backus and many other burnt cork luminaries many years before these artists made a metropolitan reputation.

Edwin Deaves was born in Philadelphia, in 1817; he died in New York City, July 19, 1890.

Eph. Horn (Evan Evans Horn) was a name to conjure with for many years.

His professional career began more than seventy years ago. He first appeared in New York City about 1847 as a member of the Ethiopian Serenaders.

In conjunction with Charley White, they formed Horn and White’s Minstrels, opening in New York, April 2, 1851. Subsequently he was identified with practically all the famous permanent minstrel companies in the metropolis, including Wood’s, Campbell’s, Buckley’s, Bryant’s, and E. P. Christy’s; with the latter he went to San Francisco, Cal., in the Fall of 1854, where he remained eighteen months. Subsequently he appeared as clown in a circus, in black face. In 1858 he played an engagement with Ordway’s Aeolians in Boston. Mr. Horn was a fine end man in his day, and all-round general comedian.

In the Summer of 1865 he went to London, where he played a brief engagement.

Eph. Horn was born in Philadelphia, Pa., 1818; he died in New York, January 1, 1877.

Sam Gardner (Sylvester Gardner) was a prominent minstrel interlocutor for forty years; he was likewise a splendid bass singer, and had been identified with many prominent organizations, notably Wm. Henry Rice’s Minstrels in Cincinnati, with whom he opened September 2, 1872. He had been a resident of Omaha, Neb., where he died March 10, 1888, for many years. He was born in New York City about 1818.

Zenas Rumsey was one of the early minstrel performers of the ’40’s. He possessed a good tenor voice, and from 1847 to 1850 he sang at the Bowery Theatre.

That year he married Mary Van Keuren, and retired from the profession.

He was born in Shawangunk. N. Y.; he died in Ellenville, N. Y., December 10, 1891, aged 73 years.

Marshall S. Pike was one of the pioneers of minstrelsy, as well as one of the first female impersonators. In 1843 in conjunction with the Powers Brothers and L. V. H. Crosby, they formed a little company, and appearing with whitened faces and flaxen wigs, styled themselves the Albino Family subsequently they changed to blackened features, and were known as the Harmoneon Family, afterwards the Harmoneons. It was this company that sang for President Polk in the White House in 1847.

Mr. Pike married in 1849, and in that same year joined Ordway’s Aeolians in Boston, and continued with them for several seasons, leaving in 1857 and organizing “Pike’s Harmoneons.”

Subsequently he was identified with various dramatic companies, Mr. Pike was the author of more than 100 songs, the most popular of which was “Home Again,” written in 1849.

Marshall S. Pike was born in Westboro, Mass., May 20, 1818; he died in Upton, Mass., February 13, 1901.

Napoleon W. Gould, famous as a vocalist and guitarist in many minstrel companies, came to the United States in 1848.

He joined E. P. Christy’s Company in New York about 1850, remaining about four years.

In 1859 he became a member of Bryant’s Minstrels, same city, and continued there for several seasons. His last professional appearance was with George Christy’s Minstrels in New York about fifteen years previous to his death.

Napoleon W. Gould was born in London, England, June 7, 1819; he died in New York, May 23, 1881.

John H. Collins was a well-known vocalist with various minstrel companies.

He was the husband of Julia Gould, the prima donna of Buckley’s Minstrels.

In the Spring of 1860 he was with Wood’s Minstrels, and in the Fall of that year he joined Rumsey and Newcomb’s Company, going to Cuba with them, where he died in December, 1860.

“Pickaninny” (Thomas E.) Coleman was one of the early black-face performers ante-dating minstrelsy proper.

JOHN HARTEMIL AMESBILLY EMERSON
(1869)		DAN. WALDRON
(Of Original Big 4)		GEO. M. DE VERE—MATT McELROY
1878.
WILLIS P. SWEATNAM

He played many engagements in New York in the early 40’s, with John W. Smith, with whom he made a trip to England in 1840.

He died in Newark, N. J., July 5, 1859.

John Landis was one of the old-time minstrels and general black-face performers; he was with Sam Sanford’s Minstrels in 1859, and at one time was prominently identified with his own company. He died in Philadelphia, September 19, 1863.

S. E. Clark was one of the early interlocutors, or “middle-men” of minstrelsy; he was rated an excellent bass vocalist, and was with the Bryant’s in New York in 1857.

He died in New Haven, Conn., February 3, 1860.

Julius A. von Bonhorst was one of the early banjo players of minstrelsy, and practically his entire career was spent with Sanford’s Minstrels in Philadelphia.

He married a Miss Luther about 1854, and three years later retired from the profession.

He died at Reading, Pa., February 16, 1869, aged 40 years.

Jim Carter, one of the earliest of black-face performers, and whose portrait may be seen on [another page], was also one of the original Campbell’s Minstrels, organized June, 1847.

He died many years ago.

Philip Rice was one of the pioneer banjo players of minstrelsy.

In the very early days he constructed an instrument by tacking a skin over a peck measure that had been sawed in half; this attracted wide attention.

June 18, 1856, he was with Dave Reed’s Minstrels on board the steamer “James Raymond,” which traveled on the Mississippi River.

He died at Grand Lake, Ark., December 4, 1857.

Tom Raleigh (T. R. Mahan), one of the musicians of the real early days of minstrelsy, was accidentally shot and killed by Frank Hussey, comedian, in San Francisco, December 5, 1859.

George Lea, one of the pioneers of the variety theatre business in New York City, was the proprietor of Lea’s Minstrels at 185 Chatham Street, in the Fall of 1853.

He died at Port Jervis, N. Y., August 20, 1902.

“Picayune” Butler (John Butler), one of the best of the early banjoists, and who made famous the song “Picayune Butler’s Comin’ to Town,” had considerable vogue in the 50’s.

He died in New York City, November 18, 1864.

George A. Harrington was one of the members of the Ethiopian Serenaders who appeared in New York, September 15, 1845. The following year they appeared in London, England.

He was a good bass singer and banjoist, and was the first to sing “Lucy Neal.”

He died in Philadelphia, January, 1859.

William Parrow, who was with Joe. Sweeney’s Minstrels in the 40’s, and was said to be the original Old Bob Ridley, was murdered at Lebanon, Tenn.; he died November 29, 1870.

Wm. Henry Rice, long famous for his burlesque female impersonations, sat on the end with his own minstrel company in Cincinnati, September, 1872.

“Pony” Moore (George Washington Moore). This unique character in minstrelsy, up to the time of his death, enjoyed the double distinction of being the oldest living minstrel, as well as having attained greater longevity than any other known black-face performer.

There have been many versions of the veteran’s interesting career. Mr. Moore in a letter to the author, dated December 3, 1908, says his first appearance was in New York with Welch and Delevan at the old Broadway Circus in negro opera, playing in black-face, in 1844.

In a series of articles commencing August 1, 1909, in Lloyd’s Weekly News (London, England), Mr. Moore stated that he must have been about twenty-one when he first blacked his face, and speaks of Frank Brower, who was in the same company with him as having got the idea of making the first set of “bones” then known.

This would make the date 1841, and as the incident concerning Brower actually did occur while with Roger’s Circus, during the week of July 4, that year, the date of his first appearance in black-face may be safely stated to have been in 1841. Previous to this, however, he had been associated in many capacities with various circuses, but chiefly as a driver; it had been said that he handled as many as forty horses at one time, and in that way received the sobriquet of “Pony,” which clung to him all his life.

It was in 1844 that his first prominent engagement as a black-face performer, however, occurred.

Mr. Moore further stated that “he joined Haworth and Horton’s Opera Troupe, September 13, 1854, and the year following organized Hunter, Hedden and Moore’s Troupe.”

It is a fact that J. Hunter and William Hedden, the one a comedian and the other a fine dancer, were with Raynor’s “Christy” Minstrels as late as May 1, 1856, as likewise was “Pony” Moore. The Raynor Company returned to New York and opened there on February 2, 1857, playing about a month, after which they took a tour previous to their departure for England; Mr. Moore left the company at the conclusion of the New York engagement, and at once joined Matt. Peel’s Minstrels; he continued with this company until in the Summer of 1858, they played an engagement in New York. A short time later Matt. Peel left the organization which subsequently was known as Sniffen’s Campbell’s Minstrels.

Mr. Moore continued with this troupe until February 12, 1859, on which date he left to rejoin Matt. Peel’s company, continuing with the latter until his (Peel’s) death, May 4, 1859; after which he became a member of Burtis’ Varieties in Brooklyn, N. Y.

One month later Earl Pierce died in London, England. Pierce had been a great favorite in the British Metropolis, and J. W. Raynor sent for W. W. Newcomb, the well-known comedian, to take the place of the deceased.

Evidently Mr. Newcomb did not relish the idea of a sea trip, and “Pony” Moore, on his own initiative, went to London and presented himself to his former manager. It is an odd fact that on this occasion Mr. Moore had to sign an agreement “not to be too funny.”

It had been remarked that during the period of Pierce’s death and the subsequent occupation of his chair by Moore, that it remained vacant. This is inaccurate. Pending the advent of “Pony” Moore, it was occupied by W. P. Collins, a member of the company. Mr. Moore continued with the company for one year, at the expiration of which, Mr. Raynor retired to private life. Several companies sprang from the parent organization, one of which, Wilsom and Montague’s “Christy’s,” Mr. Moore joined.

It is pertinent at this juncture to remark that from this period, all minstrel organizations were known as “Christy’s” in England.

Mr. Moore continued with Wilsom and Montague for about four years, and immediately after, in conjunction with Johnny Ritter, J. P. Crocker and Henry Hamilton, organized a company bearing their names; with the exception of the latter, all were performers. They gave their first performance at Chester, England, November 14, 1864.

After playing through the provinces for several months, they opened in London, at St. James Hall, September 18, 1865. Subsequently through purchase and death’s intervention, Mr. Moore was sole owner of the company. Later, Fred. Burgess was taken in partnership, and as Moore and Burgess’ Minstrels flourished several years. Mr. Moore’s last appearance with his own company was in January, 1894.

April 9, 1904, saw the last of permanent minstrelsy in London. It seemed that a minstrel show at St. James Hall without “Pony” Moore was like “Hamlet” without Hamlet.

Mr. Moore’s last appearance was made in London at the Pavilion for the benefit of Mr. Frank Glenister.

Mr. Moore was twice married; first about 1860, and subsequently in 1884. Three daughters were the result of the first union. They married Fred. Vokes, of the famous theatrical family of that name; Charles Mitchell, the former champion pugilist, and Eugene Stratton, the premier black-face vaudeville artist in England. With the exception of the latter, all were English born.

“Pony” Moore was born in New York City, February 22, 1820; he died in London, England, October 1, 1909.

Frank Lynch was one of the great dancers of early minstrelsy. He traveled with Barnum in the 40’s as “John Diamond,” after the great showman had had difficulties with the original Diamond. Lynch was last heard of in St. Louis, Mo., in 1859.

Morris Abrams is one of the oldest living black-face performers. He did nigger business on the style of “Daddy” Rice in England, after Rice’s phenomenal success there in the 30’s.

JOE—FOX & WARD—WM. H.
(The oldest team of theatrical partners in existence)		NED—MONROE & MACK—KELLER
DICK—QUILTER & GOLDRICH—PETEJAS.—PELL & LEWIS—TOM
(Portraits reserved)

Mr. Abrams is said to be living in retirement in Brighton, England.

Lansing Durand, one of the four original performers of E. P. Christy’s Minstrels, was a jig dancer of exceptional merit. In later years he was of the team of Painter and Durand, gymnasts. He was living as late as 1872.

John Arnold Cave is probably the oldest living black-face performer.

He made a reputation in England more than sixty years ago doing nigger acts with the late E. W. Mackney.

Mr. Cave is said to be at present a guest of the Charter House, where he obtained through the late King of England. He (Cave) was formerly proprietor of the Old Vic Theatre, London, England.

George Raynor was a well-known minstrel vocalist, and a brother of J. W. Raynor, the famous manager. He was with Wood’s Minstrels in 1860, also other prominent organizations.

He died in Brooklyn, N. Y., April 2, 1864, aged 43 years.

Sam Sanford, whose correct name is said to have been Lindsay, was one of the pioneer minstrel managers and performers.

His first appearance was at the age of nine years. He subsequently joined a circus, and on February 16, 1843, for the first time assumed managerial duties. About 1846 he joined Buckley’s Company, and went to England with them, returning late in 1848.

Mr. Sanford left the Buckleys about two years later.

He built the first theatre ever constructed especially for a minstrel company, at Twelfth and Chestnut Streets, Philadelphia, Pa., which he opened August 1, 1853; it was destroyed December 9, following. April 23, 1855, Sanford’s Minstrels opened at the Eleventh Street Opera House, that city; he continued until the Spring of 1862.

Subsequently Mr. Sanford had other theatres in the Quaker City, and one in Harrisburg, Pa., as well as many traveling minstrel organizations.

About 1875 he essayed the role of Uncle Tom, and played that character at intervals for several years. In his day Mr. Sanford was rated as one of the best comedians of his time. Sam Sanford was born in New York City January 1, 1821; he died in Brooklyn, N. Y., December 31, 1905.

Cool White (John Hodges) was one of the pioneers of minstrelsy; he entered it at its inception, and for many years was one of the most brilliant luminaries. Mr. White was a grand interlocutor, and an actor of no ordinary merit.

As early as 1838 he appeared at the Walnut Street Theatre in his native city, singing songs in black-face between the acts. He portrayed the dandy negro, and as such was very successful.

In 1843 he organized the Virginia Serenaders. Later he organized the Sable Melodists, and subsequently Sliter’s Empire Minstrels, and was with them four years. He then appeared as a Shakespearian clown with Spalding and Rogers Circus, and after engagements with some other minstrel companies, he joined Sam Sanford’s Minstrels in Philadelphia about 1855, and continued there about four years.

He then went to New York, and later organized Cool White’s Broadway Minstrels, and on September 12, 1870, in Brooklyn, N. Y., with Archie Hughes and Fayette Welch, started a permanent minstrel company in that city.

In the Fall of 1879 he played Uncle Tom. For several years prior to his death he had been connected with Hooley’s Theatre in Chicago.

Cool White was born in Philadelphia July 28, 1821; he died in Chicago, April 23, 1891.

Charles T. White was one of the greatest men that minstrelsy produced. His career began with minstrelsy in 1843, at which time he appeared with various small companies.

The following year he organized the Kitchen Minstrels, and was with many companies until November 24, 1846, when he opened the Melodeon at 53 Bowery, New York. He was twice burnt out, but rebuilt each time.

The place finally closed April 22, 1854, and on August 7 following he opened a place at 49 Bowery; each establishment was run as a minstrel show; the admission was 6¼ and 12½ cents. Mr. White was again burnt out, and later opened places at 585 and 598 Broadway. He was with Mrs. Matt. Peel’s Minstrels about 1861.

He was the author of innumerable minstrel sketches, some of which are yet in use. For several seasons he had traveled with the “White Slave,” and at the time of his death was a member of Edward Harrigan’s Company, playing Mrs. Jackson in “Reilly and the 400,” a black-face part.

Mr. White was twice married.

Charles T. White was born in New York June 4, 1821; he died there January 4, 1891.

Bob Sheppard. This famous old-time performer began his career as a jig dancer in his native city in 1832; the “theatre” where he made his debut being no less a place than his father’s slaughter-house: the admission 6¼ cents, with the privilege of looking at the cattle; the audience usually had a “bully” time.

In 1856 he opened a concert hall in Philadelphia, where many artists of prominence in later years made their appearance.

In Bob Sheppard’s day, performers had to be versatile; and as a dancer and tambourine player, he had no superior in his time; but in the delineation of Old Bob Ridley, he excelled.

He was with some notable organizations, including Shorey’s Minstrels in 1863.

Bob Sheppard was born in Philadelphia, in 1821; he died there August 15, 1898.

Andy Leavitt made his first stage appearance April 8, 1837.

In 1842 he leased Bleeker Hall in Boston and transformed it into Leavitt’s Opera House. As early as 1858 he traveled with Leavitt’s Ethiopian Troupe, and that same year he opened a small theatre at 22 Beaver Street, Albany, N. Y.

March 30, 1859, he leased the Gayety Theatre on Green Street, in the same city. In the early 70’s he went to the Howard Athenaeum in Boston, where for many years he remained. He was especially clever in the acts with Harry Bloodgood; the latter doing the comedy.

Andy Leavitt was an unusually intelligent performer, and was the author of several negro farces that were widely used.

He was likewise responsible for the song “Ham Fat,” that achieved great vogue several years ago.

In 1882 and 1889 he played white-face parts with “Joshua Whitcomb” and “Two Sisters” respectively; his stage career ended about this time. About 1891 he secured a position as stage door man at the Hollis Theatre, Boston, which he retained five years.

Andy Leavitt was born in Boston, Mass., in 1822; he died there February 1, 1901.

William B. Donaldson was the inventor of the jawbone used as a musical instrument by black-face performers several years before the first minstrel performance was given.

He was associated with minstrel and circus organizations for forty years, and was the first black-face clown to appear in a ring.

Like most performers of his day, he played the banjo; but Mr. Donaldson created a sensation by playing it with his left hand.

His professional debut was made in Poughkeepsie, N. Y., in 1836, as “Young Jim Crow,” after the style of “Daddy” Rice. In June, 1847, he was one of the five original members of the first Campbell’s Minstrels.

About three years before his death he became proprietor of the Lockwood House in Poughkeepsie, N. Y.

William B. Donaldson was born October 13, 1822; he died in Poughkeepsie, N. Y., April 16, 1873.

Bob Edwards (Dean) was one of the earliest bone players, and in his youth was known as “Master” Edwards.

In 1841-42 he traveled though Pennsylvania as a jig dancer. In 1843 and 1844 he was a member of the famous Ethiopian Serenaders, a group picture of which will be found on [another page].

Subsequently he withdrew from that company, and joined Sanford’s Minstrels in Philadelphia, where he remained for a long time.

In 1862 he had the Gayety Music Hall in Harrisburg, Pa., and a few years before his death was proprietor of his own company.

Bob Edwards was born in Philadelphia in 1822; he died in Buffalo, N. Y., July 24, 1872.

George Guy was the founder of the famed Guy Bros. Minstrels.

Mr. Guy, who was an excellent baritone vocalist, had the unique distinction of sitting in the first part with his six sons; an occurrence that had no parallel in minstrelsy.

The original Guy family of entertainers consisted of father, mother, daughter and six sons.

Mr. Guy’s principal engagements were with Christy’s, and Kelly and Leon’s Minstrels. About 1874 he organized the Guy Brothers Minstrels as a permanent institution, and as such it has continued ever since.

SAM. DEVERE SAM. SANFORD
BILLY CARTER
SAM. SWAIN SAM. SHARPLEY

BILLY CARTER SURROUNDED BY SOME CELEBRATED “SAMS.”

Mr. Guy married Amelia Evans in London, England, in 1851.

George Guy, Sr., was born in London, England, January 20, 1822; he died in Springfield, Mass., February 23, 1895.

R. M. Hooley was associated with all that was best in minstrelsy.

He came to America in 1844, and on August 17, the following year, he played his first engagement in Buffalo, N. Y., as “leader” of E. P. Christy’s Minstrels; he remained with Christy for two years.

About 1851 he organized his own company, and took same to Europe, where he played Paris, Boulogne, Brussels and other Continental cities. During the 50’s he was associated in the management of Maguire’s Minstrels in California, and in 1858 was proprietor with Maguire of George Christy’s Minstrels in San Francisco.

Returning to New York in 1859, he soon separated from Christy, and on February 6, 1860, in co-partnership with Sher. Campbell and G. W. H. Griffin, organized Hooley and Campbell’s Minstrels; this company disbanded in July, 1861, and the following year Mr. Hooley opened his famous minstrel hall in Brooklyn, where he continued for several years.

During the above period Hooley had a company in Philadelphia at the old Seventh Street Theatre, from September 7 to October 17, 1868.

October 19, 1868, he opened another minstrel show in Brooklyn, at the Odeon, the present site of the Novelty Theatre.

The home of the original Hooley Company was destroyed by fire May 12, 1865, and that same month the energetic manager opened at 201 Bowery, New York, the present site of the People’s Theatre. January 2, 1871, Mr. Hooley opened Bryan Hall, the present Grand Opera House in Chicago, and remained several months.

The big fire of October, 1871, having destroyed his theatre, Mr. Hooley thereupon built what is now known as Power’s Theatre, Chicago, which he opened with his company in 1872, and flourished about three years, when he returned to his old love in Brooklyn, and began an engagement in 1875.

In the Spring of 1876 in conjunction with Billy Rice, he formed Rice and Hooley’s Minstrels for a road tour; December, 1876, they opened at Hooley’s old Opera House in Brooklyn for a limited engagement. Mr. Hooley again went to Chicago, and on March 1, 1880, opened with a minstrel company at the Novelty Theatre.

In September, 1882 he associated with Rice; and Billy Rice and Hooley’s Minstrels opened in Joliet, Ill., but disbanded after a few months.

Mr. Hooley married Miss Rosina Cramer of New York, in San Francisco, about 1856, after a brief but romantic courtship.

R. M. Hooley was born in Ballina, Ireland, April 13, 1822; he died in Chicago, Ill., September 8, 1893.

William A. Porter, one of the earliest members of E. P. Christy’s Minstrels, made his first theatrical appearance as a supernumerary in the old Chatham Theatre, New York, in the fall of 1841.

His debut as a black-face performer occurred in the Spring of 1844 with the Clark Brothers Panorama Show.

Mr. Porter made his first appearance with E. P. Christy’s Minstrels at the Eagle Street Theatre, Buffalo, N. Y., April 5, 1845.

February 15, 1847, he opened with the company at Mechanic’s Hall, New York, and remained there until 1853, after which, in the Fall of that year, he became a member of George Christy and Henry Wood’s Minstrels.

Mr. Porter subsequently went to California and identified himself with Backus’ Minstrels there.

Early in 1855 he rejoined E. P. Christy’s Company in San Francisco, acting as business manager.

In August, same year, he set sail for Australia with Backus’ Minstrels; he remained in that country until 1859, during which period he engaged in mining and mercantile pursuits, as well as following his profession.

Mr. Porter returned to New York about September, 1870, later making his home at Johnsonburg, N. Y., where he died January 18, 1906.

William A. Porter was born in Hartford, Conn., May 4, 1822.

J. W. Raynor (Rea) came to America at the age of ten years.

His first professional appearance was as a vocalist in New York City about 1845. In June, 1847, Mr. Raynor was one of the original members that comprised the first Campbell’s Minstrels.

Not long after this he joined E. P. Christy’s Minstrels in New York City, and continued with them until the dissolution of the company in that city, July, 1854. Mr. Raynor then organized a “Christy Minstrels” and for three years traveled successfully in the United States and Canada. July 11, 1857, in partnership with Earl Pierce, he sailed with a company for England, where they opened in London, August 3, following.

He met with immediate and lasting success, and exactly three years from the date he left America, Mr. Raynor announced his retirement, and returned to the United States, arriving August 15, 1860.

Less than four years later the old fever came back to Mr. Raynor, and he organized another “Christy’s” Minstrels, and continued at its head until about January 1, 1866, when he laid aside business cares of that nature for good and all, settling down in Paterson, N. J., where he became one of its most honored citizens.

J. W. Raynor was born in Ireland March 31, 1823; he died in North Paterson, N. J., April 5, 1900.

George Kunkel began his career as a black-face performer in 1844. In 1853 he organized a minstrel company that became famous as the Nightingale Serenaders; they traveled until 1855.

In the latter year Mr. Kunkel became manager of a theatre in Baltimore, and continued in such until 1861, when he again reorganized his minstrel company for a tour. In 1866 the company was formed for the third time for a brief engagement, after which Mr. Kunkel played Uncle Tom, and for many years, or until shortly before his death, he appeared in that role, in which he was eminently successful.

He married Ada Proctor, the actress, about 1861.

George Kunkel was born in Green Castle, Pa.; he died in Baltimore, Md., January 25, 1885; aged 62 years.

Joseph T. Trowbridge was prominent as a bass singer and interlocutor.

He joined Ordway’s Aeolians in Boston in 1852, and continued with them until December, 1857, when Johnny Pell, Lon and Billy Morris and John T. Huntley, organized a company bearing their names, and opened in Boston. Mr. Trowbridge was with them. Mr. Huntley withdrew about March, 1859, and the company was thereafter known as that of Morris Bros., Pell and Trowbridge, and as such it continued until 1867. He later became identified in the management of two Boston theatres. About 1872 he retired from active business.

Jos. T. Trowbridge was born in Newtonville, Mass., September, 1823; he died in Chelsea, Mass., Jan. 11, 1891.

Hank Mason was familiarly known as “Hank, the Mason.” He was one of the foremost jig dancers in the early days of minstrelsy. He was born April 18, 1823; he died in Brooklyn, N. Y., October 9, 1885.

W. W. Newcomb (Coomb) was one of the best known performers of minstrelsy.

As a boy he traveled with circuses. In the late 40’s he formed a partnership with Bije Thayer, of Boston, and successfully conducted a minstrel company about four years.

He made his first New York appearance in December, 1851; subsequently playing with Fellowe’s Minstrels, and later Wood’s Minstrels, in New York, with whom he remained until July, 1853. That same year he went with Campbell’s Minstrels, and continued four years with them.

In 1857 with Hy. Rumsey he organized Rumsey and Newcomb’s Minstrels, playing in the United States, Canada, Cuba, England and Germany. The organization broke up in London in the Spring of 1862.

Mr. Newcomb and Eph. Horn organized a company the following year; Mr. Horn soon dropped out, and Newcomb’s Minstrels continued until 1871.

April 17, that year, Newcomb and Arlington’s Minstrels opened in New York, on the present site of the Fifth Avenue Theatre.

Mr. Newcomb subsequently appeared with various companies, his last appearance being at Hooley’s Theatre in Brooklyn, N. Y., February 17, 1877.

“Bill” Newcomb was the originator of the “Essence of Old Virginny” dance; a great end man; and he was especially noted for his stump speeches.

W. W. Newcomb was born in Utica, N. Y., Aug. 4, 1823; he died in New York May 1, 1877.

John Diamond was one of, if not the greatest jig dancers that the world ever knew.

At a very early age he gave evidence of the wonderful talents he possessed, but it was not until the late P. T. Barnum took him in hand, and at Vauxhall Garden, New York, in the Spring of 1840, and brought him out, and subsequently took him all over the Union, and later to Europe, that he achieved the recognition he so richly deserved.

After the original four had given their first minstrel performance in February, 1843, Diamond was called upon to strengthen the quartette at a subsequent performance, a very short time later.

JOHN MULLIGANMILT. G. BARLOWLEW. PARKER
JOHN PENDYBILLY ARLINGTONDAN. SHELBY
GEO. EDWARDSHUBERT W. EAGANBILLY McALLISTER

PROMINENT PERFORMERS OF THE PAST AND PRESENT.

On July 8, 1844, he danced a contest with Master Juba, the colored dancer, and the greatest his race ever knew.

He was feted and courted for many years, but dissipation and riotous living carried him to an early grave.

John Diamond was born in New York City, in 1823; he died in Philadelphia, October 29, 1857.

J. A. Herman (Simonson) was one of the very earliest ballad singers in minstrelsy; he was the possessor of a sweet tenor voice which he used in rendering the old songs to excellent advantage.

Mr. Herman’s first appearance was in New York, at the Olympic Theatre, in 1839, singing “Norah McShane.”

His first minstrel engagement was with the “Campbell’s”; he was with this company in New York as early as October 17, 1848.

Subsequently he was associated with Wood and Fellowe’s; Henry Wood in 1852; Wood and Christy from 1853 to 1858; in the Fall of that year he joined Sniffen’s “Campbell’s” Minstrels, and when George Christy returned from California in the Summer of 1859, Mr. Herman went with him, and continued with Christy for a long period.

About 1863 he joined Hooley’s Minstrels in Brooklyn, and remained with them several years; barring the time Hooley was in Chicago.

Mr. Herman’s two brothers, George W. and William H., were both old-time minstrels. Mr. Herman retired from the profession a great many years before his death.

J. A. Herman was born in Brooklyn, N. Y., January 1, 1823; he died at Wood Haven, Long Island, N. Y., January 23, 1901.

Dan Rice (McLaren), the world-famous clown, in conjunction with Sam Sanford and others, in blackface, appeared in New York City at Palmo’s Opera House in the spring of 1843.

He was born in New York City, January 25, 1823; he died in Long Branch, N. J., February 22, 1900.

Joseph D. Murphy (Donnelly) began his minstrel career in the middle 40’s as a member of the Sable Harmonists: he was then a ballad singer.

On the 17th day of July, 1850, Mr. Murphy, Luke West, Matt. Peel and James Norris formed an organization known as the “Original Campbell Minstrels;” subsequently Mr. Norris retiring, the company flourished for several seasons as Murphy, West and Peel’s Minstrels.

About 1860 Mr. Murphy retired from minstrelsy and assumed various executive positions, notably as business manager at the Arch Street Theatre in Philadelphia, where he remained for fifteen years.

Mr. Murphy was a half brother of Jno. F. Donnelly.

Jos. D. Murphy was born in Philadelphia, January 11, 1823; he died there January 1, 1884.

C. L. Huntley, a member of Thayer’s Boston Sable Harmonists about 1850, was a fine guitar player, and very proficient in the manipulation of the bones.

He died in Boston, Mass., April 13, 1883; aged about 60 years.

Tom Vaughn was one of the earliest banjoists of minstrelsy. When sixteen years of age he made his professional debut with Holt and Nichols Circus; later he joined Turner and Rockwell’s, and Welch and Mann’s Circuses. After this he went to Buffalo, and met E. P. Christy, and when the latter formed the minstrel company that bore his name, Mr. Vaughn was one of the four original members. He continued with Mr. Christy until the dissolution of the company in July, 1854, and a few months later went with Christy’s Minstrels to California.

Mr. Vaughn returned to New York in 1855, and opened Vaughn’s Minstrels there that same year. Subsequently he was with Wood and Christy’s and George Christy’s Minstrels for several years, mostly in the Metropolis.

Tom Vaughn was born in New York, September 5, 1823; he died in Zanesville, Ohio, September 3, 1875.

J. T. Huntley was one of the early wench dancers of minstrelsy.

In December, 1857, he, with Lon and Billy Morris and Johnny Pell, seceded from Ordway’s Aeolians in Boston, and organized in that city a minstrel company bearing their names, which they conducted successfully for about two years, after which Mr. Huntley organized his own minstrel company and played an engagement at the Eleventh Street Opera House in Philadelphia in the Spring of 1859.

August 23, 1859, he married the widow of Matt. Peel, and at once assumed the management of Mrs. Matt. Peel’s Campbell’s Minstrels, and continued in that capacity for about four or five years, after which he retired to private life.

J. T. Huntley was born in New York, June 24, 1824; he died in Mamaroneck, N. Y., August 4, 1895.

Earl Horton Pierce was one of the greatest minstrel comedians of his day. April 8, 1850, he opened his own minstrel company in New York; it was subsequently Pierce and Fellowe’s Minstrels. Later, Mr. Pierce was with E. P. Christy’s Company in New York, and Ordway’s Aeolians in Boston. August 3, 1857, with J. W. Raynor, they opened in London, England, as “Christy’s Minstrels;” this was the first company to play under that title in England. Subsequently all minstrel companies were called “Christy’s.” Mr. Pierce made a tremendous hit singing a topical song called “Hoop de-Dooden-Do.” After his death his chair on the end remained vacant for three days, during which time it was draped.

Earl H. Pierce was born in New York in 1823; he died in London, England, June 5, 1859.

Tom Maguire never got the credit due him for placing minstrelsy in California on the high plane it once enjoyed. Mr. Maguire went to San Francisco in 1849, and a year later built the Jenny Lind Theatre there.

It was Maguire who brought George Christy and Company to California in 1858, and it was Maguire a dozen years or so later that paved the way for the success that later came to Billy Emerson, with whom Maguire was associated until the late 70’s.

And when Emerson made his first trip to Australia about 1873, Maguire’s Minstrels flourished on in San Francisco. Yes, the great coast metropolis owes much to Tom Maguire. Mr. Maguire died in New York, January 20, 1896; aged 72 years.

Dr. John P. Ordway was one of the earliest prominent managers engaged in permanent minstrelsy in one particular city.

He was the founder of the Aeolians, a famous minstrel organization who gave their first performance in Harmony Hall, Boston, Mass., December 16, 1849, and played in that city until September, 1859.

December 12, same year, he appeared with Anderson’s Minstrels for a few nights only; this was his last professional appearance.

Dr. Ordway was a skilled musician, and the composer of many popular ballads. While with his company he usually played the piano in the first part and invariably in white-face.

After retiring from the stage, he practiced medicine for several years, and in 1868 was a member of the Massachusetts Legislature.

He was the founder of the Massachusetts Anglers (now Fish and Game) Association.

Dr. John P. Ordway was born in Salem, Mass., in 1824; he died in Boston, Mass., April 27, 1880.

William H. Smith, the well-known manager, went to California in 1850, and in 1856 opened the Varieties Theatre in San Francisco. In 1860 he organized the California Minstrels and took them to South America, Australia and Europe.

In 1865 he was associated in the management of Cotton and Murphy’s Minstrels, frequently acting as interlocutor.

In 1880 he went to St. Louis, Mo., and at various times was manager of the Comique, Peoples and Standard Theatres there.

On September 24, 1866, Mr. Smith married Clara Sages in San Francisco.

William H. Smith was born in Norwich, Conn., August 10, 1824; he died in St. Louis, Mo., December 1, 1901.

“Bije” (Amidon L.) Thayer was one of the pioneers of minstrelsy; his operations were confined to Boston and contiguous territory chiefly.

Thayer’s Minstrels and Thayer and Newcomb’s Minstrels existed from the middle 40’s to the early 50’s.

To Mr. Thayer belongs the credit of being the first to establish a permanent minstrel company in Boston, although the Buckleys had preceded him in giving entertainments there.

“Bije” Thayer died in Boston, Mass., February 20, 1864; aged 41 years.

Barney Williams (Bernard O’Flaherty), who was one of America’s greatest legitimate Irish comedians, in his very early days was equally prominent as a burnt-cork performer.

July 8, 1845, at the Elysian Fields in Hoboken, N. J., he was advertised as “master of the tambourine.” September 6, same year, at Castle Garden, New York, he portrayed the great black-face part of “Dandy Jim, of Caroline.”

Barney Williams was born in Cork, Ireland, July 20, 1824; he died in New York City, April 25, 1876.

TOM. VAUGHNEDWIN P. CHRISTYGEO. CHRISTY

THE ORIGINAL CHRISTY MINSTRELS (Organized about 1844).

The company at its inception comprised Edwin P. Christy (the founder), Geo. Christy, Tom Vaughn and Lansing Durand. The other photos here represent minstrel scenes of that day.

Tom Briggs was one of the earliest and greatest banjo performers in minstrelsy; when he first went on the stage, in the early 40’s, he traveled under the name of Fluter.

He invented the banjo thimble in 1848, and it came into general use three years later.

He was the first to do the bell chimes, and gave imitations of a horse-race on the banjo.

He played successful engagements in the 40’s and 50’s with Wood’s Minstrels, likewise Buckley’s Serenaders. September 20, 1854, he left New York with E. P. Christy’s Minstrels to play an engagement in San Francisco; he contracted an illness on the way, and was unable to play.

Tom Briggs died in San Francisco October 23, 1854; aged 30 years.

Julia Gould was the first woman to achieve prominence in minstrelsy; she was with the famous Buckley Serenaders, and played several engagements with them in the 50’s; she was also with Maguire’s San Francisco Minstrels in San Francisco, July 11, 1864.

She essayed the principal female roles in the great operatic burlesque that made the Buckleys famous; always appearing in black-face.

Miss Gould’s first husband was A. T. Gregory Hall; she subsequently married John H. Collins, a prominent minstrel singer.

She was an actress and singer of rare and versatile talents.

Julia Gould was born in London, England, August 28, 1824; she died in Kinamundy, Ill., January 29, 1893.

Horace Weston, a colored man, was one of the world’s greatest banjoists; in addition he was a good general musician and dancer; a fact that is not generally known.

He served in the Army, and in July, 1863, was discharged, after which he joined Buckley’s Serenaders in Boston, and later traveled with them. About 1867 he became a member of the Georgia Minstrels, a famous colored organization.

In 1878 he went to Europe with an “Uncle Tom’s Cabin” Company; he played the principal Continental cities, and was a sensation.

Returning to America he joined Haverly’s Georgia Minstrels. The balance of his career was spent mostly in the variety theatres.

Horace Weston was born in Derby, Conn., in 1825; he died in New York, May 23, 1890.

The honor and distinction (and the pleasant sensation) of having received the highest salary ever paid to any black-face single performer belongs to Lew Dockstader.

Tim Woodruff appeared mostly in the West, where he was recognized as a truly great comedian.

His first appearance was made in Cincinnati, March 15, 1842; in an act called “Spirit Rappings,” later more generally known as the “Haunted House;” he achieved great success in this, and was forever identified with it.

He was at various times associated with Woodruff’s Minstrels; Woodruff, Brown and Jones’ Minstrels, and Woodruff and Foster’s Minstrels; these companies were mostly in existence in the 50’s.

About 1860 he entered the variety business, and continued with it practically up to his death.

Tim Woodruff was born in Hamilton, Ohio; he died in Cincinnati, Ohio, November 12, 1872.

E. W. Mackney was England’s earliest representative of the negro character.

He appeared in sketches with J. A. Cave, fully ten years before the first minstrel company invaded England in 1843.

He was prompted by the pronounced success achieved by “Daddy” Rice, of Jim Crow fame.

Mr. Mackney died in England, March 26, 1909; aged 84 years.

William B. Fish was one of the “Sable Harmonists” of the 40’s. He died in Argenta, Ark., July 29, 1875.

John G. Brown was a celebrated tambourinist and comedian in the earliest days of minstrelsy.

He was with the Buckleys when they played New York, May 9, 1844; at that time they were known as the Congo Melodists. In the Fall of 1848 he was with Thayer’s Minstrels, one of the famous Boston companies.

He died in New Bedford, Mass., October 8, 1858.

Joseph H. Rainer was one of the earliest vocalists and interlocutors. He was with Wood’s Minstrels in New York in 1852, and with Horn and Newcomb’s Company in 1863. He first appeared professionally in the late 40’s. He had been a resident of Lockport, N. Y., for many years.

Mr. Rainer was born in Lancaster, England, May 11, 1825; he died in Philadelphia, Pa., March 11, 1906.

George Winship was one of the pioneers of minstrelsy. As early as 1849 he occupied the bone end with the New York Serenaders, a famous minstrel company of that day.

He was long associated with J. W. McAndrews, the famous “Watermelon Man.”

About 1873 he was stage manager and performer at the Opera House, Rondout, N. Y., he had not appeared professionally much since then.

Mr. Winship had long been a resident of Fruitvale, Cal., where he died October 19, 1900.

Harry Hapgood was, up to the time of his death, the oldest living minstrel agent.

In his youth he was known as “Handsome Harry.”

His professional career began as an actor in Philadelphia in 1843. He subsequently became a manager and agent for various companies, and in the latter capacity was with Rumsey and Newcomb’s Minstrels about four years. He then was associated with Mr. Rumsey in the Rumsey Minstrels in 1863.

Harry Hapgood was born in Elizabethtown, N. Y., February 26, 1825; he died at Amityville, Long Island, N. Y., July 10, 1910.

Master Juba (William H. Lane) was a colored man, and as a jig dancer it is said that the world never saw his equal.

He played the tambourine with the Georgia Champions Minstrels in 1843, and several engagements with Charley White’s Minstrels in New York.

He went to Europe about 1848, and in the Spring of the following year played an engagement with Pell’s Serenaders at the Surrey Theatre in London. He was lionized in Europe, and took the Britishers by storm. He married a white woman there.

“Master” Juba died in London, England, about 1852; he was born in the United States about 1825.

Gilbert W. Pell was a brother of Dick Pelham, one of the original minstrels of 1843.

As a member of the Ethiopian Serenaders, he went to England in 1846. The success of the company was so great in London that morning performances had to be given, and in addition they appeared at private residences of the rich. Mr. Pell, who played the bone end, and the company, whose portraits adorn another page, played an engagement at Palmo’s Opera House, New York, September 15, 1845.

In 1849 he was in England with his brother’s company, known as Pell’s Serenaders. Subsequently he returned to the United States, but early in 1859 he again went to Europe, where he remained until his death.

Gilbert W. Pell was born in New York City; he died in Lancashire, England, December 21, 1872, aged 47 years.

Jno. H. Carle, famous for the singing of “The Lively Old Flea,” accompanied by the banjo, was one of the early prominent proprietors of a minstrel show. In the 50’s he was associated with J. G. H. Shorey and Chas. Duprez; on July 4, 1856, he withdrew from the partnership, and for many years played minstrel and variety engagements.

About 1876 he went to fill a two weeks’ engagement at Flood’s New Park Theatre, Curtis Bay, Md. He remained there until the time of his death, nearly a quarter of a century, and he had the distinction at that time of being the oldest active banjoist and vocalist before the public, retaining his vivacity all the while.

John H. Carle was born at Portland, Me.; he died at Curtis Bay, Md., September 20, 1900; age 75 years.

“Punch” Collins (W. Pearson Collins), the well-known comedian of the early minstrel days, first appeared prominently with Sam Sanford’s Minstrels April 1, 1850, at the Astor Place Opera House, New York City, and was at the opening of the first theatre ever built expressly for minstrelsy, also by Sanford, August 1, 1853; subsequently he was with Earl Pierce’s Minstrels in New York in 1855; on August 3, 1857, he opened in London, England, with Raynor and Pierce’s “Christy” Minstrels. This was the first minstrel organization that ever played in England under the title of “Christy.”

After the death of Earl Pierce Mr. Collins occupied the end chair formerly occupied by Pierce.

EDWIN BOOTHJAS. A. HERNEP. S. GILMOREEDWIN FORREST
BARNEY WILLIAMSJOS. JEFFERSONWM. CASTLETONY PASTOR
DAN. DALYP. T. BARNUMRICHARD GOLDENHARRY KERNELL
DAN. RICEJ. W. KELLYNEIL. BURGESSJ. K. EMMETT

FAMOUS ARTISTS OF THE PAST—THEY ALL BLACKED UP.

Mr. Collins later withdrew from this company, and with “Tony” Nish organized another “Christy” company, opening in London, England, at Her Majesty’s Concert Hall Monday, March 18, 1861; subsequently he sold his interest in this company, returned to London, and organized another troupe; they played at Polygraphic Hall as early as April 14, 1862.

In September, 1863, he sailed for India, playing the principal cities. In July, 1866, he returned to America, later going to England, where he married; subsequently he returned to Pittsburgh, where he remained until his death. He had not appeared professionally for several years prior to that.

Mr. Collins did an “end”, a stump speech and a female impersonation equally artistic.

W. P. Collins died at Pittsburgh, Pa., November 1, 1881; age about 55 years.

L. V. H. Crosby has been credited as being the first interlocutor, then called “middle man” of minstrelsy; this was about 1845, when he organized the Boston Harmoneons. This company gave a special performance at the White House in Washington, D. C., June 18, 1846, for President Polk.

Mr. Crosby was composer of several songs, and a basso of unusual ability. His late years were devoted almost exclusively to concert work.

L. V. H. Crosby died at Reynolds, Ga., March 26, 1884; age about 60 years.

James Unsworth and Nelse Seymour were born and died within thirty days of each other.

E. J. Melville (Edward John Robbins), a well-known singer of the early days of minstrelsy, came to the United States in 1849; shortly afterwards he sang in the choir of a church in Cleveland, O., where he was known as the best tenor in that city. His principal engagements were with Hooley’s Minstrels, Hooley and Campbell’s Minstrels (being with them at their inception, May 6, 1860), Lloyd’s Minstrels, Carncross and Dixey, and Duprez and Benedict. He also played an engagement at the Canterbury Music Hall, New York City, in October, 1861.

Mr. Melville was married to Miss Amelia Nash, October 1, 1848, by whom he had three daughters, one of whom became the wife of Edwin French, the banjoist.

Mr. Melville’s private life was a most happy one; he was generous, cheerful and a true friend.

E. J. Melville was born in London, England, February 4, 1825; he died in Buffalo, N. Y., January 18, 1903.

“Jim” Johnson (Gallagher), an old-time banjoist, well known in his day and popular on the steamer “Banjo”, was born in New York about 1825; he died in New Orleans, La., November 22, 1875.

Dick Sliter was one of the world’s greatest jig dancers. His professional career commenced in the late 30’s, and he had been with many of the early famous organizations, notably Sanford’s Minstrels in 1859.

He also, with Johnny Booker, organized Booker and Sliter’s Minstrels, which was quite successful. Dick Sliter died in Jackson, Mich., May 21, 1861.

Jasper H. Ross was famed as a musical director and composer. His professional career began in 1847 with Spalding and Rogers’ Circus. Subsequently he played extended engagements with the minstrel companies of Carncross, Bryant’s, White’s, Rumsey and Newcomb’s and the San Franciscos.

He was born in Northampton, Mass., in 1826; he died in New York, September 8, 1889.

Jimmy Wells, once well-known as a manager, was a member of Ordway’s Aeolians in Boston for a lengthy period in the early 50’s.

He was born in New York in 1826; he died in Grand Rapids, Mich., March 16, 1893.

Sam Wells was prominent as a bass vocalist and interlocutor. He went to Europe in the middle 40’s with the Ethiopian Serenaders, and they created a sensation.

He was with several prominent minstrel companies located in New York up to 1855, when he sailed for California, where he was located with George Christy’s and other minstrel companies until December, 1863, when he went to New York, and after playing one week with Bryant’s Minstrels, returned to California.

Mr. Wells’ death was caused by being thrown from a horse in California, August 27, 1864; he was 38 years of age.

Charley Howard has been given credit of being the first to represent the aged darkey on the stage. At the age of ten years he traveled with Joe Sweeney’s company, giving concerts in the Southern States, appearing in barns and churches, and traveling by coaches.

Mr. Howard was with many prominent minstrel organizations, and when Haverly separated from Cal. Wagner in 1873, Howard was one of the first engaged for the Haverly Minstrels.

Charley Howard was born in Virginia, June 5, 1826; He died in Brooklyn, N. Y., April 28, 1895.

Stephen Collins Foster, whose simple and homely ballads contributed as much as any other cause to the placing of early minstrelsy on a permanent and successful basis, was the author, among others, of “Willie, We Have Missed You”, “Old Uncle Ned”, “My Old Kentucky Home”, “Old Dog Tray”, “Massa’s in de Cold, Cold Ground”, “Ellen Bayne” and “Old Black Joe.”

He was born in Allegheny, Pa., July 4, 1826; he died in New York City, January 13, 1864.

James Powers was one of the real early minstrels, and a member of the Boston Harmoneons, which were especially well known in Massachusetts. With his brother John, he was with the above organization several seasons, commencing in the early 40’s.

Mr. Powers was the author of “She Sleeps in the Grave” and “Faded Flowers”, favorite ballads of days now forgotten.

James Powers died in Boston, Mass., January 5, 1890; age 64 years.

Dan Leon, a real old-time black-face comedian and general performer, died in New York City, April 27, 1863; he was born March 1, 1826.

W. Jackson Rudolph, one of the pioneers of minstrelsy, made his first appearance in his native city early in 1846 in black-face as a banjoist; the following year he was one of the Sable Harmonists; in 1849 he was with the Virginia Minstrels, and up until 1855, when he joined Sanford’s Minstrels in Philadelphia, he was almost continuously associated with one or the other of the many minstrel bands that were then in evidence.

He later went on the legitimate stage, but subsequently, in 1864, joined Carncross and Dixey’s Minstrels in Philadelphia.

About 1870 he played his last minstrel engagement with Simmons and Slocum, also in the Quaker City. November 3, 1880, he made his last appearance on the stage of Wood’s Museum in Philadelphia.

W. Jackson Rudolph was born in Philadelphia, 1826; he died there September 5, 1881.

John A. Dingess. After the dissolution of the Duprez and Green’s Minstrels as an organization in 1865, Mr. Dingess formed a partnership with Jno. E. Green and organized Dingess and Green’s Minstrels, opening at Chattanooga, Tenn., November 18, 1866; their existence was short lived. He was subsequently, and for many years, engaged in an executive capacity in the circus business.

John A. Dingess was born in Cincinnati, Ohio, in 1826; he died in New York City, April 14, 1901.

Luke West (William Sheppard) was the first performer to do a whistling solo in minstrelsy, which he did as early as 1845 at Otto Cottage, Hoboken, N. J.

In the Fall of 1848 he was one of the organizers of the Campbell’s Minstrels; November 29, 1849, he joined the E. P. Christy’s Minstrels in New York, resuming his own name of Sheppard. On August 15, 1850, in conjunction with Matt. Peel, Joseph D. Murphy and James Norris, “Campbell’s Minstrels” gave their first performance. Subsequently the organization was known as Murphy, West and Peel’s Minstrels, and as such continued until his death. In addition to his whistling ability, Mr. West was an accomplished comedian, dancer and banjoist.

Luke West was born in Philadelphia, 1826; he died in Boston, Mass., May 26, 1854.

Charles G. Long, who was for nearly forty years associated in the management of the Academy of Music, in Selma, Ala., with George T. Rees, the present incumbent, was one of the pioneers of minstrelsy.

About 1844 or 1845 he became a member of the Virginia Serenaders, a full page photograph of which is shown [elsewhere]. The company traveled by wagon through Pennsylvania and New York chiefly.

It has been stated that Mr. Long joined this company when he was ten years of age; this is clearly erroneous, as the little band was not organized until 1843, probably in the late Spring or early Summer.

Mr. Long played a banjo, one of his own making.

Charles G. Long was born in Carlisle, England, December 20, 1827; he died in Selma, Ala., January 28, 1908.

Fred Burgess was for many years co-proprietor with “Pony” Moore at St. James Hall, London, England, of Moore and Burgess’ Minstrels.

Mr. Burgess was a shrewd business man, and possessed intellect out of the ordinary. At one time he was a member of Kunkel’s Nightingales, an early minstrel company in the United States.

CLARENCE BURTONHY. RUMSEY
BILLY HUNTLEYEDWIN FRENCH
OSCAR WILLISEDMOND G. CORBIN

BRIGHT LIGHTS OF THE BANJO.

In the fall of 1864, at Glasgow, Scotland, he was engaged as agent for Moore, Crocker, Hamilton and Ritter’s Minstrels; about a year later he secured St. James Hall, in the British metropolis, and a few years later, “Pony” Moore having bought out Hamilton and Ritter, and the death of Crocker paved the way for a partnership; the organization subsequently and for many years was known as Moore and Burgess’ Minstrels.

Mr. Burgess was twice married; his second wife was Miss Ellen Meyrick.

Fred Burgess was born in Providence, R. I.; he died at Finchley, England, July 26, 1893; age 66 years.

Charles Callender, proprietor and manager of the famous colored organization that bore his name, played many seasons on the road, commencing about 1872; several years later Haverly purchased his interests; the company subsequently became the property of Charles and Gustave Frohman.

Mr. Callender had retired from active theatricals some years before his death.

Charles Callender died at Chicago, Ill., February 24, 1897; age 70 years.

Frank Moran came to the United States at the age of four years; it was not until later that he did a stump speech.

His first appearance professionally was about 1848, as a comic singer in Philadelphia with Raymond and Waring’s Circus. He was with several small minstrel shows before going to California in 1850, and subsequently to Australia.

Some time after his return from the Antipodes, he joined Sanford’s Minstrels in Philadelphia, and later was with Carncross and Dixey at different periods, aggregating a number of years.

September 5, 1864, he opened Moran’s Minstrels on Chestnut Street, Philadelphia. Later he was with Bryant’s, and Kelly and Leon’s Minstrels in New York; Hooley’s in Brooklyn, and Moore and Burgess’ in London.

As Moran and Dixey’s Minstrels, the famous Eleventh Street Opera House in Philadelphia opened October 2, 1871; in September, the following year, the company was known as Moran’s Minstrels.

Subsequently Moran and Billy Manning’s Minstrels made a brief tour. Of later years Mr. Moran was associated with Ned Thomas in a minstrel company, and on July 17, 1890, he began an engagement with Wm. Henry Rice’s World’s Fair Minstrels.

Frank Moran was a natural born comedian, and at times was rather caustic in his wit; but underneath a seeming rough exterior was a heart that was never known to fail a fellow performer in distress.

As a stump orator he was different from all others, and he did this act almost up to the time of his death.

Mr. Moran was twice married; his first wife died a few years prior to his marriage to Miss Jessie Millar, February 1, 1898.

Frank Moran was born in Ireland, September 15, 1827; he died in Philadelphia, December 14, 1898.

“Nick” Bowers (Edward Bowers), one of the ablest and most efficient middle men and stage directors of minstrelsy, made his first appearance at Charley White’s in New York, in the early 50’s; subsequent engagements were with Ordway’s Aeolians, Morris Bros., Pell and Trowbridge and Wood and Christy’s Minstrels.

In 1858, in conjunction with Billy Birch and Charley Fox, they presented Birch, Bowers and Fox’s Minstrels, and in 1864, with Tom Prendergast, launched a company that had a brief existence. For some time he played star engagements with John Mulligan.

His last appearance was in New York City, February 11, 1865.

Nick Bowers died in Brooklyn, N. Y., February 27, 1865; age 38 years.

Paul Berger was one of the greatest bass singers in minstrelsy, and at the requests of Presidents Tyler and Van Buren, he sang before those chief executives.

He was with Matt. Peel’s Minstrels in 1858; with Sanford’s Minstrels in Philadelphia, and later with Carncross and Dixey’s Co. in the same city. Mr. Berger was business manager for Fox’s Theatre in Philadelphia, in 1876.

Paul Berger died in Philadelphia, October 8, 1894; age 67 years.

John Mulligan was an altitudinous comedian, and in the old nigger acts with performers of immature stature, in the ludicrous make-up he invariably affected, he was screamingly funny. His first professional appearance was with Raymond and Waring’s Circus; his first minstrel engagement was with the Perham Company more than fifty years ago. Mr. Mulligan appeared for several seasons in the various variety houses controlled by George Lea.

In June, 1866, he commenced an engagement at Hooley’s Minstrels in Brooklyn, remaining fifteen months; subsequently he was with the San Franciscos in New York.

January 2, 1871, when Hooley invaded Chicago, Mr. Mulligan was with his company.

Mr. Mulligan was most happily married, and his domestic life was an ideal one.

John Mulligan was born in New York City, 1827, where he died July 28, 1873.

Charles Christie, who had various companies bearing his name, notably one in England about 1866, died in Kansas City, Mo., February 12, 1897; age 69 years.

Fred Wilson. The distinction of being the oldest living minstrel undoubtedly belongs to the subject of this sketch, who made his first appearance about 1843, and for four or five years allied himself with many of the various minstrel companies that sprang up after the success of the parent organization.

In 1848 he joined “Bije” Thayer’s Minstrels, a prominent Boston Company.

While Mr. Wilson was not the first to do clog dancing in this country, he was undoubtedly the first to do so in a minstrel company.

In the Fall of 1858 he joined Bryant’s Minstrels in New York, and about December 1, that year, made his first appearance in Boston with the Morris Bros., Pell and Trowbridge’s Minstrels, where he made a lengthy stay.

April 29, 1861, he opened with Lloyd’s Minstrels in New York, closing May 25, following. Later he went to China in a government capacity, but not liking the cooking in the Celestial Empire, returned to the United States, arriving January 25, 1864.

(Charley) Morris and Wilson’s Minstrels opened at their permanent home in St. Louis, April 10, 1865; the partnership was dissolved in February, 1867.

Fred Wilson’s Minstrels toured for two or three years, and then Mr. Wilson made another foreign trip; but returned in the Summer of 1871.

In 1872 he was with Cal. Wagner’s Minstrels, and in 1875 made another foreign invasion, remaining abroad five years, returning in 1880 and joining Haverly’s Minstrels. Subsequently Mr. Wilson, whose specialty for many years had been clog dancing, except in 1852 when he was a clown in a circus, took up executive duties with many minstrel and other organizations. He also promoted several attractions of his own.

Fred Wilson was born in Boston, Mass., November 9, 1827.

Sam Hague, the famous English minstrel manager, began his career as a clog dancer.

He visited the United States in 1850 with his brothers Thomas and William; later he was a partner of Dick Sands, also Tim Hayes.

He toured the United States for several seasons with Hague’s Concert Company, and in 1865, with Cal. Wagner, formed Wagner and Hague’s Minstrels.

He also organized Hague’s Georgia Minstrels, a company of negro performers, and gave the first performance at Macon, Ga.

Later they sailed for England, and opened at Liverpool, July 9, 1866, and scored a failure. Subsequently Mr. Hague engaged white performers for the principal parts, and retaining some of the colored men, gave a performance that achieved success.

He organized a permanent minstrel company in Liverpool, and opened there in St. James Hall, October 31, 1870, and remained eighteen years, after which they made brief tours, up to the time of Mr. Hague’s death.

He visited the United States with Hague’s British Operatic Minstrels, opening in Philadelphia, September 12, 1881.

Sam Hague was born in Sheffield, England, in 1828; he died in Liverpool, England, January 7, 1901.

George L. Hall has the distinction of being the oldest living minstrel balladist. His first appearance was at Georgetown, D. C., October 14, 1848, with the Beck Family.

Mr. Hall has long since retired from active theatricals, but during his long career as a vocalist he was associated with some of the most famous organizations in minstrelsy.

Among the most prominent ones that may be mentioned are: Sanderson’s, in Baltimore; Sanford’s, in Philadelphia; George Christy’s, and Bryant’s, in New York; Skiff and Gaylord’s, Johnny Booker’s, Sam Price’s and Boyce and Mudge’s.

Wm. D. Hall, the well-known minstrel and author, in Philadelphia, is a son of Mr. Hall.

Geo. L. Hall was born in Baltimore, Md., May 5, 1828.

Charley Fox was one of the most popular comedians and banjoists of his day.

His first appearance was in 1848. About 1854 he came to New York, and for many years was identified with the best permanent organizations. He was of the original company of Bryant’s Minstrels, New York, February 23, 1857.

BILLY WELCHJOHNNY RICE
(WELCH & RICE.)
EDDIE GIRARDWILLIE GIRARD
(GIRARD BROS.)
J. MELVILLE JANSENGUS. BRUNO
(KNOWN AS JOHNSON & BRUNO.)

He was with Lloyd’s Minstrels in 1861, and several seasons with Wood’s Minstrels; all in the metropolis. His last appearance was December 22, 1864.

Charley Fox was born in Brooklyn, N. Y., November 15, 1828; he died in New York City December 26, 1864.

George H. Coes was a splendid “straight man”, possessed a fine voice, and was an excellent banjoist.

He went to California about 1852 from the east, and identified himself with several minstrel companies there. He remained a few years, and then returned to New York, where he opened with Wood and Christy’s Minstrels, October 15, 1857. In the Spring of the following year he again went to California, where he appeared with George Christy’s Minstrels. In 1859, with Sam Wells, he organized Coes and Wells’ Minstrels in California.

A few years later he again came East, subsequently joining the Morris Brothers’ Minstrels in Boston. He left them February 13, 1866, and on the following March 5, he was at the opening of Seaver’s Minstrels in Brooklyn, N. Y., in the theatre that is now known as the Novelty. A year later, with S. S. Purdy and Frank Converse, Purdy, Coes and Converse’s Minstrels were organized.

Mr. Coes flayed stock engagements at Pastor’s, Bob Butler’s and John Hart’s theatres in New York City for many years. He formed a partnership with Luke Schoolcraft in 1874, which terminated in 1889.

George H. Coes was born in Providence, R. I., about 1828; he died in Cambridge, Mass., March 16, 1897.

Arthur Moreland, Bobby Newcomb and Luke Schoolcraft were born on three successive days, respectively, in 1847.

Jerry Bryant (O’Brien) was the oldest of the famous Bryant Brothers; he was an excellent comedian, and was especially good on the “bone end” of the minstrel first part.

He made his initial appearance as a ballad singer in 1842. Billy Whitlock, the “father of minstrelsy,” first brought him before the public.

In 1844 he became a member of the Ethiopian Serenaders, subsequently appearing with the Operatic Brothers and Sisters. In June, 1847, he formed one of the original Campbell’s Minstrels, organized in New York City.

The following year he played in London, England, with Major Dumbleton’s Ethiopian Serenaders. In 1849 he returned to America and made a tour of the country, and on April 8, 1850, he opened with Earl Pierce’s Minstrels at No. 442 Broadway, New York City; subsequently he went to Boston, where he met with much success with Ordway’s Aeolians.

When George Christy seceded from the E. P. Christy Minstrels, in New York, October 1854, Jerry Bryant took his (Christy’s) place, and remained with the company until it disbanded, on July 15, 1854; in September, the same year, he went with E. P. Christy’s Minstrels to California, and continued until the final dissolution of that company took place, a short time after their arrival. In San Francisco he next managed the San Francisco Minstrels, in conjunction with Eph. Horn and Sher. Campbell. In 1855 they went to Australia, subsequently returning to the United States, and on Monday, February 23, 1857, in conjunction with his brothers, Dan and Neil, and about ten others, the first performance of Bryant’s Minstrels was given in New York City, at Mechanics’ Hall, No. 472 Broadway.

Mr. Bryant was married in the Spring of 1859; his widow subsequently became the wife of Thomas Donaldson, proprietor of the London Theatre, New York.

Of Jerry Bryant it may be truthfully said that he was one of the most capable and popular performers that ever blacked up.

His last appearance was with his own company, April 2, 1861.

Jerry Bryant was born in Chesterfield, N. Y., June 11, 1828; he died in New York City April 8, 1861.

Mickey Warren was one of the most famous of the early jig dancers. He appeared with Charley White’s Minstrels in New York City in 1849, and was for a long time with Bryant’s Minstrels in the same city.

He died in New York City May 14, 1875; age 47 years.

Hy. Rumsey was one of the greatest banjoists of his day. In the middle 50’s he joined Campbell’s Minstrels, and continued with them until 1857, when, with W. W. Newcomb, he organized a company bearing their names, which traveled in the United States and Europe until 1862.

Mr. Rumsey subsequently organized Rumsey’s Minstrels, and traveled with it for several seasons.

He was one of the earliest performers to give imitations of the bell chimes on the banjo, and unlike most of his contemporaries, Mr. Rumsey invariably played while in a standing position.

Hy. Rumsey was born July 12, 1828; he died in Newburgh, N. Y., September 9, 1871.

Thomas L. Moxley was known as “Master Floyd” in his earlier career, which began with Kunkel’s Nightingales in the 50’s; he remained with them several seasons, chiefly as a female impersonator. He was the last survivor of that famous company.

He was born in Baltimore, Md., and died there July 7, 1890; age 62 years.

James Carroll was a capable and efficient “middle man” and vocalist of Bryant’s Minstrels in New York City at the time of his death there, April 11, 1861; age 32 years.

G. W. H. Griffin was one of the prominent men of minstrelsy; he excelled as an interlocutor, had a fine voice, was an actor of merit and was intellectual to a degree.

His first appearance was in 1850 with the Boston Harmonists in Palmyra, N. Y. In 1853 he joined Wood’s Minstrels in New York, and continued with them when the organization, a few months later, was known as Wood and Christy’s Minstrels. With the latter company he remained until May, 1854, when he went to California with George Christy’s Minstrels. A year later he returned East, and on February 6, 1860, in conjunction with Sher. Campbell and R. M. Hooley, he organized Hooley and Campbell’s Minstrels. This company continued until July 13, 1861.

October 28, following, Mr. Griffin and Mr. Hooley organized the famous Hooley Minstrels, giving the first performance in New York on that date.

Mr. Griffin severed connection with this company in August, 1862.

Season of 1862-63 he was with Bryant’s Minstrels in New York, and the following one with Hooley in Brooklyn, N. Y., and continued with him until 1866.

Early in 1867 Mr. Griffin and George Christy’s Minstrels were established in New York, where their final appearance was made September 23, same year.

Later Mr. Griffin was identified with the following well-known minstrel organizations: Kelly and Leon’s; Hooley, in Chicago, and Unsworth’s.

His last minstrel appearance was in Brooklyn, N. Y., January 8, 1875, with a venture of his own.

Subsequently he appeared in the variety theatres. His last engagement was with Harrigan and Hart Company, in Boston, Mass., June 7, 1879.

G. W. H. Griffin was born in Gloucester, Mass., March 21, 1829; he died in Brooklyn, N. Y., July 11, 1879.

Joseph Jefferson.—This famous American comedian, whose long association in the character of Rip Van Winkle endeared him to the hearts of thousands, at the age of four years, in Washington, D. C., was brought on the stage by the immortal “Daddy” Rice, and danced Jim Crow before an admiring audience.

Joseph Jefferson was born in Philadelphia, February 20, 1829; he died at Palm Beach, Fla., May 23, 1905.

Billy Coleman, a good general black-face performer and banjoist, a favorite of Charley White’s Melodeon in New York City in the 50’s, at one time associated with George W. Charles, the wench dancer, died in New York City June 4, 1867; age 38 years. He had retired from the profession about five years prior to this.

Sher. Campbell (Sherwood Coan) was conceded to be the greatest baritone singer that minstrelsy ever knew, although in his earlier days he had a fine alto voice. His first appearance was with Campbell’s Minstrels in 1849, in New York City, where he remained several years, subsequently joining Murphy, West and Peel’s Minstrels, with whom he continued a few seasons; later he was with E. P. Christy’s Minstrels in New York, and went to California with them in 1854, afterwards joining Backus’ Minstrels there, going to Australia with that company.

Returning to San Francisco in 1856, he remained there with different companies until 1858, when he joined George Christy’s Minstrels, returning to New York in May, 1859. The following year, with G. W. H. Griffin and R. M. Hooley, they organized Hooley and Campbell’s Minstrels.

August 5, 1861, he opened with Bryant’s Minstrels in New York; he remained two years; this was his last minstrel engagement. Later the Castle-Campbell Opera Company was organized, and Mr. Campbell’s success in that form of entertainment was in every respect equal to his minstrel triumphs.

Sher. Campbell was born in New Haven, Conn., May 16, 1829; he died in Chicago, November 26, 1874.

George W. Bailey, one of the early minstrel performers, who was with Sharpley’s and other first-class organizations, and who was a clever “straight” man and interlocutor, died at Milford, Mass., July 2, 1891; age 62 years.

The 11TH ST. OPERA HOUSE, PHILADELPHIA.
Now and for nearly sixty years a home of permanent minstrelsy.

MECHANICS HALL; 1857.
472 Broadway, New York City; for many years the home of Bryant’s Minstrels. Only a memory now.

TWO FAMOUS MINSTREL EDIFICES; PAST AND PRESENT.

P. S. Gilmore, who organized and led for many years the famous band bearing his name, was a member of Ordway’s Aeolians in Boston, 1851, where he sat on the end and played the tambourine. June 24, 1851, he began an engagement in Hartford, Con., with the above company.

P. S. Gilmore was born near Dublin, Ireland, December 25, 1829; he died at St. Louis, Mo., September 24, 1892.

“Dad” Sarrissey (William H. Blackledge), an old-time banjoist and comedian, played several engagements at Charley White’s in New York, also Bryant’s Minstrels in the same city. His last appearance was about 1869.

He was born in New York City in 1829; he died there December 15, 1889.

Ben Mallory was especially well known as a dancer. He was with E. P. Christy’s Minstrels in New York, and in the same city was one of the original members of Bryant’s Minstrels in 1857.

He was born in New York in 1829; he died in Savannah, Ga., November 2, 1859.

Ben Cotton. One of the truly great names in minstrelsy was Ben Cotton—not so great in 1845, when running away from home, yet early in his teens, he joined the Amburgh Circus, as in 1906 he made his final appearance at Tony Pastor’s, New York City, doing, not the aged darky act, by which character he was most familiarly known, but the dandy of the present; the beard he had been wont to wear for many years was shorn for this occasion. It was no longer “old Ben Cotton,” but “young Ben Cotton” that the audience received and applauded. Only the initiated could have known that the “darkey” before them was 76 years of age, and it is the writer’s proud boast that he was at Pastor’s to give Ben Cotton a “hand” on his entrance, and remaining until the evening performance, again led with the veteran’s reception; and Ben Cotton “made good.”

When Julian’s Serenaders opened the famous Eleventh Street Opera House (then known as Cartee’s Lyceum), in Philadelphia, December 4, 1854, he was a member of the company. His next prominent engagement was with Matt Peel’s Minstrels. Here he made a big success as “Old Bob Ridley”, a character portraying the aged negro, which he did with remarkable fidelity. Afterwards he was on the steamer “Banjo”, which plied the Mississippi River, giving entertainments on board, stopping at the various towns on its course. This engagement gave him an opportunity to study the negro at close range, which he was quick to take advantage of, and it served him in good stead during his entire career.

Returning to New York, Birch and Cotton’s Minstrels played a successful engagement at No. 444 Broadway; and in 1862 they went to San Francisco, this being Cotton’s first appearance there. He remained under Tom Maguire’s management for three years.

With Joe Murphy, Cotton and Murphy’s Minstrels were organized about March 1, 1865; the organization continued two years, when, Murphy retiring, it became Cotton’s Minstrels.

In 1870 he joined Manning’s Minstrels in Chicago, playing an extended engagement there. Later Arlington, Cotton and Kemble’s Minstrels were launched in the same city, and met with such success that a theatre was built especially for them. Accordingly, Myers Opera House, Chicago, was opened with this company September 23, 1872.

Early in 1875 he was with Billy Emerson’s Minstrels at Hooley’s Theatre, Chicago, and that same year, with Dave Reed, opened the Twenty-third Street Opera House, New York, which had lately been vacated, owing to the death of Dan Bryant. The company was known as Cotton and Reed’s Minstrels.

A short season of management at Wood’s Museum, Chicago, not proving successful, with his wife and daughter he produced and played for many years “Faithful Bob”; later this play was known as “True Devotion”.

In 1878 he returned to minstrelsy for a few months, forming an alliance with Cal Wagner, known as Cotton and Wagner’s Minstrels.

In 1886 Birch and Cotton’s Minstrels again took the road; following this, he played a few seasons in California with a repertoire company.

Engagements of late years were character parts in “The War of Wealth”, “The New South” and “As Ye Sow”.

Ben Cotton was thrice married.

Ben Cotton, Jr., who is dead, and Idalene Cotton, who is the wife of Nick Long, are his children.

Ben Cotton was born in Pawtucket, R. I., July 27, 1829; he died in New York City, February 14, 1908.

Anthony Nish was well known for many years as a minstrel “leader.”

His first theatrical appearance was in the 50’s, with Parham’s Minstrels. July 11, 1857, he sailed for England with Raynor and Pierce’s “Christy” Minstrels, opening in London, August 3, following.

He continued with this company for a lengthy period, later organizing a troupe of his own. He finally returned to London, and was with Moore and Burgess’ Minstrels for many years.

He was born in New Castle, England; he died in London, England, October 3, 1874; age 39 years.

J. B. Murphy was a well-known composer, vocalist and manager. He had been with Beler’s Campbell Minstrels in 1861, and with Lloyd and Bidaux’s, where he commenced an engagement January 21, 1867.

He died in Jersey City, N. J., July 13, 1871.

George W. Herman (Simonson), well and favorably known as a black-face comedian and banjoist, and a brother of J. A. Herman, died in Brooklyn, N. Y., about August, 1882.

Joseph Mortimer (Mocherman) began his professional career in the variety theatres as a black-face banjo player; later he was with Gardner and Forepaugh’s Circus.

His first managerial experience was with the Canterbury in Philadelphia in 1864.

Subsequently he assumed control of what is now known as the National and Casino Theatres in the same city, the former on February 6, 1871; the latter August 23, 1873.

He retired from the management of the Grand Central Theatre, June 24, 1876, and took the management of Matt Morgan’s Variety Company. This was his last theatrical enterprise.

Mr. Mortimer was twice married—first to Effie Walters, who was later known as Florence Stover, and later to Ida Morris; both were professional ladies.

Wm. A. Mortimer, the well-known actor of Corse Payton’s Stock Company, is his son.

Joseph Mortimer was born in Harrisburg, Pa.; he died there January 6, 1880.

THE MORRIS BROTHERS.

The careers of Lon and Billy Morris were practically contemporaneous.

Their first professional appearance was made at Charlotte, N. Y., in 1845, at a very early age.

About 1852 they joined Ordway’s Aeolians in Boston, where they remained five years, and met with such success that, in conjunction with Johnny Pell and J. T. Huntley, they organized a company bearing their names, and opened at the Howard Athenaeum in Boston, December 25, 1857.

Early in 1859 Mr. Huntley withdrew from the organization, and Jos. Trowbridge was taken as a partner.

Subsequently, through the death of Pell and the retirement of Trowbridge, the company was known as the Morris Minstrels, and as such they opened in St. Louis, Mo., November 6, 1867.

About two years later the organization disbanded, and Lon and Billy Morris took up other pursuits.

Both were comedians of ability; Lon was the tambourinist and Billy the bones of the troupe.

Charley Morris, who was at various times agent, performer and manager, began his theatrical career simultaneously with his brothers in 1845, and was associated with them practically until July 27, 1861, when, in conjunction with W. H. Brockway and John E. Taylor, he organized a company, opening at Gloucester, Mass.

In 1863 Mr. Morris was associated in the management of the Morris Minstrels with Add Weaver; April 10, 1865, with Fred Wilson, he opened in St. Louis, Mo., a permanent minstrel company that was successfully run until the dissolution of the partnership, February, 1867.

Mr. Morris subsequently conducted his own minstrel companies until about 1878, and about a year or so later retired from active management.

Mr. Morris excelled as a banjoist.

Lon Morris was born in Fort Erie, N. Y., May 15, 1830; he died in New York, May 6, 1882.

Billy Morris was born in Rochester, N. Y., April 11, 1831; he died in Boston, Mass., October 11, 1878.

Charles A. Morris was born in Rochester, N. Y., March 27, 1834; he is now a guest of the Actors Home in Staten Island, N. Y.

Sam Sharpley, Nelse Seymour, James Unsworth, James Budworth and Dan Bryant—all died within a hundred days in 1875.

“Pop” Reece (Lewis M. Reece) was an old-time performer. As early as June 18, 1856, he was a member of Dave Reed’s Minstrels on the steamer “James Raymond.”

He died in Brooklyn, N. Y., December 18, 1890; age about 60 years.

HANK. GOODMANMATT. PEELW. W. NEWCOMB
JOHNNY BOOKERFAYETTE WELCHNELSE. SEYMOUR
JOHN A. MACK“PONY” MOORENEIL. BRYANT

THE OLD GUARD.

Dave Braham, whose catchy melodies did so much to make Harrigan and Hart’s series of plays so successful, was long in the minstrel business, and as early as May 13, 1862, played at the Academy of Music, New York.

He was born in England, and died in New York City, April 11, 1905; age 65 years.

“Young Dan Emmett” (Harry Huntington), a comedian who was with several minstrel companies, died in Elmira, N. Y., July 15, 1861.

Denny Gallagher, one of the best known of black-face performers about fifty years ago, entered the profession about 1848, doing Irish songs and dances in white face.

In conjunction with Andy Leavitt and John Mulligan, they formed a trio which for genuine black-face comedy has never been excelled. They played three years at the Melodeon in New York.

Denny Gallagher was born in New York in 1830; he died in Philadelphia, November 23, 1868.

Mike Mitchell was one of minstrelsy’s greatest dancers.

He had his own minstrel company on the road in the 50’s, and had been associated with many first-class organizations.

He died in Victoria, B. C., January 13, 1862; age 32 years.

Charles Koppitz, a famous musician, who achieved prominence in other lines, was with George Christy’s Minstrels in California in 1858 in the capacity of musical director.

He was born in Holstein, Germany; he died in St. Johns, N. B., June 22, 1873; age 43 years.

Dave Carson was another performer and manager who was best known abroad. He sailed for Australia in 1853, and for many years played in every section of that country.

He returned to New York about 1869, and after appearing here for a while he again went abroad.

He was born in New York about 1830; he was living as late as 1875.

Dan Holt, a well-known black-face performer in the South many years ago, died in New Orleans, La., October 10, 1867.

Tom Prendergast was a prominent tenor vocalist.

He was one of the original members of Bryant’s Minstrels in New York, opening February 23, 1857. In 1864 he was with Hooley in Brooklyn, and had been associated in minstrel ventures with Cool. Burgess, Archie Hughes and D. C. La Rue.

He retired about a year previous to his death, which occurred in Utica, N. Y., March 6, 1869; age 39 years.

Albert Jones (Silcox) was a good comedian and general performer; in Boston and Chicago, he was especially well known, having been connected with prominent companies in those cities.

He died in Boston, Mass., November 25, 1866; age 36 years.

William N. Smith at the time of his death was considered one of the greatest bone players in minstrelsy.

He had played many engagements with various companies. He was the first to give imitations of the snare drums with the bones.

Owing to an accident, he was compelled to retire from the profession, which he did April 18, 1867. He died in New York, February 4, 1869.

Mike O’Brien, an old-time banjoist and ballad singer, who had been with Sanford’s and other minstrel companies, died at Algiers, La., April 28, 1869.

Edwin Holmes, a popular minstrel tenor, who was with Duprez and Green’s and later Duprez and Benedict’s Minstrels for about six years, commencing in 1862, died in Boston, Mass., July 11, 1879.

Ned Greenland was one of the best beloved characters in theatredom. Though many years dead, his praises are yet sung to-day. He was treasurer and business agent for Hooley’s Minstrels in Brooklyn, N. Y., for several seasons.

He died in Brooklyn, N. Y., August 4, 1883.

Mike Kanane, a famous dancer in the good old minstrel days, died in San Francisco, Cal., December 7, 1886.

Stephen B. Ball was a famous vocalist of Ordway’s Aeolians in Boston as early as 1851; he retired about 1856, and became director of the choir of the Old School Street Church in that city. He was a fine singer and vocal teacher.

He died in Boston, Mass., September 27, 1881.

Harry Lehr. Of this famous minstrel’s talents and abilities there was no divergence of opinion; manager, critic and performers were unanimous in their verdict that he never had a superior as a comedian. One manager, John L. Carncross, went further and declared that he never had an equal.

His first professional appearance was with a small minstrel company in Camden, N. J., February 22, 1846.

At the age of 16 he organized a troupe of his own.

In 1852 he was with Kunkel’s Nightingales, and subsequently with Rumsey and Newcomb’s Minstrels, with whom he remained until the Spring of 1861. Subsequently he became a member of Hooley’s Minstrels in Brooklyn, N. Y., and in 1864 joined Carncross and Dixey’s Minstrels in Philadelphia and remained there for seven seasons.

In 1871-72 he was with Simmons and Slocum’s Minstrels, also in Philadelphia. In 1872 he re-joined Carncross and Dixey, and continued with them until November, 1875, when he made his final stage appearance.

Mr. Lehr was thoroughly legitimate in each character he portrayed; he was the “darky” in life as well as color.

Harry Lehr was born in Philadelphia, October 7, 1830; he died there September 10, 1881.

Dave Reed. The career of this famous old-timer practically began with minstrelsy itself.

He it was, with Dan Bryant, who did so much to popularize “Shoo Fly” more than forty years ago; and “Sally Come Up” will always be identified with his memory.

But as a bone player, Dave Reed is probably best remembered; his imitations of drums, horses running and the like were wonderful; the art practically died with him. Mr. Reed’s career began about 1844 with a small traveling company. He played in and around New York for several seasons and later went West.

June 18, 1856, Dave Reed’s Minstrels were the feature performance on board the steamer “James Raymond”, plying the Mississippi.

Mr. Reed was with Hooley’s Minstrels in New York in 1861; subsequently with the latter in Brooklyn. He joined Bryant’s Minstrels in New York in 1863; he was there when Dan Bryant died, April 10, 1875. In between, about 1868, he was with Kelly and Leon, also in New York.

About twenty-five years ago Dave Reed, his wife and four clever children made their appearance in vaudeville as the Reed Family; later they were known as the Reed Birds. He retired in 1903.

Dave Reed, Jr., the popular song composer, is his son.

Dave Reed was born in New York, November 18, 1830; he died there December 5, 1906.

Billy Birch was a name to conjure with for many years, especially in the Metropolis. He made his first appearance in New Hartford, N. Y., in 1844 with a minstrel show, as an amateur.

His initial professional appearance was with the Raymond Minstrels at Stamford, Conn., in 1846.

Subsequently he was identified with many prominent organizations until 1850, when he appeared first in New York with Fellowe’s Minstrels.

When Wood and Christy were running two houses on Broadway, 444 and 472, Birch and Geo. Christy would simultaneously appear at their respective theatres in the first part, and would then proceed to the other theatre and finish their performance for the evening; this was about 1855. In 1851, with Sam Wells and Dick Sliter, he opened in San Francisco with Birch, Wells and Sliter’s Minstrels, and remained six years; under the management of Tom Maguire.

August 20, 1857, Mr. Birch sailed for New York, and a few days later was wrecked off the coast of Charleston, S. C.; he finally made his way to New York, where he played a brief engagement with Bryant’s Minstrels, commencing September 28.

In February, 1858, Birch’s Minstrels opened in Chicago; subsequently he was one of the performers on the steamer “Banjo,” which plyed the Mississippi River. Afterwards Mr. Birch was associated in several minstrel ventures with J. B. Donniker, Joe Murphy, Sam Sharpley and Ben Cotton. With the latter he formed Birch and Cotton’s Minstrels in San Francisco in 1862; likewise nearly a quarter of a century later (July, 1886) did these old minstrels reunite, and the great California metropolis again saw Birch and Cotton’s Minstrels.

September 15, 1864, Birch, Dave Wambold and Charley Backus opened in San Francisco as the San Francisco Minstrels, and in January, 1865, Wm. H. Bernard joined the organization. In March following they sailed for New York, and on May 8th, 1865, gave their first performance at 585 Broadway; four days previous they appeared in Newark, N. J.

The company continued at 585 until April 27, 1872; on August 28, 1872, as Birch, Wambold and Backus’ Minstrels, they opened at St. James Hall, the present site of the 5th Avenue Theatre; season of 1873-74 the company traveled, and on September 3, 1874, they opened at their own new theatre on Broadway, until when recently demolished, known as the Princess Theatre.

ETHIOPIAN SERENADERS; 1847.

Their full names were, respectively, Gilbert W. Pell, Geo. A. Harrington (not Geo. Christy), Wm. White, Moody Stanwood, Francis Germon.

They continued until 1880, when the company was known as Birch and Backus’ Minstrels, and remained as such until late in 1882, when it became Birch, Hamilton, and Backus’ Minstrels; this alliance was short lived, and the season of 1882-83 finished as Birch and Backus’ Minstrels.

August 27, 1883, Birch’s San Francisco Minstrels opened; December 3, “Jack” Haverly became a partner, but on December 29, 1883, the last performance of the famous San Francisco Minstrels was given in New York.

In the fall of 1884 with Harry Kennedy he again launched Birch’s San Francisco Minstrels, but lasted only a few weeks; in November, 1886, he returned to his “old home” as a member of Lew Dockstader’s Minstrels, for a short sojourn. In 1889 with Frank Moran he organized Birch and Moran’s Minstrels, and on July 17, 1890, he began his last minstrel engagement with Wm. Henry Rice’s World’s Fair Minstrels.

Birch was a typical comedian of the old school of minstrelsy.

Billy Birch was born in Utica, N. Y., February 26, 1831; he died in New York City, April 20, 1897.

Charles Backus, of the famous San Francisco Minstrels “quartette,” and one of the principal comedians of the organization, achieved wide fame for his impersonations of prominent actors, in which he was an adept.

He went to California in 1852, and two years later organized Backus’ Minstrels there; in 1855 he took the company to Australia, and a few years later organized Horn and Backus’ Minstrels; in 1859 he again went to Australia, and appeared as a negro clown in Burton’s Circus.

He returned to San Francisco in 1861, and after playing several engagements there, on September 15, 1864, was one of the organizers of Birch, Wambold and Backus’ Minstrels; his career from that time until his death was linked with that of Billy Birch.

Mr. Backus was married to Leo Hudson, the famous equestrienne; he was divorced in March, 1866; subsequently he married Miss Kate Newton, the well-known actress.

On October 17, 1876, in Philadelphia, he married Miss Tizzie Mason.

Charles Backus was born in Rochester, N. Y., in 1831; he died in New York City, June 21, 1883.

Dave Wambold, universally conceded as minstrelsy’s greatest balladist, made his first appearance with a small minstrel company in 1849; his New York debut was made with Donaldson’s Minstrels four years later; he subsequently appeared with Charley White’s Minstrels in the same city for two years.

In August, 1857, he opened with Raynor and Pierce’s Minstrels in London, England, and remained in Europe with various organizations for several years.

In addition to being a remarkable singer, it is not generally known, but nevertheless a fact, that Mr. Wambold was the first performer to do a Dutch part in black-face; his dialect was one of the best.

September 15, 1864, he organized with Birch and Backus the San Francisco Minstrels, opening in New York in May, 1865; he continued with the organization until May 1, 1880, when owing to ill health, he retired from minstrelsy, at Holyoke, Mass.

Mr. Wambold married Miss Isabella Young in Philadelphia, April 25, 1859.

Dave Wambold was born in Elizabethtown, N. J., April, 1836; he died in New York City, November 10, 1889.

Tom Lewis says that when making the parade in Lynchburg, Va., about ten or twelve years ago, a “rube” asked him (Lewis) what “society” it was. “Sons of Poor Parents,” replied Lewis.

Billy West, who happened to overhear the retort, also said something.

Wm. H. Bernard (White) was the greatest interlocutor, or middle-man, that minstrelsy has ever known.

He is credited with having organized the first minstrel company in San Francisco; this was in August, 1849; performances were in the Parker House, and patrons gladly paid $5.00 per ticket for the privilege of seeing the minstrels. “Those were the happy days.”

In the winter of 1849 he made a trip to the Sandwich Islands as one of the “New York Serenaders,” and in 1850 he went to Sydney, Australia, and gave the first minstrel performance that the big island ever saw; subsequently he went to India, and was the first to introduce minstrelsy there.

In January, 1865, he joined Birch, Wambold and Backus with their company in San Francisco, and until the Spring of 1872, when he retired permanently from the profession he so long and ably graced, he was associated in partnership with those gentlemen.

William H. Bernard was born in New York City, in 1830; he died there January 5, 1890.

Charles A. Morningstar, a well-known agent and manager of the 60’s, and proprietor of Morningstar’s Minstrels in 1863, was murdered near Mobile, Ala., December 27, 1871.

Frank Kent was one of the early female impersonators, or wench dancers, as these performers were originally known.

In December, 1842, at the Franklin Theatre in New York, Master Kent appeared in a variety entertainment.

For many years he appeared with the various minstrel companies, notably Howard Burlesque Opera Troupe; San Franciscos in New York; Duprez and Benedict, in Philadelphia; Duprez and Green’s; Arlington, Cotton and Kemble’s in Chicago, and Morris Brothers, Pell and Trowbridge, in Boston. In all probability his last appearance in minstrelsy was with Wm. Henry Rice’s Company, commencing July 17, 1890.

Frank Kent was born in Salem, Mass.; he died in Cooperstown, N. Y., August 15, 1906; age about 75 years.

Thomas P. Brower, a brother of Frank Brower, one of the organizers of the first minstrel show, and himself a performer of ability, died in Philadelphia, March 15, 1867; age 37 years.

Duke Morgan, an old-time violinist and musician of the real early days of minstrelsy, died in New York City in October, 1881.

Otto Burbank was one of the best jig dancers in the early minstrel days, likewise a good comedian. He was prominently identified with some of the best minstrel organizations, notably Collins’ “Christy” Minstrels, in London, England, in 1862.

He died at Peoria, Ill., February 13, 1882.

Harry Pell, an old-time black-face comedian, who was an excellent stump orator, played several minstrel engagements, notably with the Morris company in 1863.

He died in New York City, June 1, 1866.

John Cluskey, at one time rated as one of the best dancers of his day, died at Albany, N. Y., September 17, 1864.

Alexander Zanfretta, the famous pantomimist, played important minstrel engagements, notably with Simmons and Slocum’s, in Philadelphia, and with Haverly.

He died in Brooklyn, N. Y., May 14, 1899.

Charles H. Duprez was one of the great managers of early minstrelsy.

In 1852 he made his entre into the profession at New Orleans, La., with the company that was afterwards known as Carle, Duprez and Green’s Minstrels. In 1858 the organization was known as Duprez and Green’s, and it remained as such until 1865 at Green Bay, Wis., when Mr. Green retiring, Lew Benedict purchased his interest, and Duprez and Benedict’s Minstrels were organized; Mr. Benedict retired from the company in 1876; Mr. Duprez continued on with the same trade-mark until about 1885, when retiring from minstrelsy he went into the hotel business in Lowell, Mass.

Charles H. Duprez was born in Paris, France, March 13, 1830; he died in Providence, R. I., August 31, 1902.

J. A. Basquin, a well-known minstrel singer, who was also known at various times as J. J. Roberts and J. Waterman, was a prominent member of Buckley’s Serenaders in the 60’s and early 70’s, also with Unsworth and Eugene in England in 1868.

J. A. Basquin was born in France; he died in Brooklyn, N. Y., January 27, 1872; age 42 years.

John Simpson, prominent for many years as business manager of Bryant’s Minstrels, in New York City, died November 15, 1881.

Wm. T. Bryant (O’Brien), a brother of Dan, Neil and Jerry, a mediocre performer, was with Bryant’s Minstrels in New York at the time of his death, September 23, 1865.

Joe Brown, one of the world’s greatest jig dancers, made his first appearance at Albany, N. Y., in 1844. His first New York engagement was in the fall of 1852; August 3, 1857, he opened with “Christy’s” Minstrels in London, England, remaining with, them until about 1860, when he joined Nish’s “Christy” Minstrels, opening in Cape Town, South Africa, August 20, 1862. Prior to the opening he and the company were shipwrecked, losing everything except his clothes; a handsome silver belt he won from Dick. Sliter in 1856 was amongst the things lost.

J. A. BASQUIN A. BAMFORDFRANK GIRARD BILLY BARRY“LITTLE MAC” BILLY RICE

“MERRY MINSTREL MEN.”

Returning to England in 1863, he organized Joe Brown’s “Christy” Minstrels, visiting Egypt and India; returning to London, opened at St. James Hall, June 11, 1866. In 1868 he paid a brief visit to the United States, then returned to England.

Joe Brown was born in Buffalo, N. Y., January 2, 1830; he died in Glasgow, Scotland, October 25, 1883.

C. D. Abbott was a prominent musician of the early days of minstrelsy, when those performers were artists in their respective lines, and each one was a soloist.

He died at La Salle, Ill., May 20, 1864.

Wm. Henry Rice made his first minstrel appearance September 19, 1859; “Daddy” Rice died exactly one year later.

Billy Blair, the old-time general minstrel performer who was with Christy’s Minstrels as early as May, 1856, also many other organizations, was a good “Bob Ridley” and end man. He died in Brooklyn, N. Y., January 19, 1888.

Johnny Booker (Sam. Roberts), was one of the early minstrel comedians and managers.

In the middle 50’s he toured with Booker and Evart’s Minstrels; subsequently Booker and Sliter’s and intermittently with Johnny Booker’s Minstrels. In the early days he made famous a song that had great vogue called “Meet Johnny Booker at the Bowling Green.” He was a member of Dave Reed’s Minstrels on board the Steamer “James Raymond,” June 18, 1856. Among the notable minstrel organizations he was with were Hooley’s, in Brooklyn, N. Y., 1862; Lloyd and Bidaux’s, 1867, and Arlington’s, in 1870.

Johnny Booker was born in Bowling Green, Ky., October, 1830; he died at Dayton, Ohio, October 25, 1898.

Henry Wood was one of the most famous of New York City minstrel managers. He entered the theatrical field at 444 Broadway, in 1851, with Jerome B. Fellowe, and conducted Wood and Fellowe’s Minstrels until February, 1852, when he had the show to himself.

Wood’s Minstrels continued there until October 31, 1853, when he formed an alliance with George Christy, and as Wood and Christy’s Minstrels they flourished until May, 1858.

“444” burned down December 2, 1854, the company then going shortly after to “472” Broadway.

Later, for a brief period, both houses were run simultaneously.

October 1, 1855, “444” reopened, and on October 31, 1857, they moved to their new Marble Palace, 561-63 Broadway; this house was closed September 3, 1859. Nine days later Mr. Wood returned to “444,” where he remained practically until July 7, 1862, when he moved his company to 514 Broadway.

Wood’s Minstrels ceased as an institution about 1866.

Mr. Wood was a brother of Fernando Wood, once Mayor of New York.

Henry Wood is said to have died about twenty-eight years ago; he is also said to be living.

Pete Lane was a great jig and a good general dancer. He was with Sanford’s Minstrels in Philadelphia in 1856; he died there June 27, 1858.

Charles Noble, the well-known minstrel bass singer who was with Thatcher, Primrose and West’s, and other well known minstrel organizations, died in New York City, June 8, 1892; age 62 years.

Bob Smith, the old-time minstrel performer, was associated with many of the best performers of his day.

As a tambourine manipulator he achieved particular prominence, and ranked with the best.

He died at St. Johnland, Staten Island, N. Y., April 20, 1900; age about 70 years.

Billy Wright, an old-time comedian, had some prominence as a “knife thrower.” His chief claim to fame lies in the fact that he was instrumental in obtaining an opportunity for the embryonic talents of Francis Wilson to be given recognition, which he did about 1865.

He died in Philadelphia, March 10, 1879.

Matt. Peel (Flannery). There are few who are alive to-day who remember the performances of this sterling young versatile performer, whose first professional appearance was made in New York in 1840. A few years later he joined Campbell’s Minstrels, the only organization at that time bearing that name.

He continued with this company several years, and on July 17, 1850, in company with James Norris, Jos. D. Murphy, and Luke West, organized another company; with the exception of the first named, all were performers. Subsequently and for a few years the organization was known as Murphy, West and Peel’s Minstrels, and later Matt. Peel’s Minstrels, by which it was known until the death of Mr. Peel.

Mr. Peel was one of the first minstrel performers to sing an Irish song on the end.

Matt. Peel was born in New York, January 15, 1830; he died in Buffalo, N. Y., May 4, 1859.

Charley O’Neill, a well-known comedian who was with Unsworth’s Minstrels in 1861, and subsequently with Hooley in Brooklyn, N. Y., committed suicide by drowning, in St. Louis, Mo., July 21, 1863.

John Hooley, a brother of the famous manager, R. M. Hooley, ran a minstrel company in Brooklyn, N. Y., in 1873.

He died there April 12, 1891.

Mert. Sexton was prominent as a comedian and dancer; his chief fame rested in his ability to dance the “Essence of Old Virginia.” He played with many famous organizations, notably Matt. Peel’s in 1858; Fox and Worden’s in 1859, and Collins’ “Christy” Minstrels in 1862; the two latter companies were in England.

Mert. Sexton is said to have died in Long Island City, N. Y., in May, 1866.

Seth Howard, one of the old-time interlocutors and straight men, who was one of the original Bryant’s Minstrels at Mechanics Hall in New York City in 1857, died at Hornellsville, N. Y., February 11, 1860.

George Langdon, an aged darky impersonator and singer, and who sang duets with John L. Carncross in Philadelphia before Carncross joined Sanford’s Minstrels in that city, died at Pawtucket, Mass., May 12, 1859.

Harry Evarts, who was associated with Johnny Booker with Booker and Evarts’ Minstrels in the 50’s, and was considered a good general performer, was in later years prominently identified with several companies in an executive capacity.

He was killed in a wreck near Hamilton, Canada, April 28, 1889.

Dick (Richard) Silver, was an early member of the famous Morris Bros., Pell and Trowbridge’s Minstrels in the 60’s.

At the time of his death he had been in the theatrical profession about seventy years.

Mr. Silver was born in Groton, Vt., he died in Traverse City, Mich., October 10, 1909.

Lew Rattler, long associated in the early days of minstrelsy in California, and a member of an organization of the same name in 1859, was a comedian of merit.

He died in San Francisco, Cal., March 27, 1905.

Theodore Gustave Bidaux who ranked with the great baritone singers of minstrelsy, came to America in 1858, and appeared with much success with the following well-known burnt cork organizations—Sanford’s, in Philadelphia; Lloyd and Bidaux’; Duprez and Green’s; George Christy’s; Manning’s; Haverly’s, and Wm. Henry Rice’s in Cincinnati.

Mr. Bidaux married a Mrs. Ayleen in 1867.

Theodore Gustave Bidaux was born near Paris, France, March 12, 1830; he died at Hatboro, Pa., March 5, 1886.

Sam Sharpley (Sharpe) was one of the most famous minstrel comedians and banjoists of his day. He first appeared professionally at the age of 16.

In 1858 he went to Sanford’s Minstrels in Philadelphia, where he became a great favorite. In 1860 he associated himself with John L. Carncross in Carncross and Sharpley’s Minstrels; that same year he also was partner with Birch and Sharpley’s Minstrels.

In the Fall of 1862 he launched his famous “Iron Clads” Minstrels. From 1865 to 1867 he was associated with Tony Pastor in the management of what is now known as the People’s Theatre in New York. In 1872 he formed an alliance with Swaine Buckley, and subsequently with Sheridan and Mack in minstrel organization bearing their names. He was a natural wit and a great entertainer.

FRANK CUSHMANHARRY C. SHUNK
NAT. HAINESCHAS. J. STINE

A QUARTETTE OF CORKERS.

Sam Sharpley was born in Philadelphia, June 13, 1831; he died in Providence, R. I., January 1, 1875.

Harry Leighton, long and favorably known as a vocalist, did an end with Vogel’s Minstrels, April 16, 1908.

Archie Hughes (Arthur Hughes), was one of the biggest favorites of Hooley’s great minstrel company in Brooklyn, N. Y., many years ago.

There is a difference of opinion as to when and where he made his first appearance, but it is certain he was with Sam Sanford’s Minstrels, traveling in 1859; and equally certain that one evening during a performance with that company, a man in the audience became so enthused with Hughes’ dancing, that he took his watch from his pocket and gave it to him (Hughes); he finished the season at Sanford’s Theatre in Philadelphia in the Spring of 1860. About June following he joined Mrs. Matt Peel’s Minstrels; subsequently returning to Sanford’s in Philadelphia.

September 29, 1862, he opened with Hooley’s Minstrels in Brooklyn, at the initial performance of the organization.

In November, 1864, he began an engagement with Wood’s Minstrels in New York, and the following year was one of the proprietors of (Cool.) Burgess, (Tom) Prendergast, Hughes and (D. C.) La Rue’s Minstrels.

May 28, 1866, he returned to Hooley’s, and at the ending of the season of 1868-69, he went to England with Smith and Taylor’s Minstrels.

September 12, 1870, with Fayette Welch, and Cool. White, he opened Welch, Hughes and White’s Minstrels in Brooklyn, on the site now occupied by a large carpet store; the organization continued there for several months. In 1873 Mr. Hughes was with Sharpley, Sheridan and Mack’s Company, and two years later he rejoined Hooley in Brooklyn.

In December, 1880, he was a member of Kyle’s “Christy” Minstrels in Boston, and in September, 1881, he began his last engagement with Leavitt’s Gigantean Minstrels.

Mr. Hughes was a splendid comedian and a fine dancer; he specialized singing Irish songs on the end.

Archie Hughes was born in Albany, N. Y., about 1830; he died in Buffalo, N. Y., October 18, 1881.

P. B. Isaacs was one of the early minstrel leaders, and a fine musician. He was one of the original members of Bryant’s Minstrels in New York at their opening, February 23, 1857.

He was born in London, England, 1831; he died in San Francisco, September 6, 1865.

William Blakeney. The distinction of being the oldest minstrel leader in all probability belongs to William Blakeney, who made his first appearance with the Western Minstrels, an amateur organization in Pittsburg, Pa., in 1847.

He was five years with the Yankee Robinson Circus.

Late in 1860 he joined William Christy’s Minstrels, and in the Spring of 1861, went to Europe with Rumsey and Newcomb’s Minstrels.

Subsequently he was with Morris and Wilson’s Minstrels in St. Louis, and continued with them four years. In Philadelphia he was with Simmons and Slocum’s Minstrels two years. February 2, 1878, he sailed with Kelly and Leon and their minstrel company for Australia; he continued with them until their dissolution, after which he was associated with the Victoria Loftus Troupe.

Mr. Blakeney’s most important engagement was with the San Francisco Minstrels in New York, with whom he remained five years.

William Blakeney was born in Elfin, Ireland, October 30, 1831.

Billy Lawrence, an old-timer who had his own minstrel show in Chicago as early as 1858, and for many years after appeared with other companies, died in Chicago, Ill., August 21, 1900; age 69 years.

J. W. McAndrews (Walter James McAndrews), famous for many years as the “Watermelon Man,” the latter appellation being the title of the sketch he performed for about three decades with astonishing success.

His first professional appearance was made in his native city at the Richmond Theatre, at the age of 13, in black-face and singing that early favorite, “Jim Along Josie.”

Subsequently and for many years he did “nigger” acts in circuses and small minstrel companies.

About 1857 he joined Buckley’s Serenaders, remained with them for a considerable period, and went to England with them in 1860. Mr. McAndrews played sundry engagements until he joined Kelly and Leon’s Minstrels. About 1866, while with that company in Cincinnati, “Pastimes on the Levee” was first put on; it was not until three or four years later that the skit got the title that made it so popular; Dan Bryant did the christening, and McAndrews played three years with Bryant’s Minstrels in New York.

He went to England with Haverly’s Mastodons, and opened at Her Majesty’s Theatre, London, July 31, 1880; subsequently, July 17, 1882, he played at the Pavillion in the English Metropolis, opening with great success.

The succeeding years of his career were spent with the many prominent minstrel and variety organizations, as well as playing innumerable engagements in the variety theatres.

J. W. McAndrews was born in Richmond, Va., November, 1831; he died at Elgin, Ill., December 29, 1899.

James Budworth, in addition to being a great minstrel, was a good actor. His debut was made at the Park Theatre, in New York City, in 1848, as vocalist and mimic.

May 26, 1860, James Budworth, Frank Budworth (his son, who afterwards developed into one of the best Chinese impersonators) and his brother, W. S. Budworth, appeared with Wood’s Minstrels, at the same time.

One year prior to this, he was the principal comedian with George Christy’s Minstrels in New York, Christy had been enjoined from appearing.

In 1862 he was with Mrs. Matt. Peel’s Minstrels; September, 1864, found him with Hooley’s, in Brooklyn, N. Y.

Monday, August 27, 1866, with his brother William, he opened the 5th Avenue Theatre (until recently, when it was demolished, known as the Madison Square Theatre), New York City; they remained several months.

Mr. Budworth was with Sam Sharpley’s Minstrels in the Summer of 1869, and in September, 1872, he became a member of Frank Moran’s Minstrels in Philadelphia; he was likewise with several of the other prominent companies of his time. He also played the title role in “Pomp” and star roles in other plays.

Mr. Budworth was best known for his imitations of actors, in which he had no peer.

As a banjoist he gained renown, and played with equal proficiency the Japanese and Chinese fiddle.

As a Dutch comedian he was great; his John Schmidt in “The Persecuted Dutchman” at the Park Theatre, Brooklyn, N. Y., in 1865, received lavish praise from press and public.

James Budworth was born in Philadelphia, December 24, 1831; he died in New York City, March 15, 1875.

Dick Berthelon, an old-time black-face performer, appeared mostly in variety houses for many years; he was good in the old-time “nigger” acts, and was proficient as a manipulator of the bones and tambourine.

He died in Brooklyn, N. Y., September 25, 1891; age 60 years.

Billy Boyd was a capable minstrel performer of the old school; he was with Hunt and Company’s Minstrels in 1855, and was very well-known in Philadelphia, where he was born in 1831; he died in New York, April 21, 1869.

R. M. Carroll, or “Dick” as he is better known, or “Master Marks” as he was originally known to the profession, probably has the greatest number of years of theatrical service of any one in minstrelsy.

Mr. Carroll is best remembered as a dancer, and he was one of the world’s greatest; but in his early career he was a splendid wench performer; he was the third one to do “Lucy Long”; a great feature of old-time minstrelsy.

Mr. Carroll’s first public appearance was at Tinkham Hall on Grand Street, New York City; the occasion was the benefit of an elderly Irish lady, long since departed—this was in 1837. For many years he danced at balls and parties. About 1845 he first appeared professionally at the Bowery Amphitheatre, New York City, in a circus, and shortly after this at the Bowery Theatre he blacked up for the first time with “Daddy” Rice, playing in “Bone Squash.”

The year following he played his initial minstrel engagement with Charley White’s Company, also in New York; he remained with White several seasons.

In 1854 he was with Buckley’s Serenaders in New York; in 1858 with Sniffen’s Campbell’s Minstrels, likewise in the metropolis.

February 14, 1859, he made his first appearance as a member of Morris Bros., Pell and Trowbridge’s Minstrels in Boston, where he became a great favorite, remaining about three years.

In his long career Mr. Carroll played with many prominent minstrel organizations, notably Kelly and Leon’s; at Hooley’s, at the latter’s theatre in Brooklyn, N. Y., with little Dick, his son, he began an engagement there March 14, 1870.

Subsequently with Dick, Jr., and Dick’s brothers, Edwin and Bennie, they played for several years in the principal variety theatres of the country.

JOHN QUEENMRS. ARTHUR L. GUY
In Select Company		JAS. CUMMINGS
JOHN PEASLEYJAS.—SANFORD AND WILSON—CHAS.
(Portraits Reversed.)		WM. HENRY RICE

In September, 1878, he opened Carroll’s Comique, in Brooklyn, N. Y., and several weeks later, with his sons, began an engagement with Cotton and Wagner’s Minstrels. It may be interesting to know that Mr. Carroll, and the late J. K. (Fritz) Emmett, had a minstrel show once; Carroll and Emmett’s Minstrels opened at De Bar’s Opera House, St. Louis, Mo., June 1, 1868.

R. M. Carroll and John Queen (afterwards Queen and West), were the first to do a double clog dance, about 1862. Mr. Carroll likewise originated the famous song “Me Father Sold Charcoal.”

His sons, Bennie and Edwin, died in New York City, September 18, 1877, and at Denver, Colo., March 5, 1905, respectively.

Mr. Carroll played the variety houses for several years with his well known dancing specialty “Mortar and Bricks.”

R. M. Carroll was born in New York City April 10, 1832.

W. L. Hobbs, the well known minstrel “leader” was associated with Frank Moran’s Minstrels in Philadelphia in 1872; he was also with Carncross and Dixey’s Company in the same city, and for several seasons was connected with Bryant’s Minstrels in New York.

W. L. Hobbs died in Philadelphia, July 12, 1874; age 45 years.

Bob Hall, who had been connected with many minstrel companies during his long career, and who had also been with Harrigan and Hart, died in Baltimore, Md., June 29, 1882; age 50 years.

Andrew Wyatt, an old-time minstrel leader, who was with Sanford’s Minstrels in Philadelphia as early as 1856, and for eight years prior to his death with Whitmore and Clark’s Minstrels, died in Salem, Mass., August 5, 1874; age 41 years.

A. M. Hernandez was famous as a pantomimist and acrobat; but it was as a guitarist and vocalist he was best known; he was capable of playing practically every known instrument.

In 1852 he was with Hayworth and Horton’s variety show doing a knife throwing act. The following year he was with Parrow’s Minstrels and subsequently with Matt. Peel’s and Sniffen’s Campbell’s Minstrels.

Mr. Hernandez was born in Havana, Cuba; he died in Montevideo, Uruguay, S. A., October 25, 1874.

J. B. Studley, the famous old legitimate actor, played, “Pomp, or Cudijos Cave” in New York, April 11, 1864, and in the same city played Uncle Tom, in Uncle Tom’s Cabin, October 20, 1879.

Mr. Studley was born in Boston, Mass., October 8, 1832; he died in New York, August 6, 1910.