UC-NRLF 
 
 G-V 
 
 1547 
 
 H8^4 *^ "^ ^^^ 
 
THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 The John J. and Hanna M. McManus 
 
 Morris N. and Chesley V. Young 
 
 Collection 
 
"SLEIGHTS" 
 
 BY 
 
 BURLING HULL 
 
 AMERICAN MAGIC CORPORATION 
 
The White Wizard 
 
 At the Studio- 
 
SLEIGHTS 
 
 BEING 
 
 A Number of Incidental Effects 
 
 Tricks, Sleights, Moves 
 
 and Passes 
 
 FOR PURPOSES RANGING FROM 
 
 Impromptu to Platform 
 Performances 
 
 by 
 
 Author of 
 
 "Expert Billiard Ball Manipulation" 
 
 "Master Sleights with Billinrd Balls" 
 
 "Bulletin of Latest Sleights and Tricks" 
 
 'Thirty-one Rope Ties and Chain Releases" 
 
 "Stage- Craft for Magicians" 
 
 "Sealed Mysteries" 
 
 "Sleight Sheets" 
 
 "Deviltry" 
 
 etc. 
 
 Illustrated by Fifty Photo-engravings 
 
 AMERICAN MAGIC CORPORATION 
 
IN PREPARATION: 
 
 SLEIGHTS WITH SILKS 
 
 The Modern Handkerchief Act. 100 Tricks. 200 Illustrations. 
 
 THE CHALLENGE HANDCUFF ACT 
 
 Complete Secrets. Instructions and directions for the entire act. 
 
 THIMBLE TRICKS 
 
 A series of 40 Sleights and Tricks with Thimbles. Over 70 Illus- 
 trations. 
 
 "THE BUSINESS END OF MAGIC, OR MAKING MAGIC PAY." 
 
 Methods of Securing Engagements, Advertising. Booking and Pub- 
 licity, for Lyceum, Stage, or Local Club "Work. Contracts, Terms and 
 Costs. 
 
 31 ROPE TIES AND CHAIN RELEASES 
 
 The first and a most complete work on a subject of which very 
 little is known and on which information has heretofore been difficult 
 to obtain. 48 Drawings. 
 
 To Authors : — The American Magic Corporation, incorporated 
 under the Laws of the State of New York, capital $10,000, is in the 
 market for manuscripts on Magical Subjects. Manuscripts of between 
 12,000 and 40,000 words preferred, but subjects must be original (re- 
 hashes not wanted), and handled in a thoroughly practical manner. 
 Bear in mind that the works are of a technical nature and that "Fine 
 Writing" and literary fiourishes are abominated. Condensed descrip- 
 tions with elaborate illustration by photos or drawings, in demand. 
 
 AMERICAN MAGIC CORPORATION 
 
 LONG BEACH ESTATES BUILDING 
 
 405 LEXINGTON AVENUE 
 
 NEW YORK CITY 
 
 Copyright, 1914 
 American Magic Corporation 
 

 INTRODUCTION. 
 
 This volume is the outcome of a letter to the publishers from a 
 prominent magical dealer, who said : 
 
 "If the Magical Public as a whole could once actually see your 
 publications and thus be brought to an instant realization of their 
 novelty of contents, their elaborate illustration and the fact that their 
 sale is restricted to magieians only, I feel certain that you would at 
 once receive an order from almost every person interested in the subject 
 of Jklagic." 
 
 In order to test the foregoing assertion, the publishers have pre- 
 pared the present booklet as a means of placing in the hands of magical 
 readers within the shortest space of time, full descriptions of the fea- 
 tures and contents of these publications, in order that the reader may 
 draw his own conclusions of the value of these publications, or of their 
 interest to him. To make it unnecessary for the reader to rely upon 
 their advertised descriptions, the publishers have also placed before 
 him in this volume a few extracts of these volumes in order that the 
 books may stand upon their own merit, and the reader be the judge 
 beforehand as to which will be of interest to him. 
 
 Regardless of the fact that this booklet is distributed under condi- 
 tions and at a price which is considerably less than the cost of produc- 
 tion, every effort has been made to give the reader full value in the 
 matter of quantity — in fact, we know of no book sold at five or ten 
 times the price which has five or ten times the amount of contents. 
 
 We feel that this book should not be regarded strictly as an adver- 
 tisement, for the contents of the book is complete in itself. And what- 
 ever descriptive matter is included is entirely additional and included 
 at the expense of the publishers. However, if it is preferred to regard 
 the booklet in the light of advertising, surely no fairer advertising 
 could be devised than one of which the object is to assist the recipient 
 to make a wise selection. 
 
 "We trust that the reader will find herein full value in the way of 
 magical material and at the same time gain some acquaintance with 
 the nature and contents of our regular publications and the manner 
 of their production; and their distribution through magical depots 
 exclusively. 
 
 THE PUBLISHERS. 
 
 968 
 
BURLING HULL'S LATEST CARD 
 
 (Registered 1910. All rights reserved.) 
 
 A novelty in professional cards which is causing quite a little stir 
 in magical circles is illustrated above. It is in two colors, the fine type 
 being printed in faint grey, while the name and business is in bold 
 black. The fine print, which is a list of copyright books, acts and 
 inventions, thus forms a background for the card proper, which is the 
 name and business. 
 
 By turning over one of the corners the owner makes clear the 
 object of his call, i. e., after witnessing a magical act and wishing to 
 chat with the performer, the corner showing "Interview" is brought 
 forward and the card sent up by the usher, and the recipient knows 
 immediately what is desired. When desiring tickets for a magical show, 
 "Professional Courtesy" is shown. If the magician calls on a fellow 
 artiste and finds him out a corner is turned over, showing whether the 
 call was merely "Social" or had for its object some important business 
 making it advisable for the recipient to communicate with the caller. 
 
 "While the idea is protected from copyists, permission to use it may 
 be obtained by a limited number by communicating with the inventor. 
 
AUTO-MAGNETISM SUPREME 
 
 OR 
 
 THE CARD LEVITATION. 
 
 This method, which I invented and Copyrighted in 1907, has since 
 practically displaced what was then considered an excellent method 
 of a very good trick. But in spite of the wholesale manner in which 
 the big dealers of America and Europe (several of whom did not buy 
 the sets wholesale of me as the more conscientious did) highly com- 
 mended and advertised the trick, hardly any were kind enough to 
 credit me with its production. Therefore, only those who purchased 
 it directly from my own firm are aware of this fact. 
 
 FEATURES. 
 
 Performed without the finger rings required in the former 
 methods, without needles, threads, hairs, etc. ; in fact without anything 
 but the cards which anyone can see are bonafide playing cards. 
 
 The trick may be performed at a few inches distance. 
 
 In the former method, a ring worn on the finger engaged a metal 
 clip on the back of a clumsy faked card composed of two cards glued 
 together, with a metal plate between, to which the clip was soldered. 
 This metal clip was not only awkward, but would be plainly visible if 
 used at the close range permissible with the method described below. 
 
 EFFECT. 
 
 The performer standing two or three feet from his spectators (or 
 even among them) plainly exhibits each card on both sides and has 
 his hands thoroughly examined, there being no rings on his fingers. 
 The cards are then placed on his right palm and arranged in the form 
 of a star, as in illustration No. 1. Turning the hand over, the cards 
 cling to the hand as if magnetized, as in illustration No. 2. 
 
 The perform'er walks down through the spectators, freely per- 
 mitting persons to examine the cards and hand while the cards are 
 clinging to the hand, and allows them to pass their hands over the 
 cards to prove that hairs, threads, etc., are not present. 
 
 The performer then removes the cards and again exhibits his 
 hands and the cards, showing each card separately on both sides. 
 
 No. 2. 
 
 No. 1. 
 
SECRET. 
 
 Nothing but the cards are used, but the cards should be of a 
 design with a circle on the back somewhat similar to the one shown in 
 figure A. .On the back of one of the cards (preferably the Nine of 
 Diamonds) is glued a flap made by cutting out a disc containing the 
 circle design (see figure A) from the back of another card). This 
 should be folded or creased through the centre, as in figure B, and 
 glued on the back of the Nine of Diamonds so that it matches the 
 design perfectly — leaving half the flap free so it will hinge backward. 
 When pressed down, it lies flush with the card and because of the 
 design it is invisible at a few inches distance from the eyes. 
 
 WORKING. 
 
 Place the prepared card on the top of the pack with the cards face 
 down and proceed to show the backs of the cards by transferring them 
 from hand to hand as when counting. This reverses their order, bring- 
 ing the trick card to the front of pack. Turn pack over and show the 
 faces of the cards, which brings the "key" card to the back again. 
 Show the hands and both sides of the pack. Then with the left side 
 toward audience, take the pack in left hand with the backs away from 
 audience, and with the fingers squeeze the sides of the pack so that it 
 M'ill bend outwardly, which causes the flap to raise up from the surface 
 of the pack. Separating the second and third fingers of the right 
 hand, catch the flap between the lower joints of these fingers, pressing 
 tliem tightly together. Arrange the cards with the edges under the 
 "key" card, as in the illustration. Turn the hand over and the cards 
 will cling to the hand as if magnetized. You may walk among the 
 spectators showing the apparent phenomenon from all sides and per- 
 mitting any one to pass their fingers over the cards and back of hand 
 to prove the absence of threads: and may even hold the hand directly 
 in front of anyone's eyes for close examination, as the flap is just the 
 length of the joints and therefore invisible. 
 
This trick has been pronounced a perfect subtlety by scores of 
 magicians who have written me that they are using it with much suc- 
 cess. I therefore recommend the reader to make up a set and try the 
 effect, with confidence that he will secure just as much benefit as if he 
 had purchased the trick from a magical depot. 
 
 Tips: Use the Nine of Diamonds for the key card, as it is the 
 most inconspicuous card in the deck. Have a duplicate of this card 
 among the cards (about twelve cards is the best to use), but in ar- 
 ranging on the palm conceal the duplicate under another card. After 
 removing cards and when showing them again manage to accidentally 
 (?) drop the duplicate Nine — continuing running the cards from hand 
 to hand and remark, ' ' Pardon me, but will you pick that card up for 
 me?" Someone is always too willing to do so, and incidentally take 
 occasion to examine the Nine — ^without result ! 
 
 You may glue a piece of thin sheet rubber to the under side of the 
 flap before mounting it on the card, with the advantage that you may 
 then conclude the trick by "de-magnetizing" the hand (secretly 
 separating the fingers) causing the cards to fall from the hand in a 
 shower to the floor — ^the elastic drawing the flap flat and leaving 
 nothing to be discovered. 
 
 Personally, I only prefer this method when I perform the trick 
 with a spectator brought upon the stage, who I permit to pick up the 
 cards for me. I have never known one to discover the flap, as I take 
 the cards from him immediately he has picked them up; but if one 
 should some time, he will not know what it is for. 
 
A CARD LOCATOR. 
 
 A trick which is a sort of "third cousin" to the foregoing, em- 
 ploying as it does a similar idea but with a widely different effect and 
 purpose, is the following : 
 
 A card, or several cards, selected and returned to the pack in the 
 usual manner, are quickly located without the use of sleights and with- 
 out the necessity of maintaining any separation with the fingers. 
 
 The foregoing is accomplished by cutting out the center portion 
 of a bordered card, as shown in illustration "D" and glueing it on the 
 back of another. This naturally gives this card an extra thickness. 
 By having this card in the center of the pack and running the thumb 
 along the back end as when "ruffling," the thumb will stop when it 
 strikes the separation, enabling you to cut the pack at this point. You 
 may now permit the cards to be returned on top of this card, and 
 placing the pack together you have apparently lost location of the 
 cards selected. However, you can at any time locate them by passing 
 your thumb over the back and cutting them at the separation, thus 
 bringing the cards to the bottom. You may now execute the dove-tail 
 shuffle, permitting the selected cards to fall first so that they will not 
 become separated. By having the card on the bottom of the upper 
 portion when having the cards returned, it will fall on top of the 
 selected cards; in which case cutting the pack will bring the selected 
 cards to the top with the faked card on top — the dove-tail shuffle being 
 employed in the usual manner. 
 
 I understand that this trick was explained as one of the features 
 of "EXCLUSIVE MAGICAL SECRETS," but while I have no doubt 
 that it was included therein with good intentions and is probably little 
 known in England, I think we can claim it in America, as it is quite 
 well known, having been advertised and sold here since 1907 as a 
 brother trick to the Card Levitation produced at that time — U. S. 
 Copyright No. 217996. 
 
 No. 42. 
 
 No. 44. 
 
 10 
 
INTERLOCKED FINGER ACQUITMENT. 
 
 In this sleight, the fingers are clasped or interlocked (as in No. 42), 
 showing the backs of the hands, and are then turned (as in No. 43), 
 showing the palms. In spite of the fact that the hands have been shown 
 back and front and with the fingers interlocked in such a way as to 
 preclude the idea that they could take part in any sleight, the per- 
 former nevertheless brings his hands back to the first position and, 
 blowing on the palms, then turns his palms toward the audience (as in 
 No. 44), showing that a ball has appeared between the palms. 
 
 Operation: The baU which at first is in the left palm is gripped 
 between the right thumb and index finger (as in No. 45), whereupon 
 the left hand is immediately twisted so that the ball may be placed 
 against its back (as in No. 46), where it is retained by pressure of the 
 right index finger. The left hand is turned first; the ball brought 
 against it back — then, and not before then — is the right hand turned. 
 
 A reversal of the process brings the ball back into the palm for 
 production (as in No. 44). 
 
 I must here make an apology for including this sleight in a volume 
 of otherwise original manipulations, as I do not claim to be the origin- 
 ator. I worked out the manipulation myself in the above form, but so 
 have various others in slightly different forms, all of whom are equally 
 certain of having been the first. So I am unable to credit it to any 
 particular person, though I consider the sleight too good to be over- 
 looked. 
 
 R.Hl/JWfs 
 
 No. 46. 
 
 11 
 
THE MYSTIC DIVINATION. 
 
 (Without Exchange.) 
 
 In this trick the performer first places, either a pair oi examined 
 slates, or a sealed envelope in some conspicuous place or hands the same 
 to one of the company with instruc- 
 tions to retain it until called for. He 
 then passes a card or piece of paper 
 from person to person throughout 
 the audience, having each one write 
 a figure on it, having one number 
 place.d below the other. Finally the 
 paper is handed to another spectator 
 who is requested to add up the 
 column of figures and to read the 
 total aloud. When this is done, the 
 performer, with a smile, announces 
 that the spirits had already informed 
 him that the figures would add to 
 just that total. To prove his state- 
 ment he requests the person holding 
 the envelope or the slates to open the 
 same. On doing so, it is found to 
 contain a number which corresponds 
 with the total formerly read by the 
 spectator. 
 
 The card is not exchanged, con- 
 federacy is not employed and the 
 figures totaled axe the figfures written 
 by the audience. 
 
 now ITlS liONE 
 
 
 l'y\\\-\i\. 
 
 The Secret : The performer first 
 decides upon a number which he 
 wishes the figures to total to ; which 
 
 in this case we will say is 42 ; and this number is written on the slate 
 or the card, and placed within the envelope. A card or piece of paper 
 is carried from one person to another with the request that each write 
 a single figure. In carrying the card from person to person, the per- 
 
 12 
 
former keeps track of the numbers, adding each to the former as it is 
 put down; this being done under cover of showing how to place the 
 numbers one below the other. 
 
 Tho moment the total reaches 33 or over, the performer stops and 
 calls for a volunteer to add up the numbers, and announces that in 
 order to prove the paper is not exchanged, he will place the initials of 
 one of the spectators on the paper. Someone's initials are suggested 
 and the performer writes them in one corner and at the same time he 
 secretly adds a figure sufficient to bring the total up to 42. If the 
 genuine total is 33 he therefore adds 9 under the last nmnber — or if it 
 is 34, he writes 8, etc. — immediately drawing a line under the column, 
 and handing it over to be added up. The spectators of course have 
 no idea that he has done anything more than to place the initials in 
 the corner for the purpose of identification. 
 
 The trick is concluded as described, and if carried through with a 
 little audacity, proves very effective. It has even been known to 
 puzzle magicians. 
 
 For Double Figures : To make the trick more effective, it should 
 be performed with double figures, but I explained the trick with single 
 figures in order to make the method of operation clear to the reader, 
 who can then easily adopt it in the following form. In this case the 
 performer should fix upon a number somewhere in the four hundreds 
 for his total. We will say for instance 462. He should then keep track 
 of the numbers and the minute they total as mucb as 363 or over he 
 must stop and proceed as described above, adding a sufiicient number 
 to bring the total to 462. 
 
 13 
 
Extract from "EXPERT BILLIARD BALL MANIPULATION," 
 
 Copyright, 1910, by BURLING HULL STUDIO, 167 Senator St., 
 
 Brooklyn, New York City. 
 
 BURLING HULL HKF. A.ND BALL PRODUCTION. 
 
 Effect: Performer shows both sides of a large linen Hkf. and in 
 such a way that the audience is at all times able to see the performer's 
 hands (see Nos. 62 to 65). On placing one hand in the folds of the 
 Hkf. a solid ball is produced and everything may be examined. This 
 is one of the neatest and most effective tricks made possible by the use of 
 a novel sleight. 
 
 Operation: See Nos. 66 and 67, which illustrates the manner of 
 retaining the ball, yet leaving the fingers apart, while showing Hkj' 
 As the other side of Hkf. is turned the fingers twist around so that 
 ball is concealed behind Hkf. again. The vital point in this operation 
 is to cover the change by raising left corner of Hkf. so as to conceal 
 the shift, as illustrated in No. 64. 
 
 i:o. c" 
 
 No. 64 
 14 
 
 No. 67 
 
N. B. — The two following effects are extracts from "Deviltry" 
 (copjrright, 1909, by Burling Hull), by permission. The wording and 
 the illustrations being exactly the same as in the original, the enum- 
 eration of the illustrations has also been retained. 
 
 BURLING HULL CONE FLIGHT. 
 
 New effects with ball are extremely scarce. Though there exists a 
 fair number of ball slights, they are lamentably alike in appearance. 
 The many "new" sleights are new in principle only, but old in effect. 
 The result is that though the performer may employ very clever new 
 sleights, the audience is bored with the same old stereotyped multi- 
 plication, vanish from hand and production from mouth, elbow, etc. 
 It was with the object of injecting a little originality into the effect as 
 well as method of ball work that the writer designed the following. 
 Shortly after its introduction it was rumored that the originality was 
 claimed by another performer, by whom it was for sale. Investigation, 
 however, proved that the trick was entirely dissimilar, requiring two 
 balls and the use of rubber balls in place of the solid ball used in the 
 correct method. 
 
 Effect: The performer shows a solid ball, a paper cone which is 
 entirely empty, and both hands also empty. The cone is placed upon 
 table. The ball vanishes from hands and upon lifting cone is found to 
 have passed under. This is repeated several times, yet performer 
 shows he has but one ball and cone empty, each time. 
 
 Working : After the multiplying ball trick, is a good time to intro- 
 duce this effect. A ball with the half shell on it is exhibited in the 
 right hand in such a manner that spectators can see you hold nothing 
 
 
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but the ball, and a paper cone is shown to be empty in the left hand, 
 as in photo (12). Transfer the cone to the right to enable you to show 
 the left hand empty, gripping it between first and second fingers, ah 
 in photo (13), Just as you turn to show left hand and eyes are upon 
 that hand, let ball drop from behind shell into cone. It is really un- 
 necessary to direct attention to left hand, as should attention be upon 
 cone it is impossible to detect ball dropping from behind shell. Place 
 cone upon table, gripping ball through sides of cone as you invert it 
 and releasing it after standing it upon table. Insert a thickness of 
 felt under cover of your table about 3 inches square, which will 
 deaden any sound of ball dropping. Vanish shell by palming. Lift 
 up cone by extreme end with left hand exposing ball. Pick up ball 
 with right hand, press it into the palmed shell as in photo (14), then 
 exhibit ball, cone and hands. 
 
 Tips: Ball may be given for examination by having shell in cone. 
 Ball may be dropped in cone and brought out with shell. By covering 
 inside of shell with newspaper the flight may be reversed, dropping 
 shell in cone, holding same so it appears to be the ball, pushing it far 
 into cone so it sticks. Produce real ball from sleeve or elbow, showing 
 cone, which appears empty on account of the paper covering matching 
 
 cone. 
 
 CONE VANISH. 
 
 Effect: After the "Flight" the performer tosses cone out for ex- 
 amination and while it is being inspected, picks up a second cone. 
 Plainly placing ball in cone, it is held at tips of fingers. Suddenly 
 crushing cone, the ball has vanished. This is followed by reproduction 
 of ball and changes, etc., with ball and paper. 
 
 Photo 15 
 
 Photo 16 
 
 Photo 17 
 
 Working: A hole a little larger than the ball to be used is cut in 
 the side of the cone about one-half inch from mouth of cone. Cone is 
 stood on table with hole away from audience. In picking up cone turn 
 the right hand so the thumb points down, picking up cone from behind 
 so palm of hand covers hole. Turn it up and tilt it slightly toward 
 audience, as in photo (15), Placing ball plainly inside, press ball 
 through hole and into palm, as in photo (18). Then turn cone half 
 
way around so hole will be out of sight and raise it to finger tips, as 
 in photo (17). Suddenly catch cone and crush it in left hand. Roll 
 it into the shape of a ball, pretend to place it in the other hand (really 
 palming it) and substitute the ball. 
 
 Remark: "Sometimes I make it so round it looks just like the 
 ball." 
 
 Open hand showing it "looks" very much like a ball. Press paper 
 ball flat as you bring hands together and back palm it as you turn to 
 show hands empty, covering the back .palming with the other hand. 
 Many changes, etc., will suggest themselves to the reader. This is one 
 of the most effective and subtle ball vanishes, and properly executed 
 has puzzled some of the cleverest manipulators. 
 
 EXTRACT from "AMAGICOR" publications. 
 
 A UNIQUE THIMBLE "MOVE." 
 Effect: The thimble is placed on the tip of the second finger of the 
 right hand. This is slowly inserted in the left hand as in photo (D), 
 and as slowly withdrawn, but without the thimble, as in photo (E). 
 After the usual interval, the left hand is slowly opened and the thimble 
 has vanished. » 
 
 No. D 
 
 No. E 
 
 No. F 
 
 Working: The beauty of this vanish lies in its lack of suspicious 
 movements and the slowness with which it is executed. The thimble 
 fairly enters left hand and the finger fairly comes out empty, as illus- 
 trated in photos (D and E ), but by looking at photo (F), the secret 
 lies exposed. The second finger bends around the thumb and the first 
 and third fingers grip the thimble on each side. The second finger is 
 straightened and withdrawn from hand. The thimble may be immedi- 
 ately thumb-palmed, center-palmed ; the hand may be straightened 
 so thimble lies finger-palmeS under second finger, or it may be back- 
 palmed and the inside of hand shown. The moves should be operated 
 with considerable slowness to bring out the full effect. 
 
 19 
 
THE INDECEPTIVE DECEPTION. 
 
 This is one of those tricks which gain their eftect by means of the 
 performer outwitting the spectators while apparently demonstrating 
 that no deception is employed. 
 
 Explanation : A trick well-known to the public is that in which the 
 performer has a selected card returned to the pack by cutting the 
 pack, and while doing so takes opportunity to memorize the bottom 
 card of the upper portion, which, when the upper portion is returned, 
 causes the memorized card to fall next to oj? above the selected card, 
 thereby enabling the performer to locate the selected card on looking 
 through the pack later. 
 
 Effect : A selected card is returned to the pack in the manner de- 
 scribed above, except that just as the performer is about to place the 
 upper portion above the card he interrupts himself and remarks that 
 he has just remembered that there is a method of locating a card by 
 memorizing the one above it. He describes the trick and illustrates 
 how the card would come above the selected one by bringing the upper 
 packet down at right angles on the lower, as in No. 33 ; but in order to 
 prove that he does not resort to such trickery, he changes his course 
 and with his thumb pushes the selected card off the top of the low^er 
 portion and into the center of the upper packet as shown in No. 34. 
 Everything is apparently fair, especially if the performer gives the 
 pack a dove-tail shuffle and even submits the packet to the audience for 
 the same purpose. The card is in the performer's possession at once. 
 
 Operation: At the point illustrated in No. 33, the left fingers pass 
 upward and press slightly against the top card of the upper portion. As 
 
 the hands swing toward 
 the right side and the 
 left hand points to the 
 card, which the per- 
 former explains is mem- 
 orized — the left fingers 
 draw off the card from 
 the top of the upper 
 packet onto the lower. 
 This is done just as the 
 hands are turned over, 
 as shown in No. 33, 
 which should be accom- 
 panied by a swing to 
 the right. This covers the slip, which in this trick must be executed 
 far more noiselessly than usual, as the spectators' attention is cen- 
 tered on the cards. Do not press too hard on the slipped card, which 
 will cause it to snap down — but drawing it off lightly, let it come 
 slowly against the packet as the turning movement is designed to coVer 
 the operation completely. 
 
 20 
 
Referring to No. 35, " B " represents the slipped card, which is, of 
 course, the one pushed into the packet. The cards are then dove- 
 tailed shuffled and "A," the selected card, is allowed to fall on top. 
 If preferred, pause at this point (as shown in No. 35) where '*B" is 
 half way in the packet, extending that portion to a spectator, and re- 
 mark, "Here, push the card in with your own hand," and after doing 
 so, "While you have the cards you might as well shuffle them." When 
 the portion is returned, place your half on top and execute the top and 
 bottom false shuffle, or cut and dove-tail shuffle them, permitting the 
 selected card to fall on top at the end. 
 
 AN IMPROVED DICTIONARY DIVINATION. 
 
 This "Spiritualistic Feat" is one which I have found to have a 
 remarkably convincing effect in lyceum and society programs. 
 
 In this form there are no awkward subterfuges requited and it 
 is possible to use in place of the usual dictionary a popular novel of 
 the day or the Lodge Manual or Year Book of the organization you 
 are performing before, which adds increased interest. 
 
 Effect: The best effect is obtained by use of the Spirit Slates 
 which are cleaned and hung in a conspicuous place or held by a promi- 
 nent individual. Several books are now made into piles of three each, 
 from which a pile is selected by spectators, and a book of the pile. But 
 in order to give the reader a better idea of the flexibility of the trick 
 I insert here an extract from a press description of an interview in 
 which the trick was employed. 
 
 THE PRESS. 
 
 ****** "Another good trick of spiritualistic aspect which I have 
 frequently used on the stage and at society entertainments, I will 
 demonstrate for you. 
 
 "Here are some visiting cards, select one, and then place it inside 
 this envelope, and the envelope in your pocket. 
 
 "Open this pack of playing cards and take out ten cards from 
 any part of the pack you wish. * * Now count the spots on the ten 
 cards. You have one picture card ? Well, as that card has two pips or 
 spots, one at each end, we will count that as two. 
 
 ' ' The sum total is 56 spots you say ? Make a note of it. 
 
 "Now here are two books on magic of which I am the author, 
 entitled 'Expert Billiard Ball Manipulation' and 'Sealed Mysteries.' 
 These I place in one pile. Here is my novel 'The Drop of Wisdom' and 
 a copy of the 'Standard Dictionary' in a second pile. Now take one 
 of the piles from the table. You take the novel and the dictionary 
 away, which leaves the two books on magic on the table. I place these 
 at the right and left side and ask whether you wish me to use the right 
 or left book. The left? Very well ; take the book at your left hand 
 and open to the fifty-sixth page (56 was the number of spots found on 
 the ten cards selected) and read the first word on that page." (It was 
 the word "Mago-graphs"). 
 
 21 
 
"Now I will open the envelope you have in your pocket and here 
 is the card which you placed inside and across the face of the card you 
 see the 'Spirits' have written the word ' Mag-o-graphs. ' " 
 
 It was as the "White Wizard" has said, and after inspecting 
 each of the four books used and learning that the top word on page 56 
 was different in each book, the writer was beginning to feel a decidedly 
 chilly sensation in the vicinity of his spinal column when this modern 
 Yogi condescended to explain. 
 
 Laying out the pack of cards he showed that they were arranged 
 in the following order : 8 spot, 3 spot, picture or court card, 10 spot, 7 
 spot, 9 spot, 4 spot, 5 spot, 2 spot and 6 spot. The suits of the cards, 
 Clubs, Hearts, Spades and Diamonds, were not arranged in any par- 
 ticular order but so mixed as to give the impression of natural dis- 
 arrangement. He explained how the cards may be further freed from 
 suspicion by dropping the pack in a hat and shaking it about, which 
 by an almost unbelievable natural law, will not mix the cards or dis- 
 turb their order, though it will seem to the audience that the cards 
 must be thoroughly mixed. The cards may then be taken out and the 
 trick proceeded with. 
 
 The rest is explained in the Wizard's own language : 
 "Ten cards taken from any part of this arranged pack," he pro- 
 ceeded, "will always total 56 spots, so long as they are taken together. 
 Next, your choice of the book to be used was under my control at all 
 times. For when you selected one pile, taking it from the table, I said, 
 *That leaves the two books on Magic on the table to proceed with.' 
 Had you selected the other pile I would have said, 'You select this 
 pile ? Very well, we will use whichever you select of the two books, in 
 the pile which you have just taken — either the right or left ? ' 
 
 "Next you chose the left hand book, which was the one I desired 
 you to take. However, had you said the right, I would then have said, 
 * Certainly, I will take the book at my right hand, ' and as I was facing 
 you, my right side was the same as your left. Therefore, right or left, 
 I had your choice under my control. 
 
 "Now as for the writing on the visiting card. The envelope in 
 which you placed the card was prepared, but so cleverly that you would 
 never have suspected it had you examined it. It was made by cutting 
 out the back, or part of the envelope which bears the address, leaving 
 the flap on, and this was inserted within another envelope and between 
 the double back a duplicate card bearing the writing was inserted. The 
 outside flap was moistened and stuck to the inner flap and the envelope 
 was ready for use. In tearing open the envelope I tore off one end and 
 slipping my fingers in the right compartment, drew out the card previ- 
 ously placed there. The envelope I slipped into my pocket and had it 
 later occured to you to ask to see it I would have handed you a dupli- 
 cate unprepared envelope which I had previously placed there for such 
 an emergency." 
 
 22 
 
At the conclusion of his explanation the Wizard added some im- 
 portant advice on what to do, and what not to do, when performing 
 the tricks. 
 
 "Always take plenty of time when performing a trick. It is a great 
 mistake to hurry through as the spectators cannot appreciate the trick 
 and it often causes a slip or error on the part of the performer. Tell 
 the audience a little story about each trick as you perform it, thus in- 
 creasing their interest and giving you more time to make the secret 
 movements required. 
 
 "Never attempt a trick publicly until you have practised it at 
 least a few times before a mirror or you will be sure to make a mistake 
 or forget something. 
 
 "Never under any condition explain a trick even to your best 
 friends. The mystery is the whole charm of a trick and the minute you 
 explain a trick it is a disappointment to all. 
 
 "Never repeat a trick no matter how hard your audience may 
 1)1 ead for a repetition. Repeat a trick and you will not only run a great 
 chance of exposure (for a person is seldom deceived twice in the 
 same way), but the element of surprise is lacking. If pressed to 
 do so, repeat the effect, but use another method, or perform it for 
 another person privately." 
 
 ?- "WHERE '^-? 
 
 or "THE GHOST CARD" 
 A Startling Effect: A selected card (card may he se- 
 lected mentally) is caused to vanish from the per- 
 formers bare hands. ! ! ! 
 
 No covering used. No sleights, flesh color or attach- 
 ments. Any card selected caused to vanish. The 
 manufacturers guarantee that the three 
 new principles employed have never 
 been used in any card trick before — or 
 will forfeit $ 1 OO.OO 
 
 Can be performed 10 inches from the eyes. 
 
 ^1^^=^ Cards are waterproof, being highly finished with a waterproof coat- 
 
 ing after printing, may be washed when soiled and will last forever. Cards are of Finest 
 Treasury Bristol, cannot crack, may be bent double and will spring back into shape as good 
 as ever. The material alone cost 3V^ times that used in any other Trick Cards on the market to 
 produce. 
 
 Complete Set of beautifully finished cards and everything required, large 14x10 illustrat- 
 ed sheet of instructions (the most elaborate ever furnished with a card trick.) 
 
 PRICE SO cents ENGLAND 2s 2d 
 
 cheaper grade 2S cents . . Is Id PostFreelsSd 
 
 23 
 
The BOOK That You MUST Have 
 
 \ 
 
 ART OF THE STAGE 
 
 MAQCAL 
 STAGECRAFT and SHOWMANSHIP 
 
 IHISISIETISISISISISISTSITI 
 
 AMERICAN MAGIC CORPORATION 
 
 THE ART of the STAGE 
 
 OR 
 
 "Magical Stage-Craft & Showmanship" 
 
 " The Inner Secrets of 
 Successful Performing " 
 
 Plain "Straight-from-the-shoulder," instruct- 
 ions in what to do and say during the enter- 
 tainment, from the moment of Entrance to 
 the final Curtain, and the Encore. 
 
 The most valuable information ever put be- 
 tween two covers for the magician who wishes 
 to achieve success in his entertainments. This 
 is not a theoretical discussion of the subject 
 Printed on Heavy Antique ^ ^^ ^^^ previous attempts have been )but cow- 
 Art Tint Paper, Beautiful ^^^^^^ practical knowledge gained by exper- 
 
 Covers of Marbled Opal 
 
 ience in handling audiences. 
 
 INCLUDING: 
 Effective Entrance: Magical Music: The Bow: 
 
 Voice Throwing: Sylabic Pronunciation: Gesture: 
 
 Carriage: Opening Address: Opening Tricks: 
 
 Creating Applause: Stage-fright Cure: 
 
 Curtain Handling: Bringing Spectator on Stage: 
 
 Tricks for Encores: List of Hits and Programs for 
 
 Special Occasions, etc. etc. etc. 
 
 . The information does not require long study but may be applied in the rea- 
 ders next entertainment. It will make a finished artiste of the rawest material. 
 No Magician should be without this book. Price so eta. 28. 2d. 
 
Contents of Part One 
 
 Manner of Effective Entrance: Rapid entrance — mysterious entrance — 
 where made from and how — suiting entrance to style of performance — location 
 of settings in relation to entrance. 
 
 Correct Carriage: How achieved — length of step in relation to style of 
 performance — quick method of setting oneself for perfect carriage before en- 
 trance. 
 
 Position: While manipulating — position for feet in turning — correct posi- 
 tion in turning for change over palm — tips for walking away from audience — 
 for walking across stage. 
 
 The Bow: Entrance bow — how made — bow at conclusion of important 
 trick — bow at conclusion of act — bow at curtain call. 
 
 Gestures: Forms of gestures — to indicate article or person. 
 
 Mannerisms: Performing in mysterious manner — ^the brilliant type of per- 
 formance — types of individuals adapted for various styles — how the reader can 
 decide which he is best suited for. 
 
 Employing Facial Expression: Illusion: Illusion of stage which makes or- 
 dinary smile appear a grin— correct stage smile and how it is employed as a 
 principle of suggestion — dramatic expression — examples of how to employ af- 
 fected surprise — bewilderment, disappointment — hearty amusement, etc. — to in- 
 crease the effectiveness of the tricks. 
 
 Advice on Dress: Relation to different styles of performance-^when not 
 to wear evening dress — a novelty in magical costume. 
 
 Elocutionary Principles: Making the voice carry — secret of voice power — 
 proper breathing for greater volume — proper pitch for voice in public speaking — 
 securing depth. 
 
 Pronunciation: Position for tongue and lips for clearer and sharper pro- 
 nunciation — what to avoid — lips aiding audience to distinguish words — syllabic 
 pronunciation — its principles and reasons. 
 
 Opening Address: When and where appropriate — what it should consist 
 of — four types of opening address — suggestions — detailed examples of incorrect 
 address— detailed examples of correct spacing and delivery. 
 
 Contents of Part Two 
 
 Stage Fright and Its Cures: Its cause and a certain method of avoiding it. 
 
 Stage Nervousness Another Thing: How experienced performers over- 
 come its attacks — advice from the author. 
 
 Music for Magical Acts: Suitable pieces suggested — their application. 
 
 Opening Trick: Style of tricks suitable for opening — bad results of good 
 tricks used for opening — the performance — list of tricks suggested for opening 
 and methods of presenting them — original opening tricks by the author de- 
 signed for Lyceum use — construction of opening tricks. 
 
 Securing Applause: Methods of leading audience to applaud — and applause- 
 drawing tricks — creating applause — methods of creating applause — starting ap- 
 plause — forcing applause when slow — why some acts go "cold" — secret of draw- 
 ing applause — methods of dramatic presentation to draw applause — handling 
 curtains — using curtains to prolong applause — curtains at end of illusion act. 
 
 Conclusion of Act — Curtain calls — speaking before curtain — bowing off. 
 
 Encores: Great danger of employing even the best of tricks for encores — 
 list of tricks suitable for encores — author's suggestions — some humorous effects 
 for encores — where encores can be used to advantage. 
 
 Program of Hits for Special Occasions: Hits for large conventions — some 
 combinations suggested for lodge and club — hits for children's entertainments — 
 hits for church entertainments— features for children's entertainments — special 
 program for private society entertainments. 
 
 25 
 
Master Sleights with Billiard Balls 
 
 MASTER SLEIGHTS 
 
 AMERICAN MAGIC CORPORATION 
 
 50 PHOTO ILLUSTRATIONS ON 
 lOO LB. ENAMELED ART PAPER 
 SILK. CORD ART BINDING 
 
 "The Ball that Went 
 Out of Sight" - - 
 "Chapenders Change" 
 " Lightning Vanish" 
 "Mysterious Ball" 
 B. H. New Acquitment 
 "Perfection Twirl" 
 "WiU'o-the Wisp" 
 - - - and - - - 
 many other "Limit" 
 effects. 
 
 A further treatise by the 
 author of "Expert Billiarci 
 Ball Manipulation." 
 
 FEATURES "* 
 
 Original Master Sleights 
 
 Of the Master Billiard Ball 
 Manipulator 
 
 AND 
 
 A Complete 30 - Minute 
 Manipulative Act 
 
 AND 
 
 Explanation of the 
 Author's Combination 
 
 Ball Stand, Contrast 
 
 Screen and Vanishing 
 
 Apparatus 
 
 The most valuable apparatus for 
 the manipulative artiste ever de- 
 vised. Also explanations of the 
 "Invisible Trap" (converting' any 
 undraped table into a magical 
 table in one minute) and six 
 other pieces of Mechanical Ball 
 Apparatus. 
 
 Any one of the features 
 
 The Beautiful New Manipulations 
 The 30 Minute BiUiard Ball Act 
 The Construction of the Combina- 
 tion Ball Apparatus. 
 
 is -w^orth. treble the Cost of 
 this H arxcf some Volume. 
 
 O 
 00 
 
 These Publications sold only to Magicians, not 
 sold to Book Stores, Department Stores or 
 Libraries. 
 
 This unique and handsome volume, printed on 
 100-lb Pink Tint Enameled Paper, 50 photographic 
 reproductions. Art Folio Bindmg, Silk Cord 
 Bound Fifty Cents. 
 
 AT ANY STANDARD DEALER 
 
 In Great Britain, Two Shillings Six Pence 
 
SELECT EFFECTS FOR 
 YOUR PROGRAM 
 
 The Best of Latter Day Tricks. 
 NOVEL CARD FLIGHT. 
 
 From a full pack, a card is freely selected 
 (no force employed — pack may be handed 
 outright to spectator). The performer turns 
 his back while the card is being shown to the 
 audience. The card is no sooner returned 
 to the pack than the performer makes a pass 
 and commands the card to fly into his pocket. 
 The spectator himself places his hand in the 
 performer's pocket and removes the card. 
 Absolutely no palming or by-play. Absolutely 
 no force of any kind, and the performer does 
 not know what card is going to be selected. 
 He does not "plant" any cards in other 
 pockets ; only the one pocket used ; all others 
 are empty, and none are faked. No appara- 
 tus, just the pack. Seems impossible? That's 
 what makes it so good. Theo. Bamberg said, 
 "It is very, very clever." 
 
 A NEW CARD RESTORATION. 
 A wonderful improvement, inasmuch as there 
 is absolutely no forcing employed and that in- 
 stead of the performer taking the torn pieces 
 and giving one of the pieces (really a piece of a 
 duplicate) to be fitted to the card when re- 
 stored, the performer in this trick permits the 
 spectator to tear off the corner himself. Surpris- 
 ing as it may seem, the performer doesn 't know 
 what card is selected — doesn't bother his head 
 about it until the trick is over. Read this over 
 carefully, and think! 
 
 MINDS READ TO ORDER 
 A card selected from any pack freely, is shuf- 
 fled back by spectator. The performer is now 
 blindfolded. The cards given to the spectator, 
 who silently exhibits them to the audience, one at 
 a time. When the selected card is reached the per- 
 former shouts "Stop!! You are holding in your 
 hand the 'Seven of Diamonds,' which is the card 
 
 27 
 
selected by the gentleman in the fourth row. Am I right?" His an- 
 swer is a good round of applause from his audience. A sensational 
 trick for club audiences. Get this in time for vour next cli-b show. 
 
 A CARD TRIUMPH. 
 
 A pack of cards is placed in a goblet upon 
 the stage. The performer walks down among 
 the audience and requests various spectators 
 to select any card desired. As each card is 
 selected the performer turns around and 
 commands that card to rise and the correct 
 card rises from the goblet upon the stage. 
 No sleights required — even a beginner who 
 has never heard of "forcing" can work this 
 ingenious method. The up-to-the-minute 
 method of working the Rising Cards. 
 
 UNPARALLELED SPIRIT READINGS 
 
 A 20th century 
 Spirit Trick for use 
 in large halls, ban- 
 quets and lyceum 
 work, which places 
 "Men's Revelo," the 
 "Letter Test" and 
 "^ similar attempts in 
 
 the primary class. Using no sealed envel- 
 opes, pads, exchanging sleights, etc. The 
 only unexposed method existing to-day. 
 Practically arranged for professional w^ork 
 and free from apparatus and impractical non- 
 sense. 
 
 NOTE— All the above are included, with 
 many others (22 in all), representing the 
 cream of the latest card and spirit tricks, in 
 a book of 12,000 words, illustrated by 20 
 drawings and diagrams — playing card cover 
 design, as described below: 
 
 "SEALED MYSTERIES" 
 
 "I tell you, FTank, 
 lie handed the pack 
 to me outright, told 
 me to take out a card 
 (after showing they 
 were all different) 
 while he turned his 
 back. I am no "spring 
 chicken," so I ran 
 the cards over again, 
 took out a card and 
 then put the pack in 
 my pocket, to catch 
 him. He just turned 
 around, looked me in 
 the eye and told me 
 the card I had taken. 
 Right then I decided 
 to live a better life." 
 
 "But say — " 
 
 "Wait a minute! 
 We all said it was 
 guesswork, so he 
 wrote something on a 
 slip of paper and gave 
 it to me. Then had 
 another card selected, 
 and— Holy Smoke!! — 
 when we looked at the 
 paper it had the name 
 of the card on it. You 
 doubt it?" 
 
 "Well — er-a-oh! Of 
 course, I believe you. 
 Bt— " 
 
 "I don't blame you, 
 old boy; but it's 
 straight. He called 
 it Cards l!4.ysterious." 
 
 22 NEW CARD AND SPIRIT TRICKS, 50c 
 
 Never before explained (Catalog value over $30.00). All the best card tricks 
 and improvements on same by Burling Hull (author of "Expert Billiard Ball 
 Manipulation"). 
 
 Each Copy Securely Sealed when received by purchaser, to preserve contents, 
 niustrated by many drawings and photos. Covers in Red, Gold and Black. We 
 have only a limited share of the 500. While they last price 50c. 
 
SEALED MYSTERIES 
 
 Highly Finished "Glace" covers, in 
 Gold, Black and Red, handsomely- 
 bound. 
 Many Illustrations in Half- 
 tone and Line 
 
 Sold under Seal only, to bonafide Magicians. 
 Each copy reaches the purchaser securely — 
 Sealed and unopened. 
 
 Biggest dollar's worth I ever saw. The 
 best tricks simplified so that anyone can make 
 the tricks himself and perform them. Enough 
 for a whole act of new tricks for a parlor or 
 club show. 
 
 Prof. Theodore, Boston, Mass. 
 
 July 31, 1911 
 "Sealed Mysteries" received, read, and 
 is certainly O. K. 
 
 Evans Brown, Connersville, Ind. 
 
 July 19, 1911 
 Have a copy of your book "Sealed Mys- 
 teries," and it is fine. Will get the next soon 
 as it is out. 
 
 Herbert M. Richmond, Exeter, Nebr. 
 
 September 19, 1911 
 Tricks are of excellent merit. I hope to 
 use a few of the same in my card act, which 
 I am now preparing. 
 
 John Guntz, Merrill, Wis, 
 
 Latest Card Mysteries and Spirit 
 Tricks ( first time explained ) with in- 
 structions for constructing all the Trick 
 Cards — Special Packs, etc. 
 
 "The very cream of the latest tricks and new 
 inventions, gathered together and carefully prepar- 
 ed by the author who has improved the working of 
 each and added something of his own originality 
 making it the most valuable collection of absolutely 
 new tricks with cards, etc. , ever placed between 
 two covers. 
 
 The tricks are on scientific principles which 
 eliminate sleight of hand— and most remarkable of 
 all; none of the tricks have ever been explained in 
 any other book." 
 
 CONTAINING 
 
 The famous Sealed Letter Test, the Fly Card 
 Trick; the Card Rising Tray, the Devil's Pass and 
 improvements, the Burling Hull Improved Letter 
 Test, the Goblin Aces, Monte Cristo Cards, Photo 
 Sprite, Houdins Dream, Cards Mysterious and Im- 
 provements, Satan's Secret, Novel Card Discovery, 
 Electra, Trance Cards and others. 
 
 The Cataloged value of which total over $30.00. 
 Never before published with full directions for con- 
 structing all fake cards and trick packs. 
 
 August 11, 1911 
 "Literally the Cream of the Best Tricks— your 
 improvements are still better, and your instructions 
 for preparing them at home are perfect. Best of all 
 they are all new. " 
 
 C. N. Norton, Chicago, 111. 
 
 Special Offer 
 
 This volume as orginally printed 
 on 100 lb. Enameled Art Paper sold at 
 $L00 The book has been reprinted on 
 a light paper of good grade but has ex- 
 actly the same contents (printed from 
 electrotype) as previously sold at $1.00 
 REDUCED PRICE SOc 
 
 50c. 
 
 AT ANY DEALERS' 
 
 2s 2d 
 
ti 
 
 SCIENTIFIC MIND READING 
 
 MErMTASM^ 
 
 99 
 
 OR 
 
 II 
 
 "GREAT MAGICIANS PAST & PRESENT" 
 
 STARTLING EFFECT 
 
 IWTiTMV '^^^ performer hands to one of the spectators a pack or 
 
 * * ^ ^^C handsome pink tinted enameled cards bearing the names 
 vv,. of 26 Great Magicians of the Past and Present {the names 
 
 ^* were selected for this trick by Henry Ridgley Evans, the prom- 
 inent magical author and historian. ) The spectator secretly 
 selects one of the names and holds the card to his forehead. 
 The performer who may be out of the room or blind-folded 
 during the selection, now steps over to the spectator and 
 touches his forehead. Like a flash comes the answer, "Rob- 
 ert Houdin" (or as the case may be.) No matter what name is selected theresult is always the same. 
 
 IMPORTANT No marked cards, confederates or other nonsense. Not like any other trick. — 
 It is NEW! 
 
 FROM THE MOMENT the perfomer hands the cards to the spectator the performer never touches 
 them again. 
 
 The perfomer may be out of the room while the selection is made and an additional effect may 
 be obtained by having him blind-folded. 
 
 The Finest Impromptu Mystery The Greatest Pockzt Trick in the World. 
 
 Price 25Sc. Price 1 Shilling. PostFreelsld 
 
 A further improvement has been made whereby the performer can also tell whether the magic- 
 ian is living or dead. Intiproved Method 40c. — Is Td 
 
 Write Plainly 
 I enclose for which send me 
 
 immediately the following: 
 Expert Billiard Ball Manipulation 
 Bulletin of Latest Tricks 
 Master Sleights with B. Balls 
 Art of The Stage 
 
 Sealed Mysteries 
 
 "Where" Card Trick 
 
 "Mentasma" 
 
 Presidential Problem 
 
 STRIKE OUT ANY YOU DO NOT ORDER 
 
 H^me 
 
 -SYM 
 
 Address. 
 
 ..oJ9 ,8bh. 
 
 Special Priee of $3.SO 1 Ss. Post Free if all are ordered at one time. 
 
'SLEIGHTS WITH 
 SILKS." The modern 
 handkerchief act. 
 
 "THE BUSINESS END 
 OF MAGIC." Making 
 magic pay. 
 
 "ROADCRAFT," or Con- 
 ducting an act on 
 tour. 
 
 (Magical) 
 "EXPERT BILLIARD 
 
 BALL MANIPULA- 
 
 TION." 
 
 "MASTER SLEIGHTS 
 WITH BILLIARD 
 
 BALLS." 
 
 "BULLETIN OF LAT- 
 EST SLEIGHTS AND 
 TRICKS." 
 
 Card Tricks. 
 THE CELEBRATED 
 
 S E LF-FORCIN G 
 DECKS. 
 
 THE SVENGALI WON- 
 DER. 
 
 CAPT. KIDD DECK. 
 
 THE MENE TEKEL 
 MYSTERY. 
 
 IMPR'D CARDS MYS- 
 MYSTERIOUS. 
 
 THE DEVIL'S PASS. 
 
 THE CARD PROBLEM. 
 
 "MENTASMA." 
 
 CARD LEVITATION. 
 
 "WHERE?" or THE 
 GHOST CARD. 
 
 PRESIDENTIAL PROB- 
 LEM, ETC. 
 
 MR. BURLING HULL WILL, IN 
 THE FUTURE, WRITE ON MAGICAL 
 SUBJECTS ONLY FOR THE AMERI- 
 CAN MAGIC CORPORATION. HE 
 HAS ASSIGNED TO US THE PUBLJ- 
 CATION RIGHTS TO THE FOLLOW- 
 ING MANUSCRIPTS, WHICH WE 
 WILL HAVE READY AT THE EAR- 
 LIEST POSSIBLE DATE: 
 
 "T H E CHALLENGE 
 
 HANDCUFF ACT." 
 "THIMBLE TRICKS." 
 "SHORT-CUTS IN 
 MAGIC." — Simplified 
 Methods not found in 
 magic books, but 
 known to performers. 
 
 AUTHOR OF 
 
 "THIRTY-ONE ROPE 
 
 TIES AND CHAIN 
 RELEASES." 
 
 "THE ART OF THE 
 STAGE." 
 
 'SEALED MYSTERIES." 
 
 "SLEIGHT SHEETS." 
 
 "DEVILTRY." 
 
 "SLEIGHTS." 
 
 INVENTOR OF 
 
 Over 36 Others, Compris- 
 ing the "Copyright 
 Card Creations" 
 Series, the Largest 
 Series Produced by 
 any one Inventor in 
 which each trick em- 
 ploys ai DIFFERENT 
 Principle. 
 
 SELF-WORKING CLOCK 
 DIAL (not Roltare's 
 Method). 
 
 THE ROCKING SKULL 
 (without electro-mag- 
 nets, clockwork, elec- 
 trical or any form of 
 connection). 
 
 "TWENTY LESSONS 
 
 IN CARD TRICKS."— 
 Modernized Card 
 Tricks. 
 
 "MANIPULATIVE 
 ART." 
 
 "MAGICAL MECHAN- 
 ICS OF STAGE ILLU- 
 SI A." 
 
 (Novels, Dramatic 
 Sketches, etc.) 
 
 "THE DROP OF WIS- 
 DOM." 
 
 "THAT ADVENTURE 
 OF MINE." 
 
 "THE GHOST MAKER." 
 (Dramatic) 
 
 "THE SPIRITS KNOW 
 EVERYTHING." 
 (Sketch) 
 
 Mechanical and Stage 
 Effects. 
 
 THE DEVIL'S DIAL 
 
 (obedient pointer with- 
 out weights, electricity, 
 clockwork or any con- 
 nection). 
 
 SUSPENDED DRUM 
 PRODUCTION. 
 
 PERFECTION BALL 
 STAND. 
 
 COMBINATI' ALL 
 
 STAND. 
 
 CARDS n PHA'' r 
 
 (rise). 
 
 B. H. ""■' ^L 
 TERY, *k' 
 
 THE l-j *^F ,EF 
 
 DYIN / d 
 
 nine a Ker- 
 
 chief M^'■ , etc., 
 
BURLING HULL'S 
 
 Bulletin No. 1 
 
 BULLETirt 
 
 LATEST 5LElGUT5^TRICiC 
 
 BURurtG i4aiL 
 
 BtJRUJTS KUXJL CO^ 
 
 Printed on 100 lb. Enameled Art 
 Paper, 50 illustrations in Half-tone 
 and Line, from photos and drawings 
 prepared for this book. Limited issue. 
 
 OF 
 
 "LATEST ADVANCED SLEIGHTS 
 AND IMPROVED TRICKS" 
 
 CONTAINING 
 The very latest tricks in pure Sleight-of-hand, impro 
 ved and perfected so that difficult moves are eliminated. 
 
 Burling Hull has achieved his reputation 
 as an instructor through devising orignal 
 sleights so ingenious that each forms, a perfect 
 optical illusion in itself and is therefore less 
 difficult to excute. 
 
 SLEIGHTS 
 
 In his experience as a professional magi- 
 cian, as an inventor and as the only American 
 instructor in Manipulation Mr. Burling Hull 
 has devised a number of sleights, better count- 
 ed in series than individually and then the total 
 runs into the scores. 
 
 From these he has carefully selected mas- 
 ter sleights, which he believes are most need- 
 ed by the professional and amateur magician. These are so subtle in nature 
 that they form perfect optical illusions and thus require but the simplest me- 
 chanical movements, possible for anyone to execute as they deceive by their 
 inate cleverness rather than the skill of the performer, which is of secondary 
 importance. 
 
 PARTIAL LIST OF CONTENTS. 
 
 L The Handkerchief production from bare hands without apparatus or palming. 
 
 2. Another method of Handkerchief production from bare hands. 
 
 3. New False Shuffle executed by audience. 
 
 4. The Super-Supreme Force. Perfected at last! ! Any pack may be used and the performer 
 can allow a magician to select a card and even to change his selection after laying his hand on a 
 card, still it does not interfere with success ! ! ! 
 
 The Pass Surpassed 
 
 5. Startling impromptu trick with borrowed cards, easy for close work. This is so simple to 
 perform that Mr. Hull teaches it in the first lesson to his pupils, yet it baffles the keenest eye. 
 
 6. Burling Hull's Climax Color Change. The only genuine change on a new principle. Per- 
 formed with fingers wide apart. A great success in the hands of the "White Wizard," and would 
 be in yours as well ! ! ! First time explained. 
 
 7. Wonder Pass (not really a Pass.) Cards placed in center of pack and elastic band placed 
 around pack. Card appears at any number called for. Everything operated slowly. 
 
 8. Various new tricks on the "Wonder Pass" principle. 
 
 9. "The Invisible Pass." The only pass devised that is (A) invUiblee even to the man who 
 knows the secret (a fact.) (B) physically impossible to make a noise with. This only becomes poss- 
 it)le by using the new principle introduced. Devised by Burling Hull especially for his society en- 
 tertainments and used under the most difficult conditions. Works at two feet, one hand used. 
 
 10. One hand production of a thimble, (after showing both sides of hand) at finger tip. 
 
 11. A thimble vanish which you can operate a few inches from anyone's eyes as slow as you 
 like— the nearer the better, and so subtle in principle that even the initiated cannot tell when you 
 intend to vanish it and when you do not! ! 
 
 Many Other Valueable Sleights 
 Any one of the above tricks are worth more than the price of the book. Handsomely illustra- 
 ted by many photographs, PRICE 50c. 28. 2d. 
 
I, 
 
14 DAY USE 
 
 RETURN TO DESK FROM WHICH BORROWED 
 
 LOAN DEPT. 
 
 This book is due on the last date stamped below, or 
 
 on the date to which renewed. 
 
 Renewed books are subject to immediate recalL 
 
 M tt oe unr 
 
 asn Aav^9" 
 
 R£CD LP 
 
 ^ \%i 
 
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 FlE&6^ 
 
 ^ClO'63-UAM 
 
 LD 21A-50ni-8,'61 
 (Cl795sl0)476B 
 
 General Library 
 
 University of California 
 
 Berkeley