In the summer months of 1867, Adolph Waber was born. At a young age he saw a magician, and eventually went to work for him as assistant and likely apprentice.
Paul Valadon was born Adolph Waber in Cologne Germany on June 17th 1867.
That magician was Ernest Basch who performed out of Hamburg Germany. Basch came from a family of magicians, three of his brothers were also magicians at some point in their lives. Eventually, Adolph, who would change his name to Paul Valadon, learned enough that he went out on his own. He started in Germany but ventured out to all of Europe. From there he toured the major cities of South Africa.
Valadon was known for his manipulative skill and high talent. He was a master of billiard ball manipulations. He was adept at card manipulations. Some of his moves can be found in The Modern Conjurers book by C. Lang Neil. He even created a Second Sight act with his wife Catherine.
Over at Egyptian Hall, David Devant had just departed and the Maskelynes were looking for a new magician to bring on board. They heard the accolades about Valadon and offered him a job at the famed Hall. Paul Valadon would accept the position and over a five year span present over 1600 performances.
Valadon would perform his own act, as well as assist in others. He was one of the cast members for the Will, The Witch and the Watchman routine for example. He also created original routines while at Egyptian Hall.
The Drum that Can’t Be Beat was a creation of Valadon’s. He would show a cylindrical drum, missing the drum heads. Then he would place the drumheads on and suspend the drum from two chains on the stage. He then poked a hole in one of the drum heads and slowly removed large scarves, one after another, filling the stage with silk. Another of his creations was an illusion called “Well I’m”. This he built with the help of the Maskelynes. It was a table, maybe 3 feet off the ground. He would have his wife stand on top of the table. He would walk around the table and then step up on the table with her. Then he would take a large cloth and cover her. It would flow over her showing only the outline of her body. After a few magical gestures, he would dramatically yank the cloth away and his wife would vanish into thin air.
I can attest to the beauty of both of these affects. I believe The Drum that Can’t Be Beat went on to be sold by dealers and was featured in many performers shows over the year. Mike Caveney recreated both of these effects for one of the LA Magic History Conferences and then later presented them via video at the Essential Magic Conference in Portugal. I was able to see the video version and I can say both were wonderful effects.
Now, we must introduce Harry Kellar into the picture. During the summer months when artists routinely took a break, Kellar would go to England and specifically Egyptian Hall to see the latest creations of Maskelyne. Somehow these creations would later turn up the following year in Kellar’s show. Much has been made of Kellar’s stealing these effects. I’m starting to wonder. And here is why. Kellar fell in love with the Levitation. He offered to buy it from Maskelyne but he turned down the offer. Kellar would return show after show trying to solve the mystery. There is one anecdote that said, Kellar actually climbed on stage during a performance to look under the floating girl. And just as one of Maskelyne’s assistants was going to stop him, Mr. Maskelyne himself prevented the stage hand from interfering. THAT is odd on many levels. Would Kellar be so rude as to jump onstage during a show? Why would Maskelyne not want such audacity to be prevented. OH and then add to this there are stories of both the Maskelynes and the Kellar’s having dinner together. I find all of this quite strange. Im not sure I believe the story of him getting on stage. I do tend to believe the dinner story, but then why would John Neville Maskelyne have dinner with a man who was stealing his material? Unless…
well, I’ll leave that for you to figure out. Some Maskelyne letters would probably help solve this mystery, which I don't have access to.
One thing is for sure in 1904 Kellar went to England and stayed a very short time. But when he returned he came back having hired Paul Valadon for his fall tour. Valadon clearly loved working at Egyptian Hall. In fact, Valadon would later say one of his prized possessions was a letter of recommendation from John Neville Maskelyne. So why could he be persuaded to leave? This piece I found in the pages of the book Kellar’s Wonders by Mike Caveney and Bill Miesel. Apparently, it turns out that 1904 was going to be the final year for Egyptian Hall. This was due to the fact that the building was going to be demolished that year. So now Im wondering, who approached who? Did Valadon, knowing he’d soon be out of work approach Kellar, or did Kellar, as the popular story goes, hire Valadon to get the secret to the levitation?
This is where the popular story begins. Kellar, desperately wanting the secret to the Maskylne levitation, hires Paul Valadon, partly with the promise of including him in the show and potentially turning the show over to him when he, Kellar, retires. Did they speak of the secret to the levitation at this time? It sure would seem a breach of protocol, and ethics for Valadon to do such a thing. Especially given the fact he held Maskelyne in such high regard.
Then there was the note Houdini wrote about talking to Kellar and being “awfully hurt to think that people said he had hired Valadon for the purpose of stealing the levitation secrets” That doesn’t mean he didn’t do it, but it just makes the whole thing more confusing.
The official record says that Kellar had the Maskelyne levitation in 1904. However, I have in my files a program from the Providence Opera House dated April 6th, 1903. On page 6, the program reads, “And the Great Hypnotic Scene, “The Levitation of Princess Karnac”. That’s a full year before he even meets with Valadon. Confused yet? Whether he stole it, acquired the secrets from Valadon, or had a third party help work it out, I just don’t know for sure. Certainly the third party, who shall remain nameless had much to do. Kellar’s version allowed for the illusion to move from theater to theater. Maskelyne’s levitation was built into the theater. Obviously some issues had been solved or remade in order for the illusion to be transportable.
Let’s look at what Paul Valadon did when he worked for Kellar. Thanks to what has turned out to be a rather controversial review by John Northern Hilliard, we have much information. All the secret and method info is withheld from this podcast.
The beginning of his act, Valadon remove’s his gloves, tosses them in the air where they transform into a dove. Next we have the popular Soup Plate illusion created by DeKolta.
Next we have Aerial treasury, or Misers Dream as we know it. From here Valadon goes into Billiard Ball manipulation. Next up, some fun manipulation of raw eggs, eventually pulling eggs from a spectators mouth.
The next feat received praise from multiple sources. IT’s a small effect but a stand out. A strip of blue paper, 30 inches long and one inch wide is torn into multiple pieces….and then restored. By all accounts it was a beautiful piece of magic. The Sphinx in a later issue mentioned Valadon removed this piece from his show and the commentator said, ’its was one of the most beautiful effects Valadon did, and he hoped it would return to the show at some point. This effect is now followed by Card Manipulations. This is a fairly brief sequence because though Valadon was an expert, the card manipulations were a new genre.
Now we come to the Watch Trick. A borrowed watch is made to vanish and reappear in an impossible location. And the final trick, at least in the beginning was the drum that can’t be beat which I described earlier. Eventually on the tour Valadon would present his illusion, “Well I”m” Kellar had posters made to the effect, with an image of Valadon performing the effect. The title ‘Well I’m’ is also on the poster. The top of the poster reads, “Kellar’s Mysteries” and then the lower right third says, Presented by PAUL VALADON. Incidentally AFTER Valadon eventually leaves the Kellar show, Harry Kellar would continue to present Well Im in his show, but it would be rechristened “ His Latest and Created Wonder, “GONE”. The Maskelyen’s would also continue presenting Well I’m on their stages as well, but also claiming they were the creators.
The Kellar tours featuring Paul Valadon received great press reviews. The one exception was John Northern Hilliard who would go out of his way to bash Kellar whenever possible. In 1905, Paul Valadon suggested to Kellar they add the Maskelyne trick, The Will the Witch and the Watchman to the show. It would require adding some cast members and the first attempts were atrocious. One thing about Harry Kellar, he was a genial old man but when he lost his temper he went off like a cannon. He was furious at how the new routine was coming along. Kellar’s version would be titled. “The Witch, the Sailor and the Enchanted Monkey”. He fired the newly fired the newly hired members. Eventually the routine was worked out enough to make to playable. BTW, if you read Jim Steinmeyer’s blog, you can watch a video of the original Maskelyne version of Will the Witch and the Watchman featuring John Carney in one of the title roles. Kellar must not have been too fond of the illusion because at some point he sold it to a magician in the midwest.
Back to Kellar and Valadon. According to the earlier agreement, Valadon was to take over the show when Kellar retired. There was only one small problem, actually two. One of the issues was Eva Kellar, Harry’s wife. The other was alcohol, of which Eva and Paul Valadon were known to partake in to excess. Eva was a mean drunk and hated the Valadons. Mostly Paul tried to hold his tongue, but one afternoon, after hearing Mrs. Kellar badmouth them, Paul Valadon came out and ripped the wife of Harry Kellar to shreds verbally. And just like the vanish in his illusion ‘Well I’m’ Valadon was OUT as far as being a successor. He finished the tour, but after that, he was no longer part of the company.
Paul Valadon ran a small space ad in the back of The Sphinx in 1909, which read “Paul Valadon” Late of England’s Home of Mystery, the Egyptian Hall., London. Now touring in vaudeville with entire new act. All communications address care of Edward Beadle 1193 Broadway NY, NY. “ What’s interesting here, no mention of touring with Kellar. The fall out left an ever lasting rift between the two men.
After the Kellar show, Valadon went to perform in vaudeville across the United States. And by all accounts he was a big success in vaudeville. He would change his act often. But the reviews of his shows were great. In the magic press, they still expected Valadon to move up to the TOP of the showbiz ladder.
There is an interesting anecdote that comes from the pages of The CREST Magician, March 1908. Apparently, Valadon was performing somewhere in America and needed to borrow someones tall high hat, top hat in other words. But none was forthcoming. So he instructed his assistant to fetch his brand new hat that was in his dressing room. This was in immaculate condition and a thing of pride for Valadon. He asked for a gentleman to examine the hat and gave it to someone who then handled his hat rather coarsely and then tossed it back onto the stage. Valadon was short of furious, but held his temper. He stepped over to retrieve his now mangled hat and said, “And now is there a gentleman (long pause) who could examine the hat”. And the audience of course understood the gentle rebuke of the ruffian and laughter. There’s a word we don’t hear any more ruffian, lol.
In April 1909 tragedy struck the Valadon’s. While appearing in Chicago, Catherine Valadon, Paul’s wife got sick. She was admitted to the hospital. But she died on April 27th at Mercy Hospital. She was buried in Oak Woods Cemetery in Chicago. She was 40 or 41 when she died. Notice of her death appeared in all the magic periodicals of the day. One had this quote, “she was liked by all her met her.” Which wasn’t exactly true, Eve Kellar was no fan of her or her husband.
This left Paul a single father and he had a young son. Still the show must go on and the show did go on. At one point, Valadon dropped the illusions and did a smaller act along with his son, which was well received. It was a struggle at first doing the show without his wife/partner. And yet, the illusions wouldn’t stay out of the show.
In May 1910, The Sphinx says that Valadon is now featuring a beautiful levitation and disappearance of a woman. Quote, “His act is better than ever, and shows Valadon’s master hand at conjuring”
The next month in the ‘sphinx Valadon is mentioned again and it says, “showed his illusion of the vanishing lady, while suspended in the air”. So I assume he is presenting LeRoy’s Asrah levitation. OK, Oct 1910 Sphinx spills more details. quote “Am somewhat late reporting the show of Paul Valadon, who appeared at the Majestic theater here last month. When he stepped on the stage the first night he received a big round of applause, which showed he was well and favorably remembered by Chicago theatergoers. His act was a treat from start to finish and the quick succession of surprises which he presented in his inimitable style brought forth many rounds of applause. He captured his audience with his climax which consisted of his own conception of Servais LeRoy’s illusion, Asrah. Valadon brings the trick to a startling termination by causing the silk sheet to vanish, as well as the levitated body. His illusion is of his own ideas and is not one of the impractical copies that are being sold on the strength of the speeded reputation gained by Servais Le Roy’s invention. It might be useful to many magicians to know that the many so-called Asrah illusions now offered for sale everywhere are no anything like the original as invented and presented by Servais LeRoy.” A later article mentions Valadon called his creation “Venita”. I am wondering, if indeed this was not the LeRoy method, perhaps he used the clever method from his Well I’m illusion and added the levitation, the elements are there, the covering of the lady, the table, the vanishing of the figure. The only thing not there is the floating.
Life on the road seemed to be ok for Paul Valadon and his son. That is until 1911 and 1912. Paul Sr’s heath begins to decline. And this is where my interest all started. In a January 15th, 1912 issue of The Sphinx Magazine, Howard Thurston asked the readers to donate money on behalf of Valadon who has been diagnosed with ‘consumption.’. His doctors say, a dryer climate is more fitting for the showman. Thurston even lists the contributions that have come in so far, he himself giving $50, Theo Bamberg $10, George White $1, other cast members, one or two dollars, for a total of $71. Then, a letter to Thurston and Dr. Wilson (editor of the sphinx) is reprinted and it says, “Dear Sirs, I I hereby give you my consent to superintend a money collection on behalf of myself and agree to allow Dr. Wilson to have absolute control of the expenditure of this money. Thank you for your kind endeavors, I remain Sincerely yours, Paul Valadon”
Enough money is raised for Paul and his son to relocate to Phoenix AZ. But a little over one year later, on April 23rd, 1913, 45 year old Paul Valadon was dead from tuberculosis. He left his son with little money. Valadon was buried in an unmarked grave in Greenwood Memory Park Cemetery. Young Paul was sent to an orphanage. In 1948, a dedication service was conducted by the magic group Mystic 13 and IBM Ring 55, for the grave marker they had placed over Valadon’s burial site……..
One final point of interest, Paul had a very elaborate scrap book from his many years on the road. I assume it stayed in the family, as Paul Jr. got married and had a child and stayed in Phoenix. Does anyone know of the whereabouts of the missing scrapbook?
(this is the feature transcript from Episode 108 of the Magic Detective Podcast)
