Hooker's Impossible Card Rise...A Mystery Then, and Still Today!

"Many an amateur in the New York district conducted private displays for the benefit of the convention delegates last week. Notable among these was Dr. Samuel Cox Hooker of Brooklyn who first produced his Impossibilities and Miltiades III in 1918. At that time he astonished and mystified some of the world's leading magicians. Not until this spring did Dr. Hooker give another demonstration. Eleven years had passed for discussion and theorizing, yet the brotherhood of magicians still found Brother Hooker's thaumaturgy inexplicable.

Ill, Dr. Hooker entrusted last week's performance and his secrets to John Mullholland of Manhattan, brilliant sleight-of-handman, lecturer, student of world-wide magical history. Magician Mullholland was invisibly assisted by Dr. Shirley L. Quimby, apparatus expert, professor of physics at Columbia University. Dr. Hooker's guests were led from his dark panelled home through a small grassy courtyard, into a private chemical laboratory. On the second floor was a tiny impromptu "theatre" which seated about 20 people. The walls were lined with books, many of them on magic.

The apparatus for the Hooker Impossibilities tricks consists of a small metal and glass frame, snugly holding a pack of cards, standing on a tabaret. Any card named by any member of the audience rose from the pack. A glass globe was put over the frame, a deck of cards was provided by a member of the audience, the frame was raised above the tabaret on a book supported by small glass pedestals, the frame was set swinging through the air suspended by two cards—none of these successive changes interfered; the named cards continued to rise. The up-and-down motion of the cards obeyed the indication of the outstretched hand of any member of the audience. Cards rose high above the frame, stood motionless in midair, descended into the frame again. As a finale the entire deck swooped out of the globe-covered frame.

Miltiades III is a teddy bear's head. The eyes roll, the head turns, the head rises in midair. When a member of the audience took a number of cards at random from a deck presented by Magician Mullholland, the jaws of Miltiades III clicked the number of cards before the recipient had counted them himself.

As these two processes were revealed with successive variations, all theories broke down. The end was mystery. An English delegate, entrusted with reporting the Hooker mysteries, said he would not be believed. A U. S. adept told how he had paced the streets, unable to sleep, tortured with speculation. Dr. Hooker will presumably leave his secret to the younger men who already share it, with instructions that they keep it amateur magic, bequeath it in time to other successors. Perhaps the Hooker secret will thus be kept for centuries." (Time Magazine article, 'Merlins' June 10, 1929 issue)

Dr. Hooker's impossible effect is still a mystery to most magicians. The effect was performed for what may only have been the 4th or 5th time in history at the Tenth L.A. Conference on Magic History in November. This biennial event, created by Ricky Jay and Jim Steinmeyer, showcases performances, lectures, and antique collections that would cause anyone interested in magic history (like myself) to drool! You don't just attend: you're invited. And at this year's exclusive event, hundreds watched as John Gaughan performed Hooker's beautiful illusion using the original, 90-year old apparatus!

It would seem that some mysteries are still worth preserving!

(Cover of January 2008 issue of Genii Magazine)

Masters of hyperbole

Connus arrived from Paris in the following spring, and gave, at No. 31, Haymarket, a performance of which I have found no other account than is contained in his advertisements, in which he announced that he would, "by slight of hand, convey his wife, who is five feet eight inches high, under a cup, in the same manner as he would balls; he will also exhibit an infinite number of other tricks too tedious to mention."

Another French conjuror of the period, but who never visited England, was Comte, who was as famous for his ventriloquial powers as for his skill in legerdemain. Many anecdotes are current among continental conjurors of the consternation which Comte created on various occasions by the exercise of his powers as a ventriloquist off the boards. He once overtook near Nevers a man who was beating an overladen ass, and, throwing his voice in the direction of the poor brute's head, reproached the fellow for his cruelty, causing him to stare at the ass for a moment in mingled surprise and awe, and then take to his heels. On another occasion, being in the market-place of Mâcon, he inquired the price of a pig which a peasant woman had for sale, and pronounced it extortionate, a charge which the owner, with much volubility, denied.

"I will ask the pig," said Comte, gravely. "Piggy, is the good woman asking a fair price for you?"

"Too much by half," the pig seemed to reply. I am measled, and she knows it."

The woman gasped and stared, but she was equal to the occasion.

"Oh! the villain," she exclaimed." He has bewitched my pig. Police, seize the sorcerer!"

The bystanders rushed to the spot, but Comte slipped away as quickly as he could, and left the affair to the intelligence of the police.

Another anecdote from the life of Comte tells of a time that he almost didn't get away as easy. On one occasion the possession of this strange power of ventriloquism was the means of saving Comte's life. He was denounced by some ignorant Swiss peasants in the neighbourhood of Friburg as a sorcerer. He was set upon, beaten with sticks, and was about to be thrown into a limekiln when he raised such a horrible yell, which appeared to proceed from the kiln, that the fellows dropped him, and fled precipitately from the spot.

It would seem that conjurers throughout history have allowed their words to speak for them...and pigs.

BARTOLOMEO BOSCO, CONJURER OF THE CUPS

BARTOLOMEO BOSCO(1793-1862)

Harry Houdini once said that he did not consider a man a true magician who could not skillfully perform the 'cups and balls' illusion. Many magicians and historians have come to believe that this very illusion dates back to before the time of Christ. Of all of the men who have performed (this author included) this wonderful illusion, probably the greatest of all of them was the great Italian conjurer, Bartolomeo Bosco. Bosco was born in Turin, Italy in 1793 to a noble family. As Napoleon had a knack for 'conscripting' young men into his army, and Bosco was no different and at 19, he became a soldier in Napoleon's army. At the Battle of Borodino, Bosco was wounded and fell upon the ground. The son of the soldier who wounded him began to rifle through Bosco's pockets where, unfortunately for Bosco, he'd hidden his small fortune (consisting of a pocket watch, a keepsake from a female admirer, a tobacco pouch and a small amount of gold). Realizing that the loss would leave him penniless, but also not wishing to actually be killed, Bosco pretended to be dead. Bosco knew that he couldn't lose everything, and having studied the skills of sleight of hand, he put his skills to work and 'pick-pocketed' the wealth of the soldier, which was quite a bit more than he'd lost himself!

After the war, Bartolomeo Bosco became quite famous throughout Europe as a conjurer. He was an incredibly skilled performer with cards and coins, but it was his performance of the 'Cups and Balls' trick for which he became best known. The main premise of the cups and balls trick is this: small balls are caused to vanish and reappear under inverted cups, and the trick usually ends with large fruit appearing under the cups. (For a wonderful example of this classic, click here to see a performance by Michael Vincent.)

The great Robert-Houdin, after having seen a performance of Bosco, wrote a beautiful description: "I entered the little theater and took my seat. According to the idea I had formed of a magician's laboratory, I expected to find myself before a curtain whose large folds, when withdrawn, would display before my dazzled eyes a brilliant stage ornamented with apparatus worthy of the celebrity announced; but my illusions on the subject soon faded away."

"A curtain had been considered superfluous, and the stage was open. Before me was a long three-storied sideboard, entirely covered with black serge. This lugubrious buffet was adorned with a number of wax candles, among which glistened the apparatus. At the topmost point of this strange e'tege're was a death's-head, much surprised, I have no doubt, at finding itself at such a festival, and it quite produced the effect of a funeral service."

"In front of the stage, and near the spectators, was a table covered by a brown cloth, reaching to the ground, on which five brass cups were symmetrically arranged. Finally, above this table hung a copper ball, which strangely excited my curiosity. For the life of me I could not imagine what this was for, so I determined to wait till Bosco came to explain it. The silvery sound of a small bell put an end to my reverie, and Bosco appeared upon the stage."

"The artiste wore a little black velvet jacket, fastened around the waste by a leathern belt of the same color. His sleeves were excessively short, and displayed a handsome arm. He had on loose black trousers, ornamented at the bottom with a ruche of lace, and a large white collar round his neck. This strange attire bore considerable resemblance to the classical costume of the Scapins in our plays."

"After making a majestic bow to his audience, the celebrated conjurer walked silently and with measured steps up to the famous copper ball. After convincing himself it was solidly hung, he took up his wand which he wiped with a white handkerchief, as if to remove any foreign influence: then, with imperturbable gravity, he struck the ball thrice with it, pronouncing, amid the most solemn silence, this imperious sentence: 'Spiriti mei infernali, obedite"

"I, like a simpleton scarce breathed in my expectation of some miraculous result, but it was only an innocent pleasantry: a simple introduction to the performance of the cups."

Bosco died on March 2, 1862.

Mustaches of the 19th Century...

For those who've expressed approbation for my erudite scribblings, I offer the following websites as examples of my liesurely pursuits:

Victorian Grooming

Victorian Magic

Human Marvels

Sawing A Man In Half...

The 1920's were one of the most incredible times for performers in the history of America. Vaudeville was at its zenith and had started the careers of such as Bob Hope, Charlie Chaplin, Harry Houdini, and so many others. One particular performer, whom I'm sure you've never heard of, performed a feat of illusion so realistic and disturbing that it is still remembered today.

"Sawing a Woman in Half" was a very recent invention, having been invented by British magician and illusion creator, P.T Tibbles. Tibbles, who performed under the non-de-plume, Selbit, had first exhibited his creation in England in 1921. In 1923, a little known illusionist and hypnotist, Raja Raboid, created what is still considered to be one of the best versions. Raboid would request the assistance of some man from the audience to come to the stage whereupon he would enter a large wooden box. The general idea was that, once inside, the box and the man would be sawn in two somewhere around the man's waist, the two halves of the box separated to show them separately, then they would be placed back together and the man leaving the box completely restored.

Raboid's version went awry. The young man came to the front and entered the box. The sawing ensued and the two halves of the box were separated for the denouement. That was when things began to go wrong. The box with the bottom half of the body opened and the legs jumped out and began to run away. The top half of the box opened and out jumped the top half of the young man who ran (very quickly one might say) on his hands in order to catch the torso. The bottom half was finally captured and placed into the box, all while the top half, screaming threats of a lawsuit, were place into the other half. The boxes were closed, the "magic" performed, and the young man stepped from the box completely whole and reassured that there would be no after affects from the event.

Raboid had intended this to be light and playful, but instead the site was greeted by shrieks, screams and fainting from the audience. Though many have forgotten the name of Raboid, the young men...yes, men...who performed with Raboid have not been forgotten. I will not divulge the secrets to Raboids methods, but the more clever of you might be able to figure this out from the photograph below of Robert Eck (the taller) and his brother Johnny Eck (taken when they were children)...forever known in magic as "The Eck Brothers".

The Little Man of Nuremburg

Matthew Buchinger was born in Anspach, Germany in 1674 and was one of the most well known performers of his day. He played over a dozen musical instruments, danced the hornpipe, and was an expert calligrapher, magician, and bowler; he built magnificent ships in bottles, and was a stunning marksman with a pistol.

His skills certainly seemed to impress ladies as he was married at least four times and fathered eleven children. There is a story that one of his wives was abusive and insulting - he put up with the behaviour until he simply snapped and he knocked her to the ground and thrashed her publicly. The event was immortalized in the form of a caricature published in the newspaper the following day.

During his lifetime, Buchinger performed for many kings – three successive kings of Germany – and several times before King George.

All this was quite remarkable for any man...however, it's more impressive when you consider that Matthew Buchinger, The Little Man of Nuremberg...never grew taller than 28 inches high and was born without arms or legs...

He died in Cork, Ireland in 1732.

(originally published on www.thehumanmarvels.com/2006/03/matthew-buchinger-little-man-of.html)

"One of the greatest minds in magic..."

Buatier De Kolta

One of the greatest creators and inventors in the history of magic, Buatier De Kolta was the envy of England. Born in Lyon, France in 1847, De Kolta was mystifying his friends with his sleight-of-hand skills even as a youth. De Kolta’s first major invention was his fabulous illusion, ‘The Vanishing Lady’. Alexander Herrmann, ‘Herrmann the Great’, called De Kolta’s famous illusion “the greatest illusion in the repertoire of the conjuror”. When Herrmann was asked his reasons for that, he responded: “Because of its simplicity. The great things of magic are always the simple things. This trick has the most transcendent effect when properly produced...and in the hands of De Kolta it was perfection itself. There was nothing wanting in artistic finish."

De Kolta first began performing professionally in 1886 at the Eden Theater in Paris. His “Vanishing Lady” brought audiences by the thousands. By the end of the first summer, De Kolta became the most ‘in demand’ drawing-room entertainer of the day bringing some of the largest fees of the day. Eventually his fame brought him to London’s Egyptian Hall: revered in its day as the “Mecca” for magicians. His fame and success grew until, as sometimes is the case, imitators started popping up “vanishing ladies” all over England. De Kolta was not deterred. As is usually the case with inventive and original thinkers, his new illusions were more baffling and the imitators began falling by the wayside while De Kolta’s fame continued to grow.

It was inevitable that this fame would eventually take De Kolta to America. He first came to the US in 1891 touring throughout the country in it’s many theaters of the day. When that tour ended, he returned to Paris for a very short holiday, but quickly went back to work on his creations. Examples of his fabulous illusions include ‘The Vanishing Birdcage’; ‘The Cocoon’; and arguably one of his most baffling illusions, ‘The Expanding Die’. Magician and author, Will Goldston, said about the Die illusion: ‘Few magicians, even among those who claim to know something of the secret of the Expanding Cube, can give an accurate description of the effect of the illusion. I have heard, for instance, that Buatier de Kolta used to put a small die on his stage, wave his hand over it, and cause it to expand slowly. I have heard also that when the cube was in its enlarged condition the top would be pushed up, and the magician's wife would make her appearance at that spot; in another version of the mystery it was stated that after the cube had suddenly grown to an immense size, it would as suddenly collapse and disclose the magician's wife standing on the stage.”

De Kolta final tour took place in America. After a successful run of performances in New York, he began touring the Orpheum circuit, one of the popular Vaudeville circuits of the day. While performing New Orleans, he contracted ‘yellow fever’ and, since his health tended to be normally a bit weak, he succumbed to the disease in a very short time and died on October 7, 1903. His body was taken back to England where he was buried in London’s Hendon Park Cemetery.

Now, as Paul Harvey says, “the rest of the story”. Magicians tend to be a very paranoid lot for the simple fact that theft is such a common thing. One magician creates, another steals the idea and takes the credit. De Kolta, too, was paranoid...but not for the same reason. He had the unusual habit of wearing three or four pairs of pants at the same time, as well as multiple shirts and vests because he said that he ‘felt safer’ when he wore them! Almost as strange was the fact that his travels to America must have shocked those who knew him best since he was known to have an immense fear of traveling long distances. For Buatier De Kolta...still considered to be one of the greatest minds in magic...suffered from was quite possibly paranoid schizophrenia.