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This is a description of an excellent device whereby in effect the handkerchief in the magician's breast pocket repeatedly changes colour. Its uses are multiple, and such a use might be instanced when the Coloured Plumes effect is being performed . . . the magician places the coloured plume in the paper tube . . . attention being drawn to the fact that the plume matches his handkerchief . . . whisst . . . the handkerchief changes colour and the plume is withdrawn similarly coloured. The fake to accomplish this has to be hand-tailored to fit the breast pocket and the accompanying drawings made from the actual apparatus should make everything quite plain. Illustration A shows the back-bone of the fake and consists of a piece of very thin ply, bordered by two uprights measuring half an inch square. Each of these uprights is recessed to accommodate the plywood and to make this plain, A shows only one upright in place, the other being shown separately so that the recess can be seen. It should be noted that the plywood is shorter than the uprights by half an inch. This is shown in B. The latter illustration shows some additions when the uprights have been glued into place. Through the uprights at the lower end, a piece of thin metal rod (about the thickness of a bicycle spoke) is run, and at the top of the two uprights are fixed two small right-angled brackets made from brass. Through these brackets another thin metal rod is run, and it is a matter of importance that each end should be screw-threaded and be fitted with small nuts. A

piece of black satin is now made into an endless band so that it fits tightly around the fake and the metal rods. To achieve this tightness, unscrew the top metal rod, adjust the satin band to the more than necessary degree of tightness, then replace the rod. A piece of wire is now taken and shaped as in D. This is placed on the satin and sewn into the position shown in C.

Five different coloured pieces of silk are now taken, shaped, and sewn at regular intervals on to the endless band. The main illustration gives you the correct layout. To the bottom of the fake is now fixed a piece of metal shaped as in E, and over the hole in the projecting triangle is attached a length of brake cable sheathing. A piece of brake wire is now run through the tubing and attached to the wire sewn across the satin. D shows the means of attachment. With the cable inserted, it will be found that a short tug brings the succeeding pieces of silk into position in a positive manner. To use the fake, the rectangular part is inserted into the breast pocket, a small hole being-cut through the lining so that the cable can be carried round the back of the operator. Tails are best for its use. A safety pin is attached to be cable as in the illustration and keeps the cable in position. As it has been stated before, just a tug moving the roller an inch or so, and up pops the next coloured silk.

It is very convincing, and those visiting the Cotswold Convention will have an opportunity of seeing the original piece of apparatus.

QtouMe-JtUft Mua

As usually handled, the artifice we know as the Double-lift would not deceive a blind school. In most instances where it is employed a top-change would be much the better procedure. I can conceive of nothing in card conjuring less likely to deceive than the taking of a card from the top of a pack and then returning to the top for no other reason than to lift it off again. Yet I have seen this done some scores of times, and not always by the inexperienced.

My object in this short article is to show how a double-lift may, with perfectly natural moves, serve a two-fold purpose :—(1) to change the second card into the top one with one hand only ; (2) to reverse a card in the pack automatically. For the explanation to have something more than a dry academic interest I shall embody it is an unpretentious little trick.

Imagine then that two cards have been selected by different spectators, the first card drawn being, say, the Ace of Clubs and the second the Two of Hearts. Having controlled these two cards to the top of the pack by one of the many known methods and by repeated shuffling convinced the onlookers that the two cards must be lost in the pack, the conjurer offers to make the first of the selected cards appear on the top of the pack. At this point comes the double-lift. The two cards, dealt off as one, are turned face up on pack but allowed to overlap by


All visitors must register. Application forms now ready. Apply: Eric Williams, 203 The Homend, Ledbury.

Ask the Secretary of your Local Magical Society for details of Open Competitions—he has them.

COT8WOLD CUP CONTE8T.—Societies Entry Forms now ready. Apply: Tom Waterman, x Lansdown, Stroud, Glos.


-No callers-

GEORGE JENNESS 47 Inverness Avenue. Enfield. Middlesex half their width only as shown in Fig. 1. From this position the Ace of Clubs is apparently dealt face down on the table in a perfectly natural and convincing manner. As the hand turns over to bring the knuckles uppermost, the thumb draws the Ace of Clubs flush with the rest of the pack and the fingers push the second card, the Two of Hearts, on to the table. This sleight, which is nothing more than an adaptation of a very familiar card change has the advantage of not only being indetectible, but also so easy that it can be mastered in a few minutes. The important thing is to have the tips of the fingers projecting just above the edge of the pack so that instead of the over-lapping cards lying flat on the top, the floating edges are lifted to an angle of about twenty degrees (see Fig. 2).

Reviewing what has been done, we find that the first card drawn, the Ace of Clubs—is reversed on top of pack, the face-down card on table being the other spectator's selection, viz., the Two of Hearts.

Turning to the second helper, the conjurer enquires " Is this by any chance your selection, Sir ? " at the same time cutting off a top packet to shew its bottom card and indicating its face with left index finger. The object of this move is to bring the reversed Two of Hearts to approximately the. centre by means of the familiar Slip. The card on bottom of packet being, of course, disavowed, the conjurer continues " I didn't think for one moment that it was your card. Be patient and I'll show you something rather extraordinary." He then proposes to make the Ace of Clubs on table not only change places with a card in the pack, but also to reverse itself on arrival. A spread of the cards reveals the reversed Ace of Clubs about the centre of the pack. The card on table is turned over and shown to be the second of the selected cards—the Two of Hearts.

In the third paragraph of this article I have purposely italicised the word " dealt" Readers sufficiently interested in the refinements of this sleight may find some helpful suggestions in my new book " A Conjuring Melange," just published by the Fleming Book Company, of America.


If you have any coins made for or by magicians for use as palming coins or advertising tokens, I want them. I do not want fake or gimmicked coins.



130 WE8T 42nd 8TREET. NEW YORK 18, NEW YORK. U.S.A


March issue contains the last ten entries for the Mental Magic Competition. Also details of new Competitioi for the best effect for entertaining children. £10 in prizes. 48 pages of good magic.

Published on the first of March, June, October and December Per Copy 3/8 post paid. Annual Subscription 14/6 post paid




Here is a snappy and pretty little thimble routine that is entirely impromptu. It encompasses several colour changes and the final production of four thimbles, all different colours. No holders or fakes are required, all you need are four thimbles each of a distinctly different colour. For the sake of clearness we will assume that the four thimbles are Blue, Red, Yellow and Green respectively. The red, yellow and green thimbles lie in one corner of your left jacket pocket, stacked together in that order from bottom to top. The blue thimble lies separate in the other corner.

To perform, reach into your pocket with left hand and finger-palm the stack of three thimbles in the bend of the second, third and little fingers. They should lie with the bottom of the stack towards the little finger side of the hand. With the last three fingers closed into the palm over the thimbles, bring the hand out of your pocket with the blue thimble in full view on the tip of the forefinger.

The right hand is shown empty, the left forefinger is brought over and laid on the palm, the right hand fingers closing apparently over it, and the thimble, immediately. What really happens, of course, is that just before the left forefinger reaches the right palm, the thimble is quickly thumb-palmed and the right hand closes over the left forefinger minus thimble. The closed right hand is now drawn off the left forefinger to all intents and purposes taking the thimble with it. The thimble is now reproduced on tip of left forefinger. Right hand is now opened and disclosed empty. Now comes a move, simple enough in execution, but rather difficult to explain in print. As the onlookers see it, you close your right hand and turn it back outwards as the left hand comes up and points towards it. What happens, however, is that as the right hand starts to close, the left hand comes up and past it and literally throws the stack of three thimbles into the right hand. If done correctly, they land with bottom of


stack towards the thumb. The hand closes over the stack immediately and then turns back outwards almost simultaneously, as the left forefinger bearing the blue thimble points towards it. At the time of the throw the hands are only about three inches apart. Once you get the knack, you will find it is quite indiscernible.

The left forefinger, still bearing the blue thimble, is now inserted into the right fist. Just before it enters the first, the blue thimble is neatly thumb palmed, the forefinger enters the fist and then comes out with the red thimble on its tip. The thimble has apparently changed colour. Left hand now reaches out and the blue thimble appears on the second finger. Left forefinger bearing the red thimble, now enters closed right hand as before, same move is repeated, and it comes out bearing the yellow thimble. Right forefinger and thumb now transfer yellow thimble to third finger of left hand, and red thimble is reproduced on left forefinger. Of course, if you can do it, you can reproduce the red thimble on third finger as I usually do. With a bit of practice it is not over difficult to reproduce a thimble on the third afid little fingers from the thumb-palmed position. However, assuming that you are going to do it the easiest way, left forefinger bearing red thimble once again enters right hand, same move is executed and it comes out bearing the green thimble. The green thimble is transferred to left little finger and the red thimble is reproduced on left forefinger. Both hands are now freely displayed, left hand finger-tips being capped with four thimbles, each of a different colour.

This little routine is not at all difficult and its greatest virtue is that, provided you always carry the thimbles in your pocket, it can be performed anywhere on the spur of the moment.

This routine of Douglas Francis's has also been recently published in the B.A.T.

ARCANA—continued from page 38

on three separate business cards, the opportunity is taken to make the three secret marks on the pad to correspond.

When the pad has been passed to the medium, she will write three separate predictions on three sheets of the pad and fold them. The force word previously obtained is now noted from the key and written on a fourth sheet.

The medium returns and the three card predictions opened and proved correct. The fourth is placed, folded, in a prominent position. Everything is now ready for the final effect.

A book {the book, of course) is borrowed from the bookcase and one of the assistants asked to total the values of the three chosen cards. (Jack, Queen and King counting eleven, twelve and thirteen). The book is opened to this page and the assistant counts to the word denoted by the value of the highest card. It is best to stipulate that the heading of the page, often the book title, should be ignored. The prediction, of course, correctly states the chosen word.

The excellent Annemann effect referred to can be adapted in this manner to give a startling prediction which will long be remembered by the audience.

The principle of Arcana is one of general utility for a two-person mind reading act, and is capable of adaptation for a number or effects.

Three of these are given in some detail and throughout the working is clean with the added virtue that lengthy coding is not required.

The performer will require a number of printed business cards, designed in such a way that the matter is spaced around the borders, with sufficient lettering or design upon the top and right hand margins. This will leave a space for the written message in the centre of the card. An unprepared pad and a sharp pencil complete the equipment.

Effect 1.—The medium is seated away from the audience, or preferably in another room when house-parties are entertained. A member of the audience is invited to shuffle a pack of cards and choose one, which is made known. Squaring one of the printed cards with the bottom left hand corner of the pad, the magician writes the name of the card boldly in the centre of his card, at the same time making a minute pencil mark on the pad opposite to the border lettering. This is in accordance with a key card which is in the possession of the medium, where each letter or part of the design represents Ace to King. The suit is coded by, say, a small dot for Clubs, a tiny vertical stroke for Hearts, horizontal for Spades, and a sloping one for Diamonds. The whole is handed to the member of the audience. He pockets your business card, thus enabling you to enjoy a little free advertisement, and takes the pad and pencil to the medium.

When alone, the medium, who possesses a similar sized card as a key, spaces it accurately on the pad and thus rapidly learns the selected card. The pad is returned with the name of the card correctly written on its face. The key card should have the actual values spaced around the margin for speed and accuracy.

The effect can be enhanced by repetition. The deck should have been pocketed after the first selection and a matching one now withdrawn, stacked in a known order, i.e., the Si Stebbins' System.

A second assistant cuts the deck, takes the top card of the cut but does not announce his choice. The mentalist casually takes up the two halves of the pack and notes the card beneath the cut. Announcing a double foreoast, he writes the name of the chosen card as before and again codes this on the pad. Retaining his business card until the pad is returned from the medium a double denouement can be made.

Effect 2.—A line chosen from any book can be transmitted to the medium by the same means. This time it is necessary to presume the top lettering of the card to represent 0 to 9 for the page number and the right hand margin in a similar manner for the line. As the numbers decided upon will be in any order, differently shaped marks on the pad are made to show the first, second and third number, so that the medium may obtain them in the right sequence.

A number is chosen by a member of the audience, to indicate the page. Again, a small number is given to indicate the line, which is read out. Whilst the operator writes out the chosen line on one of his cards, he marks in a suitable manner the numbers, denoting the chosen page and line. Pad, pencil and book are conveyed to the medium, who returns the pad with the chosen line written thereon. Where more than one mark is made on the pad, as in this effect, it is as well for the medium to write her message over the marks so that everything will defy detection afterwards. The sheet thus becomes a souvenir for the assistant who is making the choice.

Effect 3.—An excellent combination can be made with the foregoing in those instances where access can be had for a few minutes to your host's bookcase beforehand, and opportunities of this nature should not be overlooked.

Utilise a stacked deck, where the cards are arranged in the Si Stebbins order. Now wherever three cards are taken together from the deck, there are only thirteen different totals possible, with one high card in the three. Liberty is taken in adopting this idea from Annemann's " SH-H-H- ! IT'S A SECRET" (A Thought is Fathomed) and every acknowledgment should be given in this respect.

The medium's key card should be filled in thus :

Bottom Card










































The last column is completed of course from the glimpse of the book which is to be used.

The deck is cut and the three top cards exposed are taken by three members of the audience. Now in gathering up the two halves of the pack, the operator glances at the bottom card of the cut and is thus acquainted with the three cards. In predicting these

Me CUd

After reading Mr. Jonson's article on " Is Magic an Art ? " in the November Pentagram, I find I have made seven ? marks in the margin ; I should like therefore to cross swords with him on the points concerned. Because it may be thought that I am trying to be provocative, let me begin by assuring him, and anyone else sufficiently interested to read the following, that it is chiefly written in order to clear my own mind, and is published (with the Editor's consent) in the hope that it may stimulate others to consider the matter from a different approach.

As members of The Magic Circle know, there has been for some months a discussion going on in the pages of The Magic Circular on this same subject, during the course of which I suggested that Art was work that evoked feeling ; and that therefore conjuring was art because it evoked the feeling of Wonder. Mr. Jonson—who has long been of the opinion that conjuring is not an art—rather grudgingly admitted that magic may be an art after all; and now, in Pentagram he states definitely that it is ... " but not often !! "

My first ? is against Mr. Jonson's definition: " Magic is the presentation of the incredible." To begin with, the word magic must surely include Natural Magic as well as Imitation Magic or Conjuring ; and as natural magic is not a performance, the definition will obviously not do. Also " incredible " is hardly the happiest choice of word because many incredible things are not magical.

Surely magic of any kind does not exist apart from the mind that experiences it; and so it should be defined as the mental impression of supernormal activity, or something similar. Remember that magic is not conjuring but includes conjuring. I take it that Mr. Jonson means: "Is Conjuring an Art ? " and so conjuring could be defined as Imitation Magic ; and a conjurer as an artist in illusion, or an imitator of magic.

Mr. Jonson attempts to define Art by saying it is any form of representation that makes one both think and feel; but by adding " feeling " to my definition he has, in my view, made it no longer define. When I said that art evoked feeling, I wished to convey an idea which distinguished the mental activity of art from the group of non-art mental activities that are, broadly speaking, covered by the word " thinking " ; and which include of course : reasoning, planning, remembering, and so on, which are intellectual activities. Art, on the other hand, is surely not intellectual, but emotional, and imaginative. Music, ballet, paintings, magic and so on, in so far as they are art, stimulate not thought, but imagination and feeling. It is because a draftsman does not set out to evoke feeling (his aim being to be accurate) that he is a technician, but not an artist. So an artist is one who intentionally evokes feeling and imagination.

to EncAcuU

The next point is rather involved, the question of the creation of mental impressions by artists being to some extent confused with their material media, or vehicles of expression. Is not a painting used by a painter in the same way that actors are used by a dramatist ? Surely the actors themselves are secondary artists because, though they are circumscribed by the dramatist's requirements, each must interpret his part according to his own imagination and feeling, unless he imitates some other actor who has played the same part. It is the same with a composer and the musical virtuosi who play his creations. The painter and the sculptor make their mental impression direct, each through his own medium.

An original conjurer, however, creates his impression direct by presenting his own illusions ; so that, so far as this matter of creative imagination goes, he is better entitled to the name of artist than an actor in somebody else's play, so long as he evokes feeling and imagination by his performance. The mere demonstrator is a technician like the draftsman. Unhappily, many of the conjurers who do act at present seem to have misread Robert Houdin's dictum as " A conjurer is an actor playing the part of a drunkard."

When Mr. Jonson opines that conjuring offers little intellectual stimulation he is getting off the point of his thesis, and so I will not go further into that question here, save to ask him, " What arts combine more intellectual stimulation with their evocation of feeling than conjuring ? "

In saying that magic's lack of emotional appeal causes it to fail to rank among the most commercially successful forms of theatrical presentations, he must have made Houdini's shade squirm ; though in many respects lack of commercial emotional appeal is something to be thankful for.

As for magic leaving the higher emotions quite unaffected, so that a conjurer can hardly claim to be more than a minor artist, this notion was maybe due to Mr. Jonson having for too long looked on the small change of conjuring, resulting in his forgetting that golden guineas ever existed or could again exist.

If the highest, and at the same time the most profound feelings are those which transport humanity from this material plane of existence into the Seventh Heaven, and which have been referred to variously as Cosmic Consciousness, Yoga, and Union with God, then it seems to me that, so far from magic being incapable of evoking such feeling, and visions, it must have within itself the supreme power so to evoke, over any other art. Indeed, how could any other art evoke the authentic mystical experience with greater force than mystery itself, when rightly employed by an inspired magic-artist ?

Perhaps the whirligig of time will throw up some new genius who will show us that those feelings which are too transcendental for words to convey, are not too transcendental to be conveyed by Magic.

PENTAGRAM GRADING : ***** (Five stars)—Outstanding. **** (Four stars)—Very Good.

*** (Three stars)—Of Practical Value. ** (Two stars)—No Reason for Publication.

44 PATTERNS FOR PSYCHICS." By Peter Warlock. Published by Areas, price 10:-.

Reviewed by Jack Morrison.

In his latest book " Patterns for Psychics," Peter Warlock has given to the " Mentalist " and all who are interested in this type of Magic, a number of thoroughly practical routines, effects and ideas which are well worthy of close study. They are obviously not " pipe dreams " and all have stood the acid test of repeated presentation under varying conditions. The author is not only a first-class performer of many types of Magic but he is also a keen student with a very considerable theoretical knowledge, and his published effects always give one the impression that he is for ever striving after a threefold objective—simplicity of method, perfection of result and maximum audience reaction.

" Patterns for Psychics " is divided into six sections covering a total of seventy-six pages. The first Section comprises two routines based on apparent coincidence, in the second of which is described a very good idea for the forcing, changing, etc. of billets.

Section Two is headed Patterns for Predictions and comprises seven prediction effects for use under varying conditions and circumstances. The item called a " Warlock Prediction " will probably start a few people altering their ideas.

Section Three includes a method of switching billets, a dead name test, a very good book test and two ideas on the telephone test.

Section Four contains one slate routine strong in novelty and humour and—

Section Five, three routines under the Heading Extra Sensory Perception. The last of these, called a Stab in the Dark, is a very good lesson in how to present and build up this type of effect.

The Last Section, No. 6, gives a method used by the Author for the Rising Cards, but no apology need have been inferred in the Preface for its inclusion in the book.

" Patterns for Psychics " has been well illustrated with drawings by George Hill, the printing is clear and pleasant to read and we give this book our unqualified recommendation.

by Billy McComb {Publisher : Goodliffe, 6/-).

There are few writers on conjuring who bring a touch of freshness, and by that term, I do not mean originality to it. Waller is such a one, Billy McComb is another. On reading Billy McComb's book, I had much the same feeling as I had when reading the MS. of Harbin's " Demon Magic " . . .the feeling that the writer had no limits in discovering new magical angles. In this, his first book, Mr. McComb treats his effects as matters of variety entertainment, but unlike so many in this field, who strive for gags at the expense of magic, he gets his humour without any deprecation of the mystery angle. For the seeker of novelty there is a simply marvellous effect with such an uncommon article as a bicycle tyre, and a delightful opening effect for the stage performer where a pair of gloves change . . . not into a dove but into a silken parachute which flutters down into the performer's hands. The Floating Ball routine which he describes is in the true Waller tradition of perverse magic, and whilst we remember our late friend Will Blyth performing the " Invisible Paint " effect, Mr. McComb adds some very subtle touches. Probably the best item in an original manner for a stage performer is entitled " William turns Gravity Upside down." The man with a big show, whatever his style of presentation has here an effect costing a negligible amount to build which those who see will always remember. To those who do not do big shows and who do not like comedy magic, the Poker Hand effect and " Amid the Fakirs " will more than repay them for the extremely small outlay. Besides the effects I have mentioned there are many more, all showing the enthusiasm of a practical magician, with the result that " The Second Book of William " is eagerly awaited. For those who like details this volume runs to fifty-one pages, is well printed on good paper. The illustrations by the author bear the mark of his originality. Unreservedly recommended.



Published on the 15th of each month

1/1 single copy, post free 11/- per year, post free from . . .


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Since the " Pentagram " commenced publication there have been few adverse criticisms of its format. One thing however that has troubled some of our readers has been the smallness of type used. Paper economy was the chief reason. With this issue we are able to add an extra two pages and slightly increase the size of type, making it easier for reading. The eight page issue naturally make an easier job for the bookbinder, although the odd page which has only been issued with three issues will prove little trouble to a good craftsman, which leads me to the point that elsewhere in these pages such a craftsman, Mr. Field, is advertising a binder case in which copies of the " Pentagram " can be kept clean, tidy and ready for reference ; I have received one and it is very nicely finished with snap fastener and gold letterpress.

The first number of the " Pentagram " went out of print very quickly and I have had to turn aside requests for somewhere in the nature of two hundred and fifty copies, I am considering a second edition providing that the demand is sufficient to cover the cost.

I should therefore like those readers who wish to have a copy of Number One, to just send a postcard, requesting a reservation.

My friend George Armstrong not content with the editing of the " Magic Wand," has decided to revive " The Wizard " as a monthly magazine. I feel sure that all my readers join with me in wishing him a successful launching of the first number on the 10th April, followed by a " calm sea and prosperous voyage."

The shade of Herrman (if he invented the Hermann pass) must be greatly amused by the way this sleight has been glamourised since Fred Braue published the " Invisible Pass." The great point in all the discussion seems to have been missed, namely, that a first-rate card man and a first-class publisher tried to place a price not only on a move, but on a quality publication.

Particulars have now been received from Monsieur M. Sardina anent the Congres Magique International which is to be held in Paris on the 25th, 26th, 27th and 28th September, 1947. The organisation of this big festival of magic has been undertaken by Association Française des Artistes Prestidigitateurs, of whom, that great figure in the literary world of magic, Dr. Dhotel, M.D., is President. The programme is very attractive, including among other things two gala public per formances to be given in the famous Salle Pleyel (that very name brings thoughts of Spring, Chopin and Georges Sand!). There is a Banquet, presumably the all-night sessions, without which no convention is complete, dealers exhibits and most important— interpreters ! There will be an official meeting of representatives of Societies attending the Congres and items that come up for discussion include the possibility of forming an International Federation of Magicians. Those readers interested in combining magic with an opportunity of visiting Paris can obtain all particulars from :—

Monsieur M. Sardina, 14, Rue de Rivoli, PARIS, France.

The republication of some of Frank Chapman's splendid effect in the BAT was a brilliant idea of Lloyd Jones. " The Watch in the Loaf" (when shall we be able to use loaves for magic ?) has never been more finely routined. Membership of the

B.A.T. is bringing some very good things, and mentalists would find more than well worth while,

C. L. Boarde's " The Borrowed Brain, which was a bonus issue. " The Phoenix " No. 118, carried a lovely idea with book matches. Like we always first read " Editrivia " in the " Jinx," so do we read " The Back Room " before looking at the effects.

This is an angle which might make a change in prediction effects . . . instead of predicting what the spectator is going to do, or say, the magacian says he will get the spectator to read his (the magician's) mind . . . prediction in reverse ! In certain cases of prediction modus operandi the effect, I think would be more telling on the spectators. Whilst on the subject of predictions which could be thus adapted, next month I shall publish such an effect.

Stewart James has done it again. In his new effect, " Remembering the Future," he has produced another effect in the " Miraskill " class. .It is an effect which demands only good presentation . . . the better the presentation the greater the miracle as from the audience's point of view the spectator does all the work. At the price offered no card worker can afford to miss this outstanding effect.

I feel that I do not have to apologise for the lateness of the " Pentagram." The Fuel crisis with its effect upon the printing industry is of course the reason. It is hoped that in a couple of months the " Pentagram " will be back on its scheduled publication date.


A Card Effect where one spectator freely predicts the number that will be arrived at by another spectator cutting and counting the cards. ANY DECK OF CARDS USED. NO SLEIGHT OF HAND OR INTRICATE MOVES. The effect is a winner and will completely deceive the best informed of magicians. Read the following unsolicited testimonial from a well-known magician and inventor :—

" The very best magic depends on uncanny principles such as you apply in your ' Further Than That' and recent ' REMEMBERING THE FUTURE ' effect. Makes fine Radio material too. I can feature every such effect you can devise though how you do it I cannot understand. These principles that will' apply to more than card tricks are both rare and welcome. Publish lots more. Gratefully—Winston H. Freer."



Founded 1905 Resumed 1947

by P. T. Selbit by George Armstrong

IN RESPONSE to the requests by hundreds of readers of THE MAGIC WAND for something on similar lines at more frequent intervals we have decided to resume publication of the monthly WIZARD

First issue to be published on ioth April, ?947' Sixteen pages of glossy super-calendered paper. Photographic Cover. Two-Colour Printing.

Outstanding Magic. News and Viezvs.

Profusely Illustrated.


For a limited period we make a special free subscription offer, but because this magfzine is intended only for the bona-fide magician and magical enthusiast, and not for the general public or casual reader, the offer is designed to restrict circulation to the class of reader desired.

Send a Postal Order for TEN SHILLINGS to qualify for twelve issues of THE WIZARD. Bound in the first issue will be three vouchers, each worth 2/6. These vouchers may be used at any time towards the purchass of books listed in our advertisements. (7/6 cash and 2/6 voucher will purchase books to the value of 10/-).

THE EFFECT, therefore, is that the reader will purchase, at some time during the year, books to the value of 30/- (most magicians spend more than this on books during a year) and he will have received twelve issues of THE WIZARD for 2/6—the cost of postage.

THIS IS A GENUINE OFFER and will be withdrawn as soon as the first issue is sold out. Thereafter the price will be 1/1 per copy post paid, or 12/6 per year for twelve issues post paid.


Receipt will not be sent unless stamped addressed envelope is enclosed




THE SPHINX is the professional magazine of magic. Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts of the world. Since 1902, THE SPHINX has been the outstanding magazine of magic.

Subscription Price in England : 5 dollars a year :: 55 cents, a copy

Arrangements have been made for subscriptions to be accepted and money deposited in England




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Every phase of card manipulation clearly and fully described from the continuous front and backpalm to the modern act of the white-gloved manipulator. Fans, flourishes, steals and complete card routines illustrated by 195 photographic reproductions.

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Particulars from Hon. Secretary :

Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19

my list of exclusive effects that also contains useful hints and tips for magicians. Send 4d. in stamps to :

16 & 18 Watts' Place



The Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call at his studio:— 1 CLARENCE ROAD, Harborne, Birmingham 17


Founded 1034 President: A. Zomah. Hon. Sec.: Oscar Oswald, 102 Elmstead Ave., Wembley Park, Middx.

H.Q. and Library: No. 2 Hand Court

(Victory Club), High Holborn, W.C. MEETING EVERY THURSDAY 7-11 p.m.

Visiting Magicians always welcome. Your membership cordially invited—drop a line to the Hon. Sec. for literature.


Keep your " PENTAGRAM " copies safe and clean in our special" Pentagram " cases

PRICE 4/- post free

C . FIELD 42 Alderson Road, Sheffield 2

Magical Books & Mss., Etc.

Available on Loan 3d. Stamp for Lists F. ROBINSON, Magician, Stathern, Melton Mowbray, Leics.



Telephone or Telegram: MORLEY 899 Address:— 23 GREENFIELD AVENUE GILDERSOME, Nr. LEEDS

Nearly 30 years in the business

Otet&t Wwtfock'&

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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