Circus Photographer Robert D. Good advertised his services, among other places, in the circus section of Billboard Magazine during the 1940's saying "If you raised the circus, see it in pictures" offering real photo size images. 20 cents would bring you a sample and lists of photographs he had taken in the past. He called his studio "Circus Snaps" and frequently typed captions on the reverse of work along with his stamp.I love this photograph, and you'll have to enlarge it to see why. A simple enough shot of the Sparks Circus Sleeper becomes a group of boys admiring the Circus Strong Man.Robert was not only a photographer, he was a well-informed fan of the circus. His letter to Life Magazine on July 19, 1954 tells readers the "last living driver of the 40 horse team pulling the famous Two Hemispheres Band Wagon" was celebrating his 91st birthday. Good passed away in May 1974. A splendid photograph of the photographer appears on the Circus Historical Society "Bandwagon" pages for the May 1964 issue"Sparks Circus at Lehighton PA. in 1946 Bus Converted into Sleeper for Performers" Robert D. Good Photographer Collection Jim Linderman
In the tradition of F. W. Glasier, Dull Tool Dim Bulb incorporates a new mini-series, "At the Circus in Black and White" I will post an amateur vernacular photograph of the sideshow weekly.Untitled snapshot "Woman, Monkey, Man, Dog" anonymous c. 1950 Collection Jim Linderman
Frank Wendt has always been unfairly placed in the shadow of Sideshow Freak photographer Charles Eisenmann, his mentor. Wendt took over the Eisenmann studio on the Bowery in 1893 and ran it for five years before moving it to New Jersey. He continued making pictures there for a number of years, some quite extraordinary. In 1979, just as interest in collecting circus freak photos was rising (in part as interest in Diane Arbus was rising as well) a book on Eisenmann was published which dismissed Wendt's work as "perfunctory" and that the production of those years has all but been "obliterated." Au contraire! As we are just learning, MANY exceptional images remain. The photos here are certainly not obliterated.
Wendt specialized in the unusual, of course as you can see. But he had a wider clientele than Eisenmann. He shot all manner of performers, not just the strange. In fact, some of his most beautiful work is normal looking actors and child performers, who would use his cabinet card photographs as trade cards, mementos and such, frequently selling them to admirers for a dime each. Often the performers autographed the cards on the reverse, personalizing them to fans and the freaked. In the case of the carnival performers, vital statistics were often provided though frequently exaggerated. In fact, Wendt would take his pictures to emphasize the particular trait or deformity being marketed. As traveling shows passed through New York and New Jersey, they would stop to replenish their stock. Sometimes Wendt would republish Eisenmann's work on his own cards, but frequently a new photo was taken, and the same performers often appear in later pictures, with different imprints or logos on the cards.I have posted work by Frank Wendt on this site before, they are worth looking at. As research continues, I plan to expand on the story with a book and exhibition. Frank Wendt Five Original Cabinet Card Photographs circa 1890-1900 Collection Jim Linderman
SOON I WILL MOVE THESE TO THE WONDROUS WORLD OF FRANK WENDT
A site I am constructing.
Linus II had a 10 foot double mane and a 16 foot tail. He was owned by W. A. Rutherford of Marion, Oregon, and presumably won many ribbons at the local state fair, not to mention attracting many nickels and dimes from sideshow attendees in the 1880's. Circus sideshow performers with unusual attributes were far from common, but even fewer had four legs.Original Cabinet Card Photograph c. 1880 by Wendt Collection Jim Linderman
Harlot Herpetologists of the Victorian era. I can not explain the popularity of snake women other than a mixture of revulsion tinged with eroticism. It started with Eve, I suppose, but carnival performers in the earliest days were nearly always male, a fake snake charmer "from the East" who would perform with a basket, a cobra and a flute. When promoters learned it would be easier to squeeze coins out of the local townsfolk if a dame was involved...presto, the Serpent Queen! Snakes were easy to transport, a small box did it, and there was certainly no shortage of mice for food. Any female member of the crew could put on a wig and lure rubes into the tent where a usually harmless snake would curl seductively around the performer's waist. Always popular, I am sure there are still plenty of strippers out there working with a snake. (Text overlay to prevent folks from swiping the images and selling them on Ebay, a more up-to-date and just as effective technique of separating coins from rubes)See THE WONDROUS WORLD OF FRANK WENDT for more Photographs by this artist.Original Cabinet Card Photographs, circa 1880-1900 Collection Jim Linderman
