American Carnival Sideshow Banners

American Carnival
Sideshow Banners:
Exploring both sides of the canvas
Lawrence McElroy
Johns Hopkins University
April 24, 2013
Hosted by the American Museum of Folk Art

The Canvas Wall Between Us
Pete Kortes Side Show, circa 1948. Photo: The Circus Blog

The Canvas Wall Between Us
The carnival sideshows which criss-crossed the American continent during their
heyday, all utilized walls of blazingly colorful canvas banners to attract their
audience. These banner lines, displaying exaggerated imagery and irresistible
enticements, became the sideshow’s recognizable trademark. Countless slack-
jawed audience members gladly traded their money for a ticket to see for
themselves. Arguing for the artistic merits of these sideshow banners is the recent
resurgence in interest in vintage sideshow banners as collectible objects of art.
Unfortunately, the genre has a darker side due to the shocking and insensitive
nature of the imagery used in many banners. This imagery provides a unique
glimpse into the conscience of the American heartland during this period of
history, and allows us to reflect on the progress our society has made since then,
and how far we have yet to travel.

Human Freaks. Photo: Defending Freak Shows.

Bannerline. Photo: Sideshow World.

Ringling Brothers Barnum & Bailey Circus. Date: 1919.
Photo: Sideshow World
Hagenbeck Wallace Circus Sideshow.
Photo: Sideshow World.
James. M. Cole Circus, circa 1930’s.
Al G. Barnes Circus Sideshow.

Animal Annex. Photo: Sideshow World.

The first section of “Exploring the
Other Side of the Canvas” highlights
notable sideshow banner artists and
contains biographical sketches.
Visitors will also find historical
photographs of their studios, along
with personal notes from the artists
about the process of creating
banners. An unfinished canvas by
artist Snap Wyatt provides a look at a
work in progress.
What colors would you choose?
The Artists and the Process

“Cavalcade World of Wonders”. Artist: Fred G. Johnson.
Photo: Cult of Weird
The Art of Sideshow Banner Painting

Some sideshow banner painters were remarkably talented, and their work often incorporated
elements associated with fine art. The paintings featured in this section of the exhibition blur the line
between “sign painter” and “artist”. One example of this phenomenon is a banner titled “Monkeys”
produced by Nieman Eisman. The composition of the work incorporates a dynamism that directs the
viewer’s eyes around the canvas. The simian figures in the background are diminutive and muted,
enhancing the drama of the brightly colored figures in the foreground. The splashes of color across
the painting’s background are reminiscent in effect and technique to that of early abstract artists. This
painting, produced by an artist with no formal training, exhibits a remarkable understanding of design,
color and composition. The background of “Monkeys” is strikingly similar to Wassily Kandinsky’s
canvas “Bright Picture 1913”, and it could be argued that the groundbreaking visual concepts detailed
in Kandinsky’s 1926 treatise, “Point and Line to Plane” can be found in “Monkeys”. Here, the tonal
splashes are gaily linked to darting figures through the linear monkey tails and curving vines. Eisman’s
painterly treatment of the surface and effective use of imagery creates a visual excitement for the
viewer, and exemplifies the high caliber of work which was often produced by the best of the
sideshow banner painters. Other works in this section, likewise share interesting affinities with fine
art.
The Art of Sideshow Banner Painting

“Monkeys”. Artist: Nieman Eisman

“Monkeys”. Artist: Nieman Eisman
“Bright Picture 1913”. Artist: Wassily Kandinsky.
Photo: Stavros Pavlides

“Snake Charmer”. Artist: Unknown.
Photo: Eric Reber

“Snake Charmer”. Artist: Unknown.
Photo: Eric Reber
“Odalisque With Slave.
Artist: Jean-Auguste-Dominique Ingres.
Date: 1839-1840.
Photo: Harvard Art Museums.

“Monkeys-Porcupines”. Artist: Fred G. Johnson. Size: 93 in x 116 in.
Photo: Carl Hammer Gallery

“Exotic Moroccan Moments”. Artist: Unknown
Photo: Eric Reber

“Damascus Dancers” by Kimball & Sterling.
Artist: Unknown. Size: 13’6” x 11’3”
Photo: Live Auctioneers

“Yogy Ray”. Artist – Unknown.

“Electric Wonder”. Artist: Jack Cripe. Circa 1950. Size: 120 in x 120 in.

“Tattooed Girl”. Artist: Snap Wyatt.
Photo: Wisconsin Historical Society.

“Champion Sword Swallower”. Artist: Nieman Eisman (attributed)
Photo: Amusing the Zillion

“Barker at a sideshow at the Rutland Fair, Rutland, Vermont”.
Photo: Library of Congress
The Magnetism of Sideshow Banners

Sideshow banners were not originally intended to be admired as works of art. They
were designed to stop traffic on the carnival midway so the carnival “barkers” could
gather a crowd and persuade as many as possible to buy a ticket. In this capacity, the
banners functioned extremely well. Images were designed to be so outrageous,
passersby were compelled to stop and contemplate. Could an actual mermaid really be
inside? The long-running financial success of the sideshow business is evidence of the
effectiveness of sideshow banner art to mesmerize an audience. Banner art in this
section highlights the advertising tools and techniques which banner artists used so well.
The Magnetism of Sideshow Banners

“Human Paradox”. Artist: Fred G. Johnson.
Size: 94 in x 120 in. Photo: Carl Hammer Gallery
“Upside Down Family”. Artist: Unknown.

“Strange Girls”. Artist: Unknown.
Photo: Side Show Banner Gallery
“As Strange As It Seems”. Artist: Unknown.
Size: 94 in x 120 in.

Sideshow Audience. Circa 1930’s.
The Other Side of the Canvas:
What Will You See ?
Two girls on the midway, circa 1930’s.

The imagery and messages contained in the banners exhibited in this section are
shockingly insensitive and offensive. The artwork is creative but the message is
distressing and appalling. These sideshow banners were originally displayed for a
general public of all ages, but “Exploring the Other Side of the Canvas” audience
members are cautioned to consider the implications before proceeding. Much like the
sideshow ticket holders of the past, audience members entering this exhibition section
will step through an invisible canvas curtain and emerge in “their” world. On this side of
the canvas, you will see the faces of the real people put on exhibit as a result of their
physical abnormalities, gender, skin color or mental disabilities. On this side of the
canvas you will confront the issue of what it means to be “normal”, and you will be
compelled to confront the moral and ethical dilemma of exhibiting humans for profit.
You will see the graphic images which made this practice so successful.
The Other Side of the Canvas:

Racial discrimination and strife were unfortunate hallmarks of the past century in
America, and exaggerated images of racially-based stereotypes were common in sideshow
banners. The banners advertised sideshow attractions which featured minority individuals,
particularly of African American descent, as savages, wild-men and inferior sub-humans. This
exploitive treatment received shockingly little public outcry and persisted even into the latter
half of the 20th century.
Insensitivity to Race and Condition
“Monkey People”. Artist: Unknown.
Photo: Museum Syndicate

“The Gorilla Men”. Artist: Unknown.

“Aztec Indian”. Artist: Snap Wyatt. Size: 90 in x 114 in.
“Missing Link”. Artist : Fred G. Johnson. Circa 1950’s.
Photo: Liveauctioneers

Arthur Dove, Untitled from Sketch
“Ubangi Savages Featured with the Al. G. Barnes Circus
Season, 1932”. Photo: Sideshow World
“Ubangi”. Artist: Snap Wyatt.

“African Witch Doctor”. Artist: Snap Wyatt.
Photo: Sideshow Banner Gallery
“Strange Little People”. Artist: T. Frank.

Lobster Boy, Fat Lady, Penguin Boy, Half-Girl,
Pinhead & Other Epithets
Persons with physical or mental disabilities were equally exploited by
sideshows and sideshow banner artists. Sideshow banners in this section illustrate
the cruel creativity used to change an ordinary disease process into an attraction.
The use of inventive character names which stretch the imagination reached their
zenith in this category of banners; “Penguin Boy”, “Alligator Girl”, “What-Is-It?”.
Visual associations with royalty, prestige, or uncommon abilities were also
common ploys.

“Lobster Boy”. Artist: Snap Wyatt. Date: 1950.

“Father & Daughter”. Artist: Fred G. Johnson.
Photo: Cult of Weird
Grady Stiles, Jr. was born with a congenital
abnormality known as ectrodactyly. Stiles, billed as
“Lobster Boy” was reportedly an abusive alcoholic.
He was murdered by a contract killer hired by his wife
and stepson, who were later imprisoned for the crime
(Dougherty, 1996).
Photo: flickr

Arthur Dove, Untitled from Sketchbook “E”, ci
“Marie Armless Girl”. Artist: Snap Wyatt.
“Louise the Armless Marvel”. Artist: Johnny Meah.

Jeannie Tomaini, billed as the “Half-
Girl” was married to Al Tomaini “The
Giant”. The couple retired from
successful careers in the sideshow
business and opened a tourist camp in
Gibsontown, Florida which became a
popular retirement spot for many
sideshow performers (Dougherty, 1996).
“Jeanie Living Half Girl”. Artist: Nieman Eisman. Date: Circa 1930’s.
Photo: Ken Harck

“Bob Melvin”. Photo: Sideshow World.
“Two-Faced Man”. Artist: Unknown.
Photo: The Antique Circus.

“Percilla – Monkey Girl”.
“Brenda Beatty”. Artist: Fred G. Johnson.
Photo: Cult of Weird.

“Milroy’s Disease”.
Photo: Anatomy Box
“Ralph the Elephant Boy”. Artist: Millard & Bulsterbaum.

“Stanley Berent – Seal Boy”.
“Penguin Boy”. Artist: Jack Cripe. Size: 137 in x 114 in.

“Frog Boy”. Artist: Unknown.
Photo: Sideshow World. “They Are Married”. Artist: Snap Wyatt.
Date: circa 1950. Size: 115 in x 102 in.
Photo: Live auctioneers.

“Alligator Skin Girl”. Artist: Snap Wyatt.
Emmet Bejano suffered from a skin
condition known as “Ichthyosis”.
Bejano was married to “Percilla the
Monkey Girl” who sufferred from
hirsutism . The couple retired to Florida
where Percilla was fond of flower
gardening.
Emmett and Percilla were avid dancers,
perferring the Cha Cha and Rhumba
(Dougherty, 1996).

“The Moon Man”. Artist: Unknown.
“Multiple Neurofibromatosis”.
Photo: Dermatlas.

“Circus Fat Lady”. Photo: Five
Hundred Pound Peep.
“World’s Fattest Man”. Artist: Snap Wyatt. Size: 238 in x 83 in.

“Teenie Weenie Comedians”. Artist: Unknown. Size: 94 in x 120 in.
“Giant Ladies”.

“Prince Arthur Midget”. Artist: Jack Sigler. Date: 1950.
Photo: Carl Hammer Gallery.

“Pinhead”. Artist: Fred G. Johnson.
Photo: Cult of Weird.
Schlitzie Surtees was born Simon Metz, in the
Bronx, New York. Billed as a “Pinhead” , Schlitzie
was portrayed as a female. Surtees suffered from
profound mental disability but reportedly had a
zest for live and was adored by everyone who
knew him. After retirement from the sideshow,
Surtees spent his final years in a nursing home
(Dougherty, 1996).
Photo: Mentalfloss.

“Hoo La La”. Artist: P. Barnett. Size: 92 in x 113 in.
“Hoo La La”: Sex, Sexism and the Exotic

The final section of the exhibition features sideshow banners which blatantly
exploited female sexuality. The female body has been a standard subject of artists
throughout history and was a favorite of sideshow banner artists as well. Typical
of sideshow banners were images of females in alluring poses, usually wearing
bikinis or even less. The artistic approach ranged from quite realistic to cartoon-
like, but the same formula seemed to apply to all; little clothing and an alluring
pose that promised more on the inside. Add palm trees and sand to the mix and
suddenly you’re not in Kansas any more.
“Hoo La La”: Sex, Sexism and the Exotic

“Black Mask”. Artist: Snap Wyatt (attributed).
Photo: First Dibs.
“Dance of Death”. Artist: Fred G. Johnson.
Date: circa 1950. Size: 117 in x 92 in.
Photo : Sideshow World.

“Andrea”. Artist: Unknown.

“Tanagra Live Mermaid”. Artist: Fred G. Johnson.
Photo: Museum Syndicate.
“The Mermaid”. Artist: Fred G. Johnson. Size: 94 in x 120 in.

“Cleo Moon Girl”. Artist: Snap Wyatt.
“Mona”. Artist: Snap Wyatt.

“Alligator Girl”. Artist: Unknown.
“Tattooed Girl 1037 Designs”. Artist: Fred G. Johnson.
Date: 1940-1950. Size: 141 in x 116 in.

“Eeka’s Native Haunts”. Artist: Al Renton.
“Eeka Captured”. Artist: Al Renton.
“Eeka Is Here And Alive”.
Artist: Al Renton.

“Zoma the Sadist”. Artist: Unknown.
Photo: Eric Reber.

Illustrations
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Carl Hammer Gallery. (2013). Monkeys-Porcupines. [Online image]. Retrieved from
Carl Hammer Gallery. (2013). Penguin Boy. [Online image]. Retrieved from
Carl Hammer Gallery. (2013). Prince Arthur Midget. [Online image]. Retrieved from

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from http://hammergallery.com/Banners/vintage_side_show_banners_1.htm
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/x.jpg
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image]. Retrieved from http://www.cultofweird.com/sideshow/fred-johnson-sideshow-
banners/
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banners/

Holston, N. (1972). Paint Brushes. The Human Pincushion. Ah Yes I Knew Him Well.
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35
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35
Show History. (n.d.). Jeanie Half Girl. Ken Harck Collection.[Online image]. Retrieved
from http://www.showhistory.com/tomaini.html
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http://www.sideshowworld.com/81-SSPAlbumcover/SS-88/1-88a-1.html

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http://www.sideshowworld.com/81-SSPAlbumcover/SS-13-PH/Blow-OffPH.html
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