Catalog 96web

SELECT SECRETS
RARE & IMPORTANT MAGICANA • FEBRUARY 27, 2021

Public Auction #96
SELECT SECRETS
RA RE & I M P O RTA N T M AG I CA N A
AUCTION
February 27, 2021
10:00am CST
INQUIRIES
Gabe Fajuri
gabe@potterauctions.com
phone: 773-472-1442
Previews are available by appointment. Please

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Potter & Potter Auctions, Inc.

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2 SELECT SECRETS • RARE & IMPORTANT MAGICANA

1. ALEXANDER (CLAUDE ALEXANDER CONLIN).
GOLD RUSH DIARY OF ALEXANDER, “THE MAN WHO KNOWS.”
Dated 1898, and being a 78-page clothbound memoranda book
owned and kept by Claude Conlin during his travels to the Yukon.
Filled with personal accounts of the miners he interacted with and
the men who supplied them, as well as intimate personal details,
financial records, and related data. Signed in pencil inside the front
cover by Conlin. Approximately 16mo. Covers well-worn but sturdy and
readable. A unique document of historical significance, not only in
the life story of Alexander, but as a chronicle of the Alaskan goldfields
during a storied era in American history.
3,000/6,000
Alexander recorded his day-to-day activities and innermost thoughts
in this diary, and the pages are filled with illuminating details of his
life, written entirely in his own hand. From the opening statement on
the front pastedown: “If I am found dead, please notify [my father]
Dr. BMJ Conlin – Owatonna, Minnesota,” the diary follows Alexander’s
journey in the Klondike initially working on boats ferrying supplies to
miners along the Yukon River, to his own attempts to strike it rich.
Through its pages, one sees Alexander evolve from a wide-eyed boy
into a hardened miner and observer of human nature, an experience
which would serve him well during the 1910s and 20s in his legendary
crystal gazing act. Summing up his stay in Dawson, Alaska in October
1898, Alexander wrote, “...the one and only thing that chased me out
of Dawson was my hearing a piece of petticoat [a dancehall maiden]
sing, ‘Her darling boy now sleeps beneath a golden grave in far-away
Alaska where the Yukon River flows.’ Well, I thought my chances were
about 99 out of 100 of sleeping in a golden grave if I stayed there.
And another thing, I am no hand for style. A common clay grave with
the stars and stripes overhead will suit me better and I will leave the
stylish grave for someone that is a bigger fool than I.” This diary was
discovered in 2014, some 110 years after its final entry was made, and
ten years after the definitive biography of Alexander was published.
POTTER & POTTER AUCTIONS • FEBRUARY 27, 2021 3

2

THE INNER SECRETS OF PSYCHOLOGY, VOLS. 1 - 5.
Los Angeles: C. Alexander Publishing, 1924. Five volumes
in publisher’s blue embossed cloth stamped in gilt. Portrait
frontispiece of Alexander in each volume. 8vos. Faintest
rubbing to bindings; near fine. Rare as a complete set.
1,000/2,000
Offered at the high price of $25 per set in 1924, few copies
of Alexander’s “magnum opus” were sold, and this is the first
complete set we have encountered. The books were issued as
a way to parlay Alexander’s success on stage into a profitable 4 5
mail order business that offered crystal balls, horoscopes, and
other “mystical” products. This “self-help” course was meant to
4. [ALEXANDER (CLAUDE ALEXANDER CONLIN)] 5. [ALEXANDER (CLAUDE ALEXANDER CONLIN)]
assist readers in discovering their innate mental powers. The
PORTRAIT OF THE NARTELL TWINS & MLLE. DELI MARTELL DANCE OF DEATH. WITH ALEXANDER.
text dispensed many common sense (and some uncommon)
VALISKA, INSCRIBED AND SIGNED BY ALEXANDER. (Bombay, Av Yaga), ca. 1910. Vibrant stone lithograph depicts
ideas in its 900 pages. What readers did not know is that the
course was “written” by Alexander after his assistants, the Bombay: Av Yaga, 1923. Full-length studio image of the twins Martell, a member of Alexander’s company, menaced by a
Nartell Twins, did research on his behalf by cutting the most in profile, their outstretched hands supporting a gigantic gazing cobra on the ground before her. 41 x 27 ¾". Expert restoration
3 interesting passages from other published psychology books ball before Mademoiselle Valiska, seated on a high throne. to folds. A-. Linen backed. A rare poster; fewer than six
found at public libraries while on tour with his show. Trimmed to 9 ¼ x 7". Scrapbook remnants to verso, else examples known.
very good. Boldly inscribed and signed by Claude Alexander 4,000/8,000
Conlin, “the man who knows,” to W.W. Durbin, president of the
International Brotherhood of Magicians. Rare.
ALEXANDER’S TURKISH HAREM DANCE NAUGHTY NOVELTY.
500/1,000
Los Angeles: C. Alexander, 1950s. Red textured novelty booklet A companion to a portrait of the Nartell Twins inscribed and
based on the classic “rattlesnake eggs” gag. When opened to signed to W.W. Durbin, offered in The Magic Collection of Jim
reveal four photographs of a topless “harem” girl, the viewer Rawlins Part III (Feb. 29, 2020, lot 281). The name of the
gets a surprise when the folder begins buzzing in his hand. photo studio on this image is the same as the ersatz name
3 ¼ x 2 ½". Verso of final photograph stamped “Photo courtesy of the printer on Alexander’s stone lithographs, Av Yaga, of
of Claude A. Conlin Los Angeles CA.” Rubber band and washer Bombay (see next lot).
absent (but easily replaced), else very good. The only example
we have encountered.
200/400
4 SELECT SECRETS • RARE & IMPORTANT MAGICANA POTTER & POTTER AUCTIONS • FEBRUARY 27, 2021 5
recto
6 7 8
verso
8. ANDERSON, JOHN HENRY. 9. ANDERSON, JOHN HENRY.

6. ANDERSON, JOHN HENRY. 7. [ANDERSON, JOHN HENRY]
AUTOGRAPH LETTER SIGNED BY ANDERSON, GREAT WIZARD OF THE NORTH MEDALLION.
PROFESSOR ANDERSON (GREAT WIZARD OF THE NORTH). THE WIZARD’S BOOK OF CONUNDRUMS.
GREAT WIZARD OF THE NORTH. England, ca. 1849. The obverse bears a cast bust portrait
London: E. W. Morris & Co. Steam Printing Works, 1868. Two- New York: T.W. Strong, 1852. Pictorial buff printed wrappers.
Dated September 5, 1854, Anderson writes in his own hand of the great Scottish magician; the reverse bears a cast bust
color letterpress poster for Anderson’s “last six nights” at the 8vo. p. [i—iii] iv [5] 6—108. Stains to front wrap through page
on two-color embossed letterhead bearing the royal coat of portrait of Queen Victoria, for whom Anderson was commanded
New National Standard Theatre, Shoreditch, heralding his 16, spine chipped, corner bumps and folds. In a gilt-stamped
arms surrounded by text heralding his command performance to perform before Balmoral Castle on August 28, 1849. Pewter,
fifteen-act show, and including members of his family: Louisa, clamshell box with ribbon. Ex-libris Milbourne Christopher.
at Balmoral in 1849; the letter states that Anderson is honored diameter 2". Very good. MT012. Rare.
Lizzie, Flora, and Ada. 29 ¾ x 19 ⅞". Minor repairs to small Toole Stott 44.
to fulfill the request of the addressee for his autograph to be 2,000/3,000
losses at corners, old folds. Laid down on archival paper. 300/600
“placed amongst your collection of great mens signatures.”
2,000/3,000
Boldly signed “John Henry Anderson/Great Wizard of the
North.” 7 ¼ x 4 ⅜". Newspaper clipping regarding Anderson
and Dr. Cumming, dated Sept. 20, 1854, affixed to verso. Rare.
1,000/2,000
One of but a few Anderson autographs offered at auction in
the last five decades.
11
11. [AUTOGRAPHS]
THREE MAGICIANS’ AUTOGRAPHS WITH ORIGINAL
CARICATURES.
1930s. Three original pencil and ink portraits of Howard
Thurston, Paul Rosini, and Jose Frakson by Ruth Aarons on thin
cardstock, each bearing a lengthy inscription and signature by
the subject to the artist. Thurston writes (about the portrait),
“This is clever Ruth… .” Each 6 ⅜ x 5". Minor wear and
smudging, but good condition overall.
400/800
Ruth Aarons was a gold medal winning and hall of fame table
tennis player who also performed in vaudeville with an act
centering around her talent for the sport. After retiring from
the game, she became an entertainment manager based in
Los Angeles.
10. [AUTOGRAPHS]
GROUP OF IMPORTANT MAGICIANS’ AUTOGRAPHS, INCLUDING HOUDINI. 12. BAKER, AL.
[New York, ca. 1921]. Impressive grouping of important American magicians’ autographs, likely INSCRIBED AND SIGNED PORTRAIT OF AL BAKER.
collected by John Mulholland at an early S.A.M. banquet held in New York City at the Hotel McAlpin, Jamaica, N.Y.: Irving Desfor, ca. 1940. Classic half-length
and featuring the inked signatures of Harry Houdini (inscribing the words “Bless you”), Howard portrait of the humorist, author, magician, and ventriloquist
Thurston, Adelaide Herrmann, The Floyds (Walter and Mohala), Oscar S. Teale, A.M. Wilson, Dorny, performing the Rising Cards. 8 x 10”. Photographer’s stamp to
Harry Blackstone Sr., Horace Goldin, Frank Ducrot, and Francis J. Martinka. On a blank ledger page, verso. Inscribed and signed “To my good friend Carl Jones / Al 12
8 ¾ x 8 ¼". Minor toning, scrapbook remnants to verso. A rare grouping. Baker / Sept. 26 1941.”
3,000/5,000 150/250
Carl Jones published many influential magic books, including two
of Baker’s: Magical Ways & Means, and Al Baker’s Mental Magic.
14
13. LEIPZIG, NATE (NATHAN LEIPZIGER). 15. [BLACKSTONE] SALLA, SALVATORE.

PORTRAIT OF MAGICIAN NATE LEIPZIG, INSCRIBED AND PORTRAIT OF MAGICIAN HARRY BLACKSTONE SR.
SIGNED TO DORNY. Chicago, 1942. Oil on canvas half-length portrait of the great
New York: Pach Associates, ca. 1938. Handsome and possibly American stage illusionist, portrayed in tan coat and patterned
unpublished half-length portrait of the famous sleight-of-hand yellow tie with red and green accents. In the original gilt
vaudeville performer holding a fan of cards in one outstretched wooden frame, 28 ½ x 24 ½". Inscribed and signed by the
hand, pointing at it with the other. 8 x 10". Boldly inscribed artist below the portrait in ink: “To the “World’s Greatest” /
and signed by Leipzig to comedy magician Werner “Dorny” Harry Blackstone / from his / affectionate friend / S. Salla /
Dornfield, and dated Feb. 24, 1939. Photographer’s stamp Chicago, Ill. 1942.” The verso of the frame signed in ink by
and old inked notations to verso; very good. Uncommon. Blackstone, “Harry Blackstone / Colon, Mich.” A few tiny chips
200/400 to the image, else very good.
1,000/2,000
14. SOCIETY OF AMERICAN MAGICIANS Persian by birth, Salla (1903 – 1991) emigrated to the United
PANORAMIC CONVENTION PHOTOGRAPH. States in 1920 and became a professional artist in 1923.
He settled in Chicago, where the bustling local magic scene
Detroit, 1932. Nearly six feet long, the image depicts attendees
welcomed him with open arms. Salla taught at the American
of the 1932 S.A.M. convention. At the center stands Harry
Academy of Art, and his works were exhibited at the Art
Blackstone, Sr. Other prominent magicians pictured include
Institute of Chicago. The combination of his vocation and
T. Nelson Downs, Nate Leipzig, Paul LePaul, John Mulholland,
avocation led to two of his best-known paintings: a portrait of
Harlan Tarbell, Monk Watson, Al Munroe, Walter Domzalski,
Okito performing the Floating Ball, and a panoramic collage
Robert Nelson, Nelmar, Sid Lorraine, Tom Bowyer, Elmer
of members of the Chicago Magic Roundtable. The latter
Eckam, Leo Rullman, L.L. Ireland, Eddie McGlaughlin, Boris
work featured Harry Blackstone among some hundred other
Zola, and dozens more. Domzalski’s wife and daughter flank
magicians; the two men met at these daily informal gatherings 15
13 Blackstone. The verso includes the names of many of the
of magicians in the Windy City that took place on and off for
individuals pictured, likely in Jay Marshall’s hand, inside inked
decades, at a variety of restaurants. These works now hang in
silhouettes of the subjects. 8 x 53 ½". Tiny tears in perimeter
places of prominence at the Magic Castle in Hollywood.
with a few faint creases, but very good condition overall. A
remarkably large and attractive image. Rare.
250/500
17
17. BLACKSTONE, HARRY (HENRY BOUGHTON).

LOBBY PHOTO OF BLACKSTONE’S WHISKERS ILLUSION.
New York: White Studio, ca. 1930. Oversized sepia-tone lobby-
type photo depicting Blackstone’s trademark transposition
illusion, frequently used as the finale of his show. 10 x 14".
Near fine.
16. BLACKSTONE, HARRY (HENRY BOUGHTON). 300/600
TOP HAT FROM BLACKSTONE’S “WHO WEARS THE WHISKERS?” ILLUSION.
Circa 1940. Oversize black fabric prop top hat with yellow satin ribbon band, worn in the closing illusion 18. BLACKSTONE, HARRY (HENRY BOUGHTON).
on the Blackstone show. Black fabric stretched over stiff wire frame with elastic chin strap. Height HARRY BLACKSTONE SR.’S SCIMITAR TABLE.
8”. Well-worn, but sturdy and intact. Accompanied by a note in the hand of Blackstone’s biographer, American, ca. 1949. Stage table used by Blackstone Sr. in
relating the provenance of the hat. a 1949 CBS production, Blackstone Presents. With loose
1,000/2,000 round top, including space to accommodate a black art well.
Blackstone developed the “Whiskers” illusion in the 1920s and it remained in his repertoire for Height 32". Used but good condition. With COA signed by Gay
decades. Blackstone’s biographer, Dan Waldron, described it in this way: “It was fundamentally a Blackstone.
fast-moving switch illusion…. To the lively music of “Shoot,” an old man with whiskers climbs out of 1,000/2,000
a giant Jack-in-the-Box and threatens Harry, who grabs a banner to shield himself. On dropping the
banner, the man behind turns out to be, not Harry, but a gorilla (early on, a bear). An assistant fires a
gun at the gorilla. The old man and the gorilla dance together. When the gorilla throws off its head it
is the assistant. The old man whips off his big plug hat and whiskers. It is Harry.” The illusion was so
effective, Harry Blackstone Jr. used it in his own show as well.
18
21
19. SCOTT, WALTER IRVING. 20. CARDINI (RICHARD VALENTINE PITCHFORD).

ORIGINAL PHOTOGRAPHS AND NEGATIVES OF THE “PHANTOM OF THE CARD TABLE” SESSION. PORTRAIT OF CARDINI, INSCRIBED AND SIGNED.
New York, 1930. Four vintage prints and six negatives taken at the home of Al Baker depicting Walter Louisville: Jay Hochlein, ca. 1930. Half-length portrait of
Irving Scott (“The Phantom”), T. Nelson Downs, Cardini, Max Holden, Eddie McGuire, S. Leo Horowitz, Cardini without his trademark top hat, monocle, or mustache.
Eddie McLaughlin, and Al Baker gathered around a card table. In one image, perhaps the most famous, Palace Theatre stamp to verso. 8 x 10". Inscribed and signed
Scott sits at the center of the group with a bag-like blindfold over his head, with playing cards spread on in black ink, “To Sam Margules / Sincerely yours / Cardini / Jan
the table before him. In others, Downs presents a feat with coins, Horowitz holds a fan of cards, and 22nd 1931.” Corner bump and crease, else very good.
McGuire holds a large cigar between his hands. The negatives depict these images and two more; one 250/500
shows Holden performing a self-untying silk, and the second shows all of the magicians posing for the
camera in Baker’s living room. Images and negatives 3 ½ x 4 ½" and smaller.
21. CARDINI (RICHARD VALENTINE PITCHFORD).
800/1,200
CARDINI’S PAUL FOX LINKING RINGS.
Max Holden chronicled this now-famous session in The Sphinx, writing, “This is one event which was
worth a lot as here we saw Walter Scott from Providence perform miracles with cards, and I pass the Colorado: Paul Fox, ca. 1943. Set of eight stainless-steel rings
crown to Walter Scott. Without a doubt Walter Scott is the cleverest man with a pack of cards in the for the ancient feat in which the solid hoops are linked and
world, and I am backed up by Nelson Downs, Leipzig, Cardini, McGuire, Sam Horowitz, and all others unliked. Standard set with one key, two singles, one pair, and
who have witnessed his skill….” The “crown” referred to in his description was one he had previously one chain of three. Large example; diameter 11 ¼". With a
given to Dai Vernon, then considered the unofficial “king” of card men. letter of provenance tracing the ownership of the set from
Cardini to Herb Zarrow to the present owner. One of perhaps
According to David Ben’s research, the entire session was carefully engineered to leave Vernon – who
six sets manufactured by Fox.
was away from home, and thus unable to attend – out of the loop. The ensuing years have generated
1,500/2,500
further controversy, writing, and scholarship related to Scott and his work with the punch and second
deal, as well as his place in the history of card magic and sleight-of-hand.
20
23
24
22. CARDINI (RICHARD VALENTINE PITCHFORD). 23. CARDINI (RICHARD VALENTINE PITCHFORD). 24. CARDINI (RICHARD VALENTINE PITCHFORD).
CARDINI’S STAGE-WORN TUXEDO. CARDINI’S BOW TIE. CARDINI’S CELLULOID SHIRT COLLAR.
London: Sidney Fisher, 1933. Single-button wool swallowtail coat with striped pants, tailor-made Circa 1940. White silk bow tie with subtle crosshatch pattern. Circa 1940. Size 14 ¾ Arrow De Luxe celluloid shirt collar
for Cardini, and worn by the great manipulative magician in performance. With the tailor’s label Worn and owned by Cardini as part of his iconic stage costume. owned and worn by Cardini as part of his iconic costume.
sewn in the pants and dated in ink “Jan. 1933.” Together with a set of Cardini’s spats, silk pocket Approximately 32" long untied. Accompanied by a LOA from Stamped with the manufacturer’s name and the initials
handkerchief, silk cravat, celluloid collar, dress shirt (from Selfridge’s of London), and top hat (the Cardini’s daughter. “CAR” three times. Length 15 ¾". Toned from repeated use.
latter with a faint dent). The dress shirt bears cigarette burns from performance use in Cardini’s 500/1,000 Accompanied by a LOA from Cardini’s daughter.
famous manipulative magic act. With a letter of provenance from Cardini’s daughter, to whom the 400/800
costume was passed by descent.
8,000/12,000
25. [CARTER/THAYER]
IMPORTANT ARCHIVE OF CHARLES CARTER AND FLOYD THAYER CORRESPONDENCE.
Forty-two documents spanning 1922 – 1933, including letters, invoices, and telegrams between
Carter the Great, the illusionist, and Floyd Thayer, owner and operator of his own famous Los Angeles-
based magic factory. The letters discuss many of the feature illusions of the Carter show, including the
Kellar Levitation he wishes to purchase (making an offer of $500 to Kellar’s family via Thayer to “take
it off the market”), the Disembodied Princess (which Carter repeatedly offers $100 for, yet is rebuffed),
and apropos of the era, the Sawing illusion constructed for Carter by Thayer. Regarding the latter,
Thayer writes about reports of Carter’s show praising the trick: “…the Sawing a Woman illusion always
being mentioned. This is where I shine in reflected glory.” Other matters include the shows of rivals
and contemporary performers (Nicola, Kara, Jack Gwynne, and Cunning), as well as the methods for
various tricks Thayer proposes to construct for Carter, the death of Carter’s lion, his Temple of Mystery
at the Chicago World’s Fair, and general news of the time. Both typewritten and handwritten on a
variety of Thayer letterheads and invoices, hotel stationery and telegrams, with Carter’s lengthy carbon
responses present in many cases. The signatures of Carter, Thayer, and their employees in pencil and
ink scattered throughout. A singular and revealing archive from the career of a successful and famous
globe-trotting conjurer with the owner of the largest magic factory in the world, who constructed many 26. CHUNG LING SOO (WILLIAM ELLSWORTH ROBINSON).
of Carter’s greatest illusions. CHUNG LING SOO “PALLETTE” POSTER.
1,000/2,000
Ashton-Under-Lyne: Horrocks & Co. Ltd., ca. 1910. Handsome
These letters portray a friendly business relationship between the principals, and several of Carter’s
color lithograph featuring Soo’s portrait on an artist’s palette,
replies are filled with humor and evocative language, including one passage regarding the asking
his name inside paint daubs, paintbrushes clustered behind.
price for the Disembodied Princess: “I shall have to talk to myself very earnestly to induce that fellow
29 x 19 ¼". Tiny spot of over-coloring to border, else very good.
known as “Carter the Great” to part with one hundred and fifty for the “Disembodied Princess,” as
A. Linen backed.
there are so many princesses with full bodies who can be had for considerably less!”
3,500/5,000
27. CHUNG LING SOO (WILLIAM ELLSWORTH ROBINSON). 28. CHUNG LING SOO
CHUNG LING SOO. CAULDRON. V(WILLIAM ELLSWORTH ROBINSON).
London: J. Weiner Ltd., 1910s. Horizontal color lithograph
CHUNG LING SOO. THE LIGHT OF THE WORLD.
featuring Soo producing rabbits, chickens, ducks, and a live
MARVELLOUS CHINESE CONJURER.
woman from a smouldering cauldron. 19 ¾ x 28 ¾". Borders Birmingham: James Upton, ca. 1910. Striking color
trimmed away, small creases. A-. Linen lithograph bearing a full-length portrait of Soo holding
backed. Uncommon. an illuminated paper lantern in one hand, with
3,000/6,000 silhouettes of pagodas behind him. 30 x 14 ¼". A.
Linen backed. Uncommon.
4,000/6,000
29. DOWNS, T. NELSON. 30. DUNNINGER, JOSEPH.
T. NELSON DOWNS. KING OF KOINS. DUNNINGER THE MASTER MIND OF MODERN MYSTERY.
Chicago: Carqueville Litho., ca. 1905. Artistically rendered color Long Island City: National Printing and Engraving, ca. 1930.
lithograph bearing a central bust portrait of Downs surrounded Giant two-color three-sheet poster featuring Dunninger’s
by vignettes of his coin manipulation act, ribbons of silver famous “bat wing” portrait above heavy black text. Designed
coins, and soft red flowers. A filmstrip-like sequence from his by Hans Stengel. Approx. 83 x 41". Rod hangers. Old folds
famous Miser’s Dream fills the bottom of the poster, showing prominent, tiny losses at old intersecting folds; professionally
six poses from Downs’ famous feat, The Miser’s Dream. 28 ½ restored. B. Linen backed. The only example we have
x 42". Clean and bright with small marginal chips and losses; encountered.
laid down to foam core. A-. 2,500/4,500
8,000/10,000 Exhibited as part of the 2011 Skirball Cultural Center exhibition
“Masters of Illusion: Jewish Magicians of the Golden Age.”
33
32
31. [BABE RUTH] DUNNINGER, JOSEPH.

BABE RUTH MIND READING BROADSIDE POSTER.
New York: Allied Printing, 1921. Letterpress window card
advertising “the great one” appearing at the New York
Hippodrome on Sunday, April 17, 1921, at an event where
Dunninger will read the Bambino’s mind, and the audience will
discover if “it is possible he will be told how many home runs
he will make this season.” Blue ink on white stock. 22 x 13 ⅞".
Small chip and old crease at lower left.
2,000/4,000
32. ECK, JOHNNY (JOHN ECKHARDT).

JOHNNY ECK’S P&L DIE BOX. 34
New Haven: Petrie & Lewis (P&L), ca. 1940. Four-door

mahogany box with fancy brass hardware. A solid wooden
die placed inside vanishes after repeated “by-play” with the 33. ECK, JOHNNY (JOHN ECKHARDT). 34. ECK, JOHN (JOHN ECKHARDT).
audience, reappearing in a formerly empty hat some distance COLLECTION OF JOHNNY ECK’S MAGIC PROPS. FOUR PHOTOGRAPHS OF
away. One double door. 2 ¾" die. All elements well-worn
1960s – 80s. Including props from a variety of makers,
JOHNNY ECK AND HARRY BLACKSTONE.
from regular use. Owned and used by sideshow and circus
including a Hand Penetration with wooden swords, Thumb Baltimore, 1949. Including two 8 x 10" images: in the first,
performer Johnny Eck.
Cuffs, Asrah in Miniature by Fabjance, decks of playing cards, Blackstone, dressed in his stage tuxedo, holds Eck at shoulder
600/1,200
a gimmicked Razor Blade stand, novelty motorized hand drink height; in the other, Eck poses with the burro that traveled
Die Boxes made by P&L are scarce in their own right; the
coaster, Skeleton in the Closet, and more. Most items in very with the show; and two candid snapshots in which Blackstone
company was at its best when manufacturing magic tricks
good condition, some with original instructions. Owned and pretends to produce Eck from a large shawl and supports a
made of metal. This is the only P&L box we have encountered
used by sideshow and circus performer Johnny Eck. tray – with help from another man – that Eck sits on. The larger
with a double door. Eck’s reputation as a circus and sideshow
500/1,000 two with Eck’s stamp to their versos. Sold together with Eck’s
performer has become the stuff of legend, as has his
copy of the program from the Blackstone show.
involvement with the vaudeville magic show of Rajah Raboid
200/400
and his turn in the cult classic Tod Browning film, Freaks. But few
31 know that Eck was also a magician in his own right, oftentimes
performing for children’s parties in his native Baltimore. This
die box and the magic props in the following lot were used
by the half-man in his own shows, and were obtained by the
consignor after Eck’s passing from his brother, Robert.
35
WATCH THE PROFESSOR! 37. FLOSSO, AL (ALBERT LEVINSON).

AL FLOSSO’S PUNCH AND JUDY PUPPETS.
35. FLOSSO, AL (ALBERT LEVINSON). A colorful set of nine early- to mid-twentieth century carved wooden Punch and Judy puppets, made
AL FLOSSO’S COIN WAND. by FEB Figures (Foy E. Brown), George “Pinxy” Larson, and unknown makers, and comprised of ten
Circa 1925. Oversize metal magic wand outfitted with internal puppets: Mr. Punch, Judy, the clown (marked by Pinxy), devil, alligator (with rabbit fur collar), baby,
mechanism allowing the performer to produce a seemingly constable, and three other male characters. Sizes vary, generally 16" to 19". Several figures, especially
endless quantity of silver dollars at its tip. Clamshell type- those of older manufacture, with significant wear to finish and tears or holes in clothing and chips to
design with 1924 Peace Silver Dollar incorporated into wooden elements; several with evidence of heavy repainting and the clown with a tube (for spitting
mechanism. Length 19". With a felt carrying bag. Shows minor effect) replaced; but overall a handsome set owned and used by one of America’s foremost comedy
wear from repeated professional use (coin worn, one section magicians and Punch workers.
of gimmicked tip loose), but in good condition. Owned and 4,000/6,000
used by Flosso in his legendary Miser’s Dream routine, and Flosso, who billed himself as both the “Jewish Cowboy from New York,” and more famously, “The
obtained by the consignor directly from the performer in the Coney Island Fakir,” (pronounced “faker”) was a unique personality and a hilariously funny entertainer
1980s. Accompanied by a LOA. who, despite a ramshackle appearance, became a favorite of New York’s elite. Entertaining at high
1,500/2,500 society functions for decades, Flosso combined the best of what he’d learned on circus sideshows
and bally platforms at Coney Island to create a hectic, hilarious, and amazing routine of fast-paced
magic tricks. And while Flosso is best remembered as a comedy magician and magic shop owner with
36. FLOSSO, AL (ALBERT LEVINSON).
a comedic version of the venerable Miser’s Dream at the centerpiece of his act (“Stand up straight,
AL FLOSSO’S BARBER POLE PRODUCTION.
boy, stand up straight!”), he was also an adept and masterful Punch & Judy worker, presenting the
Collapsible paper striped barber pole with wooden upper knob, funny and violent puppet show nearly as often as his magic act – if not more. He’d learned much of
as used in Flosso’s famous Miser’s Dream routine, in which the routine from his father-in-law, Louis “Pop” Krieger, who also made a career entertaining wealthy
the pole was suddenly and unexpectedly produced from the New Yorkers nearly as often as he worked the streets of the Bowery.
shirt of his unsuspecting audience volunteer. In the original
36
cardboard box with Flosso’s name and address written in ink
on the lid.
500/1,000
38
40. MARTIN GLASS THROUGH HAT.

London: Jon Martin, 1940s. A glass tumbler, resting on a
tray held by the magician’s assistant, is covered by a silk
39
handkerchief. A silk hat is balanced atop the covered glass and
then, on command, the hat ever-so-slowly descends toward
the surface of the tray, finally coming to rest flush against it.
38. PAUL FOX CUPS. Gwynne performed several suspensions and levitations
Reaching inside the hat, the performer removes the glass.
over the course of his storied career, but this Freer-designed
Phoenix: Danny Dew, ca. 1960. Set of three chrome plated Finely made dural aluminum mechanism with push-button
prop was, as far as current research would suggest, never
beaded cups from Fox’s personal collection, each standing activation in the tray; double lazy-tong arrangement and slow-
constructed. While Freer goes to great pains to explain
2 ⅞" high, with an opening 2 ¾ in diameter. With four vintage release device effecting the penetration. Tray painted black
the presentation of the effect and its selling points in this
compressible yellow rubber balls. Very good. and red, with vintage patterned cloth cover. Tray 23 x 17". Paint
manuscript, he does not describe the method. He does
2,000/4,000 chipping, one corner bumped, else very good. Rare.
allude to the penetration of the swords being tipped to him by
The designer’s own set of his iconic cups, which have been 2,500/3,500
Horace Marshall (the manuscript was written in Akron, Ohio,
copied and imitated – both with and without permission - A feature trick in the acts of many vaudevillians – perhaps most
Marshall’s hometown), and he also alludes to the method of
almost constantly since their development in the 1940s. notably, Herbert Brooks – the Glass Through Hat was a popular
“invisibility” he has devised to accomplish the feat. The biggest
effect for decades. Special tables by Conradi and others were
clue as to the method may be in the diagrams drawn by Freer
39. FREER, WINSTON. later supplanted by the classic P&L candlestick model, for
which show not only some of the stage direction, but also the
“GWYNNE’S AUTHENTIC HINDU LEVITATION” MANUSCRIPT. years a popular dealer item. This model is, undoubtedly, the
position of the apparatus in a ring of light outlined by a series
Three-page typescript embellished with several elaborate finest version of the apparatus ever constructed, and like all of
of floor-standing spotlights. Freer is perhaps best remembered
drawings, and dated March 28, 1939. Freer outlines the Martin’s props, the work of a truly talented builder.
today as a troubled genius who devised dozens if not hundreds
presentation of a levitation illusion performed surrounded on of unusual magic tricks and illusions with uncommon methods.
a nightclub floor, in effect “pitching” it to Gwynne and offering His one-man suspension is the most highly regarded of these,
to build the illusion. The lady is first suspended on the tips of a feat he devised and performed with an audience volunteer
three swords, which are removed – through her body – leaving and, apparently, no visible apparatus.
her suspended in space. Three 4to pages with old folds and
chips, signed three times by Freer.
250/500
43
43. HENRY, SHELDON SPAR.

S.S. HENRY’S COLOR CHANGING ROBE.
41 42 Vintage Chinese robe with elaborate hand-stitched crane and
flower motif on a blue field, which changes to a bright crimson
robe accented with a multitude of tiny mirrors and a feather
pattern. Used in the Chautauqua and Lyceum show of Henry.
41. HANUSSEN, ERIK JAN. 42. HARTZ, JOSEPH MICHAEL. Originally in the collection of the Egyptian Hall of Brentwood,
ERIK JAN HANUSSEN. HELLSEHEN. TWO-PAGE HARTZ ALS ON PICTORIAL LETTERHEAD. TN, and retaining the inventory tag which states, “Original
[Germany], ca. 1931. Striking lithographed poster advertising Dated Nov. 1, 1879, Hartz writes in great detail about S.S. Henry Color Changing Robe donated by Mrs. Bill Kinnard,
occult-leaning séances at Hanussen’s mansion. Designed by forthcoming performances in America, describing aspects of 1967.” Many snags and small tears, but still an attractive
Peter Eng. 27 ¼ x 18 ¼". General toning, long closed tear in his gift show, and explaining his strategies for selling tickets, vintage robe from the show of a well-traveled performer.
lower third and clipped corners expertly repaired. B+. Linen as well as listing for his correspondent – presumably an agent 500/1,000
backed. Rare. – his box office takes at recent shows. On two pages of Hartz’s Bill Kinnard served as an assistant on the Henry show for eight
2,000/3,000 printed 8vo letterhead bearing a fine lithographed bust portrait years.
Biographer Mel Gordon dubbed Hanussen “Hitler’s Jewish of the magician in the upper left. Signed “Hartz” and listing his
Clairvoyant,” an apt title based on the psychic’s intimate address as Portsmouth, New Hampshire. Near fine. Rare.
44. HERRMANN, ADELAIDE.
involvement and friendships with members of the Third Reich. 500/1,000
BOUDOIR CARD PHOTOGRAPH OF ADELAIDE HERRMANN.
It was an association that would later cost Hanussen his life. Hartz, a well-known American magician and owner of what may
This poster advertises séances Hanussen conducted at his have been the first magic shop in America, was a seasoned Circa 1890. Full-length image of the “Queen of Magic,” in an
home, aka the “Palace of the Occult.” In addition to apparently performer and savvy businessman, as this letter makes clear. elaborate dress, reclining in a chair. On an embossed mount,
telling the future, Hanussen promoted the feats of strongmen, Describing business in Manchester [New Hampshire], Hartz 10 x 7". Hole punched, scuffs and wear to mount not affecting
was a hypnotist, astrologer, and occultist. He was assassinated explains how other entertainers, including the great actor image. A fine image.
by the Nazis on March 25, 1933, shortly after predicting the Joseph Jefferson, sold tickets at the same opera house, and 500/1,000
Reichstag fire which allowed Hitler to assume absolute power. how his tactic of lowering ticket prices brought in over $200 at
each performance.
44
46
46. HERRMANN, ALEXANDER.

EMBOSSED TICKET FOR
ALEXANDER HERRMANN AT EGYPTIAN HALL.
London, ca. 1871. Letterpress printed ticket for “Professor
Herrmann / (The Great Prestidigitateur) In Elegant Saloon
/ Every Evening at Quarter-past Eight.” Recto advertises the
Photographie Francaise studio on Regent Street, W. Embossed
border. Rare.
800/1,200
Printed for one of the thousands of shows presented by
Herrmann at the legendary London showplace – in the years
prior to Maskelyne & Cooke’s establishment of the venue as
“England’s Home of Mystery.”
47. HERRMANN, ALEXANDER.

ALEXANDER HERRMANN THROW-OUT CARD.
Circa 1892. Classic engraved bust portrait of Herrmann above
45. HERRMANN, LEON AND ADELAIDE. a facsimile signature on the recto; blue Bicycle thistle back
PORTRAIT OF LEON AND ADELAIDE HERRMANN. on the verso. Rounded corners. Minor toning, but very good
Kansas City: Curtiss, ca. 1898. Full-length image of the Herrmanns, both garbed in long Asian overall. Rare.
costumes. In one hand Leon holds a parasol behind the pair, and in the other, a bouquet of flowers 1,000/2,000
rising up from a brass pan balanced on his fingertips. 9 ⅞ x 6 ¾". Minor ripple to lower left, upper right It was said that Herrmann’s accuracy was such that he could
corner of mount bumped, else very good. Rare. throw these souvenir cards into the lap of any theater patron.
1,500/3,000
It was after the untimely death of Alexander Herrmann that his nephew, Leon, came to America. 47
Partnering with Herrmann’s widow Adelaide, the two worked in tandem for just three seasons,
beginning in 1897. The two parted ways on less-than-favorable terms, reportedly due to clashes of
personality. Leon continued performing in vaudeville with a shortened act until his death in 1909.
Adelaide carried on with a much more elaborate production, replete with large illusions and plush
scenery. She worked on stage for another twenty-five years, and died in 1932.
48 49
48. HOFFMANN, PROFESSOR (ANGELO LEWIS). 49. HOUDINI, HARRY (EHRICH WEISZ).
PORTRAIT OF PROFESSOR HOFFMANN, THEATER PROGRAM FOR HOUDINI’S FINAL PERFORMANCE.
INSCRIBED AND SIGNED. Detroit, 1926. Four pages from a Garrick Theater program
Dated Jan 1, 1914. Printed medallion bust portrait of the beginning Sunday, October 24, 1926, the week of Houdini’s
author of Modern Magic. 7 ⅜ x 4 ⅞". Inscribed and signed in death. The program describes and details Houdini’s extensive
the lower portion: “Hearty good wishes to all members of the three-part program of magic, escapes, and spiritualism
Magician’s Club. Louis Hoffmann.” Minor soiling to upper right. exposés, features an ad playing on Houdini’s name, and the 50. HOUDINI, HARRY (EHRICH WEISZ).
500/1,000 terminal leaf bears an illustrated ad stating that the week of PSYCHICAL RESEARCH JOURNAL ANNOTATED AND SIGNED BY HOUDINI.
Hoffmann, a barrister by profession, is best remembered as October 31 will be Houdini’s last in Detroit. One folded sheet, The March 1925 issue of the Journal of the American Society for Psychical Research (Vol. XIX, No. 3).
author of many of the most important works in the modern approximately 8vo, laid in a contemporary Garrick program Orange printed wrappers with portrait frontispiece of Mina Crandon, the medium known as “Margery.”
canon of conjuring literature, starting with Modern Magic in with color covers, staple holes evident. The only example we Twenty pages deal with observations of Margery’s supposed ability to contact the dead, many of these
1876. The Magician’s Club, founded by Will Goldston in 1911, have located. being annotated by Houdini in ink, with some passages or words underlined, and several marginal
was chaired by President Harry Houdini for fifteen years, and 1,500/2,500 comments in his hand initialed by him. Numerous additional annotations in red crayon, possibly by
disbanded in the late 1940s after Goldston’s death. Houdini’s unexpected death on October 31, 1926 has been Houdini but likely by his secretary Oscar Teale, also fill the margins. With the bookplate of Houdini’s
a source of great fascination and speculation for nearly 100 secretary Oscar Teale pasted inside the front wrapper. Dr. Grossman blindstamp to front wrapper,
years. He opened in Detroit at the Garrick on October 24, chipping around extremities, spine mostly perished, but sound and in good condition overall.
arriving from Montreal where he had sustained an unexpected 2,500/4,500
punch to his stomach, which ruptured his appendix. On opening Both Houdini’s inked notations and those in red crayon are biting. In one instance Houdini comments
night in Detroit, attempting to work through excruciating pain, on the apparent materialization of a disembodied hand in Margery’s séance room: “ROT. I saw
Houdini collapsed on stage and was rushed to the hospital. hand…& it is not even a good feke [imitation].” In other instances he calls a sitter at the séance an
Doctors there determined that peritonitis had set in, and one “accomplice,” or directly questions assertions in the articles. The red notations do likewise, drawing
week later, he succumbed. into question the methods used to test Margery and supposedly “prove” her to be a genuine spirit
medium.
52. HOUDINI, HARRY (EHRICH WEISZ).
THE UNMASKING OF ROBERT-HOUDIN, PRESENTED TO CHUNG LING SOO.
New York: The Publishers Printing Co., 1908. First edition. Brown pictorial cloth, rubbed and with minor
51. HOUDINI, HARRY (EHRICH WEISZ). chips and wear to extremities. Portrait frontispiece of Houdini behind tissue. List of illustrations and
A MAGICIAN AMONG THE SPIRITS, INSCRIBED AND SIGNED. index added at rear as issued. 8vo. Ex-libris John Henry Grossman. Presentation copy, inscribed and
signed on the flyleaf: “To Chung Ling Soo / with best wishes / and compliments / of the author /
New York: Harper & Brothers, 1924. First edition. Blue cloth stamped in gilt. Portrait frontispiece of
Harry Houdini / Dec / 1908.” A small newspaper clipping has been pasted below the signature, which
Houdini and Arthur Conan Doyle. Plates. 8vo. Ex-libris of Ray Goulet on the front pastedown. Inscribed
mentions a former owner of the book and his possession of it.
and signed by Houdini to fellow magician and the Dean of American Magicians, Frederick Eugene
4,000/8,000
Powell on the front free endpaper: “To my friend / Eugene Frederick Powell [sic] / Best wishes from
The friendship between Houdini and Soo has been well-documented. Both magicians came up in the
the / author / Houdini.”
world of show business in New York at approximately the same time, and both made their marks in
2,000/3,000
significant, if not entirely different, fashions. Soo, whose real name was William Robinson, began his
Powell (1856 – 1938) was a refined professional magician who toured the world with a show of both
career behind-the-scenes, working for both Kellar and Herrmann. As Chung Ling Soo, the “marvelous
stage illusions and parlor effects. Best remembered as an elegant and gentlemanly performer, his
Chinese Conjurer,” he scored his own real successes in front of the curtain. Houdini struggled in
show opened with the transformation of his white gloves into a live dove. For a time, Powell worked in
carnivals and dime museums in his early days, ultimately becoming the best-known escape artist and
concert with Servais LeRoy and Imro Fox as part of the “great triple alliance.” In 1922, Powell headed
magician of all time.
one of several touring companies used to promote Houdini’s film The Man from Beyond, and in the
same year, he succeeded Harry Kellar as the Dean of the Society of American magicians in 1922. The Soo and Houdini both died tragically and unexpectedly, Soo having been shot on stage during a
fraternal organization had been founded twenty years earlier and remains the oldest magic society performance of the Bullet Catch at the age of 57, and Houdini eight years later, at the age of 52 the
in the world. Houdini served as the club’s president from 1917 until his death in 1926. Powell retired victim of peritonitis brought on by a blow to the stomach that ruptured his appendix.
to New Haven, Connecticut where he lived with the Petrie family, which owned and operated the P&L Laid in are a TLS from bookseller George Jenness to the former owner, John Henry Grossman, along
magic factory, known in the trade as the “house where tricks are born.” with a page from Jenness’s list offering the book for sale, and a magazine clipping related to Soo’s
untimely death. Tipped-in to the book is the cover of the Sept. 1942 issue of The Magic Circular with
Soo on the cover.
56
54
53. HOUDINI, HARRY (EHRICH WEISZ). 55. HOUDINI, HARRY (EHRICH WEISZ).
PLAYING CARD INSCRIBED AND SIGNED BY HOUDINI. SHERIFF HOFFMAN CHALLENGES HOUDINI.
Ace of Diamonds with blue patterned back dated July 9, 1924 Letterpress challenge/handbill dated October 9, 1923 in
and inscribed and signed in brown ink in Houdini’s hand: “To which a Chicago sheriff challenges Houdini to escape from
M.C. Wilson / Best wishes / Houdini / July 9/1924.” Rubbing a “regulation straightjacket” on stage at the Palace Theatre,
to both recto and verso, else good. Chicago. Houdini accepts, presuming that the jacket will “not
1,500/2,500 be drawn so tight that there is any danger of strangulation.”
9 x 5 ½". Attractively matted. Significant edge chips, stains,
and toning.
54. HOUDINI, BEATRICE.
600/800
BESS HOUDINI ALS TO JOSEPH DUNNINGER.
Dated December 31, 1932 and written on her die-cut and
monogrammed letter “H” stationery, Mrs. Houdini addresses 56. HOUDINI, HARRY (EHRICH WEISZ).
the famous mind-reader in a humorous tone: “My dear Joe HOUDINI TLS WITH ORIGINAL MAILING COVER.
(pardon me I’m still mad at you) My Dear Mr. Dunninger…” and Dated December 25, 1924, Houdini writes to Eric Dingwall,
later says, “There now I feel better.” She addresses personal who he had been trying to reach at the Algonquin Hotel
topics, asking after Dunninger’s mother and another person, (Dingwall’s address while in New York), and stating, “There is a
whose name has been scratched out (possibly Dunninger’s rumor about that Dr. Crandon is paying all of your expenses…”
ex-wife), but then jokes, “I don’t care how you are – see I’m Houdini also provides his “private” phone number at the
getting mad again.” Boldly signed “Beatrice Houdini,” with a conclusion of the letter in order for Dingwall to reach him, and
New Year’s greeting after the signature. discusses upcoming charity shows. With the original registered
400/600 mailing cover bearing Houdini’s printed New York address in
the upper right. A few spots of soiling from old tape, but good
53
condition overall. Boldly signed “Houdini.”
1,500/2,500
Along with Houdini, Dingwall investigated the claims of
mediumship put forth by Mina Crandon – aka Margery –
whose husband, Dr. Crandon, is referred to in this letter.
55
HOUDINI TLS TO JAMES WOBENSMITH REGARDING
SPIRITUALISM TESTS.
Dated Feb. 9, 1926, Houdini writes to invite the noted amateur
magician, author of a book on magic patents, and patent
attorney for Howard Thurston to the “tests” he will perform at
the Chestnut Street Opera House in Philadelphia, “where the
Christian Spiritual Union will endeavor to prove to the public
intercommunication with the dead is a reality. Enclosed you
will find a copy of the challenge.” Accompanying the letter is
the referred to copy, stating that Houdini will forfeit $10,000 to
anyone who can prove that communication between the living
and the dead is possible without trickery. The judges as to the
authenticity of the phenomena are to include “six clergymen,
six newspaper-men, and six magicians.” Old folds and losses,
TLS trimmed somewhat and hinged to paper. The latter boldly
signed “Houdini.”
1,500/2,500
58. HOUDINI, HARRY (EHRICH WEISZ). 59. HOUDINI, HARRY (EHRICH WEISZ).
THE JAIL BREAKER AND DEXTEROUS HOUDINI CIRCUS CORTY-ALTHOFF BROADSIDE.
HANDCUFF KING. HOUDINI. Circa 1912. Houdini tops a variety bill, his name emblazoned
Liverpool: Sam Griffiths Printer, 1905. Two-color broadside in bold block capitals, with German text heralding his
advertising Houdini at the top of a variety bill at the Argyle “sensational trick” the Water Torture Cell, which he had
Theatre of Varieties. His turn includes the Prison Cell and debuted only recently. Black and red ink on yellow stock.
Barrel Mystery, here dubbed his “latest and greatest” escape. 32 ¾ x 12 ¼". Borders and old folds professionally restored.
The poster advertises performances during the week of May B+. Linen backed.
29, 1905. 35 ¼ x 11". Bright and crisp; linen backed. A. 3,000/5,000
3,000/5,000
61

HOUDINI GRIM GAME LOBBY CARD.
New York: Famous Players-Lasky, 1919. Monochrome lobby
card advertising Houdini’s silent film serial, The Grim Game,
and picturing the famous magician at its center restrained by
four policemen as he steps from an automobile. Caption below
reads “Thwarted – but only for a moment!” 11 x 14". Tiny chips
and pinholes in borders.
1,500/2,500

HOUDINI GRIM GAME PRESS BOOK.
New York: Famous Players-Lasky, 1919. Oversize booklet
HOUDINI JAIL CELL CHALLENGE POSTER.
filled with stories and data related to the stunt-filled film,
Liverpool: Spelman, Printer, 1904. Bold letterpress printed poster for a challenge escape effected by and reproducing dozens of photographs and posters used to
Houdini from the Liverpool Police Office on Feb. 2, 1904, describing in detail how the great magician, advertise it. Front wrapper detached, lacking rear wrapper.
in a “nude state” escaped from three sets of handcuffs (one “close fitting”) and a locked jail cell 15 ½ x 10 ½".
in approximately six minutes, and then opened all other cells and relocated the inmates in the jail. 800/1,200
29 ¾ x 20". Linen backed. A few chips and minor restoration to old folds. A-.
3,000/6,000
Houdini’s stunt of relocating prisoners in the jail has become the stuff of legend. His most famous
prisoner swap occurred in Washington, D.C. in 1906, two years after this poster was printed.
62
63
66

HOUDINI’S PRODUCTION BABY.
New York: Judd [?], ca. 1900. Compressible doll with
large central spring for body, cloth hands, and finely made
composition face. Internal metal locking mechanism holds doll
in compressed position. Said to have been owned and used
by Harry Houdini early in his career. Minor soiling and short
tears and wear to bonnet and costume, but sturdy and intact
overall. With a vintage identification tag bearing a handwritten
note stating, “Houdini’s baby from hat. Had one colored and
one white.”
3,000/6,000
64 Formerly displayed in the Houdini Magical Hall of Fame in
Niagara Falls in a display of small magic props used by Houdini
early in his career.
63. [HOUDINI, HARRY (EHRICH WEISZ)] OGLE, R.B. 64. HOUDINI, HARRY (EHRICH WEISZ).
ORIGINAL PUBLICITY ILLUSTRATION OF HOUDINI. ILLUSTRATED HOUDINI CHRISTMAS CARD.
Circa 1919. Pen and ink on paper, possibly depicting a scene Circa 1920. Large-format Christmas greeting from Houdini
HANDCUFFS OWNED BY HARRY HOUDINI.
from The Master Mystery (1920), in which Houdini is shown filled with cartoons of the great escape artist by the artist
climbing through an open window into a bedroom at night and McBride. 9 ½ x 12 ¾". Old folds, one corner chipped, else With a paper tag identifying the cuffs and bearing identifying
bearing down on a man wielding a dagger. “Kinema Comic” good. provenance in the hand of Joseph Dunninger, Houdini’s friend
annotated in pencil in lower margin, with scattered printer’s 300/600 and fellow magician. Lacking key. Dunninger’s note, dated
annotations and stamps. Artist’s name identified on verso. 10 1965, reads: “This pr. of handcuffs I present to my friend Rossi
x 13". Old central vertical fold. / they belonged to Harry Houdini / Dunninger.”
1,000/2,000 2,500/5,000
65
69
68
FROM THE HOUDINI-WRESCH

COLLECTION 70

HOUDINI-OWNED BRASS KEY.
HOUDINI-WRESCH COLLECTION.
Oversize vintage brass skeleton key, the handle stamped “Alex.
VA 1814.” Length 5 11/16". With a COA from Joseph Tanner, 69. HOUDINI, HARRY (EHRICH WEISZ). 70. HOUDINI, HARRY (EHRICH WEISZ).
former owner, and copies of documents related to the Houdini- HOUDINI-WRESCH COLLECTION TOWER SINGLE LOCK HOUDINI-WRESCH COLLECTION
Wresch collection. HANDCUFFS. GIMMICKED PEERLESS 1915 HANDCUFFS.
500/1,000
Circa 1915. Sturdy handcuffs with three central connecting Circa 1915. Gimmicked handcuffs modified to allow for a quick
links of chain. Length 8 ¾". With key. With a COA from Joseph release without use of the key, meant for use by an escape
68. HOUDINI, HARRY (EHRICH WEISZ). Tanner, former owner, describing the cuffs in minute detail, and artist. Length 9". Lacks key. An inventory number has been
HOUDINI-OWNED RUSSIAN SCANDI TRIANGULAR copies of documents related to the Houdini-Wresch collection. scratched on to the surface of one cuff. With a COA from
PADLOCK AND KEY. HOUDINI-WRESCH COLLECTION. 2,000/4,000 Joseph Tanner, former owner, and copies of documents related
Circa 1870. With text in Cyrillic on the shackle. Key an extremely to the Houdini-Wresch collection.
tight fit, and a few spots of clipping and wear. Approximately 2,000/4,000
4 ½ x 3 ½". With a COA from Joseph Tanner, former owner, and Houdini’s brother, Hardeen, sold a large assortment of his
copies of documents related to the Houdini-Wresch collection. brother’s handcuffs and leg irons to A. Nugent, Jr., later dubbing
1,000/2,000 the collection “The greatest hand-cuff and leg iron collection in
the world.” In October of 1954, Nugent’s collection was sold to
Richard Wresch, who exhibited the collection frequently, and
67
authored the scarce booklet, “The Great Houdini Handcuffs
and Legiron” in 1961. The Houdini-Wresch collection was sold
by the Wresch family in 1993 Joseph Tanner and his partner,
who then resold the cuffs, locks, and restraints to a wide range
of collectors, including the present consignor.
71. JARRETT, GUY. 72. KELLAR, HARRY (HEINRICH KELLER).
TWO-PAGE TLS BY ILLUSION DESIGNER GUY JARRETT. KELLAR.
Dated June 12, 1962, Jarrett writes to Dr. Morris N. Young, noted magic collector and author, stating “I Cincinnati: Strobridge Litho, ca. 1896. One-sheet stone lithograph pictures Kellar with a large skullcap-
have been out of touch for so long that [magic] seems to be another world to me…” and discusses his clad demon whispering in his ear, and surrounded by owls, bats, and demons amidst vignettes from his
fabled book at length, admitting that he no longer owned a copy himself (“…now I want to get a copy…”) show: the Levitation of Princess Karnak, Eva Kellar performing lightning calculations while blindfolded,
and describing his limited interactions with the magic community (“I drop in to Joe Bergs in Hollywood and the Queen of the Roses. Framed to an overall size of 42 x 31 ½". Visible folds and over-coloring;
two or three times a year”). Jarrett reminisces about Harry Blackstone in his “vodvil days,” his time at not examined out of frame. Rare.
Clyde Powers’ shop, early encounters with John Mulholland and a Sphinx story about Jarrett. Together 8,000/12,000
with the carbon reply (proposing a reprint of Jarrett’s book), original mailing cover and a photograph of Printed at the height of Kellar’s popularity during his twelve-year reign as the most successful and
Jarrett executing a headstand in a fifty-foot-tall tree, on the ground, and upside down on parallel bars accomplished magician in America, this poster evokes scenes of his show, but also alludes to a theme
he calls “special equipment for children” he’d constructed. Signed “Guy Jarrett” in ink. Rare. common in many other images created by Strobridge for the great magician: the aid of nefarious
1,000/2,000 forces. The smoldering cauldron, whispering imps, and all-knowing owls that help fill out the scene
Jarrett (1881 – 1972) was responsible for several revolutionary ideas in stage magic, constructed all contribute to what many consider an iconic image. In fact, this poster was chosen as the cover to
effects for Broadway shows and many famous magicians, and authored a now-legendary book in the monumental Taschen publication Magic. 1400s – 1950s by Ricky Jay, Mike Caveney, and Jim
1936 that described his ideas and experiences. Jarrett wrote the book as he set the type and printed Steinmeyer.
the individual pages; by the time this letter was written, he states that one collector he knew “wouldn’t
sell [his copy] for 100 [dollars].”
74. KELLAR, HARRY (HEINRICH KELLER).
HARRY KELLAR’S 1886-87 SCRAPBOOK.
Clothbound album decoratively stamped in blind, gilt, and color,
comprised of 75 pages filled with programs, press notices and
newspaper clippings, theater diagrams, and magazine stories
describing, reviewing, and explaining the shows of Kellar on
his American tour over the course of the season. One bi-fold
program heralds the act of D’Alvini, the “Jap of Japs” as a
feature in the show, and a letterpress advertisement pasted
73. KELLAR, HARRY (HEINRICH KELLER). inside the rear cover notes that “Eva A. Hewitt” (Mrs. Kellar)
KELLAR THE GREAT MAGICIAN. will perform a cornet solo in Kellar’s show. Several notations
Cincinnati – New York: Strobridge Litho. Co., 1894. Handsome half-length portrait of the famous in ink pepper the pages, some of these in Kellar’s own hand.
American magician with two imps perched on his shoulders, text below the white tie and black coat he Binding rubbed, scuffed, and worn especially at extremities,
wears. Handsomely framed to 48 x 37 ¾". Minor expert restoration to tear in image; A-. Linen backed. but sturdy, and with contents exceptionally clean and well-
A rare variant printing of this classic magic poster. preserved. A significant document chronicling one of the great
6,000/12,000 stage magicians of the art’s golden age.
While the origin of the “imps on the shoulders” motif is not entirely clear – was the concept developed 3,000/6,000
by Kellar, by the artists he worked with at Strobridge, or by some combination of the two? – there is Touring abroad was where Kellar met with his initial success,
no question that the final product was the first poster to use what has become a genre-setting trend and it was undoubtedly the death of his chief rival Alexander
popular even in modern times. Many examples of the classic “imps portrait” in the smaller half-sheet Herrmann that opened the door to his ascendance to the role as
size have survived the years, and remain popular with collectors. Fewer examples of the one-sheet America’s best-known magician, the reviews in this scrapbook
version of the image exist, and even fewer still – perhaps three or four - exist of the variant offered make plain that the illusionist from Erie, Pennsylvania was just
here, which uses a different combination of colors and lettering to create a perhaps subtler effect than as content to play the theaters of Aurora, Illinois, Wilmington,
the version most magicians are now familiar with. Delaware, and Keokuk, Iowa, receiving almost universal
acclaim in each venue.
76. LAFAYETTE (SIGMUND NEUBERGER).
LAFAYETTE EMPIRE THEATRE BROADSIDE.
Edinburgh: Ewen & Co., Printers, 1911. Two-color
broadside on green stock, advertising Lafayette’s
performances for the week of May 1, 1911 – just
days before his life would be claimed by a fatal fire
that destroyed the Empire Theatre. Descriptive
text surrounding a large text medallion advertising
Lafayette’s show, with a list of supporting variety
artists below. 25 x 13". Splitting at old folds, tiny chips
and short closed tears to perimeter; laid down. Old
rubber stamp to recto. One of but a handful of posters
from Lafayatte’s final and fateful performances
known to have survived. A true rarity.
5,000/10,000
Lafayette was among the highest-paid variety artists
of his generation. His act combined magic tricks
with quick change routines and impersonations of
famous figures of the era. On May 9, 1911 during his
performance of his Lion’s Bride illusion at the Empire
Theatre Edinburgh, a lantern fell to the stage and
ignited a blaze that would consume the structure along
with several of the animals and people performing on
its stage. Lafayette managed to survive the blaze,
but when he rushed back into the building to save
his horse, he was killed. A body presumed to be the
illusionist was discovered and sent to Glasgow for
cremation but was later determined to be Lafayette’s
double. Once Lafayette’s body was found, and after
a funeral procession through the streets of the city
75. LAFAYETTE (SIGMUND NEUBERGER). attended by a reported 250,000 mourners, his ashes
THE GREAT LAFAYETTE AUTOGRAPH LETTER. were interred in an urn in the same tiny coffin as his
[London], ca. 1910. On two sheets of Lafayette’s embossed notepaper with the rubber-stamped beloved dog, Beauty, who had died a few days prior
address of Lafayette’s home at 55 Tavistock Square, and addressed to a Sir (likely theater manager J.F. to the fire. Said to be Lafayette’s constant companion
Elliston) relating to upcoming performances. It reads, in part, “I don’t know if I have a date with you…if and perhaps his one true friend, Beauty was gifted to
I do when it is – it’s immaterial to me but I would like to know. … I am in the dark.” Boldly signed in ink, him by Harry Houdini. A plaque beside the front door
“Very truly yours, The Great Lafayette.” Each sheet 7 ¼ x 5 ½". Mailing folds, pinholes. of Lafayette’s New York Greystone read, “The more I
1,500/2,500 see of man, the more I love my dog.”
78
77. LAURANT, EUGENE (EUGENE GREENLEAF).

MAGICIAN EUGENE LAURANT’S THEATRICAL SCRAPBOOKS. 78. LEVANTE, LES (LESLIE GEORGE COLE).
Kept by the famed American magician, two of the three albums chronicle the years 1896 - 1906, and THE GREAT LEVANTE’S £1000 STEEL TRUNK MYSTERY.
feature, among other ephemera, a program from his first performance as a boy magician, numerous Circa 1930. Massive and heavy steel trunk owned and featured
handbills, vaudeville programs, pictorial brochures, and hundreds of newspaper and magazine by Australian illusionist Les Levante in his illusion show for
clippings, filling many pages to nearly overflowing. The first album bound in textured calf, the cover gilt decades. In effect, Levante changed places in mere seconds
stamped with Laurant’s name, the second bound in black cloth. Many inked annotations by Laurant or with an assistant who had been bound inside a bag locked
his wife appear adjacent to the material pasted down, and several typed or handwritten notes in the inside the trunk by a committee from the audience – which had
second book, by Laurant himself, record personal anecdotes from early in his career, in preparation thoroughly examined the box as the proceedings commenced.
for a book he planned to write but did not complete. The third album, from later in Laurant’s career, 30 x 36 ½ x 29 ¼". Sold with a small group of documents
includes letters of endorsement, pictorial brochures, newspaper clippings, and other ephemera relating to the history and use of the trunk by Levante and,
related to his school shows and other post-Chautauqua performances in the late 1920s and early later, British illusionist Jeffrey Atkins; a pencil sketch, possibly
1930s. Over 250 pages in all, containing thousands of individual items. A remarkable and personal by Levante, explaining the gaff; and the tool used to operate it.
chronicle of one of the best-known and most successful magicians in his field. Third-party transportation required.
2,500/5,000 3,000/6,000
Eugene Laurant scored his biggest artistic successes on the rural entertainment circuits known as
Chautauqua and Lyceum. Beginning in 1896, as the records in these books show, he steadily worked
79. LEVANTE, LES (LESLIE COLE).
his way across the country with a magic show that was ever-evolving. Performing under the auspices
THE GREAT LEVANTE. STEEL TRUNK MYSTERY.
of the famed Redpath Bureau, among others, he crisscrossed the country for decades developing
a trademark style and feature effects including the Sands of the Desert and a unique Linking Ring Burnley, Lancashire: Central Printing Co. (Chas. Snowden),
routine. (So strong were his versions of these effects that Laurant’s routines were described in the ca. 1935. Pictorial offset three-sheet poster advertising the
now-classic books Greater Magic and The Tarbell Course in Magic, respectively.) These scrapbooks magician and his substitution trunk illusion offered as the
record many of the earliest incidents in his professional life, and show, through images and words previous lot. Approx. 87 x 40". Folded in sheets as issued. A
alike, his rise to prominence as the “Man of Many Mysteries.” few tiny chips in margins; A.
150/300 79
81
80. LEROY, SERVAIS (JEAN HENRI SERVAIS LEROY).

CABINET CARD PORTRAIT OF A YOUTHFUL SERVAIS LEROY.
New York: De Youngs’, ca. 1900. Full-length portrait of the
great and inventive Belgian conjurer producing a nearly
endless stream of playing cards, both standard and giant,
80 from the clothes of a spectator seated before him. Embossed
photographer’s mount stamped in gilt. 7 ¼ x 5 ¼". Near fine.
Rare.
800/1,600
81. LEROY, SERVAIS (JEAN HENRI SERVAIS LEROY).

PROGRAM FOR SERVAIS LEROY’S FINAL PERFORMANCE.
New York, 1940. Four-page program for LeRoy’s final stage
performance held at the Heckscher Theater on June 6, 1940
under the auspices of Sam Margules. Twenty-six part program 83 84
in three parts. Black ink on light blue stock. 8vo. Mild toning;
very good. 83. LEROY, SERVAIS (JEAN HENRI SERVAIS LEROY). 84. OKITO (TOBIAS BAMBERG).
50/150 CARD MOURNING TALMA’S DEATH, IMPORTANT THREE-PAGE TLS
Considered a nightmarish disaster, this performance was WRITTEN BY HER HUSBAND SERVAIS LEROY. FROM OKITO TO GEORGE JENNESS.
conceived as a way for LeRoy to bask in the glow of approval
from his peers at the sunset of his career. The result was ANS in the form of a black-bordered mourning card, the recto Dated June 4, 1921 and typed on three sheets of Okito’s
anything but glorious. According to Jean Hugard, “…the thing letterpress printed with text regarding “your kind expression of engraved letterhead, the famous Dutch conjurer writes to
was a tragedy to those who had known LeRoy as a really great sympathy,” and the verso filled with pencil text in LeRoy’s hand, Jenness in great detail regarding his family history, and his
magician and a cause for jeers from those who had never seen stating, in part: “My life sweetheart passed away last Thursday own personal accomplishments as a performer and builder of
him. A sad close to a great career in magic.” Margules closed week 13th July [1944] 10:50 pm… AMEN …” and initialed magic apparatus. Okito relates information regarding his work
the curtain on LeRoy long before he could finish the program. “SLR.” 2 ½ x 6 ½". One old fold. for Dutch royalty, that his eighteen-year-old son, David, is “now
250/500 performing in The States,” and goes on at length regarding
Talma predeceased LeRoy by nine years, in the midst of the “The best Chinese Magician in China…Ching-Ling Foo…”
82. TALMA (MARY ANN FORD). last and saddest years of his life. Long retired from the stage who “said to me…that he considered the white man as the
CABINET CARD PORTRAIT OF MERCEDES TALMA, (his last show was an ill-fated attempt at reliving past glories Greatest Masters of Magic. That their repertoire and versatility
QUEEN OF COINS. before an audience of his peers at the Hecksher Theatre in surpasses every other nation on the face of the earth.” Okito
Breslau: Paul Fischer, ca. 1905. Three-quarter length portrait 1940 – see previous lot) the LeRoys lived out their final days also describes his bowl of water production: “…I produce the
of the magician famous for her version of the Miser’s Dream, in Keansburg, New Jersey. After Talma’s passing, the Belgian bowl of water in the most shortest time, ever produced by any
and one of the integral players in the Comedians de Mephisto illusionist and inventor scrapped his illusions, becoming a race. This was acknowledged as well by Houdini.” He goes
Co., alongside her husband, Servais LeRoy, and the comedy relative recluse until his death in 1953. on to pose a challenge regarding the bowl production at the
82
magician Bosco. Printed photographer’s mount, 6 ½ x 4 ¼". conclusion of the letter. Three 4to sheets with old mailing folds,

Tiny bump to lower edge. Uncommon. tiny chips and wear. Boldly signed “Theo Okito.”
500/1,000 800/1,200
ROBERT-HOUDIN’S INSPIRATION
86. [LACOMBE, JACQUES]

DICTIONNAIRE ENCYCLOPEDIQUE DES AMUSEMENTS DES
SCIENCES, MATHEMATIQUES ET PHYSIQUES.
Paris: Chez Panckoucke, 1792. Two volumes in one; marbled
boards over banded leather spine with gilt titling in upper
UNPUBLISHED MANUSCRIPT REGARDING
compartment, and matching corners. Marbled endsheets with
THE HISTORY OF THE BAMBERG FAMILY
matching marbled edges and ribbon page marker. 4to. Ex-libris
85. [OKITO] OEDER, GUSTAV. F. William Keuthe. Scattered light foxing and chips to pages
DIE ZAUBERKÜNSTLER-FAMILIEN BAMBERG UND UFER. and minor points of wear at extremities, but overall a bright,
square, clean and near-fine example of this classic work.
[Dresden]: author, 1951. Marbled boards with corner tabs, tipped-in photographs of Okito and Alfredo
1,500/2,500
Uferini. Nineteen leaves, rectos only, and including a history of the Bamberg family, the Uferini family,
It is said that from a copy of this treatise - given to him by
and a description of Okito and Alfredo Uferini’s programs. German. Inscribed and signed on the title
mistake in his formative years – Jean Eugene Robert-Houdin
page by Okito, and with a typed postcard signed by Okito laid in describing the manuscript. Believed to
first learned the principles of conjuring. The book explains
be one of fewer than six examples.
and illustrates many of the principles and scientific methods
1,000/2,000
that would play an important role in the “father of modern
Okito’s card states that the manuscript describes “my successes and repertoire during my professional
magic’s” later life, including sleight-of-hand techniques as well
career in Germany.” This is the only example of this manuscript we have encountered.
as the working of various magnetic devices, automatons, and
mechanical contrivances which would feature prominently in
his career before the public.
87
87. ROBERT-HOUDIN, JEAN EUGENE.

MEMOIRS OF ROBERT-HOUDIN.
London: Chapman and Hall, 1859. First English Edition of
this classic autobiography of the “father of modern magic.”
Two volumes in matching dark blue publisher’s embossed
cloth, spines stamped in gilt. 8vo. General wear and rubbing
to bindings, corner bumps, but contents clean. Bookplates
of Ray Goulet in each volume, old ownership signatures on
pastedowns. Toole Stott 602.
800/1,200
88. [ROBERT-HOUDIN] DANTAN, JEAN-PIERRE (DANTAN

THE YOUNGER).
89. ROBERT-HOUDIN GLASS DIAL MYSTERY CLOCK.
PORTRAIT OF JEAN EUGENE ROBERT-HOUDIN.
Second series mystery clock with an arrow-shaped
Paris, ca. 1848. Fine half-length lithographed profile portrait of
hand resting at the center of a clear glass dial,
the famed French conjurer, holding a cup with dominoes in one
supported by a gilded bezel. The dial supported by
hand, a stack of dominoes in the other, and with a gibecière
ornamental gilt brass elements, all but separating it
around his waist into which other dominoes fall. Sold with
from the body of the timepiece, thus creating a mystery
the printed poem that accompanied the portrait in the Album
as to its operation. The case itself rests upon a gilt
des Dominotiers, a privately printed work (said to have been
wooden base the upper portion covered in pink plush.
produced in an edition of 70 copies, for club members only)
Diameter of dial 5". Height, including wooden base,
from which the image was extracted. Approx. 14 x 11". Tiny
16 ¼". With key. Clock runs and chimes, but
holes in margin, else very good. A crisp and bright impression.
professional service is suggested.
Said to be one of the earliest portraits of Robert-Houdin. Rare.
5,000/10,000
88 2,000/4,000
Le Club du Domino, founded in 1838, was an exclusive
association of well-known Frenchmen from the worlds of
politics, literature, and the arts. Both Dantan the Younger and
Robert-Houdin were members. See Fechner, The Magic of
Robert-Houdin (2002), Vol. 1, page 325.
91. ROGERS, JOHN (AMERICAN, 1829 – 1904).
THE TRAVELING MAGICIAN.
New York, 1878. Fine plaster sculpture showing an itinerant magician performing for three children. He
produces a rabbit from his hat, while a secret assistant holds a pigeon behind the table, in readiness
90. [ROBERT-HOUDIN] THEATRE ROBERT-HOUDIN. for the next trick. 15 x 15 ½ x 23". Tiny chips and wear around base, but professionally restored and
LES FANTOCHES ARTISTIQUES. MR. DICKSONN. repainted to very good condition.
2,500/5,000
Paris: Ch. Levy, ca. 1870. Lively color lithograph depicts Dicksonn surrounded by variety artists: slack
Rogers’ slice-of-life sculpted scenes gained great popularity with the burgeoning ranks of middle-
wire walkers, clowns, puppets, and a decapitated dancing skeleton. 22 ⅜ x 16 ¼". Tiny repairs at
class American homeowners of the Victorian era. At the height of their popularity, more than 80
corners. Linen backed. A.
different “groups” were available. The Traveling Magician is perhaps the most sought-after of the
2,000/4,000
Rogers groups, the sculpture showcasing not only the trademark rabbit-from-hat trick, but all at once
the astonishment, wonder, and boredom experienced by the spectators watching “Mons. Cheatum’s”
performance, and at the same time allowing viewers a behind-the-scenes view of how – apparently –
the magician’s feats were secretly accomplished.
92
94
93
95
92. BRODIEN, MARSHALL. 93. JENNINGS, LARRY.

MARSHALL BRODIEN’S CUPS AND BALLS. LARRY JENNINGS’ CHOP CUP.
New Haven: Petrie & Lewis (P&L), ca. 1940. Heavily-used and Hollywood: Exacto Magic, 1960s. Spun aluminum, with two 94. PLATT, JOHN. 95. CLINGO BILLIARD BALLS.
battered set of three plated cups owned and used for decades final load balls, red carrying bag, shot glass, and two red silk JOHNNY PLATT’S OWN INDIAN CUPS AND BALLS AND
by Chicago hypnotist, magician, sideshow talker, and magician Los Angeles: F.G. Thayer, Ca. 1930. Set of three white billiard
handkerchiefs. Height of cup 3". Shows wear from use. The COSTUME.
Marshall Brodien. Sold together with two inscribed and signed balls and matching shell for the classic manipulative trick.
very cup Jennings used in his trademark performance for
photographs of Brodien (one as Wizzo the Wizard, his character A set of three turned wooden cups lacquered in three colors, Accompanied by a Clingo Silk to Ball gimmick. Shell 1 ⅝". Paint
decades.
on the Bozo Show), a set of his TV Magic Cups signed on one together with Tayade-made magic wand, metal loading device, worn on one ball, else very good. Scarce.
1,500/2,500
panel of the box by Brodien, and a circa 1980 studio photo of cork balls, and bag. Accompanied by the embroidered white 800/1,200
Jennings’ routine for the Chop Cup was widely acknowledged
the TV Magic Cups. and black robe and fez worn by Platt when performing his Each set of Clingo balls was turned by Floyd Thayer himself. The
as a clever and deceptive step forward in the handling of this
400/800 version of the venerable Cups and Balls routine, a photo of concentrically scored pattern, approximating the appearance
popular trick. This cup, obtained from Jennings’ family, is one
Arguably responsible for selling more magic than any other Platt wearing the robe, and a vintage Platt business card with of a golf ball, is one that no other wood turner in magic has
of the first Chop Cups to be mass marketed to magicians, and
figure in history, Brodien revolutionized the way magic was his Chicago address and a caricature depicting Platt wearing been able to duplicate exactly. These scored lines allowed
was sold under the title of the “Master Cup Jr.” These cups
merchandised when he struck on the idea of pitching Svengali his trademark fez. Owned and used by Johnny Platt. the performer a surer grip on the spheres as they multiplied
were manufactured by Al Wheatley, who is credited with the
Decks on television. TV Magic Cards were introduced in the 1,000/1,500 between his fingers.
invention of the trick, and sold by Joe Berg. Jennings learned
1970s, and the ensuing years led Brodien to sell over eight A Chicago stalwart and bar magician of the old school, Platt
the rudiments of his Chop Cup routine from his friend Ron
million decks. Follow-up products included hundreds of (1903 – 1990) made a regular feature of the Cups and
Wilson.
different Brodien-branded magic sets and tricks, including Balls. While he used traditional sets of metal cups, it was his
and TV Magic Cups. Even while pitching magic on television, presentation and use of a “Hindu” version of the feat that
Brodien led a long and prosperous performing career, starting made the biggest mark. In later years, he marketed and sold
out on the sideshow at Chicago’s Riverview amusement park, a limited number of these wooden cup sets (with the special
later working industrial shows and appearing on television for balls and loading device) which are, in their own right, coveted
decades. The Cups and Balls were a regular part of his act, as collector’s items. Included with this set is a copy of the Tayade
the wear and tear on this set plainly shows. instructions, crediting the routining of the trick to Platt.
97
98
96. J.K. BÖHMLÄNDER MAGIC SET. 97. H. H. HELLER’S CONJURER’S CABINET NO. 2 MAGIC SET. 98. T. DOWNES MAGIC SET.
Nuremberg, ca. 1850. Magnificent and early kit made up of primarily wood-turned magic tricks, New York, ca. 1880. Attractive kit includes well-made wooden London, ca. 1880. Fine and elaborate early British conjuring
including two Egg Transposition Vases, Millet Bell (with often-missing bag), Rattle Vase, Magic Awl, props: Egg Vase, Marble Vase (with two large marbles), Coin set filled with turned wooden tricks, miniature cards, and brass
Barrel Puzzle (possibly a later addition), Ball Vase, large and small Coin Vases, a metal Magic Funnel, Vanishing Box (with gimmicked two-cent coin), and ring box; apparatus for a wide range of classic effects. Included are
paper Troublewit, and other tricks. With original broadsheet of instructions, in three languages. In as well as a Shower of Sweets gimmick, flap Card Box, and large and well-made marble and ball vases, a large boxwood
a sturdy wooden paper covered box with lithographed label depicting a child conjurer before an Finger Through Hat. Sturdy marbled paper box with letterpress Skittle trick, magic wand, puzzle barrels, a Divination Bottle,
audience, and behind him many of the props inside the box. Rippling and wear to paper cover, one printed one-color label to lid. 10 ½ x 7 x 2 ½". Several original coin boxes, a Devil’s Coin Bank, Cap and Pence with swiveling
panel of lid loose, one inked note to label. Props in near-fine, unused condition. 14 ⅝ x 8 ½ x 3 ½". instruction slips for individual tricks bearing Heller’s name stack, and more. Instruction sheet describes methods for four
Perhaps the earliest and finest magic set we have offered at auction. included. An early American magic set and the first example or five effects and identifies the manufacturer. Plain paper box
3,000/6,000 we have encountered. Rare. 13 ½ x 8 ½ x 2 ¼" well preserved. Lid of one trick lacking, a
Sold together with a facsimile of Böhmländer’s price list, circa 1840, and correspondence documenting 800/1,200 few elements possibly added later, and internal wear to paper
the history of the set and Böhmländer’s prominence as a “master woodturner” and the various magic compartments, but overall an exceedingly handsome and well-
tricks and sets he offered from his Nuremberg factory. preserved magic set of the Victorian era.
1,500/2,500
99
101
101. TARBELL, HARLAN.

HARLAN TARBELL’S FLOWERPOT CUPS AND BALLS.
Elmhurst, IL: Harlan Tarbell, ca. 1940. Set of three large plastic
flowerpots, one cleverly gimmicked, for Tarbell’s own use in a
stage version of the Cups and Balls, in which oranges were
used in place of the balls, and at the conclusion, a cantaloupe
appeared unexpectedly. One flowerpot gimmicked; each
100
flowerpot marked with two adhesive stickers on opposite sides.
Height 5 ½". One closed crack, general wear; good. With a
note in Jay Marshall’s hand attesting to the provenance of the
99. SLYDINI (QUINTINO MARUCCI). 100. STEBBINS, SI (WILLIAM HENRY COFFRIN). flowerpots. Owned and used by Harlan Tarbell.
SLYDINI’S OWN CUPS AND BALLS SET. IMPORTANT ARCHIVE OF SI STEBBINS EPHEMERA, NOTES, 500/1,000
AND PUBLICATIONS. Tarbell’s routine using these props is described in Vol. 6 of
Brooklyn: Connie Haden, ca. 1960. Set of three finely spun
his famous Course, pages 48-56. The gimmicked flowerpot
silver cups for the ancient magic trick in which the balls appear, 1900s – 40s. Including twelve pages of manuscript notes
included here is substantially different in operation than the
vanish, transpose, and multiply. With four crocheted balls and related to Stebbins’ life and his card system, in the hand of Jay
model described in the Course.
two final load balls crafted by the mother of Bob White, noted Marshall, who met Stebbins in Milwaukee in 1947; newspaper
Texas sleight-of-hand and school show magician. Height of stories related to Stebbins nightclub work, a program for the
cups 3". Owned by Tony Slydini, Michael Skinner, Roger Klause, 1945 Stebbins testimonial, a Stebbins blotter, table tent, nine 102. THURSTON, HOWARD.
and Bill Palmer. different editions of the vest-pocket booklet explaining his EARLY THURSTON THROW-OUT CARD.
1,500/2,500 card system (one with a lengthy inscription and signature by London, ca. 1903. Central portrait of a youthful Thurston on
This set appears to be of the popular Paul Fox design, but was Stebbins), and a portrait of Stebbins out of costume with a the recto, surrounded by advertising text (No cards SAIL like
in fact spun by Brooklyn magic builder Connie Haden, best lengthy inscription on the verso to Jay Marshall. A unique and ‘Squeezers.’); blue floral-pattern squeezer back. Old central
known as a maker of gimmicked coins, as well as Channing significant archive related to “Barnum’s Celebrated Rube.” fold, scrapbook wear to verso. Rare; the first example we
Pollock’s Vanishing Bird Cage. Originally intended to be 800/1,500 have seen.
marketed as “The Slydini Cups” by Tannen’s, this first set was 800/1,200 102
gifted to Slydini. But the cups were never endorsed by Slydini, Issued during Thurston’s first triumphant run in England as
who did not perform the Cups and Balls. As such, Slydini gave the celebrated card manipulator, and advertising his seminal
the set to Michael Skinner, who later gifted them to his friend book, Thurston’s Card Tricks, offered for sale “at the STAGE
Roger Klause. Only a handful of sets were manufactured. DOOR and by Mudie & Sons.”
103 105
103. THURSTON, HOWARD. THE MAN WHO FOOLED HOUDINI

PRINTED MENU FOR I.B.M. RING #1
THURSTON BANQUET, SIGNED. 106. VERNON, DAI
For the evening of March 15, 1930, and picturing Jane (DAVID FREDERICK WINGFIELD VERNER).
Thurston, Howard Thurston, and his wife Leotha. Signed in THREE SOUVENIRS OF THE
ink and pencil by Jane Thurston, Howard Thurston, Leotha NIGHT DAI VERNON FOOLED HOUDINI.
Thurston, Jackie Dower and Iris Dobb (the latter two inside Chicago, 1922. The first a panoramic banquet photograph
separate lipstick kiss marks, one with a lengthy inscription), captioned, “Banquet in Honor of Houdini given by Chicago
and Harry D. Harris. Faint corner creases; very good. Assembly Society of American Magicians Ass’n. Great Northern
300/600 Hotel Feb 6. 1922.” Pictured at large banquet tables in the
Thurston’s annual tours of America – sometimes billed as “a hotel ballroom are Houdini, Russel Walsh, Harlan Tarbell, Dr.
national necessity,” almost always included stops in St. Louis. A.M. Wilson, Eddie McLaughlin, a young Laurie Ireland, Sam
Margules, and Dai Vernon. Considerably chipped, torn, and
104. THURSTON, HOWARD. with small losses, but professionally repaired and laid down
PORTRAIT OF THURSTON AND DORNY, to archival board. 10 ¾ x 17 ¾". The second object a ticket on
INSCRIBED AND SIGNED. pale green card stock printed in black ink, with the number 419
overprinted in red ink, giving the bearer entry to the event; and
Dated Feb. 1, 1933 in Thurston’s hand. A three-quarter length
the third item a one-page form letter signed by the secretary
portrait of the two men, both dressed in suits and ties likely
taken at the 1928 I.B.M. Convention in Kenton, Ohio. 8 x of the Chicago S.A.M. assembly inviting the recipient to the
10". With a lengthy and humorous inscription by Thurston to Houdini Night banquet. The former rubbed, and the latter with
Dorny in the upper right: “For my best and true friend / Howard old folds, but both in good condition overall.
Thurston / Some say I expect him / to be my successor / 2,000/4,000
Howard Thurston / I wrote the / above just / to make him / These ephemeral items chronicle a night that looms large in
feel important / Feb. 1/33.” Minor edgewear and chipping, the history of conjuring, and one that helped set the seal on
scrapbook remnants to verso. Vernon’s status as one of the world’s leading exponents of
400/600 sleight-of-hand. It was at this banquet that Vernon earned the
moniker that would serve him in great stead: “The Man Who
105. THURSTON, HOWARD. Fooled Houdini.” The photograph was Vernon's own prized
LOBBY PHOTO OF THURSTON THE MAGICIAN. possession, having been obtained by the consignor from
104
Vernon's family.
Circa 1930. Oversize sepia photo depicts twelve assistants
surrounding the tuxedo-clad illusionist, several of them
emerging from a large cage behind him, while Thurston
holds the hand of his daughter, Jane, who stands before
him. Approximately 10 ½ x 13". Creases and wear. From the
collection of Cecil White, an assistant on the Thurston show.
300/600
109. MINCH, STEPHEN.
THE VERNON CHRONICLES:
THE LOST INNER SECRETS, VOLUMES I - IV.
Tahoma: L&L, 1987/1992. Bound by Thomas Blue in
half calf over gilt-ruled marbled boards, banded spines
with gilt tooled compartments, finished in 14-karat
gold by David Weinstein. The author’s own set, each
volume being number 7 from the “fine press edition,”
of fourteen, having been bound, numbered, and signed
to order for those who directly participated in the
publications. 4tos. Housed in matching marbled cloth
slipcases. Volumes I and II signed by Vernon, Bruce
Cervon, Stephen Minch, and Larry Jennings; Volume
III signed by Minch and Jennings; Volume IV signed
by Minch, and with Blue’s signature at colophon in
each volume. Fine condition. An outstanding example
107 of fine binding for the influential set of books on the
magic and life of Dai Vernon.
2,500/4,500
A candid color photograph of Vernon and an exotic
dancer taken at the Magic Castle in 1986, inscribed
109 and signed by Vernon on the verso to Minch, has been
laid in. An inked notation states that this is one of four
copies of the photograph.
110. BLITZ, ANTONIO.

FIFTY YEARS IN THE MAGIC CIRCLE.
Hartford: Belknap & Bliss, 1871. Orange cloth
decoratively stamped in black and gilt, with steel-
engraved portrait frontispiece and plates. 8vo.
Binding significantly rubbed and front hinge cracked.
With a lengthy inscription on a preliminary blank (now
108 loose) from Frederick Eugene Powell to Oscar S. Teale,
Houdini’s secretary: “Presented to my good friend
Oscar S. Teale Jan 10th 1931 New Haven, Conn. May
107. VERNON, DAI 108. VERNON, DAI he live very many years to read this book. Frederick
(DAVID FREDERICK WINGFIELD VERNER). (DAVID FREDERICK WINGFIELD VERNER). Eugene Powell.” With Powell’s rubber stamp above the
DAI VERNON’S STARS OF MAGIC WAND. DAI VERNON’S PORPER CUPS AND BALLS. inscription, and the bookplates of Teale and Raymond
Goulet on the front pastedown. Toole Stott 100.
Circa 1940. Hardwood wand with bone white tips, owned and California: Porper Originals, ca. 1980. Set of three brass cups,
250/500
used by Dai Vernon, and clearly pictured in the photographs of four crocheted balls, and wooden wand with brass tips, custom
Sales History: Lot 29 of the Christopher Collection
Vernon in Stars of Magic, V6 N1 in his explanation of the Ring made by Joe Porper and presented to Dai Vernon. Housed in a
Auction (Swann Galleries, October 1, 1981).
on Wand effect. Length 15 ½". With a LOA signed by Vernon’s sturdy brass box with brass Vernon “spinning” coin inset in its
son, Derek. lid. Box 9 ¾ x 3 ¾ x 3 ½". Finish of box shows wear, contents
1,500/2,500 near fine.
Vernon’s contributions to Stars of Magic are among the most 1,500/2,500
studied routines in the modern canon of magic tricks. This One of the first sets of cups spun by Porper, who is well
wand was used by The Professor in his explanation of one of known as a manufacturer of fine billiard cues and supplies.
the few non-card and non-coin routines in the series which Provenance: Porper to Vernon; Vernon to Larry Jennings; 110
has been adapted, altered, and refined over the course of the Jennings estate to present owner.
years into a close-up neoclassic.
112
112. ELMSLEY, ALEX.

ALEX ELMSLEY’S HANDWRITTEN MAGIC NOTES.
Ninety-seven loose pages of varying sizes, most filled with
Elmsley’s trademark calligraphic script, in pencil and ink.
Described are many classic Elmsley ideas, among them his
famous Ghost Count (The Elmsley Count, including its history
and variations), Pocketing the Aces, Oil and Water, Mini-Milton,
Serendipity, This Poor Lion (The Christians and the Lions),
Royal Exchange (the title changed from “Royal Command”),
Penetration of Thought, and more. Dozens if not hundreds
of corrections, annotations, and amendments appear
throughout. One portion deals with diagramming false counts
in established “beat” patterns. Four original pen-and-ink
illustrations by Elmsley accompany a typed description of “The
113
THE OTHER DALEY NOTEBOOK Four Card Trick,” his first published use of the count; the pages
include corrections in Elmsley’s hand. In the original mailing
111. DALEY, DR. JACOB. cover (torn) addressed to L&L Publishing and accompanied
by a two-page ALS from Elmsley to publisher Louis Falanga 113. HILLIARD, JOHN NORTHERN.
JACOB DALEY’S SLEIGHT-OF-HAND NOTEBOOK. GREATER MAGIC. [EXPURGATED EDITION].
explaining that the “ancient” notes “…were the results of
New York, 1936 and later. Being a copy of Glenn G. Gravatt’s Second Encyclopedia of Card Tricks Minneapolis: Carl Waring Jones, 1938. One of fifty numbered
earlier attempts on my part to write a book.” Foxing, chips,
(1936) bound in gilt-stamped red cloth owned, used, and kept by Dr. Daley as his private notebook copies in the publisher’s expurgated edition. Red cloth stamped
and small tears especially to larger pages, but overall good to
of magic techniques, sleights, and routines. The versos of some sixty pages being filled with inked in gilt with pictorial dust jacket in three colors (minor rubbing and
very good condition. A remarkable and personal record nearly
and penciled notes on and instructions for many tricks and methods, including Daley’s own Cups and chips). Illustrated. Thick 8vo. Very good. Scarce. Sold with two
entirely in the hand of an influential sleight-of-hand magician
Balls routine, and entries with titles including, “Fake Riffle Force,” “Al Baker’s Indicator Sucker Gag,” variants of the prospectus for the standard edition of the book.
describing his most famous contribution to the cannon of card
“Horowitz Mexican Turn Over,” “Chinese Linking Rings (Blackstone),” “My Own “Jordan” Effect Poker 500/1,000
magic which, in some respects, revolutionized the field.
Deal,” “Everywhere – Nowhere,” “My Great Mental Trick,” and dozens more related to the tricks or After almost a decade of planning and preparation, and the
1,000/2,000
ideas of Dai Vernon (several), Ted Annemann, Jean Hugard, Max Holden, John Mulholland, Arthur death of the author in the midst of the process, Greater Magic
These notes were used as source material for the now-classic
Buckley, Nate Leipzig, S. Leo Horowitz (many), Audley Walsh, and others. Entries vary in length from was released with much fanfare in December of 1938. It
books “The Collected Work of Alex Elmsley” by Stephen Minch.
single lines or aides de memoire to full-page or multi-page step-by-step numbered routines. Several was dubbed an instant classic, and remains one of the best
In the section describing his count, Elmsley writes that after
include crude diagrams. An incomplete index in Daley’s hand appears on one of the final pages; the books in the field. Publisher Carl Waring Jones issued fifty
the method for this now-ubiquitous sleight was first published,
doctor’s signature appears on the front pastedown. copies of this “expurgated” edition, gifting them to friends
“…it spread like smallpox.” However, this sentence has been
2,500/5,000 and colleagues a sort of joke. While the front matter and first
struck through and was not used in the final publication.
An apparently unknown and unpublished trove of sleight-of-hand techniques recorded by Daley during chapter are present in these copies, everything after page 26,
his tenure a member of magic’s “inner circle” during the heady era in which New York served as the excepting the last two leaves, are blank. This in a 1000+ page
hub of magic in America, and Daley counted among his closest friends Dai Vernon, Arthur Finley, tome that was so highly anticipated as to sell out its initial print
Cardini, S. Leo Horowitz, and Charlie Miller. run only a few months after its. release. Undoubtedly those
who received these “gift” copies from Jones were equally
amused and frustrated upon receipt of their books.
115
117
114. HOFFMANN, PROFESSOR. 116. NAUDE, GABRIEL.

MODERN MAGIC. THE HISTORY OF MAGICK. BY WAY OF APOLOGY FOR ALL
London: George Routledge and Sons, 1876. First edition,
THE WISE MEN WHO HAVE UNJUSTLY BEEN REPUTED
first state (black hat, gold cone). Bright red cloth stamped
MAGICIANS, FROM THE CREATION TO THE PRESENT AGE.
in black and gold. Engraved frontispiece behind tissue. With London: Printed for John Streater, 1657. Rebound in full calf,
318 illustrations. Thick 8vo. Hinges cracked, minor rubbing front panel stamped in blind, gilt-stamped ornaments and
to extremities contents sound. Toole-Stott 386. Ex-libris John letterings to spine, with gilt spine labels. 306pp. followed
Henry Grossman, with his notes and a photostat of Hoffmann’s by one leaf of adverts. 8vo. Some contemporary wear and
contract for writing the book laid in. A handsome example of marginal notations and marking, spine sunned, but overall a
the work that revolutionized conjuring literature. bright, clean, and attractive example. Toole Stott 498. Wing
800/1,200 N246.
The first printing of Modern Magic sold briskly – to the 2,000/4,000
surprise of the author and his publisher – with the initial run According to Toole Stott’s conjuring bibliography, this is the
of 2,000 copies being exhausted just six weeks after its initial “rare and only edition in English” of Naude’s book. “It is an
publication. The substantial success of this book ushered in a attack upon belief in witchcraft and sorcery as was Scot’s
new era in conjuring literature that has continued to flourish. [book].”
Few copies of the true first edition of this unarguably important
work have survived the years.
117. PINETTI, JOSEPH.
114 AMUSEMENS PHYSIQUES ET DIFFERENTES
115. HUGARD, JEAN AND FREDERICK BRAUE. EXPERIENCES DIVERTISSANTES. 116
TWO GALLEY PROOFS FOR EXPERT CARD TECHNIQUE. Paris: Chez Hardouin, 1785. Original marbled wrappers
Minneapolis: Carl Waring Jones, 1940. One with corrections in with spine title label hand-lettered (chipped and worn
pencil, presumably by Braue, including indications of pages to at extremities). Engraved frontispiece, two plates. 8vo.
“kill” in the final printed book. Each approximately 450 pages, Minor foxing, soiling, and wear, but well-preserved. Ex-libris
with some chapters staple-bound at corners. Dog-earing and Milbourne Christopher and Baron Horace Landau. Housed in
folds, with tattered pages and general wear. Sold with the a gilt-stamped clamshell box.
original special delivery mailing envelope addressed by Braue 1,200/1,800
to publisher C.W. Jones.
500/1,000
Expert Card Technique is widely regarded as one of the most
influential works on sleight of hand with playing cards in the
modern era.
118. SCOT, REGINALD.
THE DISCOVERY OF WITCHCRAFT.
London: Printed by R.C. and are to be sold by Giles Calvert, dwelling
at the Black Spread Eagle-at the West-end of Pauls, 1651. Second
edition, second issue. Nineteenth century calf, rebacked. Gilt roan
title label in upper compartment of banded and gilt-decorated spine
(well worn). Woodcut illustrations, initials, and tail pieces. Double-
ruled gilt borders to boards, marbled endsheets, gilt turn-ins; binding
signed “J. Larkin.” 4to. Bookplates of Joseph J. Butler and John
Henry Grossman. Title page cropped close, scattered stains, chips,
and wear, with contemporary ink signatures and notes, primarily to 119. THE SPHINX.
blanks. Old tear to Q1 mended, former owner’s bookplate laid down William Hilliar, et al. Monthly. V1 N1 (Mar. 1902) – V52 N1 (Mar., 1953). Complete file. Bound in 22
below it. Margin of Pp2 clipped, grazing text. Rubbing and chips to matching maroon buckram volumes, lettered in gilt. Ex-libris John Henry Grossman, with his bookplate
extremities of binding. Good to very good condition overall. Toole Stott in each volume and his name gilt stamped in gilt on the cover of each volume, and in many cases,
1178. Scarce. retaining his bookmarks used in composing answers in his popular “Ask the Doctor” column for M-U-M
7,000/12,000 magazine. Alfredson/Daily 6420.
While Scot’s book, first published in 1584, is acknowledged as perhaps 2,500/5,000
the most influential work in the English language on the history of Universally regarded as one of the best records of conjuring in the twentieth century, and, thanks
conjuring, only two of its sixteen chapters are dedicated to the to the interests of editor John Mulholland, a rich source of information on magic collecting and the
exposure of and instruction in the methods of “juggling,” as conjuring history of the art.
was called in his day. The large woodcuts of the Decapitation Illusion,
several gimmicked knives, and the “beadstone” trick combined with
apparatus to “draw a cord through your nose” are among the most
famous illustrations in the history of magic. Scot served as a Member
of Parliament, and wrote one of the first practical treatises on the care
of a hop garden.
121
121. IRELAND MAGIC SHOP HAND PAINTED SIGN.

Chicago: Werner Dornfield (Dorny), 1953. Gigantic oil on
canvas hand-painted sign which hung on the back wall
overlooking the showroom of the Ireland Magic Co. of Chicago.
White rabbits and flowers fill the scene, against a background
of purple and orange, intermixed with the name of the storied
magic emporium. Signed and dated by the artist in the lower
right. 26 ½ x 108". One short tear at center, general wear to
extremities, but overall very good condition.
1,000/2,000
This sign hung over the display counter at one of the last
downtown Chicago locations of the Ireland Magic Shop, likely
at 109 N. Dearborn Street. It was owned and operated by
Laurie Ireland and his wife, Frances. Dorny, the artist, is best
120. THE WHOLE ART OF LEGERDEMAIN; OR, THE remembered as a master of ceremonies who performed magic
CONJURER UNMASKED. professionally in vaudeville, and in his golden years served as
Derby: Thomas Richardson, ca. 1830. Original buff printed the Dean of American Magicians. In 1963, the Ireland Magic
wrappers, remarkably well-preserved. Engraved folding Co. moved permanently to Chicago’s north side and was
frontispiece depicting a flamboyantly dressed conjuror flanked renamed Magic, Incorporated.
by a demon and a coiled snake. 1 leaf, p. [1 - 4], 5—24. 12mo.
A near fine copy with only minor chips to the wrappers at head 122. LAVAND, RENE.
and spine. Housed in a blue cloth drop spine box, the spine RENE LAVAND’S BREAD CRUMBS.
titled in gilt. Toole Stott 718.
2,000/4,000 Four hand-formed bread crumbs used in Lavand’s famous
routine “The Three Breadcrumbs,” in which one of three balls,
when placed in Lavand’s pocket, reappeared in a demitasse
cup into which the other two were deposited - repeatedly and in 122
an increasingly baffling manner. At the conclusion of the trick, all
three bread crumbs vanished, leaving the cup empty. Obtained
by the consignor directly from Lavand in the course of preparing
a book on Lavand’s magic, and accompanied by an LOA. Sold
with a small porcelain statuette, gifted to the consignor by
Lavand, depicting a gnome holding a bread crumb.
100/200
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deemed to have been made in full until we have collected funds represented by checks,
or in the case of bank or cashier’s checks, we have confirmed their authenticity; (6) to Contents copyright © 2021 by Potter & Potter Auctions, Inc.
offset against any amount owed; (7) to not allow any bids at any upcoming auction by
or on behalf of the buyer; (8)to take other action as we find necessary or appropriate. All rights reserved. No part of this publication may be reproduced or transmitted
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86 SELECT SECRETS • RARE & IMPORTANT MAGICANA

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SELECT SECRETS

RARE & IMPORTANT MAGICANA • FEBRUARY 27, 2021

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Potter & Potter Auctions, Inc.

2 SELECT SECRETS • RARE & IMPORTANT MAGICANA

POTTER & POTTER AUCTIONS • FEBRUARY 27, 2021 3

2. ALEXANDER (CLAUDE ALEXANDER CONLIN).

8. ANDERSON, JOHN HENRY. 9. ANDERSON, JOHN HENRY.

13. LEIPZIG, NATE (NATHAN LEIPZIGER). 15. [BLACKSTONE] SALLA, SALVATORE.

17. BLACKSTONE, HARRY (HENRY BOUGHTON).

19. SCOTT, WALTER IRVING. 20. CARDINI (RICHARD VALENTINE PITCHFORD).

31. [BABE RUTH] DUNNINGER, JOSEPH.

32. ECK, JOHNNY (JOHN ECKHARDT).

New Haven: Petrie & Lewis (P&L), ca. 1940. Four-door

WATCH THE PROFESSOR! 37. FLOSSO, AL (ALBERT LEVINSON).

40. MARTIN GLASS THROUGH HAT.

43. HENRY, SHELDON SPAR.

46. HERRMANN, ALEXANDER.

47. HERRMANN, ALEXANDER.

61. HOUDINI, HARRY (EHRICH WEISZ).

62. HOUDINI, HARRY (EHRICH WEISZ).

65. HOUDINI, HARRY (EHRICH WEISZ).

FROM THE HOUDINI-WRESCH

67. HOUDINI, HARRY (EHRICH WEISZ).

77. LAURANT, EUGENE (EUGENE GREENLEAF).

80. LEROY, SERVAIS (JEAN HENRI SERVAIS LEROY).

81. LEROY, SERVAIS (JEAN HENRI SERVAIS LEROY).

86. [LACOMBE, JACQUES]

87. ROBERT-HOUDIN, JEAN EUGENE.

88. [ROBERT-HOUDIN] DANTAN, JEAN-PIERRE (DANTAN

92. BRODIEN, MARSHALL. 93. JENNINGS, LARRY.

101. TARBELL, HARLAN.

103. THURSTON, HOWARD. THE MAN WHO FOOLED HOUDINI

110. BLITZ, ANTONIO.

112. ELMSLEY, ALEX.

114. HOFFMANN, PROFESSOR. 116. NAUDE, GABRIEL.

121. IRELAND MAGIC SHOP HAND PAINTED SIGN.

POTTER & POTTER AUCTIONS • FEBRUARY 27, 2021 85

86 SELECT SECRETS • RARE & IMPORTANT MAGICANA

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