Antique Al G Field Greater Minstrels Show Black Americana Billy Clark Poster yqz

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LLC and can only be used with the express written permission of Estate Auctions, Inc. Antique Al G Field Greater Minstrels Show Black Americana Billy Clark Poster. Famous Billy Clark in Blackface Otis Lithgraph Co Ohio.

Pictured here is an original photograph of Billy Clark in blackface! Fields Greater Minstrels show featuring "Minstrel" Billy Clark b.

Found referenced in the 1911 book by Edward Le Roy Rice "Monarchs of minstrelsy, from "Daddy" Rice to date", Mr. Clark was a theatre actor who made his first appearance in blackface at the age of eighteen with a local minstrel show, making his initial bow in 1903 with Al G.

Field's Ministrels, remaining until 1905. He then became a vaudevillian for two years, after which he rejoined Al G. Field's in 1907 for another two years, so that helps us date this poster anywhere from 1903 to 1909. Marked from top to bottom AL. FIELD GREATER MINSTRELS / BILLY CLARK / MINSTREL BILLY CLARK / THE OTIS LITHOGRAPH CO. 39653, and depicting an image of Billy Clark in blackface along the center, his normal portrait found along the top left. Framed and glazed, overall it measures approx.

28-1/4" by 21" with a sight size of. Keep scrolling there are 18 pictures and. More description beneath the photos below!

We have not examined the poster out of the frame, but there is visible toning to the paper and scattered foxing throughout, and we can not tell if it has been laid down. Be sure to scroll through our many photos to capture all the details, and keep scrolling to read more behind the history of Minstrels! A great piece to add to your collection, ready to display, GOOD LUCK!

Minstrel show as found on wiki The minstrel show, or minstrelsy, was an American form of entertainment developed in the 19th century. Each show consisted of comic skits, variety acts, dancing, and music. The shows were performed by white people in make-up or blackface for the purpose of playing the role of black people. There were also some African-American performers and all-black minstrel groups that formed and toured.

Minstrel shows lampooned black people as dim-witted, lazy, buffoonish, superstitious, happy-go-lucky, and musical. Minstrel shows emerged as brief burlesques and comic entr'actes in the early 1830s and were developed into full-fledged form in the next decade. By 1848, blackface minstrel shows were the national artform, translating formal art such as opera into popular terms for a general audience. By the turn of the 20th century, the minstrel show enjoyed but a shadow of its former popularity, having been replaced for the most part by vaudeville. The form survived as professional entertainment until about 1910; amateur performances continued until the 1960s in high schools and local theaters.

The genre has had a lasting legacy and influence and was featured in a television series as recently as the late 1970s. Generally, as the civil rights movement progressed and gained acceptance, minstrels lost popularity.

The typical minstrel performance followed a three-act structure. The troupe first danced onto stage then exchanged wisecracks and sang songs. The second part featured a variety of entertainments, including the pun-filled stump speech. The final act consisted of a slapstick musical plantation skit or a send-up of a popular play. Minstrel songs and sketches featured several stock characters, most popularly the slave and the dandy.

These were further divided into sub-archetypes such as the mammy, her counterpart the old darky, the provocative mulatto wench, and the black soldier. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated. Spirituals (known as jubilees) entered the repertoire in the 1870s, marking the first undeniably black music to be used in minstrelsy.

Blackface minstrelsy was the first theatrical form that was distinctly American. During the 1830s and 1840s at the height of its popularity, it was at the epicenter of the American music industry.

For several decades it provided the means through which American whites viewed black people. On the one hand, it had strong racist aspects; on the other, it afforded white Americans a singular and broad awareness of what some whites considered significant aspects of black culture in America. Although the minstrel shows were extremely popular, being "consistently packed with families from all walks of life and every ethnic group", they were also controversial. Integrationists decried them as falsely showing happy slaves while at the same time making fun of them; segregationists thought such shows were "disrespectful" of social norms as they portrayed runaway slaves with sympathy and would undermine the southerners' "peculiar institution".

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This item is in the category "Collectibles\Historical Memorabilia\Fairs, Parks & Architecture\Circus & Carnival\Programs & Posters". The seller is "estateauctionsinc" and is located in Seaford, Delaware. This item can be shipped worldwide.

• Country of Manufacture: United States