Vintage Circus Poster Human Oddities

Ringling Bros. Barnum Bailey AL G Barnes  Circus Ubangi Poster vintage One Sheet poster with Rare Date Tail

The Original Circus Sideshows
50-60 years before the Jim Rose Sideshow

Artist:  Hap Hadley

May 20, 1932 at Yakima, WA

One of the most Rare, Spectacular Vintage Circus Art treasures we've ever discovered!

To some it’s masterpiece art and a tribute to the past, to others it’s ammunition to be offended.   Either way, a fascinating artifact and piece of art and culltural history

This is a Rare Full One Sheet with the Rare Date Tail still attached  (these were removed 95% of the time).  Original 100% Un-restored Condition. 

Why Were Date Tails Used?
In the early-to-mid 20th century, major circuses like Ringling Bros., Barnum & Bailey, and others used generic posters with dazzling artwork—lions, acrobats, clowns, etc.—which would travel from town to town with the show.   Hence, the date tails affixed to the bottom of the poster were used to prmote in a specific venue including dates, location, ticket prices, etc

Why Do Collectors Love Date Tails?

1. Historical Specificity: A date tail shows exactly when and where the circus performed—adding time-capsule value to a piece of ephemera.
2. Scarcity: Many posters had their tails removed, torn, or damaged—making intact date tails relatively rare.
3. Authenticity & Provenance: A tail adds proof the poster was actually used in a real performance, not just a generic promotional reprint.
4. Visual Appeal: The tail often contrasts in color and font, giving the piece a layered, dynamic look.
5. Increased Value: Collectors often pay significantly more for posters with original date tails, especially for small towns, one-day engagements, or rare circus routes.

A treasure for history enthusiasts, a striking visual for art admirers, a time capsule for circus fans, and for the perpetually offended—perhaps a new cause. For the curious, a window into an extraordinary past.  (*read below under Tribe History and Body Modification Cultures)

It’s been over a decade since we have acquired Museum-grade vintage circus posters, like this Gem.  Here is one of the most spectacular elite circus posters with the most desirable of all classic entertainment art.  By famous circus artist Hap Hadley. 

* See enlrageable images

Since I started collecting in the 1980s, one of the most enthusiastic collector niches has been for the Circus Curiosities, namely the Human Oddities or as they were referred to several decades before the cancel culture era, the “Freak Sideshow”. 

One of the best vintage circus posters I’ve ever encountered is the Ubangi Savage poster by master circus artist Hap Hadley. The incredibly skilled art, stunning color combination and imagery make these posters intensely desirable.   And based on my research this poster has not been offered in any major auction in the past 20 years. 

*A most exciting and extremely Rare acquisition. Only recently from a massive lifelong Circus Collection did this Gem surface on the market.  And the long time collector owned Three versions of this poster in various sizes. And we’re delighted to have acquired All Three, listed here in our Vintage Treasures Gallery. 

Like the Sideshow and Freak attractions this Marvel of the unusual circus act was a massive draw in the early 20th century.  And to the collectors of circus, sideshow and historical poster art, this Ubangi Savage treasure find is an irresistible masterpiece

What person can resist looking at something that is so different from what they’ve become complacent to seeing everyday?  

So without further ado, we offer you a holy grail of vintage circus poster art that you’re not likely to ever see again

Al G. Barnes Circus - Ubangi Savages Poster One Sheet with Rare Date Tail

Authentic, original, Tribe of Genuine Ubangi Savages. One sheet, Hap Hadley design, Illinois Litho Co., c.1932.

NOTE:   Ringling Bros acquired AI G. Barnes in the early 1920s. 

Condition:  100% Origial Un-restored Unmounted, loss and small tears at margins, tear in date tail, scattered tape on verso. 28"x42"

Circus was for May 20, 1932 at Yakima, WA

Size: 28"x42".


Ubangi Tribe History:

One of the most remarkable attractions to ever appear in the American sideshow circuit was a group of African women who debuted in 1930 under the promotional title “Ubangi Savages.”  The "Savages" exhibit had a short life span only from 1930-32, and hence why any original vintage paper like original advertising posters, is Very Rare. 

They performed with both Ringling Bros and Barnum & Bailey, as well as the Al G. Barnes circus, which was also under Ringling ownership. The name “Ubangis” was coined by press agent Roland Butler, who had seen the term on an African map—despite the group’s actual origins being located far from that region.

The women's most striking feature was the large wooden discs inserted into their lower lips from a young age, gradually stretching the lips over time and resulting in a distinctive visual appearance.

Although their performances drew wide attention and success, tensions frequently flared between the women and their handler, a Frenchman named Eugene Bergoner. After learning that he was pocketing most of their \$1,500-per-week earnings, the women fashioned a doll effigy of him and subjected it to constant symbolic punishment.

While the show was stationed in Chicago, the group refused to board the circus train to Milwaukee if Bergoner remained involved. With the tour schedule pressing forward, management dismissed Bergoner, sending him back to Sarasota, Florida.

Not long after returning south, Bergoner reportedly suffered a fatal tropical insect bite. Upon hearing of his death, the women were jubilant, believing their curse—or perhaps the punishment of their effigy—had brought about his end.

As recalled by equestrian director Fred Bradna, the women eventually returned to Africa, where they are said to have purchased a large cattle ranch and lived comfortably with their families and grandchildren.

IMPORTANT NOTE:  Fast forward to 2025 and it's no surprise that historical actions from 100 years ago are viewed through an increasingly sensitive lens.  Some will be fascinated; some will appreciate the history behind these extraordinary people and art. Yet, as with everything today, there will always be those that are eager to be outraged.     Hopefully most will appreciate the historical significance and exceptional art of these amazing rare posters. 

A treasure for history enthusiasts, a striking visual for art admirers, a time capsule for circus fans, and for the perpetually offended—perhaps a new cause. For the curious, a window into an extraordinary past.   Ironically the women were proud to exhibit their body art.  Those embracing body modification call it art, but those obsessed with racial interpretation,  particularly the 21st century professoinnal offended, will see something else. . 

* Indigenous Culture Body Modification History:

Many Indigenous African cultures have practiced various forms of body modification for centuries. These modifications—ranging from piercings and scarification to neck, lip, and ear stretching—hold deep cultural, social, aesthetic, and spiritual significance. Here are some key examples:

1. Mursi Tribe (Ethiopia) – Lip Plates

• Famous for: Women inserting large clay or wooden plates into their lower lips.
• Symbolism: Traditionally seen as a sign of beauty, maturity, and status, and sometimes related to bride price negotiations.
• Process: The lower lip is cut and gradually stretched over time.

2. Dinka Tribe (South Sudan) – Scarification

•  Famous for: Forehead and facial scarification, especially among men.
•  Symbolism: Marks of manhood initiation, bravery, and identity within the tribe.
•  Method: Patterns are cut with razors, and ash is applied to create raised scars.

3. Nuba People (Sudan) – Body Painting & Scarification

•  Famous for: Elaborate scarification patterns and body painting using natural pigments.
•  Symbolism: Beauty, tribal identity, and social status. Both men and women participate.

4. Fulani Tribe (West Africa) – Nose and Ear Piercings

•  Famous for: Women wearing large gold earrings and nose rings.
•  Symbolism: Wealth, social status, and femininity. The size of the jewelry often indicates affluence.

5. Maasai Tribe (Kenya & Tanzania) – Ear Stretching

•  Famous for: Stretched earlobes and elaborate beadwork.
•  Symbolism: Beauty and cultural pride. Both men and women may participate.
•  Materials: Weights such as stones, bones, or discs are used for stretching.

6. Ndebele Tribe (South Africa & Zimbabwe) – Neck Rings

•  Famous for: Women wearing metal neck coils (often incorrectly equated with Burmese Padaung women).
• Symbolism: Marriage, wealth, and identity. The more rings, the higher the status.
•  Note: This practice has declined and is often more symbolic today.

7. Karo Tribe (Ethiopia) – Body Painting and Scarification

•  Famous for: Using white chalk, charcoal, and ochre to decorate the body.
•  Symbolism: Attractiveness, rites of passage, and warrior status.

8. Surma Tribe (Ethiopia) – Lip Plates & Piercings

•  Similar to the Mursi, Surma women also wear lip plates and perform extensive scarification.
• Men may also modify their bodies as part of ritual combat or aesthetics.
  

FINAL NOTE:
This extraordinary piece of history isn’t mocking or exaggerating — it’s documenting a real and meaningful cultural practice among the Mursi and Surma people of Ethiopia, based on truth, not fantasy or stereotype.

Lip plates are a centuries-old tradition, often symbolizing beauty, maturity, and identity. To reduce that to a stereotype ignores its deep cultural meaning.

Interestingly, members of these tribes often pose for and celebrate this kind of imagery themselves — as a form of cultural pride and preservation.   Its only outsiders such as the "cancel culture" and  political activists that feign outrage. 

Dismissing these celebrated traditions as “savage” or “racist” can itself reflect ethnocentric bias.

ARTIST BIO:

Hap Hadley (1895–1976) was an American illustrator and poster artist best known for his striking and stylized artwork that captured the energy and spectacle of early 20th-century American entertainment. Born in Chicago, Hadley became a prominent figure in the golden age of poster design during the 1920s and 1930s, creating iconic visuals for circuses, vaudeville, motion pictures, and stage productions.

Hadley's work is especially celebrated for his bold use of line, dynamic composition, and theatrical flair, often rendered in pen-and-ink or lithographic style. He is perhaps best known for his posters for the Ringling Bros. and Barnum & Bailey Circus, as well as promotional art for major films and Broadway productions, including *The Jazz Singer* (1927) and *Charlie Chaplin’s The Circus* (1928).

In addition to circus posters, Hadley produced artwork for Warner Bros., Roxy Theatre, and other entertainment giants of the era. His distinctive style helped define the visual language of early American show business advertising.

Today, Hap Hadley's work is highly sought after by collectors and historians, both for its aesthetic quality and its cultural significance in the evolution of entertainment marketing.

Note: CVtreasures stamp not on original