Whilst containing little new, this routine will be found to be easy, the surprise climax making it extremely effective. The magician borrows a 10/-note and asks the owner to note the number and wrap it (the note) in a piece of paper which is handed to him by the magician. The latter now produces a pack of numbered cards and requests the spectator to select one. This done, the paper containing the 10/- note, is placed in a wine glass ; the spectator holds the latter in his left hand and in his right hand the selected card, all in full view of the audience. The magician now borrows a cigarette which is then lit, but instead of production of the ultimate note from the latter as most of the audience expects, he asks the spectator holding the articles to name the number on his card. Supposing the answer is four. To this the magician retorts that he is going to burn as many holes in the note as that number. He touches the paper three times, but on the fourth touch the paper disappears in a flash, and on turning the glass upside down out drop four half-crowns into the spectator's hand !
Requirements and Preparation.—Pack of cards printed with numerals (a few extra with the number four will be found useful to those who find the fan force difficult), a box of matches, two pieces of flash paper about 4" by 4" and folded to make a square about il" and then opened out flat again, and four half-crowns. Wrap the .four half-crowns in one of the pieces of flash paper making a neat packet and gum the ends down. (This precaution is necessary owing to the weight of the coins and prevents any unfolding during the switch that takes place.) Place the matches on the table and also the cards. These should be face up and with the long side parallel to the audience. On top of the cards place the packet containing the coins near the end of the short side (the gummed side of the packet should be face up). A silk handkerchief is bunched up
and placed in front of the cards, whilst in front of this is placed a wineglass with the duplicate sheet of flash paper resting on top.
Presentation.—Borrow a ten shilling note, and let the lender note the number (this is merely misdirection, but should on no account be omitted). Taking the note the operator folds it into a square of approximately one inch and handing it back to the spectator asks him to make a parcel of the note. Whilst this is being done the operator's right hand picks up the cards from the table, the thumb pressing on the coin packet. With a little sweep place cards and packet in the left hand at the same time turning them over ; this move is easy and has the purpose of placing the packet in a left hand finger-palm position. The faces of the cards are casually shown before asking the spectator to make his " choice." The card with " four " on it being forced. Ask your * victim' to look at and hold, whilst with the right hand you temporarily relieve of him of the note packet. Place the cards held in the left hand in the right hand, over the packet, the left hand coming away with the coin packet. The cards with the note packet underneath are placed on the silk, whilst the left hand places the 4 coin ' packet in the wineglass which is picked up and handed to the assistant. The cigarette is now borrowed and lit. The first three times the operator appears to touch the flash paper, the fourth time the glowing end goes right into the paper. There is a flash and the four coins are left in the glass !
Two points to note.—A wineglass is used for the simple reason that it has little depth and there is no risk of noise when coin packet is deposited. Tell the spectator to hold the glass fairly high up. In this way he has no opportunity of noticing any difference in the packets.
CIG. FLOWER—continued from page 61
for me to state that this should not be full blown) diagonally across the centre of the six inch square of foil and then fold the foil over the rose, making as compact a parcel as possible. The reader will now find that by squeezing slightly on the edges of the parcel the fibreboards will open slightly forming a tube large enough to accommodate a cigarette. A release of the pressure and the cigarette is held fast. The parcel is now placed in the clip, the operator making sure that he knows which side of the parcel is which.
Presentation.—Operator performs a couple of sleights with lighted cigarette, then standing right side to audience apparently with his right hand throws cigarette into the air, actually thumb-clipping it. He follows the direction of the throw with his eyes, whilst his left hand obtains secretly the packet. His gaze comes down and the cigarette is reproduced just above knee level. The left hand comes up back to audience, the packet held by the thumb. Left hand closes into a fist and pressure is applied to sides of the packet. Operator takes a draw on the cigarette and then pushes the latter in the left hand (actually into the opening of the packet). Left hand remains still whilst smoke is blown in that direction. Hand is turned round and opened, revealing packet which is then opened revealing the rose. The rose is held aloft with the right hand whilst left hand takes opportunity of pinching the packet flat and making sure that there is no smouldering of the cigarette.
It is with some temerity that one claims originality for a sleight as there are so many variations being developed and published nowadays that one cannot keep track of them all, let along remember every modification and who first claimed to have done it!
Nevertheless, I really think the utility pass to be described hereunder is new. The purpose of what I have termed The Split-Fan Pass is to bring a card to the bottom of the stack held in the left hand, in the action of replacing a fan of cards held in the right, the procedure being as follows . . .
Assume four packets of cards to have been dealt face down on to the table, each consisting of a king with three indifferent cards above it. The first packet is taken up in the right hand, fanned face towards the spectators, and then placed face down in the left hand accomplished without the need of any suspicious or rapid gestures. It will be found that once the fan has been split by the packet of cards, it can be slowly closed in a perfectly natural way within a few feet of the spectator's eyes without the ruse being noticeable.
The pass is then repeated with the other two packs on the table, when all the kings will be at the bottom.
The split-fan passes can even be reduced to two by passing the cards in the last packet one by one into the fingers of the left hand, reversing their order in so doing. It is then fairly placed on the cards in the left hand, when the last king will be on top. By making a cut all the kings will be brought together in the middle. Of course, with this procedure the packet in the left hand must be held so that the face card is hidden as the fanned cards are reversed, or the bottom king would be seen.
For the above simple illustrative effect you can tell a story of four friends with the same keen interest in a certain subject (named according to the audience —conjuring, of course, if the spectators are conjurers) who always foregathered when opportunity permitted, despite travel difficulties.
I am reminded of the vanity of claiming originality by the fact that quite recently I thought of what seemed to be an improved way of doing the Glide. This consisted of pushing the bottom card back w ith the tips of the right middle finger a the hand approached the cards, the second card being slipped out with the forefinger. This enabled the pack to be held at the tips of the left fingers and thumb instead of having the fingers curled under the pack so that the third finger could execute the Glide.
Imagine my surprise, when glancing through Robert. Hondin's Secrets, to find my " new " method described there ! Yet it seems to have been entirely overlooked for nearly a hundred years !
COPIES OF No. 1 "PENTAGRAM" HAVE NOW BEEN RE-PRINTED AND ARE AVAILABLE. WILL DEALERS AND READERS PLEASE CONTACT ME AS SOON AS POSSIBLE
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THE MAGIC WAND
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PENTAGRAM GRADING : ***** (Five *** (Three stars)—Of Practical Value.
***** "MAGIC WITHOUT APPARATUS"
by Camille Gautier, Ll.D., translated from the French by Jean Hugard (published by the Fleming Book Co., Berkeley Heights, New Jersey, U.S.A., price Seven dollars Fifty cents.
The physical make-up first. This is standard Fleming production. There are 526 pages, the illustrations being by Donna Allen.
This book in its original form has long been considered a classic. Last year, whilst with Stanley Collins and Dr. Jeral, we had the opportunity of comparing the original with the translation and then regretted that in some cases the photographs which appeared in the original were not used in the newer version. The hand can be a beautiful thing, and whilst Miss Allen certainly clarifies the various sleights, the hands in some of the drawings are far from being things of beauty. After a Preface by Paul Fleming and a pen note on Gautier by Caroly, we have a long introduction dealing respectively with magic and magicians in France, the Literature of Magic and General Observations on the Technique and Presentation of Magic. To the serious student the first two parts of this long chapter are well worth the price asked for the book.
Part one follows and deals with Cards. There are four chapters covering Basic Card Sleights, Card Flourishes, the Back and Front Palm (and resultant manipulations) and finally Tricks with Cards. As this book in its original form was published in 1914, it naturally follows that most of the material in this section is now well publicised. The student will find little new, but because this goes back to an earlier part of the century he can get more information regarding the origin of certain sleights. There are many methods for revealing a chosen card. The Cards up Sleeve is dealt with in the classic and not pocket manner. Everywhere and Nowhere, the Ladies' Looking Glass (in our opinion a beautiful but so neglected card effect), The Ambitious
)—Outstanding. **** (Four stars)—Very Good. f (Two stars)—No Reason for Publication.
Card and the Cards through Handkerchief. Readers of Hugard's most excellent Monthly have already been given a number of possibilities for using the back and front palm as a means to end and in Section four Gaultier also touches in a less advanced manner on such feats. One effect by Max Cadet has always appealed to us. We had always attributed it to Douglas Dexter (old members of the Magic Circle may remember his performance of this at a Circle Meeting in 1918). He also published under the title " A Means to an End " in Naldrett's " More Collected Magic." (By one of those strange coincidences this effect is preceded by a hat loading device of Max Cadet's.) This chapter finishes with a description of the Three Card Trick including a remarkably good routine by M. Nordach. The second section deals with coins, and after covering a vast number of sleights gives several fine effects culminating in the greatest of coin tricks, " The Miser's Dream." Section three deals with billiard ball manipulation. Production, vanish, colour changes and steals are dealt with in a thorough manner and this section forms an able complement to Burling Hull's famous treatise. Apart from the production and vanish of a number of balls only two other tricks are. described.
The book concludes with a treatise on thimble sleights and tricks, a subject which at the time of original publication was much neglected. Amongst the sleights there are some moves which still have the touch of novelty, partly because of their unorthodox nature.
The book is a great achievement and to conclude, we feel that more than a word of praise is due to Jean Hugard. He has not made a literal translation, but being a born magician he has given a practical one. Looking back through the last fourteen years we find it hard to easily express the good that this grand writer has done for the modern conjurer. Long may his work continue.
MAGIC-GO-ROUND—continued from page 65
many more) which at one time or another you have meant to jot down and then forgotten. Here they are all, stunts, tricks and novelties, gathered together with a plethora of line drawings and photographs, in one volume of sixty-four pages. Douglas Francis's book consists of some three dozen pages and contains ten really first-class close quarter work items. They are all thoroughly practical, all have that touch of novelty which makes the audience remember the effect long after its performance. The price of this little booklet is 5/- and it is published by Unique Magic Studio.
Whilst we realise that conjuring effects make inevitable cyclic reappearances, we cannot under stand a contemporary publishing as a " new" effect the rapping drum, for it was performed by Robert Houdini a hundred years ago (Secrets of Stage Conjuring, page 249 ; Modern Magic, page 492). Whilst Charles Waller in the " Magic Wand " of March, 1921, gave the same dressing, i.e., " Drake's Drum," to the effect described in the case under discussion. Max Holden writes that Okito made an appearance at S.A.M. Chicago Covnention. He performed his famous silk routine. This is a thing one sees and never forgets . . . the empty hands come together and then a tongue of silk shoots out . . . but then there is only one Okito, a magician true to his art.
Our first duty is to amend the mistake made in the printing of Tom Sellers's " 365 " last month. The key number for December (as many readers have written and pointed out) should be " 6 " and not "5." A glance at the illustration will show that to be correct—the " e " and not the " m " being out of alignment.
Readers will notice that Copies of No. 1 " Pentagram " are now available.
Now that things are in better perspective we thought we would pass on our opinions of some of the dealers' items that were on show at Cheltenham. Whilst Burtini's version of " Quart into a Pint Pot " was not on sale, there is no doubt that this is an effect which the audience will always remember. It is good news to know that the production of this effect will be limited to fifty copies, and that buyers' names will be published. This is a step in the right direction. Only one other comment we would make (one that we have already made to Burtini) and that is that for additional fairness to purchasers, the effect should be zoned. Eric Lewis's " Fantastic Frame," whilst obviously being a piece of apparatus should form an acquisition to the showy type of act. The working is one hundred per cent, reliable and the effect to the spectators very pleasing. High on the list we would place " Electrovan " (the effect of which is now well known) and " Cash Cups " put out by Zaharee. This latter item relies upon a most subtle principle and is a ' must' for the mentalist who wants something different for his act. Also in the psychic field was Dr. Taylor's " Spirit Buzzer," put out in this country by Max Andrews. Again the number to be sold is limited to fifty. Unique Studio had a good display of their famous products, but the effects which took our fancy were Norman's " Myster-Bell" and Herbert Milton's version of the " Crazy Compass." We still cannot understand why this effect took so long in becoming popular in this country. On Davenport's stand we espied their version of Abbott's " Water-loo" which is a first-rate hydrostatic effect. Herbert Sutcliffe's stand, next to our own, attracted quite a lot of attention with " The Monkey's Paw." The simplicity of the mechanism plus the possibilities of the effect should make this a best seller. George Mackenzie, unfortunately, did not have his " Sten Gun " effect with him, but he had a novelty in the shape of a miniature golfer, who, with a likewise miniature niblick knocked a chosen card from the deck. Stanley Marelle's " Miracle Mirage " should prove a decided acquisition to any magical compere. We liked this very much. Tubby Allison had some very nice work, the Hathaway Card Riser and Pent-a-Block looking very good. Over all there was a tendency towards better workmanship. I am sure that among dealers to-day there is a genuine desire to give quality. Only too unfortunately difficulty in getting certain materials more than trebles their difficulties.
Our good friend, Vic. Maxwell, informs us that the Lincolnshire Magic Circle is re-starting its activities. Mr. J. Crooks has been elected Chairman. A medal for the Annual Competition has been donated by Vic. Maxwell. Monthly meetings will be held. Those interested may obtain further information from the Hon. Secretary, Mr. R. Cook, 28 Freestone Street, Cleethorpes.
The I.B.M. (British Ring) Convention at Buxton is now just around the corner. Commencing on July 10th with a civic reception, there will be a practically non-stop magic programme until Sunday evening. The big show includes Milton Woodward and Company, Peter Waring, Douglas Francis, Arthur Dowler, Fritz Oloi, Lenz, " Scotty " Lang, Raoul, Walter Wandman, and a possible " mystery " act. The Children's Matinee will be under the aegis of Wilfred Tyler. Judge Wethered will be giving a lecture on the " Rough and Smooth" principle. Cabaret and other shows will take up the rest of the time. On the Sunday a lunch will be held followed by still more magic. Bill Stickland, aided by his able Committee men, is responsible for this great feast.
Please don't forget about the ten best tricks we mentioned last month. We want as many replies as possible to make this representative of our large circle of readers.
N.A.M.S. and the I.B.M. have adopted St. Dunstan's Institute for the Blind as the charity for this year's day of Magic. We are not at one with paragraph eight of the Circular composed by a joint committee and sent to us by the Publicity Officer of N.A.M.S. This reads as follows :—" Societies will appreciate that apart from their big show, if the members not on that programme are encouraged to run other shows in the district, the total raised will be very considerable, and the boost for Magic greater " (the italics and heavy type are ours) and it is this part of the paragraph that makes us wonder whether the Committee have ever seen that phrase which appears in sundry Society Rules " to elevate the Art of Magic."
De Vega's Formula X is to hand. Its purpose is to visibly produce a design or some writing in red on the flesh. On test it has proved completely satisfactory. Mr. De Vega supplies with the chemical a ms. giving a number of different routines. We venture to suggest that the chemical has a great number of possibilities apart from those suggested.
Too late for review proper we received copies of 44 Willane's Wizardry " and Douglas Francis's 44 Right under your Nose." The first of these is most modestly priced at 2/6, and is a must " for everyone of you, for it contains all those items (and
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