Chapter XII: Introduction (12)

FRED OAKLAND (Wright) had the distinction of being one of the leading tenors of minstrelsy about twenty years ago. He had a remarkably fine cultivated voice which he used mostly in concert work until about 1878, when he left England for South Africa, where he played leading tenor roles with the Victoria Loftus Troupe and other organizations, visiting Ceylon, India and other countries.

About 1883 he came to the United States, and joined Thatcher, Primrose and West’s Minstrels, remaining several seasons; subsequently he became a member of Primrose and West’s Minstrels, and while with this company he formed the acquaintance of William H. Thompson, with whom he joined George Thatcher’s “Tuxedo” Company.

With Mr. Thompson he went to England in January, 1895; they remained four years; the partnership was then dissolved.

Mr. Oakland married a Miss Stratton, of Swampscott, Mass., in December, 1887.

Fred Oakland was born in London, England; he died there October 5, 1900; age 46 years.

J. C.--HARRINGTON & JOHNSON--ARTHUR

JAS.--CONNORS & KELLY--JAS.
(Portraits reversed)

ED.--KELLY & O’BRIEN--JOHN

C. W.--COGILL & COOPER--FRED]

CHARLES QUEEN (Kane) was one of the best clog dancers in minstrelsy. January 26, 1882, at Montreal, Can., he performed for the first time in public on a pedestal fifteen inches square and six feet high, on which he turned somersaults and flip flops; this was while a member of Haverly’s Minstrels.

He was born in St. Louis, in 1854; he died in Kansas City, Mo., June 29, 1886.

THE DIAMOND BROTHERS were well-known as clever song and dance performers.

They generally played joint engagements, and at various times had been with such well-known minstrel companies as McNish, Johnson and Slavin’s, Primrose and West’s, Haverly’s, Big Four, Gorton’s, Hi Henry’s, and Al. G. Field’s; with the latter organization they had been associated several seasons. A few years prior to their deaths they headed their own organization.

Matt. Diamond died at New Castle, Pa., June 14, 1907; age 53 years.

Lawrence Diamond died at New Castle, Pa., December 15, 1906; age 42 years.

CHARLEY YOUNG began young, and is still young. His career commenced at the Palace Varieties, Cincinnati, about 1865, as Call Boy, remaining two years. Being a natural born dancer, he took the place of Johnny Collins when the illness of the latter prevented him from appearing in the Challenge Dance, a feature of most variety and minstrel shows of the early days.

In 1868 he doubled with Billy Reed, and played variety houses for two years; after which he worked single for some time.

In 1875 Tony Pastor sent him to Albany for five nights; he remained two years, which was much better than going for two years, and remaining but five nights. Mr. Young was so pleased with this two-year engagement that he went to Heuck’s in Cincinnati, and played there two years. Then came a spell of traveling and a season at Leadville, Colo.

In 1880 he formed a partnership with Sage Richardson, and shortly afterwards they joined Cal. Wagner’s Minstrels.

Subsequent minstrel engagements were with Billy Rice and Hooley’s; McIntyre and Heath’s, and J. H. Haverly’s; remaining three years with the latter.

Other companies were Murray and Murphy, seven years; a four-year starring tour in “A Soap Bubble”; four seasons with Bobby Gaylor; in conjunction with Charles A. Mason, one season with Gus Hill’s New York Stars; and a season each with Nellie McHenry; Edna May; and Ward and Vokes. Mr. Young then starred four seasons in melodrama under the management of Percy G. Williams.

Charles Young was born in Cincinnati, Ohio, July 3, 1854.

BILLY CONWAY (Marble) the well-known comedian, first appeared professionally about 1871, with Mart. Healy, known as Healy and Conway; this was in his native city; he was with Whitmore and Clark’s Minstrels several seasons, where he joined the late Johnny Mack; afterwards Healy, Saunders (Ella) and Conway formed an alliance; subsequently he rejoined Mack, and they went with I. W. Baird’s Minstrels, where they remained about eight seasons. He separated from Mack about three years before his (Conway’s death), and appeared with McIntyre and Heath’s; Dockstader’s, and Wilson’s Minstrels.

JAS.--McINTYRE & HEATH--THOS. K.
(1874)

THE “GEORGIA MINSTRELS”

JAS.--McINTYRE & HEATH--THOS. K.
(1910)

McINTYRE & HEATH--YESTERDAY, TO-DAY and TO-MORROW.]

Mr. Conway was one of the Four Invincibles--Conway, Mack, Gardner and Clark.

His last appearance was in New Haven, Conn., February 29, 1892.

Billy Conway was born in Hartford, Conn.; he died in Boston, Mass., March 8, 1892; age 38 years.

McINTYRE and HEATH

are beyond all question the greatest duo of black-face delineators of the real Southern darky that the stage ever has or ever will know.

They give an absolutely faithful portrayal of the black man as he really exists.

Mr. McIntyre as a pessimistic coon, and Mr. Heath as the colored gemmen with pronounced optimistic ideas of life, are excruciatingly funny in everything they do; but as the “Georgia Minstrels” their talents probably appear to the greatest advantage.

McIntyre and Heath joined hands in San Antonio, Texas, in the Spring of 1874, at the Vaudeville Theatre. They played many variety and circus engagements until the fall of 1878, when they organized McIntyre and Heath’s Minstrels. A year later they made their first New York appearance at Tony Pastor’s Theatre; their success was instantaneous and pronounced.

In the Fall of 1880 they engaged with the Alice Oates Company, playing “Long Branch.”

In the Fall of 1881 they again headed their own minstrel organization, and the following season McIntyre and Heath’s Specialty Company took the road.

In 1883 they were under the management of Hyde and Behman, and the following season headed their own company under the direction of Primrose and West. In 1886, Spencer, McIntyre and Heath’s Minstrels toured.

Their next important minstrel engagement was with Lew Dockstader’s Company in 1891. Subsequently they played extended engagements with Hyde & Behman’s Company, and Weber and Fields’ organization.

It was with the latter company that their famous “Georgia Minstrels” was first produced at the Gayety Theatre, Brooklyn, N. Y., in August, 1894.

McIntyre and Heath played vaudeville until 1906, when they starred in the “Ham Tree,” a big musical production written, around the talents of these famous funsters. They continued with that play for three seasons. In 1909 they appeared with “In Hayti,” another pretentious musical offering, in which they, of course, played black-face parts.

James McIntyre began his professional career at Chicago in the Fall of 1868, at Pete Kerwin’s, doing a song and dance in black-face; this particular song was called “My Name Was Little Ned.”

The following year he went with Katie Putnam’s Company, where he played Willie in “East Lynne,” and did a double clog with Peter Lester it is now, but at that time, Peter Johnson. McIntyre and Johnson played engagements with McKenzie’s Circus and Burton and Ridgway’s Minstrels and a return to Katie Putnam’s Company.

The Minstrels closed at Indianapolis, Ind., in the Winter of 1871, and Mr. McIntyre met Billy Fleming, and they decided to become pedestrians; they “pedestered” from Indianapolis to Terre Haute, giving performances at the various school houses en route.

Evansville, Ind., was the next objective point, after which Mr. Fleming became enamoured with Mr. McIntyre’s professional attire, and without permission from the latter young man, took them for his own.

* * * Mr. McIntyre’s next engagement was in a livery stable in Henderson, Ky., where he remained two months, during which time he organized an amateur minstrel company from local talent available; they played four nights, the receipts of which were donated to McIntyre to get him a new wardrobe, and a ticket to Louisville.

Several of Henderson, Ky’s. most prominent future citizens blacked up in that memorable year of 1871, among whom were Jeff. Davis, Harry Gilligan, Newton Shaw, John Reichert, Jr., and “Killis” Callender; and when thirty-seven years later McIntyre and Heath returned to play an engagement in the thrifty Blue Grass City, many of those “minstrels of ’71” responded to Mr. McIntyre’s invitation to a banquet, and pleasant recollections were recalled.

Mr. McIntyre subsequently formed a partnership with Mike Butler, and as McIntyre and Butler worked for several months; subsequently William Carroll, (afterwards one of the Miaco Brothers), and Mr. McIntyre were partners.

In the Spring of 1874 he again joined Butler and continued with him until he met Mr. Heath.

Thomas K. Heath first “acted” at Mr. Kit Burns’ Theatorium in New York City, 1867; the salary was $12 per week, most of which has been invested in real estate at Deer Park, Long Island.

Mr. Heath then learned the trade of book binder, and continued at it until he became programmer for Joseph Murphy in “Help”; this was in 1872. That same year he formed a partnership with George Howard, and as Howard and Heath they did a black-face song and dance act, playing the many variety theatres, finally landing at San Antonio, Texas, where he formed a partnership with Mr. McIntyre.

James McIntyre was born in Kenosha, Wis., August 8, 1857.

Thomas K. Heath was born in Philadelphia, August 11, 1853.

AL. DECKER (Ladd) entered the profession about 1873 as partner with Walter Gibbs.

A few years later he formed an alliance with Charles H. Yale, doing black-face songs and dances, and pantomimic business. He continued with Mr. Yale for several seasons, and after the latter branched into the managerial field, he also was with him.

Mr. Decker died at Fall River, Mass., January 24, 1898; age 44 years.

BILLY WILLIAMS (Carmody) ranked with the best of wench impersonators.

His stage experience began at the age of three years at the Front Street Theatre, in Baltimore. Later he did acrobatic work in circuses until 1870, when on September 30, that year, he joined Billy Manning’s Minstrels in Chicago.

EDDIE MAZIER

SAM. LEE

EARL BENHAM

HARRY JOLSON

CLARENCE MARKS

ARTHUR GUY

THEY’RE WORKING NOW; THAT’S WHY THEY SMILE.]

He remained with Manning for a long period, and then played the variety houses until 1876, when he formed a partnership with William J. Sully, and as Williams and Sully did a black-face song and dance act for eleven years.

Since which time Mr. Williams did mostly dramatic work. Billy Williams was born in New York, July 1, 1854; he died in Elizabeth, N. J., July 25, 1910.

PATSY HOWARD, one of the original “Bay State Boys,” made his first appearance as a clog and jig dancer in his native city in 1868, at the old Globe Hall.

September 13, 1869, he organized the above act comprising John Harrington, Jimmy Fitzpatrick, Henry Drummond and Patsy Howard, making their first appearance on that date at the Howard Athenaeum in Boston; they remained there five weeks, doing clog dances. After that engagement they played two weeks at Morris Brother’s Minstrels in the same city. After several variety engagements they returned to their native heath and joined Dougherty, Wild, Barney and Mac’s Minstrels. The four disbanded in 1871, Mr. Howard forming a partnership with Harrington, who took the name of McVickar; Howard that of Sully; they were known as McVicker and Sully until they separated in 1873, after which he formed an alliance with Billy Sully; this lasted a year. Mr. Howard then retired from the profession in 1874, and lived happily ever afterwards.

Patsy Howard was born in Boston, Mass., June 26, 1854.

GEORGE RICHARDS, the well-known comedian, for many seasons associated with the late Eugene Canfield, was a member of Emerson’s Minstrels about five years, commencing 1870; he was a regular comic.

Mr. Richards was born in Somerville, Mass., January 3, 1854.

MACKIN and WILSON were one of the premier song and dance teams of minstrelsy during a period when that style of performance had its greatest vogue many years ago.

Jimmy Mackin and Francis Wilson (then known as Frank Wilson) were boys in their ’teens when they formed a partnership that lasted for seven years; during which time they played engagements with some of the foremost minstrel organizations of their day.

Their initial appearance as a team was at the Metropolitan Theatre, Indianapolis, Ind., August 7, 1871.

July 1 following, they began a brief engagement with Sam Sharpley’s Minstrels.

Their first New York appearance was at the Comique, commencing September 16, 1872; they reappeared there October 28, following, after which they opened in Chicago with Arlington, Cotton and Kemble’s Minstrels, December 2, same year. They remained with the above organization the balance of the season, and part of the next one, commencing August 26, 1873. September 3, 1874, they began a season’s engagement with Birch, Wambold and Backus’ famous San Francisco Minstrels in New York, after which they joined Emerson’s Minstrels, July, 1875.

Later they were with Hooley, Haverly and Maguire.

They rejoined Emerson’s Company in Detroit, September 30, 1875; January 13, 1877, they left Emerson; and nine days later became members of Sweatnam and Fraser’s Minstrels in Philadelphia.

There Mackin and Wilson decided to head their own organization, and accordingly on the twenty-first day of May, 1877, Mackin and Wilson, Sutton and “Bernardo’s” Minstrels left Philadelphia to win fame and fortune; they did neither. The thrilling account of the trials and tribulations of this little band are best explained in Mr. Wilson’s own letter, which will be found elsewhere in this volume.

The name of the company underwent several changes before its dissolution in September, 1877; the obsequies were held in Cleveland, Ohio.

Mackin and Wilson next engaged with Neil Bryant’s Minstrels in New York, opening October 8 following; they closed December 8.

Shortly after this they joined Simmons, Slocum and Sweatnam’s Minstrels in Philadelphia, where they remained until the end of the season, May 11, 1878; this was followed by a supplemental tour, after which Mackin and Wilson separated, each going their respective ways.

JAMES F. MACKIN was an exceptionally clever clog dancer and good performer, when with Tom Sullivan he joined Harry McCarthy’s Minstrels in Indianapolis, Ind., September 14, 1870. The team was known as Mackin and Sullivan; they continued with the company until it closed, January 26, 1871.

After separating from Mr. Wilson, he joined the late John D. Griffin in New York, doing a black-face song and dance, week of July 1, 1878; he continued with Griffin a few weeks, after which he became a member of Barlow, Wilson, Primrose and West’s Minstrels; he remained with this company until 1881.

Mr. Mackin played various variety engagements after this until his death.

FRANCIS WILSON first made the acquaintance of burnt cork in his native city in the middle 60’s; Mr. Wilson’s parents was not made aware of the acquaintance until some time later. It was not all honey, and not all jam in those days, as Mr. Wilson will Frankly admit (jest).

It was not until October 29, 1868, that he saw his name in print, for it was on that date that the first performance of the “Amateur Minstrels” at the Assembly Buildings in Philadelphia was given; the entertainment closed with the “Grand Duchess, 2d.” Whether or not Mr. Wilson was the Duchess on this august occasion, history does not state.

After severing relations with Mackin, Mr. Wilson entered the ranks of the Chestnut Street Theatre Stock Company in Philadelphia, where, on September 9, 1878, he played his first part in white-face; that of Cool, in “London Assurance.”

He made rapid strides in his new field of endeavor, and continued as a member of the stock until February 21, 1880; two days later he joined “Our Goblins,” a musical comedy, playing the role of Octavius Longfellow Warbler. Subsequently Mr. Wilson purchased an interest in the company, and played the more important part of Alfred Comstock Silvermine.

August 1, 1881, he began a two weeks’ engagement at the Walnut Street Theatre, Philadelphia, as Moe Jewell, in the “World.”

Mr. Wilson afterwards returned to “Our Goblins,” and he also played Templeton Fake with Annie Pixley in “M’liss.” His subsequent career in light opera and other amusements are too well known to require further mention.

Probably no one man in the annals of theatricals has achieved more in his chosen profession than Francis Wilson.

When Mackin and Wilson dissolved partnership the team were getting a good salary; and when Mr. Wilson applied for a small position in the stock company in Philadelphia he was told he would have to begin all over again; Mr. Wilson, however, was willing; and the weekly stipend was just about 25 per cent. of what he received as a song and dance performer. But Francis Wilson had the courage of his convictions, for he never considered his minstrel and variety days in any other than a school for the talents he later intended to develop.

Mr. Wilson was always a student; and when his companions would invite him to participate in their nightly dissipations, he would politely but firmly refuse; study was more to his liking.

Francis Wilson is a man of letters; the author of “Reminiscences of a Fellow Player,” “Recollections of a Player,” and the comedy in which he is now appearing, the “Bachelor’s Baby.”

Likewise did he write the “Life of Jos. Jefferson,” the “Eugene Field I Knew,” and contributed several short stories to magazines.

He is co-proprietor with Mrs. Wilson (formerly Miss Myra V. Barrie) of the Misses Adelaide and Frances Wilson.

James F. Mackin was born in Providence, R. I.; he died in Sturgis, Dak., May 4, 1883.

Francis B. Wilson was born in Philadelphia, February 7, 1854.

BILLY GINNIVEN, the well known black-face song and dance performer, worked at various times with John E. Henshaw, Charley Gilday, and his wife, professionally known as Frankie Lee, whom he married about 1878.

He died in Denver, Colo., January 11, 1879.

PETRIE and FISH formed a partnership in 1876, doing a black-face act.

In 1878 they were joined by Connors and Kelly, and as the Original Four they met with great success in the United States and Europe. They subsequently separated, Mr. Petrie doing an act with his wife in the variety houses, billed as Petrie and Elise, in “Passing the Toll Gate.”

In 1896 Mr. and Mrs. Petrie, with their two sons, formed the Four Olifans, a grotesque act, which they performed successfully for several seasons. Mr. Petrie married Margaret Cockrell in 1880.

Mr. Fish formed one of the team of Fish and Quigg, a “big and little act,” and was very successful after separating from Mr. Petrie.

William O. Petrie was born in Lockport, Ill., in 1855; he died in Chicago, Ill., May 26, 1901.

Fred C. Fish died in New York, December 8, 1900; age 40 years.

Frankfort, Ky., 25 Years Ago.]

KEATING AND SANDS were one of the earliest and best of black-face musical acts.

They formed an alliance in the 70’s, which practically continued until Mr. Sands’ death.

They were said to be the first act of their kind to visit Europe; they played a two years’ engagement there with Hague’s Minstrels.

Subsequent to the death of Sands, Mr. Keating worked with several partners, notably Harry Barton, Harry Leopold and Tom Ardell. He was also of the team of Keating and Harris.

John J. Keating died in Boston, Mass., April 26, 1897; age 43 years.

Edw. Sands (Stanstedt) was born in Boston, Mass.; he died there February 12, 1887; age 30 years.

MURPHY and MORTON were equally as well known in black-face specialties as they were in white. They made their first appearance about 1874 with Tony Pastor in New York. They played the principal variety houses, and were with such well-known minstrel companies as Hooley’s; Thatcher’s, in Philadelphia; Emerson’s, in San Francisco; Hooley’s, in Chicago; Haverly, same city, and Carncross, in Philadelphia. About 1880, they joined forces with Griffin and Rice, and did a “four” act for about two seasons. All told, Mr. Murphy has spent about twenty years at Carncross’, and half that at Dumont’s Minstrels in Philadelphia.

He has been also associated with Alf. Gibson, and produced Murphy and Gibson’s Minstrels in Atlantic City, N. J., for several years past.

John E. Murphy (DeAngelis) was born in Philadelphia, July 26, 1855.

Jos. Morton (McGarvey) was born in Philadelphia; he died there July 17, 1884; age 29 years.

* * * * *

The highest salary ever drawn by any black-face team in the history of theatricals was paid to McIntyre and Heath.

* * * * *

THE THREE RANKINS achieved enviable distinction for their musical act, which was one of the best. Originally there were four brothers, Carl, Will, Rit and Fitch, and they played an engagement with E. M. Hall’s Minstrels, opening in Chicago, June 29, 1878. In the Fall of the same year Fitch Rankin retiring, the Three Rankins joined Wagner and Cotton’s Minstrels for a short season.

The following year with Lew Simmons, they organized Simmons and Rankin’s Minstrels, and after the dissolution they re-organized as Three Rankin’s Minstrels, opening at Columbus, Ohio, November 27, 1879, and closing same date.

December 20, 1880, they joined Kyle’s “Christy” Minstrels in Boston for a brief engagement.

After the death of Rit his place was taken by John Mosure, and as the “Three Rankins” they played with Leavitt’s Giganteans, in 1882. The death of Will broke up the act, and Carl joined Thatcher, Primrose and West’s Minstrels July 3, 1885. A few weeks after this he left the company to become a partner with George Wilson in his company, which was known as Barlow, Wilson and Rankin’s Minstrels.

Carl Rankin’s last appearance was with Lew Dockstader’s permanent minstrel company in New York, which he joined in 1887.

Carl Rankin had a superb bass voice, and as a comedian had developed into one of the best in minstrelsy. His death was a severe blow to the profession.

Rit Rankin died in Columbus, Ohio, December 11, 1881.

Will Rankin died in Philadelphia, January 31, 1885; age 30 years.

Carl Rankin was born in Columbus, Ohio, October, 1859; he died in Philadelphia, November 25, 1888.

HARRIGAN and HART formed a partnership in the Spring of 1871. Prior to this Tony Hart, who was known as Master Anthony Cannon, appeared with various minstrel companies as a ballad singer.

February 26, 1872, they began an engagement with Arlington, Cotton and Kemble’s Minstrels in Chicago. In later years they each played in black-face on several occasions, notably Mr. Harrigan as “Pete.” Mr. Hart was probably the best “genteel wench” that ever trod the boards.

Edw. Harrigan was born in New York, October 26, 1845.

Tony Hart (Anthony Cannon) was born in Worcester, Mass., July 25, 1855; he died there November 4, 1891.

GEORGE ROBERT GUY, the senior member of the famous Guy Family, blacked his face for the first time in 1863, and has been successfully following his profession ever since; and is now fairly in sight of the half-century mark as a minstrel performer. This is a record that is probably unique in the annals of minstrelsy; more than forty-seven years continuously and exclusively as a black-face performer; and the end is not in sight, for those who know, declare George Guy is as alert and active as any performer of half his years.

Mr. Guy’s first appearance was in New York in 1863, dressed as a little clown; the following week at Newark, N. J., he blacked his face for the first time.

About two years later, with his brother Willie, they joined Hooley’s Minstrels in Brooklyn, N. Y., remaining several months, subsequently playing an engagement with Geo. Christy’s in New York.

October 1, 1866, they were at the opening performance of Kelly and Leon’s Minstrels in New York, where Mr. Guy and his brother soon after produced for the first time on any stage, Mr. Guy claims, a “boy and girl” duet, portraits of which may be seen elsewhere. Mr. Guy continued with Kelly and Leon for several years, and in the Summer of 1869 went to England with Smith and Taylor’s Minstrels, and later appeared with Moore and Burgess’ Company in London. About 1870 he joined Harry Robinson’s Minstrels, and some months later was with Welch, Hughes and White in Brooklyn, N. Y.

Next came the organization of the Guy Bros. Minstrels; subsequently the Guy Family in concerts, after which the Guy Bros. Minstrels were reorganized, and Mr. Guy has been continuously identified with that company for more than thirty-five years. For several seasons past he has been sole proprietor and manager. Truly George Guy is a monument to the profession he so befittingly represents.

George R. Guy was born in Hartford, Conn., October 7, 1855.

THE FROHMANS IN MINSTRELSY.

GUS FROHMAN was manager of Callender’s Colored Minstrels in 1874; early in 1882 he was one of the proprietors. He was born in Sandusky, Ohio, about 1855.

DANIEL FROHMAN became advance agent for Callender’s Colored Minstrels in 1874; subsequently he was with Haverly in an executive ability. Mr. Frohman was born in Sandusky, Ohio, about 1850.

CHARLES FROHMAN, one of the world’s foremost theatrical managers, was treasurer for Haverly’s Mastodon Minstrels at their inception in Chicago, October 21, 1878. In 1880 he went to Europe with them, and while there, December 25, 1880, the members of the company, to show the high esteem in which they held their treasurer, presented him with a handsome gold watch, chain and locket suitably engraved.

Mr. Frohman subsequently became manager of the company and continued with Haverly until January, 1882, when he left, and in conjunction with his brother Gus, became proprietor of Callender’s Colored Minstrels a few weeks later, and continued with that company about three years.

Charles Frohman was born in Sandusky, Ohio, July 20 or 22, 1857.

FOSTER and HUGHES were one of the great black-face acrobatic song and dance teams of the minstrel and variety stage. They formed an alliance about 1876 and continued for several years.

They traveled with their own specialty company in 1886. Subsequent to their separation, Mr. Foster married Fannie Lewis, and did an act with her up to the time of his death.

Mr. Hughes joined John Slavin in a knockabout act after separating from Mr. Foster; he has retired from the stage.

Dave Foster (Patterson) died in New York, December 6, 1898.

Artie Hughes (Quigg) was born in Albany, N. Y., March 28, 1855.

JOHN T. KELLY, the favorite Irish comedian, was an end man with Leavitt’s Minstrels. Ask him when.

Mr. Kelly was born in Boston, Mass., August 26, 1855.

WM. F. HOEY, better known to later generations of playgoers as “Old Hoss,” was one of the cleverest of black-face musical comedians. His first appearance was in his native city at the Thirty-fourth Street Theatre in 1873.

In 1875 he formed a partnership with John F. Fields, and as Fields and Hoey continued until 1878; during this period they played an engagement with Cal. Wagner’s Minstrels in 1876.

In 1878 they dissolved partnership, and Mr. Hoey subsequently and for several seasons did an excruciatingly funny act with Fred Bryant.

Bryant and Hoey played with Thatcher and Ryman’s Minstrels in Philadelphia, and the San Francisco Minstrels in New York.

In 1882 Mr. Hoey, Bryant, and Charles E. Evans formed the “Meteors,” Hoey appearing in a sketch called the “Book-Agent,” as a tramp; this was the inception of the “Parlor Match,” with which he was identified for several years.

W. S. BUDWORTH

E. M. HALL

LEW. BRIMMER

TOM. WARFIELD

DANA H. CLAUDIUS

HARRY STANWOOD

BRILLIANT BANJOISTS OF MINSTRELSY.]

Mr. Hoey was married to Helena French, of the French Twin Sisters, and was a brother of James F. Hoey.

William F. Hoey was born in New York City, January 1, 1855; he died there June 9, 1897.

THE RUSSELL BROS., famous for many years in practically every variety and vaudeville theatre in the land for their great act, the “Irish Servant Girls,” began their professional career in January, 1877, doing the old-time specialty of changing from white to black in full view of the audience.

About 1880 they joined Woodson and Allen’s Minstrels, James doing an end, and John singing in the first part.

John Russell was born in New York City August 19, 1854.

James Russell was born in New York City October 26, 1859.

HYDE AND BEHMAN, whose theatre in Brooklyn, N. Y., for many years played all the prominent black-face, as well as other luminaries, were the proprietors and managers of a first-class minstrel organization bearing their names in 1885.

Richard Hyde was born in Brooklyn, N. Y., May 22, 1849.

Louis Behman was born in Brooklyn, N. Y., June 4, 1855; he died there, February 27, 1902.

FRANK C. GEYER, an excellent acrobatic song and dance man, made his first professional appearance at Deagle’s Varieties, St. Louis, Mo.; shortly after this he formed a partnership with George A. Turner and Billy Mendel, being known as the Big 3; Mendel soon dropped out, and the team was known as Geyer and Turner, and as such continued for several years, finally separating. Mr. Geyer then allied himself with James B. Mackie, and as Geyer and Mackie they continued giving black-face specialties; subsequently the team was known as Geyer and Sylvester, and Geyer and Lord.

He managed the opera house at Bellaire, Ohio, several years.

Mr. Geyer’s first wife was Amy Nelson, a prima donna, with whom he was professionally associated a considerable period; subsequently he married Mamie Forrest, of the Forrest Sisters; they played the principal variety houses.

He traveled with O’Brien’s Circus for two years; and was one of the three Geyer Brothers--Frank, Charles and Albert; an odd coincidence concerning the latter was that for a brief period he did a black-face song and dance act with Frank Turner, of the Three Turner Brothers, known as Turner and Geyer; in one case a Turner was associated with one of the Three Geyer Brothers; in the other a Geyer worked with one of the Three Turner Brothers; the two Turners were not related.

Frank C. Geyer was born in Newark, N. J., September 5, 1855; he died at Lexington, Mo., June 4, 1900.

DONALD HAROLD (O’Donnell Harrold) was once the “boy tenor”; you wouldn’t think so to see him now, but bear in mind that was in 1872, on the first day of that year at Simmons and Slocum’s Minstrels in Philadelphia.

Mr. Harold continued with the minstrels until August, same year; his voice changing, he also changed his job, and two years and one month later he identified himself with the famous Holman Opera Troupe, remaining until May 20, 1878.

Since that date Mr. Harold has been associated with many musical and farcical productions--but no minstrels.

Donald Harold was born in Philadelphia, December 5, 1855.

BOBBY BEACH (Anin W. Gardner) entered the theatrical profession at the age of 15, doing a contortion act; subsequently developing into a good dancer.

He was with Barlow, Wilson, Primrose and West’s Minstrels in 1881, and about a year or so later with Otis Bowers formed the Beach and Bowers Minstrels, which were prominent for several seasons.

He was seriously injured while doing a pedestal act.

Bobby Beach was born in Rome, N. Y.; he died in Watertown, Wis., December 1, 1905; age 50 years.

TOMMY HARRIS (McGuigan), one of the very few men left capable of playing the old-time nigger acts, made his first appearance at Fox’s Theatre, Philadelphia, in 1875, with a partner, whose name was Ward; the team name being Ward and Harrison; subsequently they played an engagement in Philadelphia with Skiff and Gaylord’s Minstrels; late in 1876 they separated. His next partner was Jack McNeil; joining Fattie Stewart’s Company, the team was accidently billed as Harris and McNeil; and Harris it has remained ever since. In 1879 they joined the Three Arnold Bros. Minstrels, and while with this company they dissolved partnership; McNeil died about 1902.

Mr. Harris then played variety engagements with his wife, the team being known as the Harrises, until 1889; he then taking a stock engagement at the Odeon, Baltimore, remaining there 10 years.

A season with his son and daughter, known as the 3 Harrises followed; then he worked with his daughter Laura (now of Cartmell and Harris) for about four years, after which he joined Lew Simmons for a season; then a brief season as one of the 4 Cartmells, after which was Smith and Harris.

Tommy Harris was born in Philadelphia, February 3, 1855.

HARRY KENNEDY (W. H. Kennedy), the well-known ventriloquist and song writer, played many minstrel engagements, notably with Haverly’s Mastodons.

In the Fall of 1884 he was associated with Billy Birch with the San Francisco Minstrels.

Harry Kennedy was born in Manchester, Eng.; he died in Brooklyn, N. Y., January 3, 1894; age 39 years.

CHARLEY REED. “Just the Plain Comedian” he was termed, and he _was_ a comedian, as anyone who remembers him will testify.

Charley Reed’s professional career began and ended in white-face, but the major portion of it was given to minstrelsy, where he was always a star.

About 1872 he went to the California Theatre in San Francisco, where he became successively call-boy, prompter and low comedian.

In 1873 he joined Maguire’s Minstrels at the latter’s opera house in the Western metropolis. August 31, 1874, he opened for the season in Philadelphia with Simmons and Slocum’s Minstrels; the following August he joined Emerson’s Minstrels in Cincinnati. In 1876 he returned to San Francisco, and for the next three years he continued there with the minstrels at Maguire’s Opera House and comedian at the Bella Union Theatre.

July 7, 1879, with a variety company under the management of Martin Simon, he sailed for Australia, remaining away for more than a year. On February 7, 1881, he began an engagement with Thatcher and Ryman’s Minstrels in Philadelphia.

A season with “Muldoon’s Picnic,” with Hyde & Behman, and Mr. Reed returned with Emerson’s Minstrels in San Francisco, subsequently becoming a partner of Emerson, and later Charley Reed’s Minstrels held sway at the Standard Theatre until April 10, 1886. August 16, 1886, he opened at the Madison Street Theatre in Chicago, with a minstrel company. He continued here a few weeks, and in the following October he appeared with Lew Dockstader’s Minstrels in New York, playing a brief engagement; this was his last appearance in black-face. Later he appeared as Ko-Ko in the “Mikado,” “A Rag Baby,” “City Directory” and other farcical plays.

At the time of his death he was associated in partnership with William Collier in “Hoss and Hoss.”

Charley Reed was born in New York City, May 22, 1855; he died in Boston, Mass., November 21, 1892.

* * * * *

NAT. C. GOODWIN in minstrelsy? Why, yes. He commenced an engagement with Haverly’s Minstrels at Chicago, September 11, 1876, doing a specialty consisting chiefly of imitations.

* * * * *

GRIFFIN and RICE ranked with the premier black-face song and dance teams of minstrelsy.

They made their first appearance as an act in Pittsburg, Pa., about 1873. September 15, 1875, they opened with Buckley’s Serenaders in Boston; the season closed October 25, 1875.

December 20, same year, they began an engagement with Carncross and Dixey’s Minstrels in Philadelphia, and continued throughout the season.

On November 20, 1876, they opened with Sweatnam’s Minstrels, also in the Quaker City, an engagement that terminated December 16. Two days later they returned to Carncross and Dixey, where they remained the major portion of the time until the dissolution of their partnership in 1883.

In June, 1878, they played a limited engagement with Neil Bryant’s Minstrels in New York. August 6, 1880, they were with Sweatnam and Dougherty’s Minstrels, and September 6, 1881, with Murphy and Morton, opened with George Thatcher’s Minstrels in Philadelphia, as Murphy, Morton, Griffin and Rice.

In 1883 Mr. Rice broke away from his black-face affiliations, and with Geo. S. Knight’s “Over the Garden Wall,” played a German comedy role.

About 1885 Mr. Rice formed a partnership with Geo. W. Monroe, and for several years they starred in “My Aunt Bridget.” Subsequently he was identified with May Irwin’s and other high-class farcical productions.

Mr. Rice excels as a neat dancer, and as a light comedian, leaves nothing to be desired.

Of course, everyone knows that Sallie Cohen, of Rice and Cohen, is none other than Mrs. John C. Rice; as a guess, the author would say the change occurred about 1890.

James Griffin formed a partnership with Ned Ainsley in the late 60’s, doing black-face songs and dances, and as Ainsley and Griffin were together for several years.

In 1872 Mr. Griffin was with Purdy, Scott and Fostelle’s Minstrels.

After separating from Mr. Rice, Griffin played engagements with Carncross’ Minstrels in Philadelphia and Lew Dockstader’s Minstrels, in New York City; in 1893, he made a trip to South Africa with Serrill’s Minstrels.

He also played in various melodramatic productions.

John C. Rice (Hildeberg) was born in Beaver Kills, N. Y.--the reader must guess the rest.

James Griffin (McNally) was born in Rochester, N. Y., September 10, 1852; he died in Philadelphia, May 10, 1904.

FRED HALLEN (Smith), prominent for many years as one of the famous farcical duo of Hallen and Hart, was “Master Ad. Weaver” as late as April, 1875, doing black-face parts in acts with that once well-known minstrel, Ad Weaver.

If Mr. Hallen has any regrets, he doesn’t look it.

HARRY LE CLAIR, the famous protean player, had his experience with cork.

About 1876, at the Terrace Garden, Buffalo, N. Y., Manager Dan Shelby suddenly confronted LeClair and asked him if he could play Topsy. Mr. LeClair said he could play pinochle and seven up, but had never heard of Topsy, except in “Uncle Tom’s Cabin.” That’s the same party, said Shelby. So Mr. LeClair blacked up, and he blacked-down, he blacked in and he blacked out; he blacked his lips and he blacked his teeth; and he probably would still be blacking if the cork had not run out. After the show they had to run him through a washing machine to un-black him.

SMITH AND BYRNE were a well-known black-face musical act thirty years ago. Their first appearance was at Washington Hall in New York, in 1878, on which occasion they introduced the famous “dislocated organ” solos, of which Mr. Byrne claims to be the originator--and to date no one has disputed it.

The team separated in 1884; Mr. Smith later ran for several years Smith’s Opera House in Bridgeport, Conn.

Mr. Byrne became a monologuist, but before that, a pessimist.

He is now a playwright, and is willing to prove it on the slightest provocation.

Ed C. Smith is said to be a resident of Boston or its environs.

John H. W. Byrne was born in Celbridge, Ireland, May 4, 1855.

HARRY LACY, the well-known actor, and star for many years in the “Still Alarm,” was a member of Harry Robinson’s Minstrels as early as March 29, 1873, 8:15 P. M.

He sang a ballad in the first part, and sang it well.

MICHAEL F. HENNESSY, one of the Hennessy Bros., was a well-known minstrel performer. He went to Europe with Haverly in 1884; subsequently appearing with other companies. For two seasons he was associated with Hennessy Bros. Minstrels.

His last engagement was with Cushman and Thomas’ Minstrels. He died in Milford, Mass., April 24, 1890; age 35 years.

PERCY G. WILLIAMS, the prominent vaudeville manager and theatre owner, played many black-face parts while a member of the Park Theatre, Brooklyn, N. Y., Stock Company, many years ago. To be specific, he enacted the role of Goliah, a colored boy, in the play of “Echoes” week of October 23, 1876. I have the programme.

DAN MASON, the tangled Teutonic talker, was a comedian on the minstrel first part at the old National Theatre, Cincinnati, Ohio, in the Spring of 1874.

Dan says that was the beginning of the “end.”

Mr. Mason was born in Syracuse, N. Y., February 9, 1855.

NILES and EVANS were an excellent song and dance team; Mr. Evans’ “make-up” as a wench was something remarkable. They made their first joint appearance at Rochester, N. Y., January 1, 1872, appearing in white faces in “Under the Gaslight.”

They subsequently played in black-face, and made their initial appearance in minstrelsy with John Hooley’s Company in Brooklyn, N. Y., in April, 1873; they remained a few weeks and liked it so well that they joined Purdy and White’s Minstrels May 19 following. There is reason to believe that they did not like this so well. In December, 1874, Mr. Evans temporarily retired, and with Burt Wayne, Mr. Niles joined Kelly and Leon’s Minstrels.

Subsequently they again joined hands and continued until March 18, 1882; owing to the illness of Mr. Niles, they made their last appearance as a team in Louisville, Ky., on the above date.

Mr. Evans’ career since then is well known.

On August 18, 1882, he formed an alliance with Bryant and Hoey, and for two years headed a variety company in which the principal act was that of the “Book Agent”; this was the inception of “A Parlor Match,” which was first produced September 5, 1884, and which had a continuous run for ten years, since which time Mr. Evans has been successfully manager, producer, actor and vaudevillian.

P. J. Niles was born in Syracuse, N. Y., February 8, 1851; he died at Lewis Station, N. Y., October 17, 1882.

Charles E. Evans was born in Rochester, N. Y., September 6, 1856.

DELMORE and WILSON are recognized as clever performers in white face, but that they were equally clever disguised with cork, not all are aware. They made their first appearance in Hoboken, N. J. (most anyone can tell you where it is), in 1880, doing a neat black-face character change act.

Their first minstrel engagement was with Cal. Wagner in 1884; subsequently they played with the following well-known companies: Duprez and Benedict’s; Barlow Bros. and Frost’s; Hi Henry’s; Beach and Bower’s; two seasons with Carncross’ Minstrels, in Philadelphia; their last appearance in black-face was with Haverly’s Minstrels about fifteen years ago.

Subsequently they played six seasons with “Finnigan’s Ball” and two years with “The Irish Pawnbrokers.” These gentlemen also played several weeks in London and the provinces, and thirteen weeks in South Africa.

Len Delmore was born in Brooklyn, N. Y., March 23, 1861.

Fred Wilson was born in Brooklyn, N. Y., September 10, 1856.

JERRY HART is a black-face comedian whom we should see more of, and I am sure we will.

Mr. Hart was raised in New Orleans, La., which gave him an opportunity of studying the “darky” at close range.

During Mr. Hart’s career he was associated with such companies as Barlow, Wilson and Rankin’s; Haverly’s; Al. G. Fields’, and Schilling’s Minstrels.

In 1897 he starred with Ned Monroe in the “Gay Matinee Girl.”

About ten years ago he went to England, and later to Africa, where Hart and Leo played for eight years.

Jerry Hart was born in Boston, Mass., January 23, 1856.

JAMES M. TIERNEY made his first professional appearance at the age of 10 years; he was billed as Master Eddy.

About 1872 he joined Tim Cronin, and as Tierney and Cronin they constituted one of the best song and dance teams of their day, during which period they played the principal variety houses, and some of the famous minstrel organizations, notably Kelly and Leon’s; Neil Bryant’s and Hooley’s, in Brooklyn.

Mr. Tierney separated from Cronin about 1881, subsequently engaging with Harrigan and Hart in New York; he left them April 18, 1885, after which he joined the Alice Oates Company, where he remained until his death.

James M. Tierney was born in New York in 1856; he died in St. Louis, Mo., July 28, 1885.

BILLIE BARLOW (Wm. S. Wyatt), a clever female impersonator who was with Hi Henry’s Minstrels in 1888, died in Mobile, Ala., September 2, 1897; age 41 years.

FRED. DART was considered one of the best and most versatile “wenches” in minstrelsy; he was for many years with Sam Hague’s Minstrels in Liverpool, and when Mr. Hague came to this country in 1881, Mr. Dart was with him, subsequently joining Carncross’ Minstrels in Philadelphia, where he remained until the time of his death.

Fred Dart was born in Liverpool, England; he died in Philadelphia, March 30, 1890; age 34 years.

BILLY (Wm. H.) CHACE began his professional career in his native city, doing an “essence” in black-face; this was in September, 1870. His first minstrel show was Huntley’s Minstrels; other minstrel engagements were Harry Robinson’s; I. W. Baird’s; Barlow, Wilson’s; Emerson’s; Alex Comstock’s. With Will Culhane and Wm. R. Weston they traveled as Culhane, Chace and Weston’s Minstrels for 8 years.

EDNA MAY SPOONER

SALLIE COHEN

CECIL SPOONER

TRIXIE FRIGANZA

LOTTA

JENNIE YEAMANS

MAUDE RAYMOND

ARTIE HALL

BEVERLY SITGREAVES

THEY ALL BLACKED UP.]

He was of the song and dance teams of Chace and Davis, Chace and Yale and Chace and Buckley.

Other engagements were Washburn’s “Last Sensation,” 3 years; at the Theatre Comique, Providence, R. I., 3 years, and Rentz-Santley Company, 3 years; also clown with Howe’s London Circus and other circus engagements; James R. Waites Company, 3 years, and played Joshua Simpkins in the play of that name for one season, also with Rice and Barton’s Company.

Mr. Chace was married to Miss Kitty Elzel, at Worcester, Mass., April 18, 1882; subsequently he became the husband of Henrietta St. Felix, of the 4 St. Felix Sisters, at Bainbridge, Ga., February 1, 1893.

Mr. Chace says that he is of the opinion that Chace and Davis at the Wigwam Theatre, Paterson, N. J., February, 1873, were the first to do a black-face “gagging” turn; I place it up to my readers.

Billy Chace was born May 31, 1856; at Providence, R. I.

LEW DOCKSTADER (Geo. Alfred Clapp).

Minstrelsy didn’t commence with Lew Dockstader, but Lew Dockstader commenced with minstrelsy, and has been associated with it ever since, always appearing in black face, a distinction enjoyed but by few burnt-cork artists. Mr. Dockstader’s success is due to many things, the most conspicuous being his ability to ascertain just what the public wants and when it wants it; and then giving it to them.

The name of Dockstader has been a household word for many years; the fame of Dockstader will live forever.

Mr. Dockstader’s initial appearance dates back to 1873, when, in his native city he was a member of an amateur organization by the very minstrel name of Earl, Emmett and Wild’s Minstrels; with Frank Lawton he did a song and dance act under the team name of Lawton and Clapp. That there was some class even at that early date to the great artist in embryo, is evinced from the fact that the late Harry Bloodgood, who was at that time organizing a company, engaged young Clapp, and he forthwith became a member of Bloodgood’s Comic Alliance, opening in Springfield, Mass., about September 1, 1873, and continuing the season.

The following year he formed a partnership with Johnny Mack, and as Mack and Clapp joined Whitmore and Clark’s Minstrels, remaining until the Spring of the next year.

From 1875 to 1876 he was associated with Mart Healy, also Healy and Ella Saunders, playing the variety houses, and billed as the “Big Three.” Then something happened. Mr. Dockstader fell into some money; but how fall out? Have a theatre of your own, someone suggested. Accordingly, on the 11th day of September, 1876, Newton’s Varieties, in Hartford, Conn., was opened under the management of Lew Clapp; four weeks later the name of the theatre was changed to the Adelphi and as the Adelphi it continued until January 13 following, when Mr. Clapp surrendered the reins of management to the more venerable Ad. Weaver.

Thinking he had said goodby to the theatrical business for good and all, Mr. Clapp (who still retained some of his inheritance) set out for California, where he reached in due time. This was before the day of “Seeing San Francisco” cars were in evidence; nevertheless he saw all that was worth seeing before it dawned upon him that the end of his money had been nearly reached.

Fate in the guise of Cogill and Cooper appeared on the scene, and in May, 1877, opened the new Adelphi Theatre in the great Western metropolis; Lew Clapp doing a song and dance, “Peter, You’re in Luck This Morning,” was one of the features of the bill.

After a pleasant and profitable engagement of several months he joined Sargent’s Minstrels for a tour, opening early in September and closing in Sacramento, Cal., December 10, 1877.

He gradually worked his way to New York, where in August, 1878, he formed a partnership with Charles Dockstader, doing black-face songs and dances; the alliance, which was known as the Dockstader Brothers, continued until the illness of Charles Dockstader caused a severance of their business relations in Philadelphia, in March, 1883. Mr. Dockstader made his initial appearance with his new partner in Jersey City, September, 1878; they remained there several weeks.

Their first minstrel engagement was with Jerry Thomas’ Minstrels in New York at the Brighton Theatre (present site of Bijou) December 30, 1878.

They then played the principal variety houses until the commencement of the season of 1880 when they joined Carncross’ Minstrels in Philadelphia for the season; the following year they returned there, and remained until about January 1, 1882, when they joined George Thatcher’s Minstrels, also in Philadelphia, for a brief engagement, terminating January 21st; a week later they opened with Haverly’s Minstrels in St. Louis, Mo., for the balance of the season.

In the Fall of 1882 they again returned to Carncross’, in Philadelphia, where after the sickness of Charles Dockstader in March, 1883, Lew Dockstader remained until the season closed; drawing the double salary for his individual services, and generously sharing it with his afflicted partner.

Mr. Dockstader began his fourth season with Carncross in the Fall of 1883; he continued there until the Spring of 1886. On the 17th day of September that year, Dockstader’s Minstrels opened as a permanent institution in New York City, where for more than three years he held forth, surrounded at all times with the luminaries of the minstrel world; during this period he made a trip to California with his company.

The final performance was given December 9, 1889.

December 23, 1889, he opened with Hermann’s Trans-Oceanic Vaudeville Company for a limited engagement.

The following month he became a member of Primrose and West’s Minstrels and continued with them until the Spring of 1891, after which he joined George Thatcher’s Minstrels in San Francisco, and finished the season with that company.

Dockstader’s Minstrels were next organized for a road tour and made their first appearance at Dayton, Ohio, July 23, 1891. They traveled successfully until February 20, 1895; on that date giving their closing performance in Cincinnati.

Mr. Dockstader immediately entered vaudeville, and continued in it successfully until 1898, when in connection with George Primrose, a minstrel company bearing their names was organized. It traveled for five years during which time it gave universal satisfaction.

In 1903 Mr. Dockstader again headed his own aggregation; each year since then successfully conducting it on lines that have long since made it synonymous with all that is best in minstrelsy.

Mr. Dockstader does what no other black-face monologuist has ever attempted, namely, to give a different specialty every season, each one being an expensive scenic affair that requires generally a full stage to properly produce.

Lew Dockstader was born in Hartford, Conn., August 7, 1856.

TOM SADLER, a well-known comedian, was a member of Haverly’s Mastodons at their inception in 1878; he went to England with them in 1880, and continued with them several years after. He was of the team of Green and Sadler, and later Morton and Sadler. Mr. Sadler was born in Nashville, Tenn., October 16, 1856; he died in Liverpool, England, December 31, 1893.

BILLY STILES (Lyons), a well-known performer of three decades ago, who was at one time connected with Haverly’s Minstrels, and Washburn’s Circus, was a native of Bridgeport, Conn. He died in Newark, N. J., October 10, 1909; age 53 years.

RICE and BARTON, famous for many years for their burlesque productions, did a great black-face act in 1882, and three years later headed Rice and Barton’s Minstrels.

Rice and Barton were brothers, and up to the time of the death of the former, comprised one of the oldest theatrical partnerships in existence.

George W. Rice (Swope) was born in Three Springs, Pa., September 13, 1858; he died at Centreport, Long Island, N. Y., December 22, 1909.

Charles Barton (Swope) was born in Three Springs, Pa., in 1856.

CHAS. H. YALE had a varied experience as a black-face performer before he could tack the words, “Manager of Devil’s Auction,” to his name.

Mr. Yale first appeared professionally at Haverhill, Mass., in 1873, doing a black-face banjo act. He next worked in acts with Neil Burgess, in white-face. Subsequently he did a black-face act with George Austin, and later with Harry Fielding.

About 1875 he formed a partnership with Al. Decker, and as Yale and Decker they traveled for several seasons. Mr. Yale also achieved marked success as a pantomimist.

Charles H. Yale was born at Laconia, N. H., February 13, 1856.

THE HOGAN BROS. formed a partnership in the middle 70’s, doing black-face songs and dances; their greatest success was with the “Happy Hottentots.”

They had been with various minstrel and specialty companies during the eighteen years they were associated together.

Harry Hogan had been business manager at the Bijou Theatre in Jersey City, N. J., almost fifteen years.

Gus Hogan had been manager for various burlesque companies, after their separation.

NED--GOSS & FOX--JAS.
(Portraits reversed)

JAS.--GRIFFIN & RICE--JOHN C.
(1875)
(Portraits reversed)

JNO. F.--FIELDS & HOEY--WM. F.
(Portraits reversed)]