Cards and Balls Tricks

8

I

s

WITH PATTER

Compiled and Edited

by

WILL GOLDSTON

The State Library of Victoria

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C oduction

C

ARD aiul H a l l Tricks are popular with all classes of audiences. The fact that they are performed with fa-miliar objects is ill their favour. Every-body can do ordinary things with Cards and Balls; accordingly everybody is in-terested in extraordinary things done with them.

In this department of Magic, as in all others, there are tricks for the beginner, tricks for the more advanced student, and tricks for the expert per-former. Some of each sort are included in this booklet. But, speaking generally, all the Contents will, if carefully studied, be of service to the average Magician.

Almost without exception tricks with Cards and Bails benefit, by the accom-paniment of appropriate patter. The patter in the following pages has been carefully compiled, and has proved to he effectual by actual test. But the reader with an inventive mind and a gift for talk will doubtless make changes—topical or otherwise—here and there. Indeed written patter should never be regarded as final, but always as a basis for individual work. This is the second volume of a series of ! " patter booklets" on Magic. The first ' volume, " Effective Modern Tricks with 1

Patter," can be obtained from any book- }

seller or magic dealer at the price of 1/-. * Other volumes will be published in due *

course at the same price. 1

Every Magician who wishes to keep > up-to-date with his work, should subscribe . to one or other of the magical journals. , If he is doubtful which of them to choose, , he will be well advised to decide on " T h e Magazine of Magic." T h a t magazine, a specimen copy of which is presented with this volume, is easily first as regards ex- ' planations of new tricks and in other *

important respects. >

The Contents of this Booklet are Copyright.

C O N T E N T S

P A G E T H E " E N C O R E " C H A N G I N G C A R D ... ... L T H E P R I N T I N G - O U T F R A M E AND C A R D ... 2 T H E " A . P . " R I S I N G C A R D 3 T H E " O . K . " B I L L I A R D B A L L P A S S ... ... 4 T H E R E B O U N D I N G B I L L I A R D B A L L P A S S ... 4 T H E " F I N G E R C L U T C H " B A L L P A S S . . . ... 5 T H E M U L T I P L Y I N G B A L L ... ... ... 5 T H E B I L L I A R D B A L L THAT D I M I N I S H E S ... 5 T H E " P E R F E C T " D I M I N I S H I N G C A R D S ... 6 T H E " P E R F E C T " W A N D E R I N G C A R D . . . ... 6 T H E " P E R F E C T " R I S I N G C A R D ... ... 7 T H E C A R D S TO B O U Q U E T ... ... ... 7 T H E D I S S O L V I N G B A L L IN W I N E G L A S S ... 7 T H E T W I R L I N G C A R D ON W A N D ... ... 8 T H E " A L A D D I N " C Y L I N D E R AND B A L L S ... 8

The " Encore " Changing Card

f i n examination of f&e. caret wilf sftouo fAaf t f consrsfs of a f i f a / n card s/ffitted info a f i a f f fjockef ulhtcU ftoc/ref has fun.T rfafs f / d d i n a fhe edtjej, firsf show f&e. Card i v / f f i p/a./t

uf> 7fi/s P/afr and Sfie ftvnf of f f t fyocfref firm & f a t d af ore deromina/ion fVoui / bass r/yAf ficwd. down across ffm fa.ce at--*, rofd c/ou/n-F^a/) f fr cwct f f a curd fas cA^na-ed A f f a f

CTH. ffaf; E>, and facfr of f f a f f f

ivtri. rtcfAffand f h f d down, 0 Ctitf f f e oAartpe. / / made /£ Hu. rard shown en &ae/f~ a/" 3 and Ok aflfer f i a / f of f f a i r . card 7ften. £flrttrc f a t d

/S unfa/red S/t'f o f f fedre /info fa/m. of rtpUf fland unci fand ocd~ Genuine. Card- u>dii f e f f havd far />x<am/nafon •

P A T T E R

My next is a trick with a playing c a r d , and t o d o a c a r d trick properly 011c m u s t h a v e a c a r d . Of c o u r s e , you will u n d e r s t a n d t h a t it is not a b s o l u t e l y n e c e s s a r y t o h a v e a c a r d , b u t if you d o n ' t i t ' s n o t a c a r d trick and t h e r e t h e m a t t e r e n d s . H e r e is a C o u r t C a r d . L e t m e s h o w you my r i g h t h a n d — t h i s t h i n g h e r e at t h e e n d of my a r m s — q u i t e e m p t y . By simply s t r o k i n g t h e f a c e of t h e card in t h i s m a n n e r you see it h a s c h a n g e d i n t o s o m e t h i n g entirely d i f f e r e n t . I see you a p p r e c i a t e t h e c h a n g e so I will do it a g a i n w h i c h is a n o t h e r way of saying I r e p e a t it. N o w you see it h a s c h a n g e d a g a i n , and you a r e a t p e r f e c t liberty t o e x a m i n e it.

The Prmiing-Ovt F r a m e ® Card Trick

INVENTED BY P E R C Y P K I . L E W S E C R E T

Unknown to t h e audience, t h e r e a r c really t h r e e pieces of glass used, and on examination it will be noticed t h a t t h e y differ in size slightly. F o r t h e sake of c o n v e n i e n c e \vc will n u m b e r t h e glasses 1, 11, and 3.

Nos. 1 and 2. T h e s e a r e slightly smaller t h a n No. .3, and when placcd in t h e f r a m e f r o m t h e back, drop right t h r o u g h .

No. 3, being m a d e larger, r e t a i n s its position when placed in t h e f r a m e .

In addition t o the f r a m e , a p a p e r is used. P e r s o n -ally t h e inventor always uses Home Nates, having found s a m e a c o n v e ni ent size. P r e s u m i n g Home Notes is used, open s a m e exactly in half, and remove t h e wire-clips which keep s h e e t s t o g e t h e r . Now t e a r t h e t o p or c e n t r e s h e e t carefully in halves. T h e s e t w o h a l f- s h ee t s a r c needed for the "trick, and for convenience wc will call t h e m loose sheet /I and loose sheet B.

A duplicate of the card used in the e x p e r i m e n t , a f t e r having a small c o r n e r t a k e n off, is fixed facc d o w n w a r d s on glass No. 1. To do this, d r a w the t o p

/Yarjr. 5 HOME NOTES. - F " HOME Norn 6

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PlflM or Tst&le Top

and bottom e d g e s of the card vertically a c r o s s a piece, of dry soap, which leaves a very m i n u t e portion of soap' on t h e t o p and bottom edges of t h e c a r d . If card is now pressed f ac e d o w n w a r d s on glass No. 1, it will remain fixed until w a n t e d , when with a slight t w i t c h of t h e finger it will immediately come a w a y , leaving no t r a c e on t h e card or glass.

G l a s s No. 1 in t h i s condition with card on top is placcd on Home Notes underneath loose sheet B, as per sketch.

B e f o r e covering glass, however, t h e f r a m e is placed over it for a m o m e n t , whilst a pencil m a r k is m a d e on t h e left hand side of top s h e e t of Home Notes (o denote l a t e r t h e c o r r e c t position for f r a m e . T h e f r a m e is now taken away, and loose s h e e t B placed over glass a s i n s t r u c t e d above.

T h e p a p e r in t h i s open condition is placcd on your t ab le slightly t o t h e f r o n t of s a m e , and unknown to t h e audicnce you have t h e d u p l i c a t e card and glass under-n e a t h t h e t o p s h e e t B . T h e f r a m e is placed ounder-n your p a p e r with t w o pieces of glass and hinged back. < f c o u r s e glass No. 3 is placed in first to p r e v e n t No. 2 f r o m dropping t h r o u g h . T h e o t h e r piecc of p a p e r is rolled into a ball with t h e small c o r n c r which w a s torn f r o m t h e card, in t h e c e n t r e , T h i s is vested ready to be

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exchanged later on in t h e trick for a n o t h e r similar b: m a d e up in f r o n t of t h e a u d i e n c e , and which will i explained l a t e r .

An o r d i n a r y t u m b l e r is also on t h e t a b l e , ready f use d u r i n g t h e trick.

T o P E R F O R M

A card is forced, similar to t h e one you intend pr ducitig in t h e f r a m e .

T h e f r a m e having been shown to be o r d i n a r y , bai is rem o v ed , and also t w o pieces of glass. P e r f o r m now lays f r a m e on t h e t a b l e t o t h e rear of t h e p a p e r see s k e t c h — a n d explains he is going t o replace t h e p a r of t h e f r a m e . F i r s t he places in t h e f r a m e No. 2 glas which being smaller t h a n t h e r e b a t e of t h e f r a m e , go-right t h r o u g h on t o the table. This is, of c o u r s unknown to t h e a u d i e n c e , the sound being t h e s a m e ; if dropped into t h e f r a m e . No. 3 glass now placed i being larger, r e t a i n s its position whilst back is plac< in and fixed.

Now comes an important move. Taking hold f r a m e at c o r n e r s A and B with forc-finger and t h u m b each hand respectively, p e r f o r m e r with a sliding mov m c n t lifts A and B and d r a w s C and D along towari t h e p a p e r . This has t h e e f f e c t of s h o o t i n g t h e piece <

glass No. 2 underneath Hon Notes. This is quite a n a t u r and easy move, and a b s o l u t e i n d e t e c t a b l e , as a p p a r e n t l y tl f r a m e h a s been merely lifted ar shown to a u d i e n c e .

S t r e s s is now laid upon t l f a c t t h a t with t h e exception of t t t w o pieccs of glass, and t h e b a e t h e f r a m e is o t h e r w i s e e m p t O n e half of hinged back may I opened and audicnce invited t look t h r o u g h glass as it is irnpo sible for a n y o n e t o d e t e c t t h e fa< t h a t t h e r e is only one piece ( glass in t h e f r a m e . Back is OIK again closed.

In t h i s condition t h e f r a m e placed face down on Home Note; directly over glass No. 1, w h i c h covered with loose s h e e t B, th guide, of c o u r s e , being t h e penc m a r k .

A p p r o a c h i n g t h e s p e c t a t c w h o selected the card, p e r f o r m e r asks him to mar s a m e . B e f o r e he can do so, however, p e r f o r m e r take card f r o m him, and explaining t h e easiest way t o do s is to t e a r a c o r n e r , s u i t s t h e action t o t h e word, c course, t e a r i n g s a m e similar to t h e d u p l i c a t e card an immediately h a n d i n g t h e t w o pieces back t o him. Rs t u r n i n g t o t a b l e p e r f o r m e r t a k e s hold of loose s h e e t 1 by t h e right h a n d , and giving a s h a r p pull, pulls th p a p e r clean a w a y w i t h o u t d i s t u r b i n g e i t h e r t h e fram or t h e glass, leaving glass No. 1 with card direct! u n d e r t h e f r a m e .

T h e p a p e r is now t a k e n t o t h e person with t h e tori card, and he is asked to place s a m e (with t h e c o r n c r ) it t h e c e n t r e of t h e p a p e r and t o roll t h e lot into a ball W h i l e he is so doing t h e r e is a m p l e t i m e and c o v e r t get t h e duplicate ball of p a p e r f r o m vest into right hand T a k i n g ball of p a p e r f r o m s p e c t a t o r into left hand an making t h e excuse t h a t it is n o t rolled tightly enougli h a n d s a r e b r o u g h t t o g e t h e r p r e s u m a b l y t o make ji smaller. An e x c h a n g e is m a d e and t h e ball containin

t h e corner only dropped into t h e t u m b l e r . i T h e t u m b l e r c o n t a i n i n g roll with torn c o r n e r is noil

replaced on t a b i c , to side of Home Notes. Now takiij' hold of t h e t o p s h e e t of p a p e r by t h e right and left han) c e n t r e D and E (without d i s t u r b i n g f r a m e ) t h e wholl from 7um6/*r

C A R D A N D B A L L T R I C K S

3

•II lot is lifted and r e s t e d on m o u t h of t h e t u m b l e r which

>emust be smaller t h a n t h e f r a m e . This f o r c e s t h e glass No. 1 w i t h c a r d a t t a c h e d , well h o m e in t h e f r o n t r e b a t e " o f t h e f r a m e .

P e r f o r m e r now explains t o his a u d i e n c e t h a t a c a r d h a s been s c l e c t c d , m a r k e d , rolled up in paper, and placed in a t u m b l e r covered with a s h e e t of p a p e r . An 3'empty f r a m e c o n t a i n i n g t w o pieces of glass h a s been

placed on t o p of t u m b l e r t o isolate it.

A f t e r explaining his i n t e n t i o n s , t h e f r a m e is lifted " ' f r o m t h e t u m b l e r with t h e t h u m b on top and fingers - u n d e r n e a t h , and s a m e t u r n e d over, t o show t h e card t l h a s arrived a s p r e d i c t e d .

3 P i c k i n g up t h e t u m b l e r with t h e o t h e r hand t h e II p e r s o n w h o rolled up t h e p a p e r is asked t o take s a m e q a n d unroll. H e of c o u r s c finds t h e c o r n e r . T h e back Mis t h e n t a k e n f r o m f r a m e , and t h e t w o pieces of glass n, t a k e n out a s one, a slight twist being given t o t h e m at -f s a m e time. T h i s h a s t h e e f f e c t of loosening t h e card b e t w e e n t h e t w o pieces of glass, w h e n s p e c t a t o r may be olasked t o d r a w card f r o m b e t w e e n s a m e , and t o c o m p a r e olwith c o r n e r in his hand to see t h a t it fits,

e

•M P A T T E R ol

n T h e little f r a m e I i n t r o d u c e to you is n o novelty, aibcing an o r d i n a r y p h o t o g r a p h e r ' s printing-out f r a m e . I j l t , h o w e v e r , h a s one peculiarity and t h a t is, it h a s an leadditional s h e e t of glass, t h u s making t w o in t h e f r a m e id

instead of o n e . B o t h t h e s e glasses and t h e hinged back I offer for your close s c r u t i n y .

W h i l s t t h e examination is going on, p e r h a p s I can induce you, Sir, t o t a k e one c a r d f r o m my pack and make a m e n t a l image of it on t h e t a b l e t s of your grey m a t t e r . T h a n k you .'

Now- w a t c h me c a r e f u l l y , please. H e r e goes No. 1 glass into t h e f r a m e : h e r e goes No. 2. T h e hinged back placed in position, k e e p s e v e r y t h i n g s e c u r e , and you will kindly notice t h e glasses h a v e had n o t h i n g placcd between t h e m .

F o r f u r t h e r security, p e r h a p s you would m a r k t h e card you selected. L e t me do so. This is t h e b e s t w a y ; to t e a r a piece from it. Kindly place both into t h i s s h e e t of paper, and roll s a m e into a ball. T h a n k s 1 Y o u ' v e m a d e q u i t e a good job of it. So t h a t it m a y be b e f o r e you t h e whole t i m e I p e r f o r m , I'll placc t h e little parcel in t h i s t u m b l e r .

T o r e t u r n t o t h e f r a m e . T h i s I lodge daintily on t o p of t h e glass, and you will notice t h a t I d o n ' t t o u c h s a m e with my fingers.

N o w Sir, which would like me t o u s e — t h e small piece or t h e m u t i l a t e d card ? T h e large piece ! V e r y well. P a s s ! H e r e you see, we have t h e card b e t w e e n t h e t w o s h e e t s of glass, a f a c t which p e r h a p s you will verify, whilst in t h e p a p e r ball we have t h e small piece only. If t h e card and t h e piece a r e fitted t o g e t h e r , I know you will be convinced t h a t t h e original card is r e s t o r e d .

The " A . P . " Rising Card Trick

T h e h o u l e t t e used in t h e trick h a s no deception in j. c o n n e c t i o n with it, being merely a b i a s s holder of t h e ^ d e s i g n s h o w n by o u r a r t i s t and nickel plated. T h e ^ c u r v e d a r m s below it enable t h e h o u l e t t e t o be kept

up-T h u s p r e p a r e d , and with h o u l e t t e and depleted pack on t a b l e , t h e e x p e r i m e n t is ready t o be p e r f o r m e d . T h r e e c a r d s a r c freely d r a w n , r e t u r n e d t o pack, and b r o u g h t t o t h e t o p by m e a n s of one or o t h e r of t h e familiar s h i f t s . Now, whilst t h e h o u l e t t e is being examined, t h e faked s t a c k of c a r d s is palmed and added t o t h e p a c k . 0 c< ii 1 ii II 01 rl ei sc ol no !e I h ni :1) ri ii II ti id « %5e/ecfcit Cards fafafack-a/bacJc Cards m Houlette

i n g h t by being gripped b e t w e e n second and third fingers. • W h e n t h e trick is introduced a b o u t 12 c a r d s m u s t be discarded, so h a t a pack of only 40 c a r d s is used. T h e >1 hook at end of t h r e a d is fixed t o right side at t h e w a i s t , nthe exact place being d e t e r m i n e d by e x p e r i m e n t . T h e nfakc is d r o p p e d into right t r o u s e r pocket, or a side Jjpocket if working in a d i n n e r j a c k e t or lounge s u i t .

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13

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z J D « Z 5 O m JS < H 5 Thnrod throuqh f'ngersunder- a rm

T h e r e a s o n for using only 40 c a r d s will now be a p p r e -c i a t e d . T h e pa-ck and t h e fake t o g e t h e r a r e d r o p p e d into h o u l e t t e , and t h e l a t t e r clipped in fingers. T h e t h r e a d by t h i s a r r a n g e m e n t r u n s u n d e r t h e h a n d and a r m , and is q u i t e out of sight of a u d i c n c e . To c a u s e t h e c a r d s t o rise, t h e h a n d h a s only t o be p u s h e d slightly f o r w a r d , this action bringing "the t h r e a d t o a l

t e n s i o n and forcing t h e top card of pack u p w a r d s . Obviously when t h e spike of fake is in repose, it p r e s s e s into t h e t o p card and carries it u p w a r d s w h en t h r e a d is pulled. S o m e p e r f o r m e r s elect to fix t h e t h r e a d t o body a f t e r t h e fake is in position in houlette, but t h i s s e e m s t o be a f a r c l u m s i e r expedient t h a n t h e m e t h o d indicated above.

P A T T E R

My next trick is a card experiment. To do a card trick properly one m u s t h a v e a pack of cards ; of course i t ' s not absolutely necessary t o have cards, but if you d o n ' t have t h e m it's not a card trick. P e r h a p s 1 can induce t h r e e of t h e more bold of you each t o select a card f r o m t h e pack. Will you Sir, t a k e one ? N o ! d o n ' t take two, t h a t ' s greedy. M a d a m , will you oblige me by selecting one of t h e s e c a r d s f r o m t h e middle ; t h a t ' s t h e middle in t h e c e n t r e . T h a n k you ! P e r h a p s I can persuade you also to t a k e a card f r o m t h e pack, Sir, and make q u i t e sure you will know it again wh e n you see it. Kindly replace it in t h e middle of t h e pack. T h a n k you ! I'll t r o u b l e you M a d a m to lose your card in t h e pack. Many t h a n k s ! Now for t h e last card (not t h e lost chord). Will you kindly replace it in t h e middle of t h e pack, S i r ? T h a n k s ! T h e t h r e e c a r d s now being r e t u r n e d , I'll ask a lady t o shuffle t h e pack. Will you, M a d a m ? I take it you have shuffled t h e c a r d s to your e n t i r e satisfaction ? I shall now place t h e pack fairly into t h i s skeleton houlette, and hold s a m e at a r m ' s length. N o w when 1 c o m m a n d , your card Sir will rise f r o m t h e c e n t r e of t h e pack w i t h o u t any h u m a n aid. W a t c h ! T h e Five of S p a d e s (or whatever the card was). That I believe was the one you selected. Will you remove it yourself, and examine it. (Repeat with two remaining cards).

This sleight is a preliminary t o ball m o v e s , t h e production of t h e first ball f r o m e m p t y h a n d s being its motive.

S t a n d i n g with his left side t o a u d i e n c e , p e r f o r m e r exhibits both h a n d s at a r m ' s length, t h e left u n k n o w n t o onlookers concealing a ball in t h e palm. S h o w i n g his right hand f r o m both sides, it is placed palm on back of left, as shown in Fig. 1, t h e position being almost immediately reversed t o t h a t shown in Fig. 2. In t h e l a t t e r position, t h e palm of t h e left hand is placed upon back of right so t h a t the right t h u m b lies partly on back of left t h r o u g h t h e left t h u m b fork. ' I n t h i s position, t h e right hand palms t h e ball f r o m t h e left, t h e whole body s i m u l t a n e o u s l y making a t u r n to t h e right. Left hand may now be s h o w n from both sides, t h e back of right being kept t o w a r d s s p e c t a t o r s .

T h e a c t u a l production of t h e ball m a y be left to individual t a s t e .

The Rebounding Billiard Ball Pass

P e r f o r m e r s t a n d s l e f t side to a u d i e n c e w i t h a ball lying openly on left palm, as shown in first photo. Advancing t h e right hand t o a point a b o u t 9 in. above t h e left, t h e ball is t o s s e d u p w a r d s and c a u g h t by the r i g h t . W i t h a s h a r p d o w n w a r d t h r o w t h e ball is trans' ferred t o left, a p r o n o u n c e d " s m a c k " being c a u s e d as t h e ball strikes p a l m . T h i s move is p e r f o r m e d three times, t h e ball at t h e last t h r o w , however, being pro pelled with extra force, so t h a t it r e b o u n d s into righl hand which follows t h e d o w n w a r d c o u r s e of t h e sphere T h e closed left hand is e l e v a t e d , whilst t h e right seek! t h e open p r o f o n d e t o dispose of t h e ball.

T h e sleight r e s e m b l e s in m a n y r e s p e c t s t h e familial jerk-back palm with a coin.

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C A R D A N D B A L L T R I C K S

o

The " Finger-Clutch " Ball Pass

T h i s p a s s h a s a particularly dainty e f f e c t , and is well w o r t h t h e little t i m e s p e n t in m a s t e r i n g it. T h e ball is held between t h e first and second lingers of right h a n d , as shown in Fig. 1, t h e palm being t u r n e d t o w a r d s t h e a u d i e n c e . T h e t h u m b of left hand now p a s s e s b e t w e e n t h e o u t s t r e t c h e d second and third fingers of t h e right h a n d , and behind t h e ball, for t h e p u r p o s e of

allowing fingers t o close r o u n d it (Fig. 2). A c o m p l e t e t u r n is next given to body t o bring right side t o a u d i e n c e , under cover of which t h e ball is allowed t o fall into right h a n d , in which it is s t r a i g h t w a y p a l m e d . T h e closed left hand is e l e v a t e d , and a u d i e n c e led t o believe by t h e direction of p e r f o r m e r ' s e y e s t h a t t h e ball is in t h e closed fist.

Of c o u r s e , t h e s p h e r e m a y be r e p r o d u c e d in a n y m a n n e r t h e p e r f o r m e r chooses.

Multiplying Ba.ll Trick

The Billiard B a l l t h a t Diminishes

Fig • / F/6-2, 7ho secret op juecejs J/es fn /he. manipulation of /he Shell and ball as shewn in the idiayranx.. Pracfrce* /he movement shewn and Hie. res!"/seasy /he she// 'S held full fucmy audience.dropping /he. £net ftnqer

behmcl ll (Fiq.l.) /hesolid hall can be ro//td ouf ric/h/up between /he. t>fand Z"*finyers thus pro clue my fvco balls.

In fjerformmij, firs!produce /tie one ball (and shettj by jleiahl cf hand,or secre/ly. Pew roll outsold bat/and show tno(fj</2) White show my Itiese Cfetanother ha//Prcn\f?cd<etfunseen)and in /he. a.ch of removing5''ball from ts-Z"i fc Z-J'^fmyers

thf no £ into the shell How roll th u ou/ as before making 3 ba/ts Secure the last ball dud refieaJ move., first- moi/tny f/revms ball

between fthqea leaving /*.f-Z'"* open ac/am.

P A T T E U

L e t me i n t r o d u c e t o you t h e l a t e s t society c r a z e entitled " Aerial B i l l i a r d s . " T h e idea of t h e g a m e is t o c r e a t e a s m a n y balls as possible f r o m t h e e m p t y h a n d s . This is q u i t e a simple m a t t e r . J u s t imagine I have an o p p o n e n t h e r e on my l e f t h a n d . I make t h e first move, and s e c u r e one point i n a s m u c h as you see I have c r e a t e d one ball. Of course, you m u s t look p r e t t y s h a r p , or your o p p o n e n t m a y c a t c h you up. W h e n I w a n t t o s e c u r e a n o t h e r point, I simply wave my h a n d like t h i s , and t h e r e is No. 2. To s e c u r e a n o t h e r point, I simply go like t h i s and h e r e we have t h r e e balls—the sign of my a n c e s t o r s . I see 1 a m f o r t u n a t e in possess-ing five fpossess-ingers, so I will m a k e one m o r e for luck, and h e r e it is. 1 t r u s t you all will be able t o play t h i s g a m e for yourselves, and find it a s i n t e r e s t i n g a s 1 do.

F/fi

Z-r i / - aZ-re he/d nested

as'•shoo,*, m Ky /. The / a r c f e j t J h e / / ,s shown.

PuH face fo audience. W ^ ^ A * a „t,d h !r Passm3 /eff His shell the

/ A J & • * *

d£Z Pf Pl'l I Sh°*>"<3 ferPormer

drops f,rsf shell ,„/o his /nctret.3 7Ae ^o^e

now refie«/ed to fsnefvee f^ ^^y SoU 6a//

^.ferPorrT raps ZM ball ro prove th « , „ e 'am( b' J^

patmmj s/e.-yht a,mp/e.te/y vanishes d.

P A T T E R

Most C o n j u r o r s a t t h e conclusion of t h e i r per-f o r m a n c e with Billiard B a l l s , vanish t h e last ball a l t o g e t h e r , and give t h e i r a u d i e n c e n o c h a n c e of s e e i n g h o w t h e s p h e r e d i s a p p e a r s . I propose t a k i n g t h e last one, a n d a c t u a l l y s h o w i n g you t h e m e t h o d of d e m a -t e r i a l i s a -t i o n . T h e c o m p o n e n -t p a r -t s of -t h e ball a r c merely sq u ee z ed until it a s s u m e s p r o p o r t i o n s q u i t e Liliputian. L e t me d e m o n s t r a t e t h e idea. 1 j u s t s q u e e z e t h e ball like this, and now you s e e we h a v e r ed u c e d it t o far m o r e m a n a g e a b l e p r o p o r t i o n s . An-o t h e r squeeze, and yAn-ou see ball little larger t h a n a m a r b l e . T o vanish it entirely, 1 s q u e e z e very h a r d like this, and now you o b s e r v e it is non est, and t h a t ' s an h o n e s t way of d i s a p p e a r i n g billiard balls.

The " Perfect " Diminishing Cards

Jn COmm^ncmy performance the fu/f s/je Set of cards are shown usifh the half set tietd be fund as m t7c. 1 Onc/ny to f f t e pecid/ar

battem of the backs fire cardj can b^. shown bobfi jidej n-ifhouf the audience defecting ff<e leecnct Jet The nexf mtue. rs fo pass ntftd hand

before foe full set close them and pain* fheni o f f fiius repeating f f t e . buff set 7f cccprtfuafe Hxe faof HicJ fhe, cards baire reduced rn S/ge /jtch u-b a curd from, f f t e foose ones faying on fbe fable 70.1} / j fite opporfumti/ fo drop fu/f palmed. se-f arttona tne foose carats and f f t e

imq/e card /J hkftd a (fainsf f f t e h u f f Je/ fvyZ jkpuJS fiie special pocket attached fo fiouser feo. tUa,f it is acft//ja.bfe ft> procure, fbr hofdihy f f t e three irha.ll seh 'p*'*i t/h The moves noio are fo procure one of fke srna-ff Sefst Substitute if for 'and patm o f f the Sef fn f f t e f e f f band ,«"d drop ffus fatter set m/aifpoobef wfufe obfamma ••

the next Sr>,«ft sef The f a j f ?/(>" Jef " ran,sM by hiding ,f behveen A " * f s e e Fly

3-P A T T E R M a n y p e o p l e a r e p e r p l e x e d by t h e w a y in w h i c h c o n j u r o r s p r o d u c e a n d v a n i s h c a r d s a t t h e t i p s of t h e i r fingers, a n d a r e i n c l i n e d t o c r e d i t t h e M a g i c i a n w i t h f a r m o r e skill t h a n a h u m a n b e i n g c o u l d e v e r h o p e t o a c q u i r e . A l t h o u g h 1 f u l l y r e a l i s e t h a t it is d i s t i n c t l y u n p r o f e s s i o n a l t o g i v e a w a y s u c h a v a l u a b l e s e c r e t , I f e e l it i n c u m b e n t u p o n m e t o e n l i g h t e n t h e h u m a n r a c e a s t o t h e t r u e s t a t e of a f f a i r s , a n d t h i s e v e n i n g will t a k e y o u all i n t o m y c o n f i d e n c e a s I k n o w y o u will t r e a t t h e m a t t e r q u i t e c o n f i d e n t i a l l y , a n d n o t let it g o a n y f u r t h e r . A s a m a t t e r of f a c t t h e c a r d s u s e d a r e v e r y good o n e s — t h e y c o s t m e s i x p e n c e a p a c k — a n d h a v e a lot of india-r u b b e india-r in t h e i india-r m a n u f a c t u india-r e . T h i s q u a l i t y e n a b l e s m e t o c o m p r e s s t h e c a r d s a n d s o r e d u c e t h e m t o m o r e m a n a g e a b l e p r o p o r t i o n s . E x t r e m e p r e s s u r e on m y p a r t will r e d u c e t h e m s o s m a l l t h a t t h e y will b e i n v i s i b l e t o t h e n a k e d e y e . I p e r c e i v e you t a k e my s t a t e m e n t a s a j e s t . 1 a s s u r e y o u , h o w e v e r , t h a t I a m in e a r n e s t a n d will p r o c e e d t o d e m o n s t r a t e t h e t r u t h of m y a s s e r -t i o n . S e c ! H e r e a r e a n u m b e r of o r d i n a r y c a r d s . T n e s c I s q u e e z e in t h i s m a n n e r a n d w e n o w find t h e y a r e d i m i n i s h e d t o o n e half t h e i r o r i g i n a l s i z e . O b s e r v e , p l e a s e , t h e d i f f e r e n c e b e t w e e n t h e s e a n d t h e o r i g i n a l . I s h a l l , h o w e v e r , m a k e t h e c a r d s still s m a l l e r by a p p l y -ing f u r t h e r p r e s s u r e , a n d h e r e you s e c w e h a v e t h e m r e d u c e d t o o n e q u a r t e r t h e f u l l s i z e . I b e g p a r d o n , M a d a m ? Y o u w a n t t h e m still s m a l l e r ? V e r y well, 1 will t r y , a l t h o u g h it will r e q u i r e a g r e a t m u s c u l a r e f f o r t on m y p a r t . S e e ! I j u s t s q u e e z e t h e m a g a i n , a n d n o w t h e y a r e a l i t t l e l a r g e r t h a n a p o s t a g e s t a m p . R e a l l y , M a d a m , I t h i n k y o u a r e j u s t a l i t t l e o v e r - r e a c h i n g . T h e lady w a n t s t o s e e t h e m still f u r t h e r r e d u c e d . V e r y well, I'll t r y . I w o u l d d o a n y t h i n g f o r t h e l a d i e s . . H e r e t h e y a r e s o s m a l l t h a t y o u c a n s c a r c e l y s e e t h e m . I b e g p a r d o n ? T h e lady w a n t s t o s e e t h e m still s m a l l e r . V e r y well, I'll t r y . H u l l o ! T h e y ' v e g o n e a l t o g e t h e r , a n d , b e l i e v e m e , i t ' s t h e v e r y s m a l l e s t I c a n s h o w .

The " Perfect " Wandering Card Trick

tin,/ /„/, Car*, fc K i e d

Ttie fnetc Cardst are three /n number , bear/s t c/ubs, And d/anu'/'ds hat/mg the same number at p'ps ftiese cards are fti* /ncA shorter than ordinary Cards f-ay oat Mese. cards as /n t=7a. / ft 0 «f C e^itii eyuirafenf Spade cardr third from, your r/yhf / f f t e r drac-umy attention fo ffte cards be/nty four of a.

frmd-furn them face down and carer car^- untt± fftree-Cards from, the pack com/nenema from year rrpttf. • flow fn cytt. /ofi of pack , you. tiaoe. ready I

three duplicates of the, exposed fiearts/c/ubsl dia/wids

-f Ordinary curdsJ • ~t-fiese cards -f-fieinpre , -fall on -fdp o-f [ the spade card and untencum. to a-ud/encer matfe a- 1

Comptete fvur of atTmd flow yet a. spectator fH setiecf t f f w Sef by tfie fvtfoujiniy method of e-tmnKation ffstc for 1 Jctectijn of ffte teft or rufkt two / f a r e chosen c pick then*, up t and say ' then J un// tea tie these ftco heaps j

on the. fable 're C' and fht sfcade . f f ffie f e f f band (

tluo are chosen Jay of '/!-/&' "ffiese c<re net re out reds' I they can yo bacA tn pa&k. Repeat questions ov/tk I C.' and the spade pac/c. Opcou-rje. finally /eat"Hj the Sp,'-Wr £ pattr op. fae /aft* as the pinat jefectioK flocu ntttc your pactr /yc-2 /b jhoui ,thaf'three*'are not there uihich aoucaxdt as dieoftort cards will ml riffle. J7,en turn ooer the fable/rack*

P A T T E R J

F o r t h e p u r p o s e of m y n e x t t r i c k , I s h a l l u s e f o u r of i a kind s a y t h e " t h r e e s " (the cards to be used are t

those you have prepared), a n d t h e s e I shall p l a c e face 1

u p w a r d s o n t h e t a b l e . N o w let m e a s s u r e y o u b e f o r e r w e p r o c e e d t h a t t h e r e a r e n o d u p l i c a t e s in t h e p a c k . ^ " S o f a r s o g o o d , " a s t h e b o y s a i d a s h e f i n i s h e d t h e i t h i r t i e t h s a n d w i c h . O n e a c h of t h e s e I s h a l l place f t h r e e o r d i n a r y c a r d s in t h i s m a n n e r . N o w I t h i n k you'll £ a g r e e t h a t s o f a r t h e r e h a s b e e n n o c h a n c e of m y de- > c e i v i n g y o u e v e n if I w e r e s o d i s p o s e d . I t is n e c e s s a r y n o w t h a t you s e l e c t o n e of t h e s e h e a p s (patter here must be governed by circumstances). K e e p your

h a n d o n t h e h e a p y o u h a v e c h o s e n . W e ' l l call t h a t h e a p " U r i a h " — I s a y t h a t s l o w l y in c a s e you t h i n k I a m i n s u l t i n g y o u . T h e t h r e e d i s c a r d e d p a c k e t s I r e t u r n t o p a c k , a n d s h u f f l e s a m e in t h i s m a n n e r . N o w you f o n d l y i m a g i n e t h a t I h a v e t h e t h r e e " t h r e e s " in t h i s p a c k . A s a m a t t e r of f a c t i t ' s all a d e l u s i o n ; t h e p a c k a s y o u s e e (ripple edges) c o n t a i n s n o t h r e e s f o r the s i m p l e r e a s o n t h a t t h e h e a p y o u h a v e s e l e c t e d c o n t a i n s t h e c o m p l e t e s e t .

T k e " P e r f e c t " Rising C a r d Trick

Prepare a fength of thread. mth a foop a/one Cnd. and a ICnot, nth. a. pud of wax, at the Other end The loop pits oi/er the second button

of fhe. uaisfcoat and the h/ax is pressed on fd the bottom, button- The thread hantfj down- and /S in risible ftaviny forced three cards yet ffiem fo die badr of du- pack, and wfnk f f i e yobfeb is berny examined, yet rVar pad on fo f i f h t fUunttnait tfhen ptuctna flack In oohtet press li/axhad

on fo focoer"pcirf of hack card (f7& 2) 76 makt Card rise // IS onfy necessary f i straighten •— thread by moving arm forward, or body back as tit f / a 3. fee move first Card and scrape a f f IMaX on fo fhwnib naif ayain Hand card ou/~ for inspection and fake back Old of a/ass to Shout no connection tfas is /he chance to press urax on fo second card Repeat mores also with fftird card.

PATTER I a l w a y s d o t h i s t r i c k w h e n p e r f o r m i n g b e f o r e a h i g h - c l a s s a u d i e n c e . iMost c o n j u r o r s k e e p t h e i r b e s t t r i c k s t o f i n i s h t h e i r E n t e r t a i n m e n t . 1 d o n ' t —all m y t r i c k s a r e g o o d ; of c o u r s e , if o n e j u d g e s by t h e a p p l a u s e h e r e , I m u s t b e c l e v e r ! I t is a g r e a t m i s t a k e t o t a l k w h e n p e r f o r m i n g . I n e v e r d o ! T h i s t r i c k is k n o w n a s t h e o b e d i e n t c a r d s . T o d o a c a r d t r i c k p r o p e r l y o n e m u s t h a v e a p a c k of c a r d s . Of c o u r s e , i t ' s n o t a b s o l u t e l y n e c e s s a r y t o h a v e c a r d s , b u t if y o u d o n ' t h a v e t h e m i t ' s n o t a c a r d t r i c k . P e r h a p s I c a n i n d u c e t h r e e of t h e m o r e bold a m o n g y o u t o e a c h s e l e c t a c a r d f r o m t h e p a c k . W i l l y o u , S i r , t a k e o n e . N o ! d o n ' t t a k e t w o , t h a t ' s g r e e d y . M a d a m , will you o b l i g e m e by s e l e c t i n g o n e of t h e s e c a r d s f r o m t h e m i d d l e . T h a t ' s t h e m i d d l e in t h e c e n t r e , t h e r e . T h a n k y o u ! P e r h a p s I c a n p e r s u a d e y o u a l s o t o t a k e a c a r d f r o m t h e p a c k , S i r , a n d m a k e q u i t e s u r e you will k n o w it a g a i n w h e n you s e e it. K i n d l y r e p l a c e it in t h e m i d d l e . T h a n k y o u ! I'll t r o u b l e y o u . M a d a m , t o lose y o u r c a r d in t h e p a c k . M a n y t h a n k s ! N o w f o r t h e l a s t c a r d ( n o t t h e L o s t C h o r d ) . W i l l y o u k i n d l y r e p l a c e it in t h e m i d d l e of t h e p a c k , S i r ? T h a n k s ! T h e t h r e e c a r d s n o w b e i n g r e t u r n e d , I'll a s k a lady t o s h u f f l e t h e p a c k . W i l l y o u , A l a d a m ? I t a k e it you h a v e s h u f f l e d t h e c a r d s t o y o u r e n t i r e s a t i s f a c t i o n . I s h a l l n o w p l a c e t h e p a c k f a i r l y i n t o t h i s c l e a r g l a s s t u m b l e r , a n d hold s a m e a t a r m ' s l e n g t h . N o w w h e n I c o m m a n d , y o u r c a r d S i r , will r i s e f r o m t h e p a c k , w i t h o u t a n y h u m a n a i d . W a t c h ! T h e E d i t o r t h a n k s t h e f o l l o w i n g c o n t r i b u t o r s : — P E R C Y P E L L E W C L I F F O R D T H O M P S O N a n d S T A N L E Y C O L L I N S .

C a r d s to Bouquet Trick

Prepare fur ffie frtcU by -threading ffie. Jprmcy bo upuef under -the band on tke pack card, cos sfuiu/n in fbe i ffus fraf on.

Sh'UJ Hie face, at- the. cards fannec/ oaf fodtmcy care, that ffie. ffowers are not .seen

Pfs you cfooe fart f j u t t au/ay spring ffowers ovtf/ch ujiff open oaf, and enbrefy

COnceaf ffie cards.

P A T T E R H a v i n g f i n i s h e d m y c a r d e x p e r i m e n t s , I will a s a l a s t e f f o r t i n t r o d u c e a l i t t l e t r i c k w h i c h I d e d i c a t e w i t h v e r y k i n d r e g a r d s s o l e l y t o t h e l a d i e s . H e r e in m y h a n d s I h a v e a n u m b e r (or e v e n m o r e ) of o r d i n a r y c a r d s . L e t u s c o u n t t h e m t o s e c if t h e y a r c all h e r e . I s h a l l n o w c o v e r t h e m f o r a f e w m o m e n t s w i t h o n e o r o t h e r of m y h a n d s o r b o t h , a n d i n s t a n t l y w e h a v e a l a r g e b o u q u e t w h i c h I s h a l l b e p l e a s e d t o h a n d t o o n e of t h e l a d i e s — n e x t t i m e I c o m e .

The Dissolving B a l l in Wineglass

I M P R O V E D M E T H O D

The tumbler stands before the. audience, with the ytass bet/ behind f t . unseen. fahe up the-bull (proved solid J and drop it fntb the tumbler place a handkerchief over a//, mc/udiny y/ass fatfe . FIG. I Pew bake up handkerchief n/ith the yfass fake and show audience bat/ is sbt/l there fPecovev fumbter. ctvoppma fake rfytif down on to ball fake yrips ffatt and u/hen hand Kerchief is uyam removed brings bat! away with it f f i y 2 ) bio/d handkerchief ever a net

Jervatfe. and drop fahe and butt fumb/e*-has already been seen emphy ; and

P A T T E R

Having shown you how I make Balls multiply, appear and disappear, I want to show you a very extra-ordinary trick with this last one. Here is an extra-ordinary tumbler made of clear glass. I like tricks with tumblers because one can put so much Spirit into them. May I borrow a handkerchief from a gentleman for a few seconds ! Many thanks, Sir ! Now watch me carefully. If I drop the ball into the tumbler in this manner, I think you will agree if you give the matter a few moment's reflection, that it impossible for it to be sub-mitted to any sleight-of-hand manipulation on my part. I now cover the glass with the handkerchief, and will ask you to notice that the ball is still lying in its glass case. I shall now command the ball to disappear.

Presto ! Go ! Here is the glass as empty as a Suffra-gette's speech, and you are at perfect liberty to examine it so long as you don't try to bend it—that warps the glass. 1 return your handkerchief Sir, with very many thanks for the loan of it.

Twirling C a r d on W a n d

T h e A l a d d i n Cylinder a n d B a l l s

fyc.3.

the eyrcofe. /n the ti/and. /J nof brouyht to the no/ice of the a* tdterxi <: if the usanct is

niCtritfrtA.la.f~ec/_- spHarttu ////•'n havma wared the plate attached to /he ball, /fee-ft ha'rued untd

reyuirett for use /leu/ ta.yma cfoujn //to wand /

Select any card, and shew/r bach and fron/t

then wtieei fetching wand fress folate of bat/ Cn h back of caret uttuch U/it/ adhere /o /he wax. />6.2. •jhoaiina front of tard on/y. f>/ace Curd Cayamst face at i*/and cd/owmy fra.// to Kesf m the urccre f i t first the card ap/rears /o adhere to the wand , then directly ivand /s fitted Card Chystericujly travels atony, rero/tema, as ft(j3. /n re inct/lit y Card ftatrn o f t bed! show tfacA of Card.

P A T T E R

This is a giddy age and everything seems infectcd with the giddy spirit. This applies to the inanimate as well as to the animate. There are the Twirling Dervishes the Tango Teas, the Turning Tides, and the Dancing Waves. Let me prove my assertion by exem-plifying it with so common an object as a playing card See ! 1 just lay it on the end of my Magic Wand and round after round it goes just like a Prudential Insu-rance Agent on Monday morning. As it revokes, so you will notice it runs from one end to the other increasing in velocity the while. In conclusion let me prove that this is quite an ordinary card and an equallv ordinary wooden stick.

f=-/a Z

The qtass Cylinder // prepared b» f/aa'ny the transparent °/*n " f '

This to He audience spears to be an ordt»«ru a/ass tube . unbared /tcw'^ sf"""t

. I. ' u . / . / - . . A//hp afeiti.

the balls, and Hie ?«'/'/y former into ala.

Cardboard tube .otrof.

yfass cylinder re mh> the

'iinmq FaUe. . Flt/.l Vow Cover with, th* —

Carl board cb/mney and when r€mo*,nj c?r«sp

Hie tin,** as jhewn ,n Ft<j.Z and take ,fa»»y (S<th the chimney, teat/my fixe tyfasj ern-pfy. tf the hnma and balls are dropped mta « Sen/ante Hie chimney can be shown empty ayam

P A T T E R

This is merely a tube of glass on a small metal foot. I like doing tricks with glass as they are so easily seen through. In conjunction with the cylinder I make use of this empty cardboard tube, which is, as you see, open at both ends. By looking through one end you see the other; by looking through the other you see the one. The only difference between the glass and the cover is that whilst the former contains nothing this latter is empty. W e will bring the two into somewhat closer relations, by dropping the cover over the tube, or putting the tube into the cover, as you prefer.

Here are half-a-dozen ordinary round balls, which just at this particular time, are very much more popular than square balls. This I will place visibly into (Per-former must arrange his own Patter here, to fit the apparatus used for vanishing). I now propose making the balls pass from here into the empty glass cylinder. Pass ! It is done ! Here you see t h e — — -is empty, whilst in the glass tube we find the m-issir balls.

A N Y T R I C K E X P L A I N E D I N T H I S B O O K L E T M A Y B E O B T A I N E D

A T G O L D S T O N ' S

r

_{ON SALE}

_{1/- net, postage 3d.}

ELECTIVE MODERN TRICKS

[ W I T H P A T T E R ]

Compiled and Edited by WILL GOLDSTON.

On Sale at all Magical Dealers o r Direct f r o m —

WILL G O L D S T O N Ltd.,

ALADDIN H O U S E , 14, GREEN S T R E E T ,

THE EASY

ROAD TO MAGIC

I N SEVEN LESSONS 1. H i n t s and S u g g e s t i o n s . 2. Tricks f o r t h e Drawing-room w i t h o u t A p p a r a t u s including P a t t e r . 3. Tricks with A p p a r a t u s a c o m p l e t e P r o g r a m m e f o r t h e C o n c e r t P l a t f o r m . 4. Sleight-of-hand Ex-p e r i m e n t s . 5. Studying Magic from books

How t o invent new tricks. 6. Simple Illusions.

7. Money f r o m Magic— H o w t o advertise 1 H o w to a r r a n g e a circular Obtain e n g a g e m e n t s . T h e question of fees, &c.

The Lessons are clearly Illustrated. Price 6/- post paid anywhere.

VFLLL GDI WT0N5 MA&KAL

W I L L G O L D S T O N ' S

MAGICAL SCRAPS

T h i s is a n illustration of t h e " SCRAP B O O K . " T w o c o l u m n s t o a page. T h e size of t h e Book is 14 x 11 ins. T h e covers a r e cloth and well made.

96 S c r a p s of t h e latest Tricks a r e included. T h e s e a r e s e n t t o sub-scribers at t h e r a t e of 8 per m o n t h .

Price 1 0 / 6 post free.

MODERN

CARD

TRICKS

WITHOUT APPARATUS C A R L H E R T Z xvrites: " I h a v e r e a d t h e b o o k e n t i t l e d 4 M o d e r n C a r d T r i c k s , ' a n d I m u s t s a y it is a v e r y e x c e l l e n t e s s a y on c a r d t r i c k s , a n d t o m y m i n d it e x p l a i n s t h e d i f -f e r e n t t r i c k s s o e x p l i c i t l y t h a t a c h i l d c a n a l m o s t p e r f o r m t h e m a f t e r r e a d -ing t h e e x p l a n a t i o n s o n c e t h r o u g h . "

WILL GOLDSTON

112 P a g e s . I l l u s t r a t e d . O v e r 58 T r i c k s c l e a r l y e x p l a i n e d .

Price - 2/6

P o s t a g e 4 d . T H E L A S T W O R D IN C A R D B O O K S

ORIGINAL

MAGICAL

CREATION^

STANLEY COLLINS

112 P a g e s . I l l u s t r a t e d . P r o f e s s o r H O F F M A N N write*: 1 c o m p l i m e n t y o u o n y o u r c a p i t a l little b o o k , w h i c h 1 h a v e j u s t b e e n r e a d i n g w i t h m u c h p l e a s u r e . It is r a r e t o m e e t s o m a n y o r i g i n a l i d e a s , a n d g o o d o n e s , w i t h i n s o s m a l l a c o m p a s s . " T h e W o o d e n S l a b a n d F l y i n g C a r d E f f e c t . C a r d s a n d C o i n c i d e n c e . T h e O m e g a A c e E x -p e r i m e n t . W i l l ! T h e S i a n e s e B l o o d s t o n e . L e D e r n i e r C r i M u t i l a t e d C a r d E x p e r i m e n t . A Q u e s t i o n o f M e m o r y . T h o u g h t A n t i c i p a t e d a n d P r e . c i p i t a t e d . T h e G u e s s i n g G a m e . T h e S p i d e r . T h e " K n e e " I. 'is U l t r a H a n d k e r c h i e f s . " F . s s c e e " K o p e i a n d R i n g s E x p e r i m e n t . G i n g e r a n d t h e A p p l e . T h e F i l t e r i n g I n k E x -p e r i m e n t . T h e " I n k t u b a t o r s . "

Each Trick is clearly

ex-plained—well Illustrated —with Original Patter.

Price - 2/6

Postage 4d. !j Sxxnjuev C o l l i n s v j

It!

wmXm

T H I S i s t h e h o o k w r i t t e n b y t h e W o r l d ' s G r e a t e s t V e n t r i l o q u i s t

A R T H U R

PRINCE

Price 10/6

P o s t a g e 4 d . H a n d s o m e l y B o u n d , G o l d B l o c k e d L e t t e r -i n g . w -i t h t h e p h o t o of t h e A u t h o r in c o l o u r . T h e first 500 c o p i e s w i l l be A u t o g r a p h e d — s e e t h a t y o u r c o p y is a m o n g t h e m . T h i s is A R T H U R P R I N C E S o w n b o o k o n V e n t r i l o q u i s m — i t d e a l s w i t h e v e r y p h a s e o f t h e s u b j e c t f r o m A t o Z — i t is t h e E n c y clopaedia o f V e n t r i l o -q u i s m — t h e S t a n d a r d W o r k o n t h e s u b j e c t .

Che magazine or magic

S i n g l e C o p i e s 1 / - , p o s t a g e . I. B o u n d V o l u m e s ( c l o t h ! 6 6 p o s t d .