Kellar's Demon Globe Trick

This is an exploration into a historical trick. The effect is known as the Golliwog Ball and is credited to David Devant. I knew Harry Kellar used it also and I assumed (and wrongly) that he took it from Devant.

Actually, it began as the invention of Harry Kellar. The effect is that a large ball is placed upon a board that is leaning at an angle upon a chair. By placing the ball at the top of the board it rolls down. But the magician, Kellar, could cause the ball to stop half way and go back up the board and obey his commands to start and stop and roll down and roll back upwards. I very rarely do this but I'm even going to divulge how Harry Kellar did the trick. He had electro-magnets in the board and metal pieces placed within the ball. The control of the ball was done backstage by turning the electromagnets off and on it caused the ball to roll down, stop or seemingly roll back upwards.

Kellar claimed the inspiration for the effect came from seeing a large ball roll around a stage at a circus. At the end of the routine the ball burst open and a clown came out. In magic history there was a previous trick called "The Obediant Ball" which was a ball with a hole in it that was placed upon a rod. The ball would rise or lower on the rod at the magicians command. Kellar's trick was called "The Demon Globe" and as you can see he took the idea of the "The Obediant Ball" and made it into a stage sized trick. There is another smaller trick also called 'The Obedient Ball' which was a ball with a string running through it. The ball was threaded on the string and held at the top and dropped and would stop whenever the magician commanded. But it could not go back up as in the other versions.

There was one problem with Kellar's version. This thing was a monster to set up and take down. It apparently had tons of wires and was just very difficult to operate. It also cost Kellar a lot to build which was why he was keeping it in his show. The effect in operation looked mechanical which was another drawback.
One day David Devant was visiting the United States and he saw Kellar's show. He particularly liked Kellar's Demon Globe trick but thought it was much too complicated. He spoke with Kellar about it and asked him if he could go back to England and come up with something less complicated. If he was able to do this he would give it to Kellar with the agreement that he would have Kellar's permission to use it in England. Sure enough a short time later Devant returned to the states and showed Kellar the new version (which I will not tell you how it's done).  Kellar loved the new version and it stayed in his show. David Devant called his version "The Wolligog-Golliwog Ball". 

Devant borrowed a piece from Kellar's presentation. During his introduction of the trick he mentioned the clown inside the ball from the circus. This he said was his inspiration for the trick and he added, “there is no clown inside the ball, the only clown here is outside the ball”. 

The final bit of research was the name. I figured it was probably just a made up name that Devant created. To my surprise and shock, the name has a history. Apparently the name Golliwog was a character in a 19th century children's book and it referred to a rag doll. The rag doll was very dark skinned and basically looked like a minstrel character. The term 'golliwog' which later became 'wog' turned into a racist insult. There is nothing about Devant's routine that would suggest anything racist. Devant performed for families and had routines targeted for kids like the Eggs From the Hat. His slogan was “All Done By Kindness.” More than likely the term had a very innocent connotation when Devant adopted it for his routine and over time developed into the negative term it became.

The name has been used for other things including the original name for the band Creedance Clearwater Revival, a commercially sold biscuit in Australia and is the name of an all female band from Slovenia. Outside of the trick, I personally never heard the term used or said. Frankly if I had heard it I would associate it instantly with this particular trick. I had no idea that the name 'golliwog' had a controversial history attached to it or that it even existed outside of this trick. I thought it was a made up name but checked it anyway and was very surprised by what I found.

For the record, I included this in the story of the ball trick to give a broader historical context and in no way intended to insult the memory of Devant, Kellar or offend anyone.

I think this was a very interesting effect for the time. An animated object seemingly under the spell of the performer. There is a wonderful poster that Kellar used to promote the trick which can be seen on this link. I was actually thinking about it and came up with a much different method which could create the same effect today. But I'm not sure how it would play for modern audiences who see remote control cars and planes and such. Still, it must have been amazing to see back in it's day.

The Galvanized Iron Can

It's January 6th, 1908, Houdini is starting a run at the Columbia Theatre in St. Louis. He is doing his Handcuff Escape Act and the receipts are no longer what they once were. With so many imitators and rip-off artists out there, audiences had grown tired of seeing this kind of act. Even though Houdini was the one who made it famous, now he was facing a crossroad in his career. The manager of the theatre called Houdini into his office and basically gave him a thrashing about the low attendance. I believe he said something like "your act is not worth a plug nickel, or even a normal nickel" (not sure what a plug nickel is, lol). That is what Houdini was faced with in January 1908.

So what does he do? He brings out what he calls at the time "the best thing he has ever invented." That invention was 'The Galvanized Iron Can Filled with Water'. The newspaper ads promoting the escape referred to it as The Galvanized Iron Can Filled with Water and clearly Houdini referred to it as that. It wasn't until April 1908 that a newspaper referred to the can as 'looking like a giant Milk Can'.

The Milk Can
The debut of the Milk Can Escape took place at the Columbia Theatre in St. Louis, January 27th, 1908, (exactly 103 years ago today!) After theatre manager Tate told Houdini his act was worthless, Houdini came back with the Milk Can. The opening night of this performance all the area press was invited to witness Houdini's latest invention. However, not one single person from the press showed up. This was a pivotal moment in Houdini's career and no one was there to record it. We do know the "Failure Means a Drowning Death" concept was a huge hit for Houdini as he continued to use the Milk Can Escape as his closer until 1912. In 1912 he would present for the first time another new invention combining elements of his water escapes and upside down outdoor escapes, the Water Torture Cell. Though the Water Torture Cell was more spectacular, Houdini did continue to perform the Milk Can escape in a different capacity.

On occasion Houdini would use his Milk Can with a challenge. He would allow challengers to fill the can with something other than water. A dairy filled it with milk and he escaped. But it was in England in 1911 that Houdini had trouble. He allowed the Tetley Brewery to fill the can with beer.  He was overcome by the fumes from the alcohol and passed out and had to be unlocked and removed from the can. However in Columbus Ohio of the same year, he did the same stunt, can filled with beer and placed inside a wooden container (see The Double Fold Death Defying Mystery above) and escaped with no problem.

On April 18, 1916 Houdini was at Keith's Theatre in Washington D.C. The challenge came from the employees of Abner and Drurys Brewery. In the article they refer to the device as a large cask, but the description clearly the Milk Can. Houdini escaped in two minutes. The Washington Times article finishes with this line "In exactly two minutes he was out of the cabinet, wasting a lot of good beer that dripped from his body." So while the Water Torture Cell took over as the closer, the Milk Can moved into the spot of 'challenge' escape. Perhaps, he referred to the device as different things depending upon what was inside. Milk inside it was the Milk Can Escape, water inside it was the Galvanized Iron Can with Water, beer inside it was a large Iron Cask Escape.

The Inventor

I just found out through Pat Culliton's book HOUDINI-The KEY, Houdini didn't invent it, a guy named Montraville Wood did. This fact was also pointed out in the Kalush Biography as well. Wood pitched the idea to Houdini and they apparently discussed it for a while in letters. Mr. Wood eventually developed eight different ways to escape from the Milk Can.  I wonder what they were? Actually, they are listed in a patent Houdini applied for in Sept 1908. Interestingly, none of Houdini's Milk Cans featured the straps that are prominent in the poster. However, a method of using straps was one that was listed in the 1908 patent.

Who was Montraville Wood? He was an inventor, scientist, lecturer and magic enthusiast. He was an associate of Thomas Edison and was the district engineer for the Edison Company on the Pacific Coast. He was also the Aeriel Postmaster for Chicago. During his lectures he would demonstrate how gyroscopes could be used in airplanes and monorail cars. He begins with offering an audience member a chance to wrestle the gyroscope. If you recall your magic history, P.T. Selbit had a routine he called "The Mighty Cheese" which was essentially a hidden gyroscope that could not be pushed over, no matter how hard you tried. This demonstration was part of Wood's talk on the gryoscope. He also gave a demonstration of ultra-violet rays and explained the different ways it could be used, including the treatment of diseases.

Wood's association with Edison is interesting, in fact he very much resembles Thomas Edison. Among his nearly 100 inventions, was the two-button electric switch. This was the common household electric switch prior to the more modern lever switch that we are familiar with today. Among Wood's contributions to magic were a mechanical card rise, a Spirit Hand and Skull, Houdini's Iron Box Escape and the Milk Can Escape.

The Can(s)
How many Milk Can's there were is anyone's guess. I have discovered several different versions online. I'm only posting links to cans that I believe were used by Houdini. I know other manufacturers produced the Milk Can escape after Houdini and those I won't include.
Milk Churn: The Milk Churn was a Challenge that Houdini faced several times. It may have been the inspiration for the Milk Can.
Smaller Milk Can: I had seen this once in an eBay Auction. It appears to maybe be a prototype. By the way, on the link you'll need to scroll down a bit to find the image of the Milk Can among all the Titanic memorabilia.
Copperfield Milk Can: This Milk Can came from the Sidney Radner Auction. It has the identical shape to the can seen in pictures with Houdini but is missing the upper handles. I believe this was on display at the Houdini Exhibit in Appleton Wisconsin at one time.
The Lund Milk Can: This is the can that is on display at the American Museum of Magic. It's also the can that was on display during the MAGIC! Science and Wonder exhibit in Houston Texas and is currently on display at the Houdini Art and Magic Exhibit in NYC.
The Lund Milk Can+: This photo shows not only the Milk Can but also the traveling case. The brass buckets were for water.
The Bell Milk Can: This is shown on page 448 of HOUDINI-The Key by Patrick Culliton. This Milk Can is owned by collector Randall Bell and was originally found in the basement of Houdini's home on 278 West 113 th. St. This can is unusual because of the length of the shoulder/sloped part of the can. It's twice as long as every other can and may be the same can as the 'Smaller Milk Can' that I have listed though I'm not 100% sure. They both have a similar slop to the shoulders.
The Double-Fold Death Defying Mystery: Apparently escaping from a water filled can wasn't good enough for audiences. Actually, by Spring of 1913, Houdini knew he had to improve the Milk Can because it was already being copied by others. So he added a wooden crate that the Milk Can would go into. The can with Houdini inside would be sealed and then the lid of the crate would go on and be locked as well. Houdini featured this at Hammerstein's Victoria in NY for only two weeks. I get the impression that he this only on special occasions or with challenges.  Hardeen would later feature this effect in his show. Where is this crate today?
HOUDINI Milk Can: Of course all of these cans were Houdini's. But the photos with Houdini and the Milk Can show a slightly different can than those above. The difference can be seen in the position of the handles. The handles are on the angled/shoulder part just below the neck of the can and they are in the same position as a traditional real milk can. I'm not sure where this can is today.
I think there might be more Houdini Milk Cans out there. I remember hearing about a can being sold at auction maybe 10 or 15 years ago and I don't think that is one of the cans I have listed. It's anyone's guess how many of these there are total.

There is one other can that makes me wonder if it isn't a Houdini original and that is The Amazing Randi's Milk Can. This can was used on the Houdini Special in which Dean Gunnarson filled in for Randi. It's certainly the spitting image of the Lund and Copperfield Can, but it too is missing the handles on the shoulder. It could simply be a very good copy. This is not the same can that Randi supplied on the TV Show Happy Days however, again, the handles are the give-away. The majority of copied Milk Cans are easy to point out because of the shape or size being different than the Houdini can.

For some reason this seems to be the one Houdini effect that gets exposed online and in books and even in movies. But only one method is ever exposed and Houdini had eight different methods, which could mean that there are eight different cans, or MORE! Houdini even had plans of being put into the can and having the can turned over and placed into another can or box. This would certainly mean the exposed method would not work.

The Columbia Theatre St. Louis
The Columbia Theatre in St. Louis was located at 421 N. 6th Street. I previously was led to believe that the Columbia Theatre was at a different location. It appears the previous theatre wasn't built until 1926. The old Columbia where Houdini performed was built prior to 1899 and was torn down in 1925. Today there is an office building and mall on the location of one of Houdini's most historic events. It's called One City Centre. I spent hours trying to locate a photo of the old Columbia but so far nothing.

One City Center sits on the location of the Old Columbia Theatre St. Louis

Update: There may be yet another Milk Can out there because from 1906-1909, Leonard Hicks, with Houdini's training and permission presented Houdini's act in America, complete with Milk Can Escape. No idea where that can is today.

UPDATE 2: The Double-Fold Death Defying Mystery has been located. It was in a private collection all these many years. It is available to bid on in the upcoming Potter & Potter Houdini Auction on Aug 23rd, 1914.

UPDATE 3: There is ANOTHER authentic Houdini Milk Can out there. I've seen a photo of it, and trust me it's the real deal. And that is all I can say, as I am sworn to secrecy.

Please be sure to check out the New York Public Library for all the great preservation work they do.

The Great David Devant

Devant's home in Homestead, London

It's David Devant Day over here at the Magic Detective Blog. Actually, My painting blog has an image of Devant and my new Dead Conjurers site has a picture of Devant's grave. Follow the links on the different pages to find out more about Devant. The photo above is of Devant's residence in London. The blue circular commemorative plaque denotes exactly where Devant lived.

David Devant was born David Wighton in London on Feb 22, 1868. He is considered England's Greatest Magician. He also was involved in the early days of cinema both filming his magic and running his films all across England. As great as he was and as well known, it did not stop him from getting kicked out of the Magic Circle, an organization which he helped create. He was expelled for revealing magic secrets. Devant's defense was that he only exposed his own effects and did not think he did anything wrong. I'm sure that the Magic Circle made up for this decision in later years as they now have a Devant Room at the Magic Circle Headquarters.

Devant was not just a performer but an inventor. Among his creations were: The Magic Tea Kettle, The Golliwog Ball, The Artists Dream, BIFF-The Vanishing Motorcycle, The Chocolate Soldier and the Mascot Moth. Many of Devant's effects would end up in the repertoires of other performers including Harry Kellar, Howard Thurston, Doug Henning, The Pendragons, Lance Burton, Steve Cohen and more.

During the height of his career David Devant started having health problems. He was forced into retirement in the 1920s due to some form of paralysis. He was committed to a home to care for him. He died October 13, 1941.

The Great Raymond's Grave

Raymond's Grave. Used with permission of Rory Feldman*

Raymond was born Maurice F. Saunders in Akron Ohio on May 30th 1877 and died on January 27th 1948 in NYC. He is buried in the Glendale Cemetery in Akron.

He was one of the great touring illusionists of the early 20th century. Maurice Francois Raymond Saunders was known professionally as The Great Raymond. He featured everything from escapes to large scale illusions in his show. Raymond was very similar to Charles Carter. Like Carter the Great he toured the world performing his show. He even claimed the title 'Globe Trotting Magician' before he ever went out on tour, that's a man with a goal!

The Great Raymond claimed to have made seven world tours though much of that is disputed. It was more likely less than that. There is a wonderful book on the Great Raymond by William Rauscher. Information on ordering this book is here, http://www.mysticlightpress.com/index.php?page_id=103

I'm fascinated by these old time touring illusion shows. For one, the amount of equipment they toured with is staggering. When they built an illusion it was sturdy, strong and heavy. Today's illusions are certainly sturdy, but often they are made to break down fairly small and also light weight for travel. Raymond came from a time when stage traps were popular but today's illusionists no longer use that method. Some of today's artists travel with their own light and sound equipment, Raymond had none of that to worry about. Posters were the #1 selling tool of the traveling magician. The Great Raymond also took a page from Houdini's book and used the escape publicity stunt to draw up excitement about his appearances.

It seems like a lot of the touring acts had the same effects in their show (not unlike today sadly). The difference comes from the personality of the performer but it's hard to gauge that through the written word.  There is one particular effect in Raymond's show that intrigues me and that is Raymond's Production of Oranges. He always opened his show with this one effect. The reason it intrigues me so much is I saw it performed by David Ben in his incredible theatrical magic/play The Conjurer. He learned the handling from someone who worked in the Raymond Show. When I read about the trick in the Raymond book it didn't strike me as anything special. But when I saw it performed I realized that here was a piece of magic that had surprise, audience interaction because the performer hands out the oranges, and then a double surprise when a second production of oranges is made from the very same cloth. Sadly, try as I might I was unable to get Mr. Ben to reveal the method, however his reply was extremely kind and he did help me with another matter for which I'm very grateful.

I'm really fond of his lithograph posters. I think magicians are used to seeing the Thurston and Kellar Posters but the Raymonds though less popular are just as striking. Raymond deserves a longer blog and maybe eventually I'll get around to doing that. But this was more to show off his grave and to give you a snippet of biographical info.

SPECIAL NOTE: All magician grave photos are being collected in a special blog all their own.
http://deadconjurers.blogspot.com/


*The photo of the grave is used with permission of Rory Feldman who has one of the most amazing magic history sites I've ever seen. His subject is Howard Thurston and it's just awe inspiring. Please visit his site when you can at www.thurstonmastermagician.com

Bessie The Time Traveler

Bess Houdini Was a Time Traveler and now there is proof!                       

It’s clear from historical records that Bess Houdini had the ability to travel through time. This is the only obvious solution to her documented birthdates changing.

For example, the 1910 US Census shows Bess as 31 years old. That makes the year of her birth 1879. Then fast forward to ten years in the future. The 1920 Census has Bess as 42 years old. So now Bess is born in 1878.

But wait! Her death certificate shows Bess was born Jan 23, 1876. She’s lost three years since we began, clearly a sign of time travel. OH NO, then I find another ship passenger list and her birth year is listed as 1874 (see picture). But after examining the document I see a mistake was made and it should be 1876.

Just when I think it’s over up comes another ship passenger list, this time from 1913 and Harry is listed as 39, which is correct, and Bess as 32 which makes the year of her birth now 1881.

1913 Passenger List-Harry 39 Bess 32

Ok, that’s all…..oh crap, theres more. The 1930 Census shows Bess as 53 years old, which now has her birth year as 1877.

Perhaps these were clerical mistakes. But what about the photographic proof!? Yes, Bess Houdini at the Inauguration of President Reagan in the 1980s!

 

Unbelievably Bess is even looking AT the CAMERA!

 I think the most damning piece of evidence of all though was from 1969. Not only showing proof that Bess Houdini was still alive (Time Traveler) BUT that we never went to the Moon, it was FAKE! 

See Bess standing near the spacecraft to the left of the Astronaut.

So we have tracked documents of her being born in 1876, 1877, 1878, 1879, 1881. Ok, ok, maybe we pulled a little 'spirit photograph' trickery with the two photos of Bess. But one thing is for sure...

It's Bess Houdini's Birthday whatever the year!

HAPPY BIRTHDAY BESSIE 
pardon the silliness :)

Houdini Owned Award for Sale

I thought this was terribly cool. Over at Martinka.com their latest online auction features Houdini's Dragon Award Cup - 1908. This was given to Houdini by the Temple Theatre in Detroit for record breaking attendance. The reserve has already been met and there are two days left on the auction. If you love Houdini stuff go check it out. And if you are magic history buff like me, register with Martinka so you can bid!


Elsewhere in the latest auction is a printing block from Conjurers Monthly Magazine, which Houdini published. Also in the auction, the Bean Giant Picking Device Houdini used, A Houdini 1926-27 Tour Program and more!

Ford's Theatre & The Mantle of Magic

John T Ford

The name Ford's Theatre instantly conjures up images of April 14, 1865 the night President Lincoln was shot while watching a play. However, I want to direct your attention to the OTHER Ford's Theatre, the one in Baltimore. Both were built by John T. Ford, who in my humble appearance looks strikingly like Jerry Seinfeld.

The Baltimore Ford's Theatre was known as The Grand Opera House and was built in 1871. It was located on 320 West Fayette Street in Baltimore. It lasted until the mid 1960s when it was torn down to put a (wait for it...) parking garage in it's place. Readers of my blog will now the frustration I have over many of these historic theatres being demolished and turned into parking garages.

The reason Ford's Grand Opera House holds significance for magicians is that this is the location of the show where Harry Kellar passed the Mantle of Magic over to Howard Thurston. This established a long line of magic royalty that lasts until today (at least for publicity purposes).

Harry Kellar

Let's start with how it all came about. First it's the 1900's Herrmann the Great has passed away leaving it wide open for Harry Kellar to take over as the leading Illusionist in America. He's been following in Herrmann's shadow for quite a while and is ready to take over. Kellar is a unique character, older, less hair, but tremendously loved by audiences across the nation. He successfully fills the place left by Herrmann and becomes the leading magical performer in the U.S.. In 1906 he begins to announce his plans to retire. His successor will be Adolf Weber. WHAT? Yes, Adolf Weber was slated to be Kellar's Successor. OH wait, you might know him as Paul Valadon.

Paul Valadon was a magician who had been working at Maskelynes Theatre in England. He suddenly appears in America working with Harry Kellar and that also was the same year that Kellar mysteriously figured out how the Maskelyne Levitation worked and added it to his show. He might have gotten a little help from Paul Valadon. In 1906 Kellar proclaims that Valadon will be his successor when he retires. But that doesn't happen.

The first person to publicly say otherwise was Henry Ridgley Evans who saw Kellar's final D.C. appearance at the Columbia Theatre. Following this Evans writes a little note to Stanyon's Magic which says he predicts the successor will be Howard Thurston.  It's actually unclear when Kellar made this decision to go with Thurston over Valadon. Apparently, Paul Valadon had a drinking problem and Mrs. Kellar was not particularly fond of either Paul or his wife. So Paul is out as successor and is no longer working with Kellar. By 1913, Paul Valadon, one time possible successor to the Great Kellar is dead. The last few years of his life were not good, his wife either left him or she died. He had a son, but when Paul Valadon died, he had not one dime to leave his young namesake.

Howard Thurston

Thurston it seems may have been in the running all along. In 1907, Kellar and Thurston met for dinner to iron out the agreement. Thurston agreed to buy the entire Kellar show for $5000.00. Howard Thurston had made a name as a Card Manipulator. But he knew in order to gain a bigger piece of the showbiz pie he'd have to expand his repertoire. So he began to expand his act and he took it on an overseas tour. By the time he returned to the states in 1907 he was ready for bigger things. It's interesting to note that Houdini was not in the running for the prize of Mantle of Magic. No doubt Houdini couldn't be happy about this. But Houdini presented a specialty act of escapes only at this time. Later he would begin to add features like Vanishing an Elephant and Walking Through a Brick Wall. Perhaps if he had done this sooner or if Kellar had waited to retire then Houdini could have been considered. Houdini's friendship with Kellar doesn't really begin until after Kellar retires, so that his another reason why he was not in the running. No, this prize went to Thurston and he would make the most of it.

 
The two magicians had toured the country together in the 1907-08 season. The passing of the Mantle of Magic took place on May 16, 1908 at the Ford's Theatre in Baltimore Maryland.

To quote Howard Thurston the night of the final performance, "Before the final curtain had fallen Kellar led me to the foot- lights and in a most touching speech briefly mentioned his own career of forty-five years as a public entertainer, and finished with a generous and affectionate prediction of my future. Kellar had played Ford's Opera House for many years. He handed

his arm around my shoulders, while the orchestra played 'Auld Lang Syne'. As the ushers carried many floral offerings to the stage, the audience sang with the music. Finally, the musicians stood, then the entire audience was on its feet repeating the refrain. Leaning heavily on my shoulder as the curtain dropped for the last time, Kellar cried—so did I."

History shows however that Kellar was not completely happy with Thurston's use of his old show. Thurston basically dropped everything except for the Floating Lady and the Spirit Cabinet. Thurston's presentation of the Floating Lady enraged Kellar. Thurston would invite audience members to come up on stage to see the lady in mid-air. This would reveal the method of course and that drove Kellar crazy.

Kellar soon began work on another floating lady that I believe ended up with Blackstone, but not until after Kellar had passed away.

Thurston continued holding the crown until his untimely death in 1936. But before that he did make an announcement as to his successor would be. In 1929 on stage in McConnelsville, Ohio, Thurston announced that McDonald Birch would be his successor. But the Great Depression made theatre performances harder and harder and the proposed final tour with Birch never happened nor did the passing of the mantle.

Magic lore would also have you believe that the mantle was then passed over to Harry Jansen (DANTE). But Dante was overseas touring when Thurston died. The truth is, the mantle of magic set up by Kellar died with Howard Thurston. Magic groups in America wanted Dante to come home and claim the the mantle that Thurston left behind, but that is hardly the same as having the mantle bestowed upon you by the KING.

The romanticized version sounds so much better doesn't it? I like the idea that the Mantle of Magic went to Dante, then to Lee Grabel and finally to Lance Burton. But, it's not the Kellar/Thurston Mantle, it's a different one. 

One final note about Ford's Theatre. Some smart magician took wood from the stage floor of Ford's Theatre either before or as it was being torn down. The wood was turned into a magic wand with a profile of Kellar on one end and Thurston on the other. If you hold it up to a light source it casts the profile shadow of the two magicians. For the record two of these were made and one resides at Egyptian Hall West, the Mike Caveney Collection.

The parking garage that replaced the iconic Ford's Theatre in Baltimore Maryland.

Go To Hellers Part 3

THE FINAL PERFORMANCES
In September 1878, Heller opens at the Broad Street Theatre in Philadelphia. He is there for four weeks and then he moves to Baltimore for the month of October.

On November 4, 1878 Heller opens at the National Theatre in Washington D.C.. He plays to packed houses because the newspapers are announcing this as Heller's final appearance in Washington.

One of the things Heller does in this final tour is change the show often. It's as if he is giving the American people one last chance to see all his offerings before he moves back to England. 


Heller had a huge fan base in Washington. He had been a resident there for ten years and mingled in high society social circles. He also had a habit following his performances to accept invitations to various friends homes and continue impromptu entertainment into the early hours of the morning. When Heller finishes his run in Washington D.C. at the National Theatre he heads to New York to rest for a week.

THE HELLER SLANDER
An article appeared in the Cincinnati Enquirer a few days before Heller arrived in D.C.. The article mentioned an unnamed person from D.C. who made the claim that Heller had abandoned his wife and children and she died of a broken heart. Other papers across the nation picked up the article and it found it's way to Washington.

The National Republican Newspaper held an interview with Heller's father in law, Mr. Kieckhoefer.  He is glad to have a chance to speak out. Mr. Kieckhoefer is outraged that his son-in-law and daughters personal life is slandered by an anonymous person in the press. He says that Heller's wife is not dead but in fact living quite well in Paris supported by her husband.

Mr. Kieckhoefer relates how he did not initially understand Heller's desire to go back to magic, but he eventually came to see the light. He says that a man with Heller's passion had to follow his heart. To further prove that he had no hard feelings with his son in law, he points out that he and Heller were having dinner that very day in Washington D.C.. The controversy dies a quick death following this and Heller plays to huge crowds as mentioned above.

The Continental Hotel Where Robert Heller Died

 
THE FINAL SHOW
Heller arrived in Philadelphia on Saturday
Nov 24th. While walking with his business manager to the theatre, Heller felt a twitching in his arm. Several times on the short journey from the hotel to the theatre Heller had to stop due to illness. He is suffering from a cold he picked up in Washington and it is showing signs of being serious.

On November 26th, 1878 Robert Heller along with Haidee Heller open at Concert Hall in Philadelphia. His cold is worse now and it is noticeable to the audience. He presents the first part of the show, the section with varied magic effects with no problems. But he is so ill now that he lays down for thirty minutes before continuing.  He mentions to the audience that both he and Ms. Heller are both sick with colds. I found two differing accounts of how the show ended. One newspaper account says Heller wraps up the show early with a piano performance of "The Last Rose of Summer". He played the piece with such passion it was as if he had never played it before.  The other account comes from a gentlemen named Kit Clark who saw Heller hours before he died. He said that Heller and Haidee finished the show with the Second Sight routine. Either way, it would be Robert Heller's final performance number. When Heller finished playing he dismissed the audience and both he and Haidee Heller went straight to the Continental Hotel.

He finally agreed to see a Doctor on Tuesday morning. The doctor said he had a slight congestion of the lungs but the truth was much worse. Heller actually intended to perform on Tuesday evening but as the day progressed he admitted he was in no condition to do so. Heller's illness got worse as the evening dragged on. A quote from Kit Clarke says "Just after twelve o'clock, midnight. he had a severe attack of vomiting lasting but a few moments and when it ceased he raised himself up, gave one gasp, and falling back upon the pillow Robert Heller was dead."

On November 28th the Public Ledger newspaper made the announcement that Robert Heller had died. There would be no return engagement. At the time Doctors said he died from "organic exhaustion". We now believe Heller had died from a case of double pneumonia. Heller's death was such a shock to Washington D.C. that his obituary appeared on the front page of the Nov. 30, 1878 edition of the National Republican. 

Worse yet, across the Atlantic Ocean his wife and three children were making preparations for him to return so that they could all be together once again as a family. He was buried by the time the news of his death reached them.

FUNERAL

Houdini at Heller's Grave

The funeral for William Henry Palmer/Robert Heller took place at St. Stephen's Protestant Episcopal Church in Philadelphia on November 29, 1878. It was a small affair, a few show business people attended, along with his brother in law, Haidee and Heller's electrician and secret confederate who had been with him for years E.J. Dale.

William Henry Palmer/Robert Heller was buried in Mt. Moriah Cemetery in Philadelphia. He is in plot 189 section 135. Even on Heller's grave there is no date given for the actual year of his birth.

THE WILL
It's said that Robert Heller's estate was worth over $350,000. This is the value of his estate in 1878, the price today would have to be in the millions.

In his will, he makes arrangements for his wife to receive money for the rest of her life. He leaves money for his children's education, support and maintenance. He leaves money and some jewelry and property for Haidee Heller, who was his assistant during the longest stretch of success in his career. He leaves his brother a trustfund and his gold watch. To Fannie, his sister, who he names the executrix of the will, he leaves 'one clock of her choosing'. That struck me as odd.

Originally his will stipulated that ALL his props and magic equipment be destroyed upon his death. However, he had a death-bed change of heart on that one, and decided to have it sent to Hartz The Magic Dealer for him to sell. Are we to assume that was the 49 TONS of paraphernalia that  he had just brought over from England in 1877? I'm thinking there might not have been quite 49 tons worth.


THE AFTERMATH
What affect did Heller have on the world? For one, according to drama and theatrical people of the time, it was Heller that put conjuring in a new light for American audiences. In the way that Robert Houdin modernized magic for his period by changing his costume and bringing magic indoors, Heller did a similar thing in America by adding other elements such as comedy and music. I'm sure his affect was felt all over the globe when he performed.

Heller was hardly gone before others would rush to fill his spot. Frederick Eugene Powell, known professionally as The Great Powell began a series of performances along with his brother Edwin in which they perform the 'Second Sight' routine. Powell is apparently the only performer presenting the routine at this point, but that would change soon enough.

Harry Kellar too capitalizes on Heller's name. In the early days, Kellar chose to change the spelling of his name from Keller to Kellar so he wouldn't be confused with Robert Heller. Now he turns the tables on the spelling thing and adds a twist of his own.

"For many a day,

We have heard people say

That a wondrous magician was Heller;

Change the H into K

And the E into A

And you have his superior in Kellar!"

Finally, in 1878 the year that Robert Heller leaves this world, a young man named Erich Weiss and his family are moving to Appleton Wisconsin to begin life in America. One can only guess where that might lead...

THE END

William Henry Palmer/Robert Heller Died Nov 28, 1878

I want to thank Joseph Pecore for his incredible help with the research and for working tirelessly on the music so that we could share some of Heller's music with the readers. I also want to thank the folks at Ask Alexander and The Conjuring Arts Research Center for their invaluable database and records. Thank you to all those magic writers and newspaper writers from the 1850's to today who wrote about Heller. Thanks also to the Library of Congress for putting up newspaper archives online! Finally, I have to say that I'm very grateful for the INTERNET.  You just would not believe what tiny little detail you might find out there floating around that will bring everything together. Most of my blogs are not as hard as this one, but it was really a lot of fun. 
OH, AND there is one more Heller Blog to go, but that one I'm holding for later in the year!

Go To Hellers Part 2

William Henry Palmer/Robert Heller

Early Retirement

Parking Lot Today, Once the location of Heller's first DC home

In my last blog I shared with you the reason Robert Heller was forced into retirement. He had been swindled out a $1,100.00. Creditors were after him.  He's forced into retirement in Washington D.C. and drops his stage name and now goes by his real name William Henry Palmer.  The first place he lives in Washington is 260 F. Street NW. which is today a parking lot that is at the corner of 3rd and F st. St. (see photo)
The next place that William Henry Palmer lives in D.C. is 447 13th Street NW. Today the Warner Theatre sits at this location. The Warner however was not built until 1924 and was then called the Earle Theatre. The houses or apartments that were at this location were likely torn down to make way for the theatre. An interesting fact about 447 13th St. NW is that it is walking distance from the National Theatre that Heller would later play when he returned to magic.

Church of the Epiphany DC

In the DC Registry he is listed as a Professor of Music. This is the same way he listed himself on the ship manifest when he traveled from England to America the first time. He is also known to have been the organist at a large church in D.C.. I tried to track down the information on the church, but there is nothing in any records I can find.  My first best guess was St. Johns Church on H. St. NW, which would have been an easy walk from where he lived. I discounted a second church, the Church of the Epiphany as being too small. But I just received a newspaper clipping that shows Heller doing a concert at the Church of the Epiphany in 1864. Granted this is after he went back to magic, but it changes my opinion now that this is more likely the church he played organ for.


MUSIC
This will not be the easiest thing for me to write about as I do not know music, but I found a few things of interest pertaining to Heller. Prior to his 'retirement' in D.C. he performed in Boston. The very first North American performance of 'BEETHOVEN: Concerto No. 4 in G major for Piano and Orchestra, Opus 58' was given on February 4, 1854, at the Boston Odeon by Robert Heller with Carl Bergmann conducting the Germania Musical Society. This has historical significance for the music field as I found it listed on the San Francisco Symphony's website. It is also noted in a book "Annals of Music in America" by Henry Charles Lahee.

There is no doubt William Henry Palmer could have had an incredible career as a pianist. His abilities were astounding. Not only could he play perfectly both the piano and the organ, but he had the skill to use mimicry in his performance. An example was when he would demonstrate "The Piano Lesson" and would assume the role of a young child first learning to play the piano. By all accounts the presentation was hilarious.

He also wrote music. The Library of Congress in Washington has several of his musical pieces on file, including; The Ripple Waltz (1854), Wayside Flowers (1854), and The Presidents Mounted Guard Quick Step (1855). He began publishing his music while he was living in Washington D.C.. As a 'Professor of Music' it no doubt gave him credibility to be a published musician. Though his musical prowess was enough to stand on it's own.

He published music under the William Henry Palmer name as well. Notice the sheet music for Souvenir d'Hiver valse Brillante (1857). In English this is the 'Souvenir of Winter', and underneath the name W. Henry Palmer in small letters is {Robert Heller}. This is also dedicated to Sigismund Thalberg, who was the pianist to the Court of Austria. Heller was a pupil of Thalberg's in his youth in England.

In 1932 a book was published which was part biography and partly music book which included sheet music of all of Robert Heller's works. The book was called "Melody Magic".

A rare treat, a  sample of Heller's music.

MUSIC LEADS TO MARRIAGE
Adolf Travers Kiechkoefer was a partner of George Riggs. Maybe you've heard of Riggs Bank, well he's THAT George Riggs. Mr. Kieckhoefer was also a violinist and a lover of fine music. He would often hold parties for gifted musicians that were in town. Rarely however did he find gifted musicians among those already in Washington. Imagine his surprise when an invitation to William Henry Palmer turned out to be an incredible performance and a wonderful evening. The two became friends and Palmer/Heller visited the Kieckhoefer home often. Apparently he was popular with the five Kieckhoefer siblings as well. He began courting the youngest daughter, Anna Marie, and he married her in September of 1857. This information is from an interview with Mary Adelaide Palmer who was their daughter.

William Henry continued to teach music and play the organ at his church for about ten years.  The Palmers had three children while they lived in Washington D.C., Mary Adelaide Palmer, Annie Palmer and Joseph Henry Palmer. Apparently the urge for William Henry Palmer to once again become HELLER was still there. In other words, the desire to do magic for a living was getting the best of him. It was a fire that burned inside him and there was nothing he could do to quench the fire but to submit to it. This caused a temporary rift between him and Mr. Kieckhoefer who could not understand why W.H. Palmer would want to leave his promising music career.

RETURN TO MAGIC
Sometime in the 1861's Palmer becomes HELLER again and returns to magic. It is likely that he did this gradually. Success was slow coming however. Then an event occurs that changes the path of his life and career. He meets Edward P. Hingston who is the manager for Artemus Ward and other acts. For the record, Artemus Ward was a humorist and humor writer but is also considered the very first stand-up comic. Ward was Abraham Lincoln's favorite writer and it is said Ward also inspired Mark Twain. E.P. Hingston convinces Heller to basically 'lighten up' his act and he may have also been the one to encourage him to add his music to the show. Prior to his return to magic he only performed conjuring feats in his performances. Now, he is doing a three part show which he refers to as Magic, Music and Mirth.

Heller opens at 585 Broadway in 1864 in a show called "Sallie Diabolpue". He uses a clever advertising slogan, no doubt created by Hingston.

Shakespeare wrote well,

Dickens wrote Weller;

Anderson was -------

But the greatest is HELLER

Another interesting advertising gimmick that was used was to send flyers to all the churches in town that read "Go To HELLers". The clergyman in town wondered what was going on and many went to the show. Most were delighted by what they saw and encouraged their congregations to check out Heller's entertainment.

This show is a huge hit. Newspapers of the time singled out his music as being fantastic but even that did not overshadow his 'Second Sight' routine which was overwhelming everyone. After a year he finishes in New York and takes his show to Boston and a tour through the states. Next he goes to Paris to perform for the Great Exposition of 1867. He brings his family with him to Paris. He decides to leave them in Paris to live so that his children can receive their education while he is touring. He supports them well while they are in Paris.

After Paris, Heller makes his return to London, this time at the Polygraphic Hall on January 27, 1868. He added Haidee Heller to the bill. She will remain his partner in the 'Second Sight' routine throughout the remainder of his career. It is said that she is his sister or half sister but some historians think there was no relation at all. The truth was any assistant that Heller used was referred to as some member of his family but they never were.

A funny little anecdote happened with Haidee and Mr. Heller. After his musical section of the show he and Haidee got into a quarrel behind the scenes. She refused to come out for the Second Sight routine. So Robert Heller walks out and announces "Ladies and Gentleman, this is the part of the program where Ms. Haidee Heller comes out, except tonight she refuses to do so. Let's wait and see." He then quietly takes a seat on the couch and begins to twirl his thumbs not speaking a word. A few moments later a red hot Haidee comes storming out. Heller says "Ah! I thought so" and they continue with the show.

Next he embarks on a tour of the world which includes Egypt, Australia, the Orient and much more, this continues until 1873. For the next three years he works mainly the British Isles.  In 1877 returns to the states this time with 49 tons of paraphernalia. At least this is what was reported in the New York Clipper newspaper. I wonder if that is even possible to travel with 49 tons of equipment? He leased the Globe Theatre in New York and again wins over the New York audiences this time with 'Heller's Wonder Theatre'. He played San Fransisco in the summer of 1877 and then goes back to England for a brief break. In September he is back in Boston and then in December he is back in New York for what would be is final New York appearance.

In May of 1878, Heller leaves New York for Europe. While in Europe he visits his family in Paris. His children hardly recognize their father who has been touring for many years. Whatever difficulties existed are patched up with his family. He decides that it's time to permanently reunite the family and start a new home in England. Once his next American tour is complete the plan was to bring the family together again, for good.

End of Part 2

 Next...'The Final Performances'

GO TO HELLer Part 1

I love the Victorian Age of Magic. One of the kings from that time was a man named Robert Heller. The fast version of his life was that he was born in England, came to America to perform, was a terrible failure, eventually found some success and then stopped performing and retired to Washington D.C. and then he died. However, that cannot be correct. How could he have been a failure, retired and yet be one of the big names of the time?  With the help of my friend Joe, master magic history online searcher, the record will be set straight or at least it will make a bit more sense. So Ladies and Gentleman, prepare yourselves as  

I give you HELLer!

EARLY LIFE

Canterbury, Kent England. photo by David Iliff

He was born William Henry Ridout Palmer in Faversham, Kent, England, on August 10, 1829. The date is according to the ship records when he first traveled to America. It is listed in books and online anywhere from 1824-1833, but the first ship record has it at 1829. As a young boy he showed interest and talent in music. His father was Henry Palmer was a Professor of Music in Canterbury.  He was also the leader of the orchestra at the Canterbury Catch Club, but he was NOT the organist at the famed Canterbury Cathedral as many magic periodicals have him listed.

From ages 11-14 he attended the Kings School Canterbury. Young William obviously inherited his father's musical gifts and began learning to play the piano at the age of six. At age 14 William won a scholarship to the prestigious Royal Academy of Music in London. According to a life long friend and associate M.H. Levett, "Heller was a man of liberal education, of exceptionally refined manners; a linguist, speaking several languages, especially French; and a brilliant pianist ranking with some of the best of his time". Early indications were that he would follow the path of music for his life's work but that was until a mysterious visitor came to town.

Robert-Houdin

Robert Houdin, the great French Conjurer visited England in 1848. William Henry Palmer was present in the audience at the St. James Theatre to see Robert Houdin, perhaps for several viewings. He was so taken with the concept of magical performances that his passion for music shifted to conjuring. Magic historian Henry Ridgely Evans says that Palmer purchased his props from a man named Cremer, who had a magic shop in London and also learned the disciplines of manipulation and sleight of hand from him. Three years later William decided it was time to adopt a new name, Robert Heller, and make his London debut as a conjurer. Where did the stage name originate? David Price's book The Pictorial History of Conjuring spells it out. Apparently, 'Robert' came from Robert-Houdin. The second half of the name was taken from a popular Austrian pianist of the time Stephan Heller. By combining the two names he was also subtly joining together his two passions Magic and Music.

For his debut he leased the Strand Theatre in London, had programs printed up that described his act in two languages, English and French, and he then proceeded to do almost every effect from Robert Houdin's show. He even had the nerve to claim that he invented all the magic from the show. Heller even adopted a version of the show name as his own. Robert Houdin's performance was called 'The Soirees Fantastique'. Robert Heller chose to call his show 'Soirees Mysterieuses of Robert Heller'.  Robert Houdin had a huge impact on all magicians from this time and many were doing his material, not just Heller. A look at the repertiore of John Henry Anderson, the Great Wizard of the North and you'll again see a duplication of Robert Houdin's show. By the way, Anderson also claimed to have invented it all. The historical record leans towards his performances as not being hugely successful but I tend to think otherwise. Though he might not have been as big as a success as Robert Houdin, he did tour the provinces of England and did well enough that he thought America might bring him even more stardom.

AMERICA

Heller set sail to America aboard the Arctic in 1852

In 1852 he left the port in Liverpool England and arrived in NY on September 6th aboard a ship called the Arctic. He did not travel alone, apparently he arrived with his younger brother who was listed on the ships manifest as 'Ernest Heller' but I believe his real name is actually Angelo C. Palmer. William Henry also listed his stage name on the ships manifest as Robert Heller. Both of their professions are listed as Professors of Music, I guess putting down 'magician' was not a good idea at the time.

At this point the various histories of Heller's life take a weird turn. Some say his act met with little success, others claim he was successful. The truth as far as I can see is that as soon as he got off the boat he headed to Albany NY for performances at Van Veckton Hall. His first performance in NYC was at a farewell concert for the famous violinist Camilla Urso on November 25, 1852 in which he only played piano.  But a couple weeks later he would be opening at his own venue.

At the time Heller was living in a suite on Grand Street west of Broadway. He had been busy preparing for his new show. Heller had been running ads for the show as early as Nov 23rd. He was announcing the opening of his "Heller's Saloon of Wonders". He rents space at Buckley's Minstrel Hall at 539 Broadway, NYC. Sometime later P.T. Barnum would set up shop in this very same building.

The show opened on December 20th 1852 and ran until the end of May 1853, he gave 200 performances during that time.  His show begins with an introduction in French. The rest of the show he speaks English with a heavy French accent. He wears a dark wig with darkened eyebrows and mustache. Heller is the first magician to bring a 'second sight' routine to America and audiences were overwhelmed by his performance. The second sight, or what he would refer to as 'Hellerism' would continue to be his magic closer for the rest of his career. He is assisted by 'Ernest Heller' in the Second Sight routine. However, even though an 'Ernest Heller' traveled with him to America onboard the Arctic, this partner, who is introduced as his brother is actually M.H. Levett, a native New Yorker.

After the sixth month run at Heller's Saloon of Wonders, they took the show on the road. It's at this point that Heller decides to drop the French accent and the wigs and make-up. He realizes it does nothing to add to the performance so he removes it and goes with his natural speaking voice and his own reddish blonde hair.

His next appearance is at the Walnut Theatre in Philadelphia on July 4th, 1853. The Walnut Theatre has the distinction of being the oldest theatre in America and it is still there and still active today. He plays there to packed houses for three weeks. Then he moves the show to a place known as the Old Chinese Museum, which was actually not a museum at all but a hall that was rented out for concerts and lectures. He performs here for twelve more weeks.

THE MYSTERY
Next he joins up with a group called 'The Germania Musical Society' and performs with them in the roll of a concert pianist. He presents a series of concerts with them in Boston, Philadelphia, Baltimore and then finally Washington D.C.. This is now 1854 and the histories of Robert Heller say he was not very successful during this time so he retired from magic. One article speculated that he lost his equipment in a fire and that was the cause of his retirement. But I contend that he was in fact successful or at the least, was doing well, but an event occurred to change everything.

WHAT HAPPENED
As far as I can tell this is the first time the actual reason he left magic and moved to D.C. has been revealed. The discovery of a letter reveals the true reason. In a letter that Heller wrote to a Mrs. Blanchard of Portland Maine we discover a very interesting fact. Here is part of the letter, 

"Sometime since I invested the whole of my earnings with the Germanian Musical Society in a building speculation and being the last wreck of my gains in this Country..for further safety, I put..eleven hundred dollars in the hands of a man in whom I had every confidence..what then is my situation?..I learn ...that the villain has gone off to England or Europe somewhere, leaving Creditors..to make the best of it...how cruelly I am beaten down...I am now thinking of returning to England for I have been so shamefully robbed on all sides by the Yankees that I am afraid of them...but still is hope, for two or three of those you have expressed good feelings toward me would help me...yourself and John Goddard...are among them."

The final performance of the Germania Musical Society was in Washington D.C.. I believe that Heller at this point had not so much as a dime to his name. As the letter states he put his money towards a building speculation and the remainder of what he had left he gave to a friend to hold who ran off with it. He was in Washington D.C. and only had his reputation as a concert pianist, so he took a job as a music teacher. Additionally, I'm sure the reason he changed his name back to William Henry Palmer was to avoid the creditors. This later piece was revealed in an interview with a former assistant, but he revealed no further clues. Everyone in the magic community assumed that he had no money because his magic career was a failure. Not true. He had no money because he was swindled.

End of Part 1

Next...Part 2 His Early Retirement