JAMES--ADAMS & LEE--JOHN H. JAKE--WELBY & PEARL--CHAS. (Portraits reversed) DELMANNING BROS.] Other minstrel engagements were with Sam Sanford’s traveling company, and subsequently with Thatcher, Primrose and West’s. Mr. Dobson spent fifteen years in London and the provinces, appearing in the principal halls. June 9, 1885, he won the gold medal presented by the Prince of Wales (the late King) in a competition. Edward C. Dobson was born in Newburgh, N. Y., September 12, 1858. WM. E. HINES (Timothy Edwin Hines) made his first appearance as a super at the Bowery Theatre, New York City, with George L. Fox. His initial black-face appearance was at Jake Acker’s Theatre, Troy, N. Y., in 1873. Early in his career he had as partners Billy Ginniven and George Turner. In 1876 he joined Frank Cummings; the team being known as Cummings and Hines; they played extended engagements at Harrigan and Hart’s, New York City, and Ben Cotton’s Minstrels in Chicago. January 1, 1879 he joined Nat Blossom, the team being known as Hines and Blossom; their first engagement was at Montpelier’s Theatre, Cleveland, Ohio; subsequently Hines and Blossom and Monumental Quartette Minstrels--all at one time, and in one theatre; honest; ask Bill. Afterwards they were with Cooper and Bailey’s Great London Circus. Hines and Blossom separated, and Hines joined his wife, Daisy Remington, now known as Earle Remington, whose recent volume of rhymes have attracted considerable attention, both in and out of the profession; this alliance was formed in the Fall of 1881, and has continued ever since. Mr. Hines claims to have been one of the original “Four Aces”--Sheffer, Nelson, Turner and Hines, at Deagle’s Theatre, St. Louis, 1876; and in 1887, was one of the “American Four,” Pettengill, Gale, Hines and Hoyt; also Niles, Evans, Cummings and Hines as the “Boss Four.” William E. Hines was born in New York City, July 4, 1858. BILLY WOOD (Max Gottlieb). It is generally conceded, that as a black-face comedian musical moke, Billy Wood never had a superior; Wood was funny when he made his entrance in that long dark brown ulster with padlocks substituting as buttons; he was funny when he spoke, and funny in whatever he did--and a real musician; his performance on the “cello” brought tears to the eyes of his auditors on more than one occasion. His first appearance was about 1874, when he did a clog with the Girard Brothers. Wood and Beasley shortly after formed an alliance, which continued about six years, the act being augmented by the Weston Brothers, and as Wood, Beasley and the Weston Brothers, they continued for about five years longer.