Clxthux SAumed 18741950

A few weeks ago, after a long illness, Arthur Sherwood passed away. The modern generation must very much regret the fact that they had no chance of seeing his faultless' and original work.

Under the pseudonym of Arthur James, he joined the Magic Circle in 1921, but it was not until-1924 that he appeared as a performer before the members. The occasion, " First Appearance Night ", was a closed meeting; strangely enough we gave a pianoforte selection as an overture for the three members who were to appear. Arthur Sherwood's ability coupled with his originality earned him an ovation from those present, and that night he joined the ' Greats ' of Magic.

He was a modest and retiring soul, and his presentation had a delightful spontaneity. He was at his best in the drawing room or concert hall. He disdained apparatus as apparatus, and in this particular respect his beautiful silk sequence ' Magic Pure and Simple ' was his masterpiece. The effect which we are describing formed part of a lecture that he gave to the Magic Circle in 1930. In it, the reader will see how Sherwood was always two or three moves ahead of his audience. Apart from the cardboard tube which figures in the effect, and, which obviously is free from any chicanery (note, how always the silks are dropped into the tube) there is nothing to suggest apparatus as apparatus. We are greatly indebted to the Council of the Magic Circle for permission to re-publish this very fine effect:

Despite his many inventions Sherwood wrote very little, in fact this is the only effect of his to be described in exact detail. His ' Chocolate Box ' effect that can be found in Greater Magic is an incorrect explanation of his original working. We had always suspected as much and a few days before we joined the Forces way back in 1942 we spent a full day with Arthur Sherwood and on this occasion he confirmed this fact. We greatly mourn his passing.

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3Ae Magic of Co£ewc

I have divided the effect into numbered paragraphs and in corresponding numbered paragraph have detailed as minutely as possible the necessary moves and sleights.


A tube. (described later.)

A revolving disc. A flower vase ,,


Red, green and purple artificial flowers.

Large glass tumbler.

Six white silks, 18in. square.

Three green

Three purple



Tube. This is a cardboard tube 13in. high and 6in. in diameter. It is decorated on the outside with rings of coloured paper, three of which colours must coincide with the red, green and purple silks used. Stretched midway across the inside of the tube are strands of thin black cotton forming a l|in. square mesh. This mesh should be fairly loose.

Disc. This is made of a circular piece of three-ply wood 12in. in diameter. There is a hole in the centre to take a handle which projects at the back. On the back of the disc is a reel, round which is wound a length of cord with a ring at one end to enable it to be pulled, thus revolving the disc. The handle contains a device for realising a load of two silks* The front of the disc is covered with segments of coloured paper. When the disc is revolved these colours should blend together making a disc of white. The apparatus is so constructed that the handle can be removed.

Flower Vase. This is reversible and has a diagonal division mid-way down so that either end will hold water.

Stand. A stand with two arms projecting, on which the silks are displayed. A flat disc about 7in. in diameter is fixed to the top to form a platform upon which the flower vase rests.


On table. Tube, tumbler and disc. To the portion of the handle nearest to the back of the disc is attached a load of a white and a purple silk. This load (hereafter called Load 1) is of course concealed from view.

On stand. Flower vase containing artificial flowers in water. In the under section of vase are concealed a red silk knotted by two of its corners in the form of a ring; through this red silk is a green silk, knotted with a slip knot, thus forming a chain of two rings. The remaining two corners of this green silk are also knotted with a genuine knot. This knot is hidden in the red silk which is looped through it. It will now be seen that the green silk has two knots in it, one a genuine knot and the other a slip knot. Of course the slip knot is made with two opposite corners and the genuine knot with the remaining two corners. A purple silk knotted in the form of a ring completes the load in the vase. The silks are placed in the vase in the following order: red and green (looped together), purple. This load is hereafter called Load 2.

On one rod four white silks. On the other rod a green and red silk. One of the white silks on rod is knotted by opposite corners in the form of a ring, the knot being at the rear and concealed by the folds of the silk. This knot must not, of course, be prematurely exposed. The green silk on rod is knotted in the same manner and the knot concealed in the folds.

On body. In right waistcoat pocket a green and a red silk folded inside a white silk. This load is hereafter called Load No. 3.

Flashback !

Q stands for Quigley




" Was greatly enjoyed"—Hackney 6? Kingsiarui Qaieite "An excellent programme "—Tottenham Herald "A first-class entertainment"—Co-Op Wheatsheaf " The Lion of the show"—Club Life

Fro m the J. B. Findiay Collection

* No printed explanation of the release mechanism appeared, but for the sake of completeness we will describe it with the aid of the accompanying drawings (page '.ta). Inside the handle a hole was bored for a length of some four inches. Next an opening half an inch long was made in the side of the stick in such a manner that it met the four inch long opening, A piece of iron wire was now inserted into the hole at the end of the stick, pushed along until it came to the slit in the side where it was taken and bent into L shaped form. The end piece of wire, by reason of the half inch slot, could now by moving the vertical part of the L either be Hush with the end of the stick or protrude half an inch. The manner of release should now be easily understood. The silks were rolled into a small bundle and placed under the stick as in D. A piece of black cotton made into a loop of such size that it went round the handle, between the vertical part of the T. and the end of the stick, whilst the other part of the loop went over the projecting piece of wire. The movement of the wire towards the disc meant that the projection was withdrawn, the loop slip ped and the bundle fell. There are some who in reading this may query the need for such a device and suggest that the handle could rest on top of the bundle, both handle and bundle being picked up together and later, the bundle released. The point one must not overlook is the fact that at one end of the handle you have a twelve inch disc which might accidentally be moved and cause the handle to move, thus upsetting such a set-up.—P.W.


1. A hat and a large handkerchief are borrowed and laid on a chair.

2. Tumbler and cardboard tube are exhibited.

The tube is placed over the glass, a white silk taken from rod on stand and dropped into tube. This silk is pushed into the glass (which is covered with tube) with the wand. The tube is removed and casually shown to be empty. White silk is seen in glass, thus proving no obstruction in tube.

4. The cover is replaced over glass. The purple ring on outside of tube is tapped in order to transfer the colour to the white silk. The white silk is pushed once again into the glass with the wand and the cover again removed. The white silk is found to have become dyed purple, and is placed on the rod with red and green silks.

5. The purple, green and red silks are taken from rod, rolled up and placed in glass.

8. The disc is picked up from table and revolved, demonstrating the blending of the colours.

7. The handle is removed from the disc, which is now-used as a tray. The tube is placed on the dis<?. The silks in the glass are emptied into the tube. The empty glass is placed on the table and the disc and tube placed on top of the glass.

8. The remaining three white silks on rod are taken and rolled into a ball and placed into the borrowed handkerchief. It is explained to the audience that these white silks are about to be dyed the colours of the flowers, red, green and purple.

Method, Moves and Sleights.

1. This handkerchief is hereafter called "the borrowed handkerchief." Come forward with purple silk palmed in right hand, and wand, also in right hand. In placing hat and borrowed handkerchief on chair, the bulk of handkerchief is left behind the hat and one corner allowed to hang just inside far side of hat. The reason for this will be seen in No. 8.

2. No moves or sleights. The tube may be safely shown, as the cotton mesh is invisible at a distance of a few feet.

3. No moves or sleights.

4. Remove tube with left hand and transfer to right, which is still palming purple silk. Load purple silk into tube. Cover glass with tube, tap purple ring on exterior of tube with wand. Place white silk into tube and pretend to push it into glass. Actually push loaded purple silk through mesh, leaving white silk suspended. Remove cover, showing white dyed purple. Place purple silk on rod.

5. No moves or sleights.

6. Pick up disc and in doing so allow handle to pass over the top of the tube, and at same time operate the release in the handle, which allows the load (No. 1) to fall into tube. The size of the disc prevents this move being seen. Pull on cord at rear of disc, which revolves.

7. Take handle from disc and place it on table. Pick up tube at top with finger and thumb of left hand and transfer to right hand, the right hand taking it at opposite end. Pick up disc with left hand ani place tube thereon, reversing the tube in doing so thus allowing silks to fall invisibly on to disc. Care must be taken to see that the silks are not prematurely exposed. Pick up the tumbler containing purple, green and red silks, and pour into tube. Place empty glass on table and rest disc and tube on top.

8. Call attention by pointing with wand, to the fact that the disc and tube are isolated by reason of the empty tumbler. This provides a suitable attitude for obtaining load No. 3 from the right waistcoat pocket wih left hand and palming it. Pick up the three white silks from rod and make into a compact parcel. The best method of doing this is to place one silk over the left fist which conceals the load, place the second white silk (which contains the secret knot) on top, and the last white silk on top of this. They can. now be folded over and made. into a parcel similar to that palmed. They are now ready for production at a later period.

While rolling the silks up, exchange for the palmed silks (load No. 3) which are now exhibited in left hand. The three white silks are palmed in the right hand. Pick up borrowed handkerchief from hat with right hand, and in doing so drop bundle of three white silks (palmed) into hat. Place load No. 3 into borrowed handkerchief and twist ends, thus making a sort of bag. It is interesting to note here the strategy of allowing a portion of the borrowed handkerchief to hang just inside the hat (see No. 1) and the loading of the silks into the hat, which are not required again till move No.


Method, Moves and Sleights.

34. The corner of the borrowed handkerchief being just inside the hat, allows of it being picked up naturally and at the same time gives perfect cover for dropping the silks into the hat.

9. The red, green and purple rings on the tube are tapped with the wand, and the bag of (presumably) white silks is dipped into mouth of tube three times, once for each colour.

10. The flowers with the exception of the purple ones, are touched with the borrowed handkerchief. The ocassion to touch the purple flowers must appear accidental. It can be explained to the audience that touching the flowers fixes the colours.

11. The borrowed handkerchief is opened, revealing silks dyed green and red, the white silk being un-coloured. The silks are replaced on rod and the borrowed handkerchief shown empty. This is casually thrown on to the edge of the tube.

12. The tube is lifted from the disc, revealing two white and one purple silks. The tube and disc are placed on table.

13. The two white and purple silks are replaced on the rod which formerly held the three coloured silks.

14. The flowers are removed from the vase.

15. The water from the vase is poured into the tumbler and tumbler stood on platform on stand.

16. The purple silk is taken from rod and made into a ball. The silk is held over the glass of water for a moment for the purpose of squeezing the dye into the water. The performer changes his mind however and places the silk into the borrowed 'handkerchief. This, presumably, is to prevent the dye from staining his fingers.

17. The glass of water on the stand is now covered with the tube and the borrowed handkerchief is held over the tube and squeezed.

18. The white silk is now taken and dipped into tube and is extracted dyed purple.

19. The purple silk is now hung on the rod holding green and red silks.

20. The borrowed handkerchief is now unscrewed and the previously coloured purple silk is shown to be white.

21. The white silk is placed on rod containing other white silks.

22. The red, green and purple silks are placed in the empty flower vase on table in that order.

9. No moves or sleights.

10. No moves or sleights.

11. No moves or sleights. The fact that only two of the silks are coloured bears out the explanation that the flowers must be touched to fix the colours.

12. No moves or sleights.

13. No moves or sleights.

14. No moves or sleights.

15. No moves or sleights.

lft. Roll up purple silk and hold over tumbler. Change your mind and pretend to place silk into left hand but palm it in right. Reach Over to tube, pick up borrowed handkerchief with right hand at same time secretly drop purple silk into tube. Simulate holding purple silk in left hand and pretend to wrap it into borrowed handkerchief. What really happens is, under cover of the borrowed handkerchief take up a corner of the handkerchief and push this into the centre, thus causing audience to believe it is really the purple silk. In effect it contains nothing but the bunched up corner.

17. No moves or sleights.

The squeezing is supposed to transfer the dye into the water.

When silk is in sufficiently small compass to be easily concealed in the palm, continue dipping movement and at the same time take out the purple silk which was previously loaded (No. 16). The purple silk gives ample cover for the palmed white silk.

18. With the right hand take white silk off rod that holds green and red silks. Prepare to swallow up white silk into palm of right hand by a gathering movement of the fingers and thumb under cover of dipping hand into top of tube.

19. No moves or sleights.

20. The right hand containing palmed white silk is placed under the borrowed handkerchief and the silk is then produced as if it were the purple silk turned white. Place the borrowed handkerchief on hat ready for move in No. 34.

21. No moves or sleights.

22. No moves or sleights.


Method, Moves and Sleights.

23. The disc is now picked up, the vase placed on it and both are placed on top of the tube.

Note for Patter. Intimate to audience that all the silks have now changed places, i.e., the coloured silks are now white and silks which were white are coloured. Explain that in consequence of this change there is a strong bond of sympathy between them and that you now proposed to prove this.

"24. A white silk is now taken from rod and two opposite corners tied into a knot, forming a ring.

25. The purple silk is taken out of the flower vase, knotted in a ring to match the white silk.

26. One of the remaining white silks on the row is knotted in a similar manner and the other white silk is placed through it and tied in a knot, thus making two rings, one within the other.

27. The red and green silks knotted together are produced from flower vase.

28. The green and red knotted silks are replaced in the vase.

"29. The two white silks are separated and one re-tied, making two separate rings.

30. The green and red silks are separately removed from vase, showing both tied into separate rings.

.31. The water and flowers are replaced in vase and vase placed on platform on stand. The tube and disc are placed on table.

32. The white silk is tied through the red and purple silks, forming a chain of red, white, and purple.

33. The green silk is tied through the remaining two white silks, forming a chain of white, green and white.

.34. The chain of silks, white, green, and white, are rolled up and placed in hat. Hat is shown with silks inside.

23. Raise front of disc with right hand, keeping bottom portion of disc on table. This move acts as a screen and momentarily covers the flower vase which is standing on the table immediately behind the disc. Under cover of the disc the vase is reversed. The reversal of the vase is accomplished immediately the disc assumes a vertical position. The vase is reversed by the following movement which makes the operation perfectly natural and is indetectable. The left hand approaches the vase with the palm uppermost, the thumb being at the rear of the vase. The fingers and thumb grasp the vase about the centre. It will be found an easy matter to reverse the vase, leaving the hand in a perfectly natural position to place the vase visibly on to the disc. The reversal of the vase must be done close up behind the disc, otherwise angles will tell. The vase is now placed on the disc and both placed on top of the tube.

24. No moves or sleights. It is presumed that this silk is the one which was originally purple.

25. No moves or sleights.

26. No secret moves or sleights. It is presumed that these white silks are those which were originally red and green.

Vase can now be

27. No secret moves or sleights, shown empty.

28. While replacing silks in vase, untie fake knot (slip knot) in green silk, leaving one knot still tied but concealed in folds of silk.

29. No moves or sleights.

30. No moves or sleights.

31. In picking up the tube and disc repeat move as in No. 7. Reversing the tube allows the original red, green (with secret knot) and purple silks (poured into tube from glass in move No. 7) to fall on to disc. They must of course be kept concealed from view.

32. No moves or sleights.

33. No moves or sleights.

34. Roll silks so that green is concealed and hold between thumb and fingers of right hand. Turn to hat and pick up borrowed handkerchief with left hand. Simulate placing bundle of silks into hat, actually palming same, and immediately take borrowed handkerchief into right hand to cover concealed silks. Pick up hat with left hand, showing silks inside This is. possible because of move No. 8.


Method, Moves and Sleights.

35. The chain of silks, red, white and purple are placed in tube, leaving red and purple knots exposed and hanging over side of tube.

3!S. The knot in the red silk is untied and one white silk is taken from hat, proving once again the bond of sympathy between them. The move is repeated with the purple silk. The red and purple silks are removed from the tube, showing centre white silk still knotted in a ring.

37. The red, purple and white silks are placed completely into the tube and the green band on the outside of the tube is tapped with the wand. The tube is lifted, revealing the red and purple silks untied and a 'green silk tied in* a ring. Go to the hat and produce last white silk tied in a ring in sympathy with the green silk.

35. No moves or sleights.

36. No moves or sleights.

37. No moves or sleights.

CI Wmd aäaut and JtauUneA

" EXPERT CARD TECHNIQUE " by Jean Hugard and Fred Braue (Third edition published by George Starke, iNew York, price 42/-).

This present edition has added to it two chapters by Dai Vernon and Dr. Jacob Daley respectively dealing with "Card Handling" and the "Side Steal". In the former chapter the classic card changes are dealt with together with a method of card control and a change over palm. The sleights in question are followed by '' The Periginating Pips ''' and '' All Backs '', a routine that readers of Hugard's Monthly have already put to good use. Dr. Jacob Daley in his chapter deals with the finer points of the side steal, and the technique whilst differing very little from the standard description does have that very marked difference which is a great aid in deception. Right hand steal, left hand steal and stealing with both hands are capably dealt with. Dr. Daley with a final reference to the sleight wisely completes his chapter with the wisdom of great experience, "please do not overdo it".

There is no alteration of text in the rest of the book, neither is there alteration of illustrations. In value to the card worker this work stands cheek to cheek with that never ageing classic the " Expert at the Card Table " and to anyone professing a worthwhile knowledge of what Hofzinser called the poetry of magic, it is a necessity.

" STARS OF MAGIC " Series No. 7, by Dr. Jacob

Daiev (published by Stars of Magic Inc., New York).

The card worker is extremely fortunate in having the opportunity to acquire three items from the repertoire of America's great card worker, Dr. Daley. In every case th,e descriptions are clear and close-up photographs give the student a clear picture of what is going on. They are real lessons in magic.

No. 1 " THE CARDS UP THE SLEEVE " (price 35/-)

It is a great treat to come away from the more popular version of this effect and return to the older and classical version. In his version, Dr. Daley takes Ace to ten of a suit and after shuffling them into an haphazard arrangement causes them to leave his hand and travel one at a time up his sleeve in numerical sequence. From inside the jacket and at the top of the performer's sleeve they are removed (they do not as a contemporary review pointed out travel into the performer's pocket !). In the routine Dr. Daley combines subtlety with good sleight of hand, and though the moves are not acquired in a moment or two they are not beyond the capability of those who are willing to put in a number of hours' practice. For a long while we have wished to add this effect to our repertoire and have sought a routine. Now in this version we have found the very thing. Unreservedly recommended.

No. 2 " THE ITINERANT PASTEBOARDS " price 21/-).

This routine ir a study based on the author's method of making a false lift. (In some ways it is rather like a method of our own described in a very early number of the '' Pentagram "). The point which Dr. Daley makes, and which we also made, is that with the method described there is no get-ready, and a double, triple or quadruple lift can be easily made. The effect making use of the sleight is good, but at one point conjures for conjurers.

No. 3 " THE CAVORTING ACES " (price 21/-).

This is a beautiful effect making use of the Hermann pass. Dr. Daley makes certain that the reader in executing the sleight does so without noise, neither does he give the audience an indication that the parts of the pack are being moved. The effect itself has for its background the Leipzig Ace effect, but there is a smoothness in the handling that in our opinion makes the effect a mystery rather than a clever feat of legerdemain. The handling of the cards in the final stages is delightful and one completes the reading with the desire to add this effect to their repertoire. Unreservedly n-commended

" KARD KUT," by ' Hen ' Fetsch. (An effect marketed bv the originator, and available from the chief American dealers, price One Dollar.

This is a very nice close-up effect and no doubt, in those countries where table work is a speciality, it will form a useful addition to the repertoire. From a sheet of paper showing the designs of sixteen playing cards, one is chosen. The paper is folded this way and that, and the magician takes a pair of scissors : one snip, the paper is opened out and it is seen that the cut has separated the reds from the blacks, and supposing that the selected card was red, that the red cards i*re joined in a strange pattern whilst among the loose black cards, the chosen red card is a stranger. This effect is easy to do though practice in folding is essential . Twenty sheets are supplied and more can be obtained at a low price. An excellent ' buy '.

Tom Waterman's " SUCKER COLOUR CHANGING SILK " (marketed by the Ken Brooke Magic Shop, 160, NVestgate, Bradford. Price 25/- post free.

Those, and there can be few who have not, seen Jack le Dair's act have seen this effect. It involves the colour changing of a silk but has a true magical ' sucker ' finish. Everything that is necessary comes to the buyer, and the description of the effect in which both George Blake and Ken Brooke participate is again a lesson in the ' way you can't go wrong '. To be able to buy at so low a price an effect that is worthy of repeated performance by a magician like Jack le Dair, is something that the general practitioner of magic cannot afford to miss. Very, very good.

George Blake's " SUPER PASSE COIN " TRICK.

(Marketed by Ken Brooke, Magic Shop, price 27/6).

Ail magicians worth their salt know of the quality of George blake's magic. Whatever he touches becomes good and subtle. This present effect is most direct. Two metal cups are shown to be empty, six coins being dropped into one. Hocus Pocus ! and one coin travels across to the empty cup. The magician keeps on repeating the feat until all of the coins have left one cup and arrived in the other.

The apparatus, which is excellently made, is mainly responsible for the passing ; there is no call „ for real dexterity on the part of the performer. Those who have a Hair for coin manipulation may enhance the effect with a few simple sleights. We feel, however, that any attempt at showy manipulation would minimise the feat of coins passing. An excellent effect and an excellent secret that is well worth guarding. Again let us say that you cannot go wrong in purchasing.

Magic Qa fRaiutd

Each February issue of the " Pentagram " has been dedicated to the memory of Annemann. This issue is no exception and we feel that in filling this number with the Arthur Sherwood effect we could find no better tribute.

The past few weeks have seen two very pleasant functions. The first was the dinner given by Trevor Hall and Roland Winder in honour of and on the occasion of a visit to this country of Tom Harris, of Arlington, Mass. It was a delightful evening and took place at the Olde Cock Tavern in Fleet Street, a Dickensian haunt. After the Dinner, there was magic in abundance contributed by Herbert Collings, Jack Salvin, Geoffrey Buckingham, Tom Harris, Frank Fewings, Victor Peacock, Dr. Bowen and ourselves.

The second occasion was the British Ring Dinner at St. Ermins Hotel. Here again time was all too short. The entertainment, though on the long side, was very good, and we were much impressed by the true after-dinner magic and entertainment offered by Oliver Mackenzie.

We have recently received from Messrs. De la Rue, the famous card manufacturers, some samples of the plastic cards which they are manufacturing. They are rather high priced, costing £2 l()s. for two packs. The experienced card handler will find that a change of technique will be called for in certain sleights. The cards are extremely pliable and resilient; they can be rolled up under pressure and yet when the grip is relaxed, they will open out quite flat. The corners will not break easily as with a pasteboard card and a corner crimp will stay put under pressure and act as a locator much in the same manner as a broken corner will on a pasteboard card. The cards are in short supply at the moment, though most of the larger stationers have a few in stock. In the short time that we have had at our disposal to test the cards, we have not found that they have any advantage over a good pasteboard.

We are told that Helmut Schrieber put on some marvellous magic in the revue that he presented. We know that this will be of interest to Dr. Fries in America as well as all those members of the Magic Club of Vienna. Incidentally, Schreiber is working under the stage name of Kalanag, which translated means the ' Black Snake ' !

Increased costs of production are hitting magic magazines very hard. Hugard's goes up to 40 cents.

" Whirligig " in which Geoffrey Robinson appears each fortnight goes into its second edition. Geoffrey, as you know, shows how one effect is worked and then performs another free from explanation. The effects he explains are taken from a national expose and are seldom tricks in the real sense of the word. However, it shows whsti- can be missed. The other week he performed the effect of balancing a glass on a playing card. Not only were the studio staff all agog but Geoff, received a number of letters from magicians saying that he should not have exposed such a good effect!

In the latest number of the London Society of Magicians Gazette, our friend Francis Haxton under the title of " Magical Topics " writes only too truly anent magical societies in general saying : " Already there is a movement on the part of experienced and thinking magicians to collect together outside magical societies, to discuss and profit by an exchange of magical ideas, because such opportunities are not provided by societies ".

We know that Ron. Baillie's " Minds in Harmony " registered very strongly with our readers. Next month we have a very fine mystery from this artist-magician entitled the " Finger of Fate ". Incidentally, Ron., who has been painting throughout'the winter in Morocco, has found a new use for a finger nail writer. 'Three Card Trick ' men are plentiful around Fez. On the first throw of the cards where the ' Sucker ' wins, Ron. points to the Queen and at the same time makes a small pencil mark on the back of the card. He's making money this way !


An unsolicited testimonial from KEN DE COURCY

" PSYCHOANALYSIS " is superb; I have already worked it and it has baffled everyone. Altogether, the effect is unusually good and, due to the opening lecture (given in the book) the audience do not look upon it as ' just another trick '. To the practical mentalist, or even to the magician who is looking for a second act for dinner engagements, it should prove a God-send. And I'm personally grateful that it is something right away from the ' pushbutton ' class. In other words, it won't be "flogged to death".

See previous advertisements for description of the effect, or. rend stamped envelope for leaflet. Better still, BUY A COPY NOW. 10/- ; Postage 3d.

from the publishers


Two Great English Books in Fine American Editions

SLEIGHT-OF-HAND, by Sachs. With the Hoffman books unhappily out of print, this is unquestionably the best general work on ' conjuring, using both sleight-of-hand and apparatus. " We'll never have enough words to shout the praise of this excellent production of Sachs's Sleight-of-Hand " (Sid Lorraine). Cloth,

OUR MAGIC, by Maskelvne & Devant. The art, theory, and practice of magic, by two experts. "The most valuable book on magic ever written " (Mulholland). Uniform with Sleight-of-Hand in format. Cloth. 336 pages 30/-


HOBBY MAGIC (Young). New collector's book, cloth, 207 pages

21 illustrations 25/-

FABULOUS DESTINATIONS (Booth). Travels, cloth, 239 pages,

17 illustrations 25/-

EXPERT CARD TECHNIQUE (Hugard-Braue). Cloth, 500 pages,

352 illustrations 43/-

SCARNE ON CARD TRICKS. Non-sleight feats, cloth, 308 pages

CARD CHEATS (Moss). Sleights finely illus., bds., 77 pages 11/. NOTE : Please remit to Mr. Robertson Keene, c/o Riverside, Victoria Road, Yarmouth, Isle of Wight, and receive the books promptly from the United States.

FLEMING BOOK COMPANY, 728, Madison Avenue, York, PA., U.S.A.


By Tan Hock Chuan

A booklet dealing with the methods and application of the modern principle, by one of the leading experts on the subject. It is recommended for advanced magicians.

Price 5/- Postage 3d.

ARCAS Publications

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is published on the 24th of each month and can be obtained direct from the publishers for 1/1 per single copy. Annual Subscription 12/-

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Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRESS:

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Particulars from Hon. Secretary : Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19


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p.p. 6 month, 12/6, Year 24/'-. John Ramsay's Cups 8C Balls (Farelli) 25/6 Where Houdini Was Wrong (Sardina) 20/6 Convincing Coin Magic (Farelli) .. 17/10 Mastered Amazcmcift

(Koran & Lamonte) .. 10/3 Bohleno's Mysteries (Bohlen) .. 10/3 Thanks To Leipzig (Farelli) .. 10/3 George Armstrong's Premonition 10/3 Chandu's Psychoanalysis 10/3 Entertaining With Hypnotism (Dexter) 10/3 Challenge Instant Hypnotism Si Mass

Hypnotrm .. 21/-Strictly Magic (Eddie Joseph) .. 5/3 Stooging Around (Stuthard) 5/3 26 Living 8C Dead Tests (Garrett) .. 5/3 Jamesosophy (Stewart James) 5/3 Year Book 48/49 (few only) 5/3 Stunts With Stage Money (Lamonte) . . 5/3 Tricks of th- Trade (Armctronpl . . 2/7 From th<» pubPshers

THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.

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