Celebrity for the week ending
Saturday, 6 September 2003

Esther Austin (born 1847)
English dancer

Esther Austin and her sister

Esther Austin and her sister.

'Le Combat pour le Drapeau' or 'La combat pour le Banner,'
the finale of Esther Austin's ballet divertissement, La Mode d'Asinere

'She greatly distinguished herself in what we suppose we must call
a flag and sword hornpipe in which she was joined by one of the members of her company.'

(photo: A.R. MacWilliams, Glasgow, probably March/April 1869)

This sadly faded photograph features one of the most energetic and popular dancers of the late 1860s and 1870s – 'The Great' Esther Austin. She and her troupe of dancers, supported by the organisational skills of her husband, George Wymark Craig (b. 9 June 1839), appeared successfully for a decade all over Europe, from London to St. Petersburg, and Glasgow and Edinburgh to Paris.

Mdlle. Austin first came to notice as 'Harlequina à la Watteau' in the pantomime, Hush-a-Bye Baby, on the Tree Top; or, Harlequin Fortunia, King Frog of Frog Island, and the Magic Toys of Lowther Arcade, written by W.S. Gilbert and Charles Millard, and produced at Astley's, London, on 26 December 1866. Her next appearances, during the early part of 1867, included a season at the Theatre de la Gâite, Paris.

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'Miss Esther Austin, Premiere Danseuse Characteristique (from the Theatre de la Gâite, Paris), and Miss Ellen Powell (from the Theatre Royal, Brighton), Operatic and Characteristic Dancers, will shortly be at Liberty to accept Engagements for Theatres and London Concert Halls. Letters to be addressed to Miss Esther Austin, Theatre Royal, Astley's, S. Miss Austin and Miss Powell beg to thank Paris Managers who have offered engagements, but must decline at present.'
(The Era, London, Sunday, 2 June 1867, p.1b, advertisement)

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Esther Austin was subsequently chosen as one of the dancers to accompany Finette, an import from Paris, when the latter first demonstrated her version of the can-can to London audiences in the Lyceum Theatre, 26 December 1867, in W.S. Gilbert's pantomime, Harlequin Cock Robin and Jenny Wren; or, Fortunatus and the Waters of Life, the Three Bears, the Three Gifts, the Three Wishes and the Little Man Who Woo'd a Little Maid.

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Canterbury music hall, London, March, 1868
'… This is not all, and by a great way, for there are two ballets, which, for scenery, appointments, dresses, &c., eclipse anything that has been presented here before. The first is a "Watteau Ballet," in which Mdlles. Esther Austin, Carle, Lille [sic] Carle, and Mr. Carle dance with a verve which is exceedingly attractive. The Parisian Carnival Quadrille [i.e. the can-can], which is introduced, received enthusiastic applause, and was loudly re-demanded. The grace, agility, and life, which Miss Austin throws into the Cancan are admirable.'
(The Music Halls' Gazette, London, Saturday, 1 April 1868, p.13a/b)

London Pavilion music hall, London, April 1868
'At the termination of the ballet [Love in a Muddle] the now celebrated Parisian quadrille [i.e. the can-can] was given by Miss Esther Austin and three other ballet ladies. It was danced in the most animated manner, and called forth an unanimous encore. We cannot refrain from noticing the young lady who acted the second "male dancer;" so sprightly and so gracefully did she sustain the quadrille, that we half suspect that Miss Austin must not take all to herself the boisterous applause which was manifested. We think all the ladies are worthy of having their names recorded.'
(The Music Halls' Gazette, London, Saturday, 25 April 1868, p.21a)

London Pavilion music hall, London, May 1868
'At the termination of [the new ballet by the Wardes and D'aubans] Miss Esther Austin assisted by her regular lady companions, and by an additional four, gives a new form of quadrille which being danced with the heartiest vigour is likely to be very attractive. The ladies are dressed in capital taste, and are full of animation.'
(The Music Halls' Gazette, London, Saturday, 23 May 1868, p.54a)

South London music hall, London, May 1868
'The chief attraction a this hall during the past week has been the new ballet produced for the first time on Monday evening [18 May 1868], supported by Mdlle. Esther Austin, and Mdlles. Spinola, Balerina, Dellafosse, Marion, Gilberto, and the Sisters L. and T. Austin. The dances are extremely pretty and were all loudly applauded. The sketch concludes with the celebrated Parisian Quadrille [i.e. the can-can], in which Mdlle. Austin and her fair assistants appear in their usual spirited manner to the immense satisfaction of the audience.'
(The Music Halls' Gazette, London, Saturday, 23 May 1868, p.54a)

'Esther Austin appears in Le Quadrille Parisienne or Can-Can every evening at the following concert halls [i.e. music halls]:
'South London – 7th week – 8.45.
'Canterbury Hall – 12th week – 9.30
'London Pavilion – 14th week – 10.55
'N.B. – In answer to several Managers, Esther Austin begs to inform them that the Quadrilles danced by herself and the Carle Family at the Canterbury Hall, in the Grand Watteau Ballet, were arranged and produced by her. Please address all letters to Mr. George Craig, 23, Rue Turgot, Paris, until June 28th [1868]; after the above date, Lyceum, London.'
(The Era, London, Sunday, 28 June 1868, p.1d, advertisement)

Metropolitan music hall, London, September 1868
'Mdlle. Esther Austin continues to create a perfect furoreLa Mode D'Asnieres, by Mr. J.R. Wilson, which deserves very high praise.'
(The Music Halls' Gazette, London, Saturday, 26 September 1868, p.196c)

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'"LE CAN-CAN." – This Unique Dance, Performed before the Prince and Princess of Wales, at the Lyceum, Theatre Royal.
'MDLLE. ESTHER AUSTIN, Premiere Danseuse Carnavalesque, from the Theatre de la Gaite, Paris, and Celebrated Harlequin a la Watteau, and Original "Can-Can" Performer at the Theatre Royal, Lyceum.
'"Miss Esther Austin and her Troupe are as yet unrivalled in the Parisian Quadrille. Others have attempted it, and have, moreover, succeeded, but to this clever Artiste and her Friends the palm must certain be awarded. Miss Austin herself is fully qualified to take the lead in an entertainment of this kind, for her graceful activity is something refreshing to witness." - The Era, Sept. 27th, 1868.
' Her engagements during the present year have been as follows:- Lyceum, 80 Nights; London Pavilion, 100 Nights; South London, 150 Nights; Canterbury Hall, 72 Nights; and Metropolitan, 54 Nights; and is now performing, with unbounded success, at the undermentioned:-
'SOUTH LONDON "Bal d'Opera Francais," 150th Night at 9
'METROPOLITAN "La Mode D'Asnaieres," 54th Night at 10
'"Miss Austin so much delighted the people with her final feat of whirling rapidly round while standing on one foot, that they clapped their hands, and cried 'Bravo!' and 'Hornpipe!' most lustily." - The Era, Sept. 6th, 1868.
'E.A.'s Latest Performances, "Le Combat pour le Drapeau," a Grand Success. Alfred Lee, Esq., has given Mdlle. Austin permission to perform the Grand "Watteau Ballet" Music.
'Provincial Tour will commence about Easter Monday, 1869. Managers Please write, Sole Agent, Mr. GEORGE CRAIG, seventeen years employed by [the theatre and music hall entrepreneur] E.T. Smith, Esq. 'N.B. – WANTED, Young and Pretty LADIES, Good Figures and Dancers. Please send Carte-de-Visite. Those used to Solo Dancing preferred. Address, stating terms, to G. CRAIG, or ESTHER AUSTIN, South London Hall, London-road. At Liberty to accept 11.5 Turn, on and after October 12th. The Troupe, Eight in Number.'
(The Music Halls' Gazette, London, Saturday, 10 October 1868, p.216c, advertisement)

The Metropolitan music hall, London, October, 1868
'Two ballets, the one of the comic order, supported by the Wardes and D'Aubans, and the other of the elegant kind, consisting of the clever and pleasing dancing of Mdlle. Esther Austin and her troupe, constitute important items in the entertainments now being given in this large and well-filled Hall… Miss Austin's accomplished and beautiful dancing continues to be very popular. "La combat pour le banner," which forms the finale of her divertissement, La Mode d'Asinere, is very original, exciting, and elegant performance. In this portion of her efforts Miss Austin throws great dramatic meaning into her facial expressions and attitudes, and thus shows herself to be a good actress, as well as dancer of the first order.'
(The Era, London, Sunday, 25 October 1868, p.6c)

'"Miss Austin is the chief of the dancers. Her dancing is unquestionably first-rate, being a marvel of quickness and a model of gracefulness." – Vide The Era
'MDLLE. ESTHER AUSTIN, the Celebrated Harlequin a la Watteau. In preparation, a Grand Pantomimical Divertissement, entitled "Arlequins Pierot et les Chinois; ou, La Fête de St. Valentin," in which Esther Austin will sustain Three Characters.'
(The Era, London, Sunday, 29 November 1868, p.1c, advertisement)

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Mr and Mrs George W. Craig (Esther Austin)

Mr and Mrs George Wymark Craig (Esther Austin)

(photo: Pipere's, London, circa 1872)

'"A marvel of quickness, and a model of gracefulness." – Vide The Era.
'MDLLE. ESTHER AUSTIN, Premiere Danseuse Characteristique, from the Theatre De la Gaite, Paris, and Celebrated HARLEQUIN (à la Watteau), of the Theatres Royal, Lyceum and Astley's, will appear, in conjunction with the World-Renowned Troupe of Carnival Dancers, including Mdlle. ELLENIA SPINOLA, MARIE ERASQUINE, THERESE DELLAFOSSE, MARIAN GILBERTE, ADA MURRY, ROSE RIPPINGTON, et Mdlle. LIZZIE AUSTIN, BROWN'S ROYAL HALL, GLASGOW, March 29th [1869]; Alexandra Hall, Manchester, April 26th [1869]; Birmingham, May 24th [1869].
'"Mdlle. Esther Austin and her troupe of carnival dancers are as yet unrivalled in the Parisien Quadrille. Others [particularly the Colonna Troupe] have attempted it, and have, moreover, succeeded; but, to this clever artiste and her friends, the palm must certainly be awarded." – Vide The Era.
'Two Divertissements each Evening, viz., THE GRAND CARNIVAL, introducing "The Quadrille de la Grand Opera," "Le Quadrille Parisien" et "Le Combat pour la Drapeau." ST. VALENTIN, in which Esther Austin will sustain her Unrivalled Characters of Harlequin (à la Watteau) and Clown, and Ellenia Spinola as Harlequina. Harlequins and Columbines by the Troupe. Magnificent Costly Costumes from Paris. Music by Mr W. Corri and Alfred Lee. Properties by Jones, of the Crystal Palace. Agent, Mr Charles Roberts, 5, York-road, Lambeth, London, S. Acting-Manager, Mr George Craig, eighteen years with E.T. Smith, Esq.
'N.B. – This celebrated Troupe have caused the greatest furore ever known in London Music Hall annals. London Pavilion, Six Months; Canterbury Hall (Austin only), Three Months; Raglan, One Month; South London, Nine Months; Metropolitan, Eight Months (Austin's Benefit [4 March 1869], the greatest on record at this Hall); and Theatre Royal, Lyceum, Four Months. Mdlle Austin begs to return her sincere thanks to the London Managers for their princely offers for Easter, but must decline on account of Provincial Tour.'
(The Era, London, Sunday, 21 March 1869, p.15d, advertisement)

New Star Music Hall, Liverpool, October 1869.
'The best proof of the really attractive programme at the "Star" is nightly furnished by very large and highly enthusiastic audiences, for whom a more than usually varied performance has been furnished. The leading features of the entertainment last night were the ballets of the Austin Troupe, who have long occupied a high place in their particular branch of the Profession. The pantomimic sketch called "St. Valentin" introduces Mdme Austin in the triple characters of a Chinese grotesque, Harlequin, and Clown, and the artistic style in which she performs the "business" of these impersonations shows she is possessed of great versatility. In what is called the "great Carnival ballet" there is even greater variety - a great deal which approaches Frenchified Niggerism [ie. the can-can] and extravagances; but there is also admirable grouping, effectively-arranged dances, elegant and becoming dresses, and striking stage effects in light and picture. Mdme Austin again displayed in the "Carnival" wonderful spirit and grace, while her efforts were admirably seconded by the troupe of which she is the chief.'
(The Liverpool Mercury, Wednesday, 27 October 1869)

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South of England music hall, Portsmouth, January 1870
'Mdlle. Esther Austin and her troupe has been one of the great events of this popular place of amusement. This week they have performed for the first time here St. Valentine; or, Arlequin Chinois et Clown. Mr G.B. Wilson has painted two new scenes called The Envelope and the Willow Pattern Plate.'
(The Era, London, Sunday, 9 January 1870, p.13b)

Paris, April 1870
'The original performer in England of the famous Parisian Quadrille, "Parisien Le Can Can," performed upwards of 1,700 times without intermission, by this artiste.
'Mdlle. Esther Austin (La Grande) Premiere Danseuse Characteristique of the World. From La Gaieté, Paris, Her Majesty's, Drury Lane, Astley's, Amphitheatre Holborn, and T.R. Lyceum, is at Paris until 23rd inst., letters and communications to Mr George Craig, Hotel Courcelle, Boulevard Strasbourg, 30, Paris.'
(The London Entr'acte, London, Saturday, 30 April 1870, p.1b, advertisement)

Concert Hall, Birmingham, July 1870
'Madame Austin and French troupe have produced a comic shadow Pantomime, which produced loud, long, and hearty applause. Mdlles. Blanche, Haydini, and Gilberte appear as Harlequin, Columbine, and Pantaloon, with Mdlle. Spinola premier danseuse. Madame Esther Austin, as Clown, is particularly grotesque and ludicrous; her glove fight with the Policeman was immense. The scenery is greatly improved, and the illuminated gardens and palace, the transformation valentine, with lime-light effects, give great effect to Madame Austin's ballets, and reflects great credit on Messrs E. Martin and C. Rolando, the talented scenic artists.'
(The Era, London, Sunday, 24 July 1870, p.12a)

Princess's Palace, late Princess's music hall, Leeds, September 1870
'… with Miss Esther Austin's richly costumed and classical ballet on the stage, the house magnificently lighted, and the strains of the now well-drilled and perfect band performing to them [the audience] it is difficult to realise that we are in cant-ridden, smoke-begrimed, and methodistical Leeds; and as was recently said of Mr Hobson [the manager] by one of our leading men, if he continues the present system he is "a public benefactor, and deserving of the thanks of the people." Band and ballet are the standing features, and it is needless to say that Esther Austin and her clever troupe are received on every appearance with acclamations, and the band is nightly encored… The entertainments concluded each evening with Miss Austin's Shadow Pantomime of The Vapour Witches, in which that lady herself appears as Clown, the clever Ellenia Spinola, premiere danseuse; Pantaloon, Marian Gilbert; and Sir Bobby, Mr George Craig; and it is needless to say in such hands it is received with shouts of laughter and applause.'
(The Era, London, Sunday, 11 September 1870, p.12b)

Royal Wear music hall, Sunderland, October 1870
'At the Wear Hall, Sunderland, the Austin troupe of 'Can-Can' dancers have been engaged for another week. During the last week they crammed the Hall to suffocation nightly, and Mr [S.H.] Bell [the proprietor], in an advertisement recording the facts, states that no fewer than 16,845 persons paid for admission during the six nights, a greater number by 2,000 than ever patronised the Hall during any previous week.'
(Newcastle Daily Chronicle, Newcastle, Monday, 10 October 1870, quoted in The Era, London, Sunday, 16 October 1870, p.1a)

Tyne Theatre, Newcastle-upon-Tyne, Monday, 17 October 1870
'On Monday Mr Watts Phillips's new drama The Huguenot Captain was produced, supported by the members of the Stock Company. Mr T.B. Appleby making his first appearance at this theatre as Ambrose pere. In the second act Mdlle. Esther Austin introduced her troupe of danseuses who went though their Parisian quadrilles to the satisfaction of the audience. The drama was followed by the farce of My Wife's Out, the amusing pantomimic shadow ballet Le Lanterne Magique, supported by Mdlle. Esther Austin and her troupe, concluding the performances.'
(The Era, London, Sunday, 23 October 1870, p.12d)

Victoria Concert Hall, West Hartlepool, near Newcastle-upon-Tyne, week beginning Monday, 7 November 1870
'The principal feature of the performances here this week has been the appearance of Mdlle. Esther Austin's ballet troupe, and it is not too much to say that they were worthy of the highest praise. They were received with great applause on Monday night from a house filled in every part, and at the conclusion of the first ballet it was some time before the audience could sufficiently subdue their enthusiasm to allow the after portion of the programme to proceed; in fact not until Mdlle. Austin had appeared twice before the curtain could order be restored.'
(The Era, London, Sunday, 13 November 1870, p.13c)

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Metropolitan music hall, London, May 1871.
'Her Royal Highness the Princess Louise, and his Lordship the Most Noble the Marquis of Lorne, who lately gave so much employment to the pens of verse-makers, the pencils of draughtsmen, and the tongues of preachers and politicians [they were married in 1871], have now been pressed into the service of choreography. An extremely pretty Terpsichorean spectacle, which is called "A ballet divertissement characteristique Eccossais, Les Cambells; ou, Les Beatues de Lorne," has been produced at this [Music] Hall, under the direction of Mdlle. Esther Austin. The scene, which is an excellent one, and does great credit to Mr. Roberts, the scenic artist of the establishment, represents the walls and courtyard of a castle, with a lake and mountains beyond. In the foreground appears a party of Highland lads and lassies, clad in Scottish costumes of an exceedingly beautiful and brilliant character. Dancing of a kind in keeping with the place and people represented is executed with great skill and spirit by Miss Austin and her troupe to suitable music, arranged by Mr. A. Lee, and efficiently played by the band, under the leadership of Mr. Griffiths. Singing alternates with dancing. Miss Rolfena sings "What's a' the steer?" Miss Howard warbles a lyric about the marriage of the daughter of her Majesty with the heir of Argyle, to the tune of "The Big Sunflower," and these pleasing vocalists unite in a rendering of "Ye banks and braes of bonnie doon." Among the actions performed by the coryphees and their chieftain is a sword combat of an exciting nature, which ends with Miss Austin pointing her weapon threateningly towards the foe whom she has brought to her feet. This scene elicited applause of uncommon fervour, as did also the final dance, which was novel, and particularly lively and diverting. The ballet is a charming one, and is produced and represented in the complete and superior style which marks all Miss Austin's entertainments.'
(The Era, London, Sunday, 14 May 1871, p.12c)

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'MDLLE. ESTHER AUSTIN. NEW GRAND TROUPE. Splendid Principal Danseuse, Mdlle. LILLIE LEE. NOTICE TO MANAGERS.
All the Business (London and Country) is transacted by CHARLES ROBERTS.
Sole Agent, Charles Roberts, 5, York-road, Lambeth. Sixth Year. Mdlle. Esther Austin has received £15,000 through this Agency.'
'SOUTHMINSTER THEATRE, EDINBURGH, Ninth Week.
'The only AUSTIN. The Great Unrivalled ESTHER AUSTIN. – "This clever Artiste, who it may be surmised, is a first favourite." - The Era. "Three lively Scotch quadrilles introduce that very extraordinary dancer." - The Era. "Her characteristic Highland fling being a marvel of pedal velocity." - The Era. "Also appears with the greatest possible success as Clown." - The Era. Wanted, to commence Engagements, February 23, Corps-de-Ballet. Enclose carte-de-visite to Mdlle Austin, 12, Hill-square, Edinburgh.'
'The World-renowned ESTHER AUSTIN TROUPE Engaged to appear at the East London Theatre; Oxford, Brighton; Gordon's, Southampton; Alexandra, Manchester. Magnificent Ballet Entertainments. Premiere Danseuse, Mdlle LILLIE LEE. Managers address Charles Roberts, 5, York-road, Lambeth, London, S.E.'
'The Great ESTHER AUSTIN in her Fancy American Dances, instructed by Mr William Gant; Tip and Top, the Characteristics, Prince and Beauty, the Comical Shadows, the Sprite of Darkness, the Scottish Ballet, the Harlequin, Chinese, and Clown Galops, Walk Rounds, Song and Dance Ballet Entertainments, the Sledge Bells, Bouquet Dances, the Silver Belt Jig by Esther Austin, Quadrilles of All Nationalities. The Esther Austin Troupe, Eight Ladies. Sole Agent, Charles Roberts. Treasurer, Mr. George Craig.'
(The Era, London, Sunday, 1 February 1874, p.13c, advertisement)

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South London Palace music hall, November and December 1876.
'One of the greatest attractions of the programme is the appearance of the world-famous Esther Austin and her ballet troupe, comprising Miss Lily Lee, Miss Kate Paradise, Mdlle. Julia [? Esther Austin's sister] (premiers danseuses), and the Misses Light, Oliver, [? Dolly] Tester, and Driver. One of these ladies, attired in black and silver, exhibited remarkable powers, and all displayed skill of a very pleasing character. And so, whether spectators were watching pas seul, or pas de deux, or pas de quatre, they found abundance of cause for admiration, and admiration was accordingly expressed. Mdlle. Austin herself retains all that freshness, and vigour, and ability which long ago made her popular. She greatly distinguished herself in what we suppose we must call a flag and sword hornpipe in which she was joined by one of the members of her company. Their dancing was first-class, but their fencing it was that aroused the lookers-on to a high pitch of excitement. Into this, and into the struggle for the flag which followed, Mdlle. Austin threw an amount of intensity which was almost tragic, and it is only fair to say that her company seconded her efforts with praiseworthy precision and force. The South London corps de ballet also appeared in sundry capital dances, and the cheering which followed the fall of the curtain gave evidence of the enjoyment afforded. Mdlle. Austin and company later in the evening treated the audience to a Shadow Pantomime, the principal herself appearing as Clown, and causing roars of merriment by her droll antics, by her capacity for the wares of the penny pieman, and by her agility with the game of "leap frog." Mdlle. Julia made a capital Pantaloon; and this portion of the entertainment gave the greatest satisfaction.'
(The Era, London, Sunday, 3 December 1876, p.4a)

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George Wymark Craig junior “George

George Wymark Craig junior, left, in private life, and right,
as a character in Fred Karno's sketch, 'Early Birds.'

(photos: unknown, circa 1906)

Following Esther Austin's retirement from regular appearances in the early 1880s, she settled down with her husband who by then had become proprietor of a public house known as the Carlisle Arms in Carlisle Street, Lambeth, south London. Their son, George Wymark Craig junior, who was born about 1863, also became a dancer and pantomimist. During the early years of the 20th Century he was a member of Fred Karno's company, appearing in such sketches as 'Early Birds.'

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unidentified dancer (possibly Esther Austin)

unidentified dancer (possibly Esther Austin)

(photo: R.P. Estabrooke, London, circa 1879)

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DOLLY TESTER

'And here hung once the portrait of Dorothy, wife of that George, Marquis of Ailesbury who preferred notoriety to fame, and had no conception of the idea that great privileges entail as great responsibilities. He has been dead these, nearly, twenty years, and she has since become the wife of another man, but part of the penalty of excesses such as theirs is a memory that both must be sorry to have left, and the chronicler is tempering justice with mercy who merely says that neither this Marquis nor this Marchioness are figures to whom he can point with any pleasure.
'Lord Ailesbury was born in 1863, and even as a schoolboy proved himself quite intractable. It is probably correct as well as charitable to say that his extravagant behaviour throughout life must be attributed to degeneracy, and his own authenticated complaint against fate, that he had been born a Peer and not a stableboy, may be accepted as his own rather pathetic acknowledgement of consciousness of not "belonging" to his class. All his sympathies were with a much lower order, among whom alone he found his friends, and the pleasure he found in utter recklessness was pandered to by them without the least compunction. Before he came of age he contracted debts to the tune of £200,000, and the sale of one of his Yorkshire estates was rendered necessary to put him on his feet again. But even this was a bagatelle compared with his subsequent extravagance, and at the time of his early death his affairs, which had always been in a state of chaos, were in the hands of the Court of Bankruptcy.
'He was still a minor when, on the 5th [sic] of May, 1884, he married the daughter of a baker at Brighton, Miss Dorothy Haseley, well known as a ballerina under the name of Dolly Tester. The marriage was not a happy one. The pair ceased to live together very soon, and in 1889 a deed was singed by which a sum of £100,000 was put in trust to provide the Marchioness with an income for life. The sum was inadequate to the demands made upon it. The Marchioness became involved in debt, and when her husband died her house had been for some time in possession of brokers, who were eventually paid out by the trustees. Lord Ailesbury's eccentricities made him a conspicuous figure at this period; he used to wear hats of huge dimensions and fantastic shape, waistcoats with buttons made of guineas, suits of the most brilliant colours and startling pattern; he donned "pearlies" [in imitation of London East End costermongers] and drove a coster's donkey card down Rotten Row [in Hyde Park], and he seemed to find an abnormal delight in outraging every convention. His racing career was ended by an incident which even he must have regarded as a disaster. One of his horses, Everitt, "dead heated," and when the race was run off won in such decisive style that the matter was inquired into by the Stewards of the Jockey Club, with the result that the jockey was suspended – though afterwards reinstated – and the Marquis was warned off the turf.
'The last few years of his life saw him getting deeper and deeper into the mire. "Ducks" was not without ideas for raising money, but they did not materialize. It is said that he considered his title out to be worth money in America, and that he thought of appearing on the stage there, and even arranging a pas de six, to be danced by bankrupt noblemen. More practicable, and very nearly successful, was his proposal to sell his Savernake estate to Lord Iveagh for £750,000. The project was bitterly opposed by his uncles, one of whom was heir presumptive to the title and estates, and an intricate law suit followed; the decision was that the Marquis had the right to sell the Savernake estate if he wished, but at the eleventh hour a claim was put by his wife which proved sufficient to alter the decision and preclude the sale. In view of the suggested sale and the early decision, the Marquis had been receiving an allowance from moneylenders, but as soon as it was announced that no sale would be effected this allowance naturally ceased and the Marquis was left in difficulties through which he was helped from that time until his death by the kindness of his sister, lady Mabel Sievier. The end of his story came soon, for he was only thirty-one when, in 1904, he died suddenly of heart failure in the house of one of his friends and tenants at Brixton. Seven years later, in 1911, Dorothy, Marchioness Ailesbury married again, and so passes from our view.'
(Cranstoun Metcalfe, Peeresses of the Stage, Andrew Melrose, London, 1913, pp.160-162)

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© John Culme, 2003