Imitation Is The Sincerest Form of Flattery-Magic Style

In today's magic world we have enormous amounts of imitation, which is often more akin to theft and copying than imitation. One recent example was the fellow who stole Piff The Magic Dragon's act and presented it on TV as if it were his own. I've also seen a video on Youtube of a fellow performing Lance Burton's Dove Act copying every detail down to the costume and music. This stuff sadly has been going on forever and happens in other areas of entertainment as well. It's one thing to be inspired by another performer, it's another to steal their act. If the originator has passed on then it's a different issue. Though unless one is presenting a tribute act, it's probably best to still change the act somewhat. I thought I'd share some examples from a bygone era to show how far back this goes.

The Pastry Chef of the Palais Royal

We'll start with Robert Houdin the great french magician. Many performers ripped off the routines of Robert-Houdin. But if you read Harry Houdini's book "The Unmasking of Robert-Houdin" you'd think that everything Robert-Houdin did was stolen also. I find this book to have some interesting historical facts, but I don't always agree with Houdini's conclusions. There is a wonderful routine called The Pastry Chef of the Palais Royal which Robert-Houdin presented. In his routine, a miniature model of a bakery sits upon a table. It appears to be mechanical in nature, as Robert-Houdin must wind it up in the manner of a music box. Out comes a pastry chef holding a tray to take the order. The magician tells the chef what an audience member has selected off a menu of pastries, and the chef turns and goes back inside. The audience can see other mechanical men rolling the pastries and working in the kitchen. A few moments later the mechanical chef figure comes back out with the exact item the person from the audience requested. A marvel of the time. But was it original?

Ernest Basch

If we are to believe Houdini, no way was it original. In fact, Houdini does a fine job of proving that a routine of this nature existed before Robert-Houdin. In his book he says "the trick appears first, not as a confectioners shop with small figures at work, but as a fruitery, then again as a Dutch Coffee house, then as a Russian Inn, from which ten sorts of liquor were served. Finally in 1823, it is featured under the name that made it famous, The Confectioners Shop." So the effect did seem to exist prior to Robert-Houdin. But I tend to think Robert-Houdin was presenting his version of an already existing routine.

The image on the right is that of french magician Ernest Basch, and he is standing near what he claimed was Robert-Houdin's original Pastry Chef automaton. However, if you look at the picture above, you'll see it is clearly not the same. This black and white image was from Houdini's book. It does show that there were other automaton's of this nature out there and it also shows that Robert-Houdin's actual automaton was different. So I think this was more a case of imitation not theft.


Now let's look at William Henry Palmer. He first saw Robert-Houdin perform in London and became interested in magic. When he decided to perform magic himself he changed his name to Robert Heller. It's said that he chose the name 'Robert' from Robert-Houdin, the name Heller from pianist Stephan Heller. Ok, he was inspired by Robert-Houdin, but read on.

Robert Heller took his imitation a step further and even performed with a french accent initially.  There is no denying he copied Robert-Houdin's act. In the book 'The Annals of Conjuring' by Sidney W. Clarke, there is a list of 15 routines presented by Heller and the exact same 15 in the same order presented by Robert-Houdin. Heller did give the routines 'slightly' different names, as if that made a difference. Worse yet, he claimed to have created the magic in his show. This bit of bragging was common among many magicians.  Eventually Heller dropped the accent and found his own style.  He met with real success  when he stopped trying to be Houdin and instead performed as HELLER.

John Henry Anderson, The Great Wizard of the North, claimed to have invented a trick that he called "Suspension Chloroforeene" which was amazingly similar to Robert-Houdin's invention called "The Ethereal Suspension".  In the Houdin version, his son was placed between upright walking sticks and a bottle of ether was held below his nose briefly. Backstage, an assistant with a hand held fan made sure the smell of ether made it's way into the audience as well so as to increase the theatricality of the effect. The boy passed out from the ether and apparently became as light as a feather. To prove this, Robert-Houdin removed one of the walking sticks and lifted his son up and showed that he could actually rest easily upon the other. In the John Henry Anderson routine, Chloroform was used instead of ether, other than that the routine was exactly the same.

Anderson, also presented the Magic Scrapbook, known as the Artist's Portfolio in Houdin's act and the Second Sight routine, which went by the same name in Robert-Houdin's show.

Let's take a look at Harry Kellar.  Notice the side by side photos below. Robert Heller is on the left and a young Harry Kellar is on the right. They look very much alike. Today we most often think of Kellar as the older, clean shaven, balding gentleman, but in his younger days he sported a rather large mustache. As best I can tell, he shaved it off around 1894 because the first Kellar posters without the mustache appeared that year. I wondered if he wore this mustache to look more like Heller. However, I think it was more the fashion of the time.

Robert Heller (left) Harry Kellar (right)

Though the two gentleman do look very much alike, Kellar actually tried to distance himself from Robert Heller. Harry's last name was actually spelled KELLER, but he altered the spelling because it looked too much like HELLER.  His act was fairly different from that of Robert Heller with the exception of the spirit manifestations that many performers of the day were doing. Harry Kellar had worked for the Davenport Brothers, the creator of the Spirit Cabinet act and he left their employment somewhat disgruntled. Upon his exit he took with him another Davenport employee, William Fay. Kellar and Fay teamed up and began to present their version of the Spirit Cabinet.

Harry Kellar did get something from Robert Heller though, but it was after Heller had died. When Robert Heller presented his Second Sight Act it was always with his 'so-called' sister Ms. Haidee Heller. Well, now that Robert Heller had passed on, Haidee, who was no relation, was off presenting the act with a new partner. In 1880, Kellar met her while he was working in Scotland and hired her and her partner to present their act in his show. A few years later, Kellar and his wife Eva began presenting a Second Sight Act. I wonder where he learned that from?

Kellar's most frequent target was John Nevil Maskylene of Egyptian Hall Fame. In fact, it was at Egyptian Hall that Kellar saw Dekolta present his Vanishing Bird Cage Trick. Kellar purchased a copy of the cage from a relative of DeKolta's, though apparently DeKolta himself was unaware of this transaction. A somewhat shady deal.

Maskelyne & PSYCHO

A short time later Kellar hired a mechanic to make a copy of John Nevil Maskelyene's popular  automaton PSYCHO. Kellar even called his version PSYCHO as well, though when he played England, he changed the name temporarily to Arno. Kellar continued to go back to the 'Maskelyne Magic Well' and steal not just automaton but illusions as well. At one point he tried to get permission to do Maskelyne's new Floating Lady illusion. When Maskelyne turned him down, Kellar figured out another way of getting the illusion. He offered a job to Paul Valadon, who had been working at Egyptian Hall. Paul moved to America to become part of Kellar's show.  Together, Valadon and Kellar would build a version of the Maskelyne levitation. Theirs was actually an improvement over the original levitation because it was portable. Maskelyne's original was not made to travel.

It just goes to show, if you've got a popular trick, act or persona, there are people out there who will copy it. I mentioned at the start that this sort of thing happens in other forms of entertainment as well. Comedians are a great example. There are some performers who have no problem with stealing jokes and routines from other comedians. Carlos Mencia and Dane Cook have both been accused of stealing jokes and routines. I've noticed in the movie industry sometimes very similar  projects  come out from competing studios. An example would be the movie Tombstone and then Wyatt Earp. Same story basically, same characters, two different studios. When the movie Capote came out, it was followed quickly by a movie called Infamous, which was the same story about author Truman Capote. Very recently, the movie Battleship came out at the box office and an oddly similar movie which at first had the title American Battleships appeared on the Syfy Channel. The producers of Battleship sued the producers of the other movie over the title so the second movies title was changed to American Warships. So call it what you will, copying, imitation or whatever, it existed 100 years ago and is still going strong today.

The Devil Made Them Do It

The Devilish Connection

Magic has a long history of being associated with the devil and the dark arts. The book, Discoverie of Witchcraft written by Reginald Scott in 1584 came about specifically to show that what witches often did was bunk and what conjurers did was certainly not in a league with the devil. The book was written during the reign of King James 1. This is the very same King James that commissioned an edition of the Bible that still carries his name. He was aware and concerned about witchcraft and demons at one point in his life. He wrote a book on that very topic in 1597, but eventually came around to see that the claims of witches were often grounded more in folklore than in fact.

Let me be clear, though there is a history of association, there is no actual association with the devil. Magicians are not devil worshipers, nor do they conjure up demons in order to present their effects. A number of conjurers over the years have implied this link in order to make their effects more mysterious, but it just simply is not so.

Magicians and conjurers of the 1500-1700s were mostly street & outdoor faire performers. Their use of advertising would have been limited, due to the lack of technology mainly. Whatever early pamplets or fliers there might have been would have had only words and no graphics or very primitive graphics. But that changed in the 1800s and the use of playbills and posters would eventually be the primary source of advertising a magicians performance right up into the early 20th Century.

I'm not sure who the first magician was to use the devil/imp idea in their marketing & advertising, but it may have come out of the old Phantasmagoria Shows of the early 1800s. These were magic lantern shows, where images of angels, demons, devils, or simply recently departed people were projected onto a wall, or screen or thru smoke giving the illusion of movement. They were a popular form of entertainment in the their time. Magicians were often on the cutting edge of science & technology and so many of the people demonstrating the magic lanterns were from the magic trade.

By the 1840s, European magicians began using devil creatures in their advertising in limited amounts. The 1848 poster advertising Robert Houdin's performances at the St. James Theater in London even has a few imp creatures on the poster. Though I couldn't find anything like that on his French advertising material.

In America, Robert Heller made more blatant use of the demonic imagery. His early posters were primitive and usually in a single color, but towards the end of his career he began to use two color playbills and posters with the devils appearance becoming more prominent. At one point in his career he adopted the slogan "Go To HELLers!" and would have print up flyers with this headline and information about the show. Some of these flyers were specifically sent to local churches. The clergymen would attend the programs to see what was going on and often return to tell their congregations about the wonderful entertainment they had seen. I can't help but imagine this scheme had to backfire a time or two, but it was a bold ploy and it worked for Robert Heller.

At the same time Robert Heller was performing in the United States, John Henry Anderson too arrived with a show that was very similar, both men had copied Robert Houdin's act. John Henry Anderson, who went by the moniker The Great Wizard of the North, may have used demonic imagery at some point. But interestingly, I saw a poster of Anderson's that used the opposite approach, rather than have devils and demons, he had a poster with the border covered in angelic beings. In his Second Site poster an angelic being can be seen hovering behind the performers.

Magicians & Lithographs

The explosion of devilish advertisments took place when magicians moved from using simple printed playbills to elaborate full color lithographs. The lithographic process dates back to 1796 but the use of color in lithographs wouldn't begin until 1819 and even then wasn't quite perfected until the 1840s.

The two most prominent performers to use full color lithographs and devilish imagery were Alexander Herrmann and Harry Kellar. Which one of them used the devil images first is open to debate. My guess would be Herrmann, afterall he looked just like the Victorian eras depiction of Mephistopheles himself. The suave devil with small horns, mustache and goatee and a pitchfork is an invention from this time period. No such description of the devil exists in any biblical texts, so where the origin of this image actually comes from I've not been able to uncover.

Regardless of who first created this devilish depiction, both of these performers used the imagery heavily in their promotions. Alexander Herrmann died in 1896 and his nephew Leon Herrmann, who bore a striking resemblance to Alexander,  joined with Adelaide, Alexanders widow, to take over the show and the hellish pictures continued. After Adelaide and Leon split up their act, Adelaide used a devil at least once before moving to a more contemporary look.

Harry Kellar's first use of a devil on his posters was in 1884. Two devilish figures appear on a poster for his Spirit Cabinet, this can be seen on page 242 of Kellars Wonders by Mike Caveney and Bill Miesel. It wasn't until 1894 that Kellar really begins to commit to this design idea. His iconic poster (right) with the whispering imps is probably the most copied posters in the annals of magic.

When Howard Thurston purchased the Kellar show and became Kellar's successor he continued using the imps and the devils in his posters throughout his career. And not to be left out, Carter, Raymond, Dante and Blackstone all used devils in their posters. Even Houdini was not immune to the effects, though it looks as if he only used the devils once and that was in his poster promoting his Prison Cell & Barrel Mystery.

After the Golden Age of Magic the use of the devilish figures diminished though they have not vanished entirely. A few years ago, Ricky Jay used a version of the whispering imps poster to promote his Ricky Jay and his 52 Assistants show. More recently, David Blaine has included the use of devils or what is really now iconic magic imagery in some of his posters.

If you're interested in ordering one of David Blaine's very cool posters, they are available at http://shop.davidblaine.com/collections/posters
Also, if you'd like to see a cool site with over 100 pictures of magic posters with imps and devils on them please check out this link to Rhett Bryson's site.


Blog comments are welcome and encouraged. Also, if I happen to get some fact wrong historically I do appreciate having someone set me straight on that. I try to get the best information possible, but even I can miss something. If you want to discuss a blog in detail, please email me at  carnegiemagic@aol.com

Houdini, Keaton, Thurston and more

(click on picture to see larger version)

Above is a theatrical page from 1907 edition of the Boston Journal. There are a number of interesting things to point out on this page full of ads. First, you'll notice that the Houdini ad is at the top of the page on the left. It's the first spot you'd see if you are reading left to right. His name is the largest in the ad and in fact, half the ad is devoted to his act, "HOUDINI - NOBODY CAN HOLD HIM" slightly below that it reads "ANYBODY CAN CHALLENGE HIM".

Look at the ad to the immediate right, for the National Theatre, and then go to the bottom of the ad and you'll see 'BOUDINI-NOBODY CAN HOLD HIM', followed by 'ALL CHALLENGES ACCEPTED'.  Houdini's imitators were right on his heels, even in the paper, but they never got the notoriety that he did! Over at the WildAboutHarry blog, you can find an article describing a challenge that took place between Houdini and Boudini in 1905. The outcome didn't seem to stop Boudini from performing because here he is two years later performing in the same town at the same time as Houdini.

The Three Keatons

If you go back to the first add for B.F. Keith's and look below the Houdini stuff, you'll see one of the acts on the bill THREE KEATONS Myra, Joe and Buster. This is young Buster Keaton's family. His real name was Joseph Frank Keaton. The story is that one day the young boy fell down some stairs and though he was ok, Houdini proclaimed 'he's a real buster' or 'that was a real buster'. The name 'buster' stuck, and his family referred to the boy as Buster the rest of his life. Even Buster Keaton himself told this very story on how he got his name. By the way, Houdini and Bess were also Busters Godparents.

One other interesting fact about Houdini and the Keatons. According to a number of sources, Houdini and Joe Keaton (father) owned The Mohwak Indian Medicine Company, a traveling medicine show in 1895. This seems to be well documented in the Buster Keaton biographies, but I've never seen it mentioned in the Houdini biographies, though they do mention the story of Houdini giving the boy the nickname. Their traveling medicine show must not have lasted very long.  In the Life and Many Deaths of Harry Houdini by Ruth Brandon, she mentions that in 1897, the Keatons and Houdinis worked together in Dr. Hill's California Concert Company, which was also a traveling medicine show. In HOUDINI!!! by Kenneth Silverman, he mentions that it was the California Concert Company where Houdini began to present a Spiritualistic Seance Act. The act ended in 1898 when the company disbanded, and not a second too soon for Houdini who did not like deceiving people with seances.

Howard Thurston

Finally, near the center of the page there is an ad for the GLOBE. In the ad is THURSTON-The World's Greatest Magician. Theo Bamberg is also listed as being in the show and doing his Shadowgraphy act (hand shadows).

This ad appears in the same year that Thurston met with Harry Kellar about becoming his successor and buying his show. No mention of Kellar in the ad, so this might have been just prior to that agreement. Kellar and Thurston toured together in the 1907-1908 season.

A lot of magic history on one newspaper theatre page!

Who Was Henry Ridgely Evans?

H. Ridgely Evans

Henry Ridgely Evans is a name I have come across many times over the years. I never knew who he was really, but I always recognized the name. While doing research on another magician earlier in the year I discovered that Evans lived and worked in Washington D.C.. Because this is essentially the area where I live, I decided to see what else I could find out about him.

H. Ridgely Evans was born in Pennsylvania in 1861.  Though born in Penn. it seems he was raised in Georgetown and Washington D.C.. He came from a large family of six other siblings.

In 1878, according to Evans himself, he attended a performance at the Old National Theatre presented by Robert Heller. This performance so captivated the young man that he instantly became enthralled with magic. Or as we say in the profession, 'he was bitten by the bug'. A few months later in March of 1879, Evans sat in the audience at Ford's Theatre for the first appearance of Harry Kellar in the Nation's Capital.

H. Ridgely Evans eventually went to school intending to become a lawyer, but at some point changed professions and became a journalist. His ability to write and record the news was certainly a benefit to us in the magic profession. Evans became  one of our early magic historians before that kind of thing became popular. He was a prolific writer of both books on magic and magazine articles. His most famous book is probably 'The Old and the New Magic' which was published in 1906. But he also wrote none magic books. I've discovered there is a much sought after book called 'Old Georgetown On The Potomac' that he wrote in 1933. There is a copy available right now on Amazon.com for $1,245.00.

In 1892, he married a woman named Florence. They had no children and lived at 1430 V St. NW. This was in 1900. Later in 1930, he and Florence were again living in DC and this time in an apartment building on Eye St. NW. I can find no record of Henry living in Baltimore, at least prior to 1930, though some sources claim he worked for a number of Baltimore Newspapers.

When Harry Kellar was touring with Paul Valendon, it was H. Ridgely Evans who wrote an article for Stanyon's MAGIC that said his prediction for the successor to Kellar would be THURSTON! Imagine that. Valendon was still touring with Kellar and here Evans throws his vote towards Thurston, who as far as we know wasn't even in the running. History proved Evans correct as Thurston indeed was the successor.

Houdini had an interesting connection to Evans. In the Christopher biography 'Houdini-The Untold Story' it describes an incident where Houdini slams Evans in The Conjurers Monthly Magazine for his new book 'The Old and the New Magic'. Apparently, Evans reprinted a description or expose on how the handcuff escape was done and it more than irked Houdini. But on page 210, of the HOUDINI!!! biography by Kenneth Silverman, he describes Houdini as having compiled a history of magic that he called "History Makers in the World of Magic" and gave it to Evans who was writing a similar book. I suppose this was to be a combined project as Houdini remained involved in the editing part of the book. This event would have taken place around 1916-1917. I don't honestly know if it was published.
The next magic history book that Evans published was 'The History of Conjuring and Magic' which he published in 1928. The book does not include Houdini's name as a co-author. A side note, David Price who wrote 'MAGIC-A Pictorial History of Conjurers in the Theatre' refers often to Evans's writings.

It appears that Evans remained a hobbyist performer but was clearly a professional magic historian. I'm not clear on the cause of death. Magicpedia says that H. Ridgely Evans died at Union Memorial Hospital in Baltimore on March 29th, 1949. I discovered that he was buried in Washington D.C. at the Oakhill Cemetery recently so tomorrow I'll be heading over to the cemetery to take some photos. Once I get the grave picture I'll post it over at my  http://deadconjurers.blogspot.com

One additional note, Todd Karr's Miracle Factory has put out a CD containing all the writings of Henry Ridgely Evans. That can be purchased at http://miraclefactory.net/zenstore/index.php?main_page=product_info&cPath=&products_id=42

UPDATE on HOUDINI Funeral Films

I ran an article about the funeral films of Harry Kellar and The Great Lafayette that Houdini had commissioned. I speculated that maybe just maybe they might still be around though they were certainly lost at the moment. John Cox was the first to chime in with a very smart comment regarding the explosive nature of the film material and how doubtful it would be that they'd still be around. This was followed by another excellent comment by Gregory Edmonds backing up John's thoughts and adding quite a bit more historical information to the mix.

Well, thanks to John Cox and also Joe Fox (hey Joe!) a photo of an article from the MUM Magazine October 1958 has appeared! It's the smoking gun that reveals that at least in 1958, the footage still existed and was in the possession of Larry Weeks. Mr. Weeks was attempting to get all the footage transferred over to a safer and longer lasting medium. Among the film footage that Larry Weeks had was 'the original Grim Game Movie, the Monastery Escape that Houdini did in France; the original films of his historic flight in Australia in 1910; his hanging straight jacket escape filmed in many cities; his Overboard Box Escape; Lafayette's Funeral; Houdini's own funeral; and others!

So it seems that luck and good fortune may be on the side of history here. It's still kind of an unknown as to whether Larry Weeks got all this footage transferred. We know he did get the Grim Game transferred over. So lets hope that the Keller and Lafayette funerals are still preserved for history and that we might see them someday, soon.

UPDATE: Here is something else I just ran across. While researching the life of Anna Eva Fay I stumbled upon something shocking. To preface, I've recently put up a couple articles about the lost films of Houdini, mainly his funeral films of Lafayette and Harry Kellar. Well, imagine my surprise to learn when Houdini went to visit Anna Eva Fay in her home in Mass., he brought along a movie camera to record the event. So here is yet another lost film. Maybe, just maybe it's among the Larry Weeks Collection as well.

UPDATE UPDATE: Yes, there is another film that I don't think has ever been seen. Reports say he was tied to the tower of the Heidelberg Building in Times Square. The New York Times says that after the escape he tossed the rope down to the crowd. However, other reports say he was placed in a straight jacket and hung upside down over the edge of the Heidelberg Building. He was going to repeat one of these stunts from the fire escape of Hammersteins Victoria, but the police intervened. Does this film still exist today? 

Houdini and the Funeral Films

Sometime ago I was reading one of the Houdini Biographies and something jumped off the page at me. Houdini had made arrangements to have the Funeral of Harry Kellar FILMED. Then a while later I discovered that Houdini also had his friend Sigmund Neuberger's (The Great Lafayette) funeral filmed as well.

I had never heard or read that before and I wondered what happened to the footage. To that end, I have no answer. But I did uncover proof that not only were the funerals filmed but Houdini had the footage in his possession. In the May 1923 edition of The Sphinx Magazine, it records a visit by Houdini to the Los Angeles Society of Magicians. During his visit he put on a 'special entertainment' for the club by showing the films of the funerals of Harry Kellar and Lafayette. Also in 1923, Houdini showed the film of Harry Kellar's Funeral to the Parent Assembly in NY.

If my memory is correct, Theo Hardeen offered Sid Radner a rather large box of films but he was unable to take them. Could the funeral films have been in this box? Maybe, or maybe not...

GET THIS, On July 25th, 1935 the film resurfaced and was shown at the PCAM Convention in Hollywood! So I believe this film was NOT part of the box of films that Theo offered Sid Radner and in fact may still be somewhere in California! Bess Houdini lived in California in the 1930s, so perhaps the film footage was in her possession. The big question is, where is it now? I checked the listings at the SAM DVD Library and it does not show up there. Any ideas?

ON a slightly different note, I was watching the History Channel recently and they were discussing Thomas Edison and his inventions. They did a demonstration of one of his early wax recording devices. I was quite surprised to hear that the recorded voice was 'higher' in tone than the actual mans voice when he recorded it. I instantly thought of Houdini's wax recording and how it always struck me as somewhat odd that Houdini had such a high pitched voice. But I think it's safe to say that his voice may have been slightly lower than what was recorded. Those early recording devices though amazing were not perfect by any means. However, a high pitched Houdini recording is certainly better than NO recording.

103rd Anniversary of the Mantle of Magic

Today marks the 103rd Anniversary of the Passing of the Mantle of Magic from Harry Kellar to Howard Thurston at the Fords Theatre in Baltimore MD. The reality of the situation was that there was no real Mantle, nor was there a wand or anything else passed over. It was basically a business transaction in which Thurston agreed to purchase the Kellar show and it's properties for a certain sum and then continue to pay Kellar a fee for the show. Not quite as romantic as the idea of passing on this theatrical legacy from one king to his successor.

The Man Who Knows

You've probably seen the posters before. The man with the unusual gaze wearing a turban. Who was he? Did he really know?

His real name was Claude Alexander Conlin (1880-1954) and he was one of the premier mind readers of all time. He was called a crystal gazer by some, a con artist by others and he admitted to killing at least four men in his lifetime.  He began his career in show business around 1902 by doing a magic act. Not just any magic act though. Part of his act was an escape act basically copied from Houdini. There were many performers ripping off Houdini at this time and work for no named escape artists was pretty thin.

The Spirit Cabinet - A History

This article is about the Spirit Cabinet illusion. However, there would be no spirit cabinet without The Fox Sisters. Margaret and Kate Fox were two young girls living in Hydesville NY with their parents. In 1848, the two sisters demonstrated that they could communicate with ghostly spirits by having strange rapping sounds manifest in their presence. Their abilities gave birth to a phenomenon/movement that would be known as Spiritualism. Later in life the sisters admitted they were frauds (but they even recanted that eventually).

Living not far from Hydesville, NY were two brothers, Ira and William Davenport. In 1854, the brothers started making claims similar to that of the Fox Sisters. To prove their abilities they created The Spirit Cabinet and took their show on the road. The Spirit Cabinet was a large rectangular wooden cabinet that rested upon two saw horses. This allowed the audience to view the cabinet from underneath. There was room inside for each brother to sit at opposite ends of the cabinet. I believe there was also room in between them as well for a spectator to sit if the routine called for that.  The basic effect was that the two brothers would be tied to the seats within the cabinet by members of the audience. A number of instruments, like bells and tambourines were placed in between them. The doors of the cabinet were closed to allow 'spirit darkness' and the manifestations would begin, the bells would ring, rapping could be heard and the tambourines would play.

Kellar's Last Mystery

Something is terribly wrong in magicland. This concerns the first Dean of Magicians Harry Kellar. Today, March 10th, marks the 89th Anniversary of his passing. He was cremated and his remains are in Angelus-Rosedale Cemetery in Los Angeles CA. All of that is accurate. What follows is the mystery.

As you may or may not know, I collect photos of the graves of magicians who have passed on. I think we should pay homage to those who have done so much for the profession and have now gone into eternity. I had posted the image below from the Angelus-Rosedale Cemetery on one of my blogs in the past. This is the headstone for Harry Kellar's grave. It can be found near the road under a small tree in Section L, directly to the right of the front of the mausoleum.

Homes of Mystery 1

Please keep in mind that all of these homes are private residences today. They were ONCE owned by famous magicians, but no longer. Enjoy them here, but don't go knocking on doors!


CARTER MANOR

First up, Carter Manor. This was the home of illusionist Charles Carter. It's located in San Francisco and at one time overlooked San Fransisco Bay. There are lots of other homes in the area now. Though I don't know for sure if you can see the Bay or the Ocean from the house itself, possibly you still can. The property was purchased in 1929 and the house was built the following year. Not long after, Carter tried to sell it for $90,000, but had no takers. According to the Carter Book by Mike Caveney, the house contained: "A Magic Theatre w 150 seats, vanishing bars, moving pictures (on the wall), hidden chambers, closets, passages, and the dinning room table came up from the floor below via a trap door". What it's like now on the inside is anyone's guess. This might be the most amazing house owned by a magician.

Who was William Fay?

Houdini and William Fay in Australia

His name was William Marion Fay, born in 1840. He was a resident of Buffalo, NY who had an early interest in magic. Various magic histories show his name as William Melville Fay, but his tombstone clearly has his middle name as Marion. He was not related at all to Anna Eva Fay though they share the same last name. I found a reference to the fact that William Fay was doing a 'Second Sight Act' similar to that of Robert Heller's, but I don't know when. My guess is it was prior to going to work for the Davenports.

In 1864 he was hired by the Davenport Brothers to be their Tour Manager as they sailed to England, replacing the Davenport's father. Fay would also be a back-up performer for William Henry Davenport at times when he was too ill to perform. Given that he was interested in 'magic' it's safe to say that the Davenport's taught their rope technique to William Fay. That alone should dispell any belief that the Davenport brothers were creating legitimate spirit manifestations(as if anyone still believes that to be so).


In 1869, a young man by the name of Harry Kellar joined the troupe. It appears that he took over the managing job that William Fay had. Fay was still with the company and surely filled in whenever he was needed. In 1873, Kellar had a falling out with William Henry Davenport and abruptly quit. But he didn't go alone, as William Fay left the employment of the Davenports and went with Harry Kellar.


FAY & KELLAR
The two performers joined forces in the Spring of 1873 and began to tour the United States. Calling themselves Fay & Kellar, probably because William Fay was older than Harry and it was a case of age before beauty. Harry Kellar would do the act that he learned while working with the Fakir of Ava and then the conclusion of the show would be a recreation of The Davenport Cabinet, or what is known today as The Spirit Cabinet. The act apparently was not an immediate success as lack of money left them occasionally stranded.

Their luck would change however. Kellar secured some dates for them in Cuba. At the Albisu Theatre in Havana it was said they made over $3000 during their first night on stage. Success continued for them on their tour of Cuba. From there the two went to Mexico and again met with great success. To cut down on their travel expenses they hit upon the novel idea of leaving the Spirit Cabinet behind in each city they played and simply had a new one built when they got to their next destination. Back in this time, the Spirit Cabinet was just that, a very large wooden cabinet. There was nothing faked or gimmicked about it so having the locals build a new one was easy.

Royal Mail Steamship Boyne

From Mexico they sailed on to South America and toured all over the country. The tour of South America was successful with the exception of a couple weeks in December 1874. By July 1875, the South American tour was complete and Fay and Kellar got on board a steamship called the BOYNE and set sail for Portugal.

On August 18, 1875, the BOYNE hit ground near Ushant Island and sank in the Bay of Biscay. This Ushant Island is just off the coast of France. This area of the Bay of Biscay has claimed numerous ships over the years. The Boyne was not the first ship to go down and would not be the last. Fay and Kellar survived the shipwreck but they lost all of their belongings and show props and money.  This marks the end of the Fay & Kellar partnership. They both returned to England but headed their separate ways. Kellar was determined to rebuild his act. While Fay lucked out and rejoined the Davenport Brothers who had just arrived back in England.


BACK WITH THE DAVENPORTS
The Davenport Brothers were back in England at the same time that William Fay arrived in the country. He rejoined their company and traveled with them to Australia. In 1877, William Henry Davenport who had suffered from poor health for years, died in Sydney. His brother Ira Davenport returned to the United States and William Fay remained behind and settled down in Melbourne Australia. He married Eliza Lydia and together they had one son Franklin.

Whenever Harry Kellar was on tour in Australia he would make a point to visit his old friend and partner William Fay. One year he spent the Christmas holidays with the Fays.

In 1895, Ira Erastus Davenport had the brilliant idea of starting up the act again and he contacted William Fay in Australia to get his opinion. Fay decided to sail to America to join Ira Davenport.  Either the performances were below the standards of their youth, or just behind the times. Whatever the case, they threw in the towel after only three days. Ira retired to Mayville, NY. William Fay went back to Australia.

photo courtesy of Kent Blackmore

Fay died in Australia on July 16th, 1921 at the ripe old age of 81. He was buried in the Melbourne General Cemetery along with the rest of his family.

In the near future I will have a blog article on the Davenport Brothers and their Incredible Cabinet. But I thought you might enjoy learning a little bit about this lesser known part of the company who also worked with Harry Kellar.

If you'd like to learn a bit more about William Henry Davenport, one half of the Davenport Brothers, Kent Blackmore has written an incredible article on him. He has also graciously allowed me to use this grave photo to the left.
http://www.sydneymagic.net/history/davenport.html

The location of the grave at the Melbourne General Cemetery can be found  here: http://deadconjurers.blogspot.com/2011/02/grave-of-william-fay.html

KELLAR & HOUDINI

HOUDINI & KELLAR

 "I knew, as everyone knows, that the easiest way to attract a crowd is to let it be known that at a given time and a given place some one is going to attempt something that in the event of failure will mean sudden death."

HOUDINI 

"You can never arrive at the perfection of art until your handling of the illusion produces a thrill of genuine surprise in all who behold it"

HARRY KELLAR

"The end of all magic is to feed with mystery the human mind, which dearly loves mystery. So leave every mystery forever unexplained!"

HARRY KELLAR

"I do tricks nobody can explain."

HOUDINI

"My professional life has been a constant record of disillusion, and many things that seem wonderful to most men are the every-day commonplaces of my business. "

HOUDINI

"As long as the human mind delights in mysteries, so long it will love magic and be entertained by magicians."

HARRY KELLAR

First Encounter
When Houdini started out with his brother Dash, there were two prominent magicians in America, Herrmann the Great and Harry Kellar. In August 1896, after struggling in the tough world of show business and getting no where, Houdini wrote to both of the great magicians looking for work as assistants in their shows. No reply came from Herrmann who would pass away by December of 1896. Kellar did reply but he told Houdini he had no room in his show at that time.

Kellar's Retirement

1908 Atlantic City

In May of 1908, Harry Kellar left the stage to retire. Just a few weeks later he would spend sometime with the Houdini's in Atlantic City, even Cecelia Weiss was present during this visit. According to the Ken Silverman Bio this is basically where their friendship starts. For a while Kellar lived in NY with his wife Eva, and Houdini and Kellar saw each other from time to time. But only a year later Kellar purchased a home in Los Angeles and he and his wife moved to the west coast.  Kellar still made trips to the east and whenever he was in NY he would usually attend the magic club meetings and see Houdini. Kellar and Houdini stayed in touch writing letters throughout the rest of their lives.

I found a very interesting note in the Kellar's Wonders book by Mike Caveney and Bill Miesel. In 1916, Houdini and Kellar were at a meeting of the Society of American Magicians. It was at this meeting that the decision was made to start local chapters throughout the country, called 'assemblies'. Houdini and Kellar both stepped up and agreed to spread the word and it's no doubt through their efforts that today the S.A.M. has assemblies all over the U.S. and even other parts of the world.

Another interesting S.A.M. item took place when Houdini was President of the organization. He nominated Harry Kellar to be Dean of Magicians. He was unanimously voted in.


Kellar's Second Retirement
On Nov 11, 1917, Houdini coaxed Kellar into coming out of retirement for one evening. This was so that he could be part of an all star cast at the Hippodrome in NYC. The event was to raise money for the victims and family members of the S.S. Antilles, an American Transport ship that had been torpedoed by a German submarine.

On the evening of the 11th, Houdini acted as host and M.C. for the first half of the show. He even presented his Water Torture Cell. But the real thrill that night came from Harry Kellar who treated the audience to his amazing Floating Table routine and he followed this with his Spirit Cabinet. After his performance Houdini stepped on stage with roses for the Grand Master. Then he brought on a sedan chair and members of the show picked up Kellar sitting in the Sedan Chair and marched him across the stage as the entire audience got up and sang 'Auld Lang Syne'. It was a night to remember and Kellar was to taken with the gesture that it was difficult for him to express himself.

A few days later he wrote a heart felt letter to Houdini in which he said "you gave me the proudest and happiest evening in all my life and a farewell that can never be surpassed." Houdini followed this with a letter to Kellar in which he basically said it was an honor to be able to give back to such a beloved man and magician.

PSYCHO

When Harry Kellar sold his show to Howard Thurston, only two things made it into the Thurston show, the Levitation and Kellar's Spirit Cabinet. The other items were sold off and Charles Carter purchased several of them.

One in particular was Kellar's automaton Psycho, which was a knock off of J.N. Maskelyne's automaton of the same name. Psycho had been with Kellar since he purchased it in England in 1878. Kellar referred to him as 'my little companion and friend'. He was also an important part of Harry Kellar's show. He sold it to Howard Thurston in May 1908 and now he was about to come face to face with his old friend.

While Carter was performing in Los Angeles, Kellar convinced Charles Carter to sell Pyscho back to him. Then in May 1919, Harry Houdini received a letter and package from Kellar. It was Psycho and Kellar was giving his old friend to Houdini as a gift.

This was not the only gift Houdini received from his friend Kellar. According to Edward Saint, Houdini had a jeweled Question Mark pin that he received as a gift from Kellar. This pin has been lost to time. Kellar also gave Houdini his Spirit Cabinet that was used in the final Farewell performance of Harry Kellar. I'm curious if the Spirit Cabinet survives today.

FILM

On the set of The Grim Game

Houdini had started the Film Development Corporation and Kellar became one of the investors. Unfortunately, this was not the high point of their relationship. The FDC struggled to make money and Kellar often spoke to Houdini about getting rid of his shares of stock. Kellar's concern it turns out wasn't about loosing money, but instead about being responsible to creditors for future money. Kellar encouraged Houdini to get out as well. He felt it would be a terrible shame for Houdini to loose all the money he had worked so hard for during his career on a bad business venture.  Houdini's concern was less over money and more over loosing his friendship with Kellar over this deal.

One plus to the movie business was that it put Houdini in California and the studio where he was making movies was only a few miles from Harry Kellar's house. Kellar had suffered a stroke and wasn't as mobile as he had been before. Houdini visited him often and made arrangement for flowers to be sent to his home every week. During at least one visit, Houdini was able to capture Kellar on film thus preserving his image for posterity. Imagine how thrilling it would have been to sit in a room while these two spoke of things mysterious and magical.

DEAR FRIENDS
Kellar thought of Houdini as a son and it was obvious that Kellar was a father figure to Houdini. He was also probably the only living magician that Houdini looked up to. However, though their friendship was filled with mutual admiration they did not agree on everything. For example, Houdini let people know that all his effects were presented by purely natural means, his "My Mind is the Key That Sets Me Free" quote expresses this perfectly. But read what Kellar thought..."Make your work artistic by clothing each illusion with all the glamor and shadows of fairyland, and the suggestions of incantations and supernatural powers in order to prepare the observer's mind for a mystery though there be no mystery." Kellar filled his promotional materials with demons and other supernatural beings. Houdini on the other hand was totally against the suggestion of supernatural powers in his performance.

However it's safe to say that they agreed in most areas. Kellar believed that tricks performed by the masters who came before him would no longer fool even children and it was the modern magicians job to constantly update and improve the effects and the methods. Houdini took older tricks and made them new, like the Needle Trick or repackaged them to fit him, like the Sub Trunk, or created brand new effects, like the Water Torture Cell. They both debunked Spiritualist phenomenon in their shows. Interestingly, Kellar is probably best known for his rope tie. Houdini of course was a master of rope ties and rope escapes.

After Chung Ling Soo died on stage doing the Bullet Catch trick, Houdini made plans to add the dangerous Bullet Catching routine to his show. When this news reached Harry Kellar he sent a fast and firm reply to Houdini.  I believe his words were "Don't do the damned Bullet Catch, we cannot afford to loose Houdini!" or something to that affect. Houdini heeded the advice of his old friend and chose to not present the Bullet Catch, ever! Harry Kellar was probably the only person who could scold Houdini and get away with it. But the letter over the Bullet Catch was sent more out of concern and caring for his friend than as a rebuke.


1922
Harry Kellar passed away on March 10, 1922. He had been suffering from a bad bout of pneumonia and had been coughing up blood. The build up of blood in his lungs killed him. He was 73 years old. Houdini was not able to attend the funeral, so he made arrangements for it to be filmed. He actually did the same thing when his friend The Great Lafayette died, he had that funeral filmed as well. But to my knowledge neither of these films have survived.

Before Kellar died Houdini got his permission to write his biography. Houdini would use his 100s of letters (Houdini claimed thousands) and also his many meetings with Kellar as the foundation for the book. He only got as far as 100 pages. This became one of the projects that Houdini never finished because in 1926, only four years after Kellar, Houdini died. In the book Hiding the Elephant by Jim Steinmeyer he says the manuscript resides in the Mullholland Library, which today is part of the David Copperfield Magic Collection.

LAST WORDS

Houdini referred to Kellar as  'the greatest magician the world ever saw.'

In a letter to Houdini, Kellar referred to him as 'our greatest showman-Harry Houdini.'

I think that pretty well sums it up.

Previous Blogs about Harry Kellar include:
http://deancarnegie.blogspot.com/2011/01/kellars-demon-globe-trick.html

http://deancarnegie.blogspot.com/2011/01/fords-theatre-mantle-of-magic.html

The Vanishing Bird Cage - History

La Cage Volente, La Cage Eclipse, The Flying Cage or as we know it today, The Vanishing Birdcage was the invention of one man Joseph Buatier. In 1873 French magician Buatier (who would later add deKolta to his name and become Buatier DeKolta) created the first hand held cage that could vanish. The first model, possibly a prototype was made of highly polished wood. The bars were possibly string or elastic. It appears the original shape of the cage was square or rectangular but at some point he created a longer cylindrical cage with a round top and bottom.

The Vanishing Birdcage was a sensation and was also quickly ripped off. In the Summer of 1875 Harry Kellar is said to have purchased a cage from DeKolta's cousin for $750. Of course this was unauthorized because Buatier never sold cages to anyone.  This cage was probably the very first one outside of DeKolta's act, but it wouldn't be the last. In fact, Harry Kellar can probably be credited for the deluge of Vanishing Birdcages in America because he sold the secret to a magic dealer in exchange for props. In Europe a letter from Robert Heller to Charles DeVere the french magic dealer shows that the cages were already for sale in December 1875.

Harry Kellar stirred up a bit of controversy while in Australia over his presentation of "The Flying Cage" as he called it. Harry Kellar's routine was simple and direct, he counted to three and the cage with a live canary inside would vanish! A rumor circulated that Kellar was killing a canary every time he presented the effect. An inquiry took place and Kellar proved that was not the case. He showed that he had one bird and one bird only that he had been using for a long while. But this same controversy would come to haunt other magicians across the globe. In fact, this controversy was used as a minor plot point in the movie "The Prestige" in which they give a rather fictitious explanation on how the cage works.

Magicians worldwide began using the Vanishing Birdcage. A few included; Carl Hertz, Harry Blackstone, FuManchu, Fred Keating, Arnold DeBiere, Servais LeRoy, John Booth, Frakson and many more. In recent times the Vanishing Birdcage could be found in the acts of Walter 'Zaney' Blaney, Harry Blackstone Jr, Lance Burton, Billy McComb, Jonathan Pendragon, Tommy Wonder and James Dimmare.

A description of the DeKolta's routine says that he made the cage vanish with a tossing motion. Then he would remove his jacket so that the audience could examine it. After putting the jacket back on DeKolta would make the cage reappear once again.

Harry Blackstone Sr and Jr. used the idea of repeating the effect successfully. After making the cage vanish once, Blackstone would walk offstage to get a second cage and this time invite children up to place their hands on the cage. While attempting to cover the cage with their hands the vanish would occur and their hands would all collapse together.


John Booth had an interesting twist. His cage is what we call a Blackstone cage, meaning it had red ribbon around the outer edges of the cage. He had a second cage with green ribbon so that when he would repeat the trick, it was clear that he wasn't using the same cage but instead a different one.

But my favorite routine comes from Servais LeRoy. He had been doing the cage vanish for years and according to the book "The Elusive Canary" by Mystic Craig,  Servais LeRoy was the first to do the 'repeat' of the vanish with a member of the audience putting their hands upon the cage.  After the cage vanished LeRoy would have the spectators check to see if the cage was on his body. So Blackstone's routine seems to have been inspired by Servais LeRoy.

In 1933 the Camel Cigarette Company 'exposed' the trick in a marketing campaign they called "It's Fun To Be Fooled". Not to be outdone, Servais LeRoy altered his routine. He would stand on a raised platform and had two spectators on stage with him. He would make the cage vanish and then immediately began to disrobe. He took of all of his clothes except for his under garments! He stood on stage in his underwear while the audience checked out his clothes for any sign of the cage. What a sight that must have been, amazing and hysterical.

It's still a wonderful effect today just as it was back in 1873 when Joseph Buatier invented it.
Now just as a treat, I have one more video, but you'll need to move up to 16:30 on the video to see the Vanishing Cage routine. This is the late Billy McComb who does a comedy version and does it in slow motion. Enjoy!

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.

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.