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I* I 6 *'*

WILL ALMA
M.I.M.C. (LONDON)
BOHLENO'S
MYSTERIES
 BOHLENO'S
FIVE ORIGINAL
PERFORMANCE-PROVEN

MYSTERIES

HENRY BOHLEN

Foreword by L O G A N W A I T
Illustrated by LAMONTE

<TV5

PUBLISHED
by
GEORGE ARMSTRONG
LONDON
1947
 FIRST PUBLISHED IN T H E U N I T E D STATES O F
AMERICA

BY

R O G E R MONTANDON—1946

BRITISH EDITION C O P Y R I G H T BY
G E O R G E ARMSTRONG—1947

A "MAGIC WAND" PUBLICATION'

The right to reproduce the contents, or any part

thereof is strictly reserved.

Printed in G r e a t Hrilain at The Horley Presl 20 22 M a r k e t Parade, Rye Lane, Peckham

L o n d o n S.E. 15 Nineteen H u n d r e d a n d Forty-seven
 (^on/enls

FOREWORD, by Logan Wait 6

TRIPLE RING-SILK P E N E T R A T I O N 8

IMPOSSIBLE FLOATING H A N D K E R C H I E F ... 13

DEVIL'S OWN KNIFE-CUT RIBBON 17

MULTI-CUT PAPER STRIP 19

MASTER SILK T H R O U G H ROPES 21

 a , •eworcl

fj^HOSE who claim something original have a niche in which

category Mark Twain placed those who talk about weather,
hut do nothing about it, and those who do do something arc
the ones of whom he said nothing.

Henry Bohlcn did do something about it, and as a result

won recognition and reward from those who know and judge
magic.

To carry on in the same theme it is not enough to stop here,

but from here you must cany on with these fine examples of
real magic.

LOGAN WAIT.
 The State Library of Victoria
"ALMA CONJURING COLLECTION"

The original routines with which Profes-

sional Magician Henry Bohlen won the
Ring One Trophy and Conjuror's Magazine
Award at the I.B.M. Convention in St. Louis,
Missouri, U.S.A., in June 1946.
j
 BOHLENO'S M Y S T E R f E S

cji-ijile ^fling=C)il(c C^lnelrcdion

T T E R E IS one of the most beautiful penetration effects ever

conceived. It will require practice, but the time spent will
be more than repaid.

T H E EFFECT
Three rings, or hoops, and an eightcen-inch silk handker-
chief are shown. The silk is held by its diagonal corners in
one hand. One by one the three rings are tossed at the loop
of the silk and each in turn penetrates the silk and is seen to
be hanging on the loop.
This amazing penetration of wood and silk can be carricd
a step further, and each of the rings can be removed from the
silk without the performer letting go of the ends.

THE R E Q U I R E M E N T S
Three rings, or hoops, ench being of such a size that it
will pass through the next larger ring. (Embroidery rings are
excellent. Painted white and used with a coloured silk they
make an excellent combination.) An eighteen-inch silk hand-
kerchief having attached to one corner a fine black silk thread,
about twenty-nine inches in length. The other end of the
thread is attached to a celluloid or flcsh-coloured ring which
will fit over the thumb.

THE ROUTINE
Place the three rings on the left arm and the corner of the
silk, with the thread attached, between the first and second
fingers of the left hand. Have the celluloid ring at the end
of the thread on the right thumb.

Display the silk, then bring the bottom corner of the silk
up between the second and third fingers of the left hand. Care
must be taken to keep the thread always between the body
and the silk. Now with the right hand take the smallest ring
from the left arm. Nots the position of the right hand as it
takes the ring, figure 1. The ring is taken from the left arm,
 B O H L E N O ' S MYSTF.RIES

brought down and off the silk. The position of rings, silk and
thread should now be a"s indicated in figure 2.
A. Largest ring.
B. Middle-sized ring.
C. Small ring.
D. Celluloid ring.
E. Black silk thread.
F. Silk handkerchief.
G. Corner of silk to which one end of thread is
attached.
H. Diagonally opposite corner of silk.

Now bring the point of the thread (J), figure 2, over the
left thumb. The position now is shown in figure 3.
Throw the ring towards the silk, at the same time letting
go of the corner of silk (G). to which the thread is attached.
As the right hand releases the ring it is pulled smartly away,
causing the end of the silk (G) to pass through the ring and
back up into position between the thumb and first finger of
left hand as shown in figure 4.
Before starting to loon the second ring, it is necessary to
bring the corner of silk (G) back again to the position shown
in figure 1, between the first and second fingers. This can be
done by taking the end (G) in the right hand and stretching
the silk out between the hands to show that the ring is really
looped thereon. Tn replacing the end in left hand it goes
between first and second fingers.
The purpose of having each ring larger than the previous
one will now be clear. As ring (B) is removed from the left
arm and carried down over the silk it must pass over the
small ring (C) as well. Loop this ring on to the silk as described
above, and then repeat the moves and loop the largest ring (A).

T O T A K E T H E R I N G S O F F AGAIN, O N E BY O N E
Display the silk and rings on it by taking the corner of silk
(G) in the right hand, the corner (H) being retained in the left
hand. Stretch the silk out and let all three rings slide on to
the left arm. Now let the two small rings slide back on to
the silk again, retaining the largest ring on the arm. Now
reverse the corners of the silk, that is, hold corner (G) in the
TRIPLE RING-SILK PENETRATION
left hand, and corner (H) in the right hand. At this point let
the largest ring slide back on the silk. Now place corner (G)
between the first and second fingers, and corncr (H) between i
the second and third fingers of the left hand. The silk, thread
and rings should now be as shown in figure 5, with the thread
running through ring (A).

Take the ring (A) in the right hand, lift up a little so that
the thread at point (J) can be looped over the left thumb,
figure 6. All that has to be done now is to let the corncr of
silk (G) drop, and pull the ring away in the right hand. The
ring will be completely free of the silk, and the silk and thread
will be in the position indicated in figure 4, except that the
two smaller rings will be looped on the silk, while the larger
ring is held free in the right hand.

All the above moves are repeated to remove the two

remaining rings, first (B) and then ring (C).
T-FERE IS a floating handkerchief trick that is a true illusion
when properly handled. It is easy to do, requires only a
standard piece of apparatus which almost every magician
has—plus, of course, a handkerchief and a wooden or steel
hoop.

THE EFFECT
I he cflect is that a knot is tied in one corner of a handker-
chief. The handkerchief is held in front of the body, the hands
are removed—and the handkerchief remains suspended in the
air without visible means of support. To further prove the
absence of any threads, etc., a hoop is passed completely over
the silk—and still it stands suspended, as though magnetised
by some invisible force, in mid-air.

THE REQUIREMENTS
One metal or wooden hoop, an eighteeii-inch silk handker-
chief, a small spring clip as illustrated, and a card rising reel
(the Petrie Utility Reel is just right for this) with finger clip
and a stop guard to control the pull on the thread.
Pull a few inches of the thread out of the reel and tic the
spring clip (A) to the end of the thread. Next tie an additional
eight-inch length of black thread to the spring clip. Tie a
knot in the end of the extra thread. The apparatus, when
assembled, will look like figure 7. Place this in the lower right
vest pocket, have the hoop laying on the table within easy
reach, and all is ready.

THE ROUTINE
Stand slightly in front of, and to the right of the table, as
the handkerchief is shown and a knot is tied in one corner
of it. Be sure the knot is loose and fairly large. Steal the
reel with the right hand, and while displaying the silk fasten
the clip on to the back of the knot. Extend the left hand
which holds the handkerchief, so that a length of thread will
be pulled out of the reel, and allow it to hang as shown in
figure 8. (View as seen by performer.)
IMI'OSSIULF FLOATING HANDKERCHIEF
 Now turn slightly towards the left and pick up the hoop
from the table with the left hand. This action will further
extend the thread from the reel, until there will be about four •
feet of thread hanging down between the hands. Check
the reel at this point. The position will now be as shown in
figure 9.

Throw the hoop over the right arm as in figure 10. This
action will bring a section of thread through the hoop as
shown.

Catch hold of the end of the extra thread (C), between the
second and third fingers of the right hand; release hold of the
silk with the left fingers, and float the silk as shown in
figure 11. It is now apparently suspended in mid-air and
neither hand is within eight inches of it.

Reach across with the left hand, grasp the hoop off the
right forearm and swing it down over the handkerchief in one
rapid motion, and then to the left as shown in figure 12. Hold
the hoop in this position long enough for the audience to
realise that it is now completely away from the floating silk.
Take care that the thread is always between the body and
the silk, and that the hoop always remains in a horizontal
position. Do not twist the hoop around. The movements of
the hoop are now retraced—at the same time pressure on the
finger reel is slowly released so that the thread is drawn back
into the reel. This must be done slowly. The position will
now be as shown in figure 13, all but about eight inches of
the thread has been rewound in the reel, and the hoop will
be between the two threads as illustrated. " B " is the reel
thread, " C " is the extra eight-inch thread,

Now by letting go of the extra thread (C), the hoop can be

moved away entirely, the silk now being suspended by the
reel thread (B). See figure 14. The hoop will now have been
passed completely around the handkerchief, proving to all that
the silk is actually suspended in mid-air.

Turn slightly to the left and lay the hoop down on the table.
Bring up the now free left hand, grasp the silk and, while
taking a bow, release the spring clip from the knot and replace
the apparatus in the vest pocket under cover of the silk. The
sijk and hoop can now be passed out for examination as they
are completely free of the apparatus.
 i i-il s (l \on ,J\iiife (l itl ~:J\ iooon

f P H I S IS a masterpiece of impromptu magic. Its presentation

is clean and direct to the point, and from the audience view-
point there is absolutely no explanation. Those who know
about looping up extra pieces of rope (or ribbon) will be
completely fooled.

THE EFFECT
The performer stretches a length of ribbon between his
hands, fo'.ds it in half, and then holding the two ends in one
hand forms a loop, allowing it to hang down. Taking a large
knife he inserts the blade in the loop of the ribbon and pro-
ceeds to cut through it. The audience can see it cut, yet the
ribbon may be restored instantly. I he cutting and restoring
may be repeated again immediately, heightening the mystery.

THE SECRET
The secret is remarkably simple. The ribbon has only a
slight preparation, there being a thread attached to its centre.
'I he thread's length is about the full length of the ribbon, and
there is a slip-noose at its free end. This noose is attached
to the handle of an ordinary table knife at the point where
the blade enters the handle.

THE ROUTINE
Have the knife, with the ribbon attached as explained, in
the right coat pocket. Step forward and display the ribbon,
stretching it out between the hands and giving it a tug or two
to prove it unprepared. Be sure that the side of the ribbon
to which the thread it attached is towards the body. Now line
up the two ends of the ribbon and grasp them between the first
and second fingers of the left hand, with the back of hand
towards the audicnce. This will leave the left thumb free. The
thread should now be hanging aircctiy down from the bottom
point of ths loop. Reach into the pockct with the right hand
for the knife, and under prctcncc of testing its sharpness slip
the thread o^er the left thumb. Bring the knife down and
insert its blade into the loop of the ribbon. Figure 15.
Pressing down on the ribbon with the knife will draw the two
visible ends of the ribbon inside the left hand. Now raise
the knife a couple of times, simulating the action of preparing
to cut through the loop of the ribbon with a downward sweep
of the knife. On the third sweep, bring the knife down fast,
letting go of the ends in the left hand. The knife will, of
course, continue on its way down, and to all appearances it
cuts through the ribbon. As the knife passes downwards the
action of the thread over the thumb will snap the looped end
of the ribbon up to the left thumb and forefinger as quick as
a Hash, completely reversing the ribbon and leaving the two
ends hanging down. Figure 16.

Replace the knife in the coat pocket. Catch hold of the

two ends with the right fingers and wrap the ribbon around
the left hand. Blow on it and then stretch it out, showing
it completely restored.
 Illul/i &ul Jhjn-r <3>iviji

1
j 'HIS E F F E C T is a gem for impromptu as well as set
occasions. It is absolutely convincing, easy to work—
requiring no sleights—and there is nothing to switch or
dispose of.

T H E EFFECT
The performer exhibits a long strip of paper, which lie Colds
in accordion pleats, making a packet of about oncTifth the
size of the original strip. One end of the packet is trimmed
oil' by cutting away the several ends of the folded strip. 1 hese
fall to the floor, and there is no doubt whatever that the strip
has been cut into several pieces. Upon blowing on the cut
edges the strip becomes completely restored.
The strip of paper is handled freely throughout the routine,
with fingers wide apart, making the restoration a real mystery.

THE SECRET
Fold a strip of paper as shown in figure 17. Note the fake
folds and the three main accordion pleats. Fold the strip
and place it in the vest pocket.

THE ROUTINE
Remove the strip from pocket and hold it by the fake folds,
letting the strip unfold and hang down as in figure 17. It will
look Jike an ordinary strip of paper, for the first finger and
thumb hide the fake folds. After displaying the strip, refold
it by pleating, commencing with fold " A , " then " B," and
finally " C," until the packet is about one-fifth the size of the
original strip. The folds are made towards the audience—
keeping the fake fold at the top and to the rear, as shown
in figure 18. Now reverse the folded strip, bringing the fake
folds into the palm of the left hand, with the thumb resting
on the fake end. Under cover of lining up the visible ends of
the strip with the right hand, the left thumb turns down the
fake folds, straightening them out as shown in figure 19. Again
reverse the pleated strip, bringing the fake end to the l o p ,
facing the audience. Figure 20.
 All is now set for the cutting. Snip ofT the fake ends with
two or three cuts of the scissors. Allow the front pleat to fall
as weil, proving that the pleats have really been cut through.
Hold the strip up and nip one end of it between the finger and
thumb—blow on it—and let it unfold to its full length,
showing it completely restored.

If required, the strip may now be passed out for examination

PUBLISHER'S NOTE.
T h i s effect was first p e r f o r m e d by H e n r y B o h l e n at the I.B.M
C o n v e n t i o n , St. Louis, Missouri, U.S.A., in J u n e , 1946. In the s a m e
year it was p u b l i s h e d in the A m s r i c a n edition of this b o o k .
In April, 1947. it was re-f iibiished u n d e r the title " S n i p n c " in
The Gen, V o l . 2, N o . 5.
 QllaShr cSilC cJlirouol, ^Rohcs
f> J

T H E T I T L E is true, this is a masterpiece; it requires no

skill and a minimum of practice, yet the eilect created upon
the audience is astounding.
THE EFFECT
A length of rope is held taut by two assistants from the
audience. The magician displays a silk handkerchief, and
looping it round the rope,, with an end in each hand, he pro-
ceeds to pull it right through the rope.
The process is then reversed by passing the handkerchief
back and down through the rope, and as a final touch the
trick is repeated with but one hand holding the handkerchief.
It is an apparent impossibility, yet it is done right under the
eyes of the two assistants. As a variation the silk can be
pulled through a pole, or for impromptu presentation it can
be pulled through the top back rung of a dining-room or club
chair.

THE REQUIREMENTS
No equipment whatsoever is required, just a short piece of
black thread of a length corresponding to the diagonal length
of the silk handkerchief.
Take hold of the silk at diagonally opposite corners, and
stretch it to its extreme length. Then tie the silk thread to
each diagonal corner. Also have an eight to ten-foot length
of rope at hand.

T O P U L L T H E SILK U P T H R O U G H T H E R O P E
Invite two assistants to examine and stretch out the length
of rope to its fullest extent. Now step behind the rope, at
about its centre, right side facing the audience, and withdraw
the silk from the breast pocket. Flick it out once r r twice,
then catch hold of it between the first and second finger-, of
the left hand at one of the corners to which the thread is
tied. Letting the other end of the silk hang down, hold it
MASTER SILK T H R O U G H ROPES
 close to the rope and then reach over the rope with the right
hand and catch hold of the lower end of the handkerchief,
and hold it as shown in figure 21.

Draw both ends of the silk up, so that the looped silk pulls
against the rope—to show that it is really looped round the
rope. This action will bring the two hands close together,
and this is the time to slip the left thumb under the thread
at " A," figure 21. Then move the hands apart again as far
as the thread will allow, figure 22.

Make a couple of short upward movements with the hands,

then let go of the silk in the left hand, at the same time both
hands move apart and up in one rapid move. Care must be
taken to ensure that the thread does not slip of? the left thumb.
The silk has now apparently penetrated the rope, for in a
flash the corner of silk will have been drawn under the rope
and over it, back to the left hand, where it is retained. Figure
23.

TO PASS T H E SILK DOWN T H R O U G H T H E R O P E

This is just the reverse of the moves described above. Hold
the silk stretched across the top of the rope, figure 24. Now
the left thumb must engage the thread at " B " by lowering
both hands until they meet. When the hands are drawn apart
the thread will be looped around the rope as shown in figure 25.

Make a couple of short downward movements, then let go

of the silk in the left hand. At the same time move the hands
apart and down in one rapid move. The silk has again pene-
trated the rope, figure 26.

PULLING T H E SILK UP T H R O U G H T H E R O P E W I T H
ONE HAND
First hold the handkerchief as in figure 21. Then bring
the thread around the rope as in figure 22. Next the right
hand brings up its end of the silk and places it between the
second and third fingers of the left hand, as shown in
figure 27.

Place the right first finger on top of the thread at point

" C," figure 27, and move the right hand down, at the same
time letting go of the end of silk held between the first and
MASTER SILK T H R O U G H ROPFS
second finger of the left hand. Also, at the same time, the
left hand moves up sharply. When the free end of the silk
again reaches the left hand, after passing around the rope, let I
go of the thread by the right hand. The silk will now be free
of the rope, figure 28.

T O PASS T H E S I L K O N T O T H E R O P E W I T H ONE
HAND

Hold the silk in front of the rope with the left hand, as
in figure 29. Bring the thread, at point " D " in figure 29,
over the left thumb as shown in figure 30.

Snap the left hand upwards, letting go of the end of the

silk held between the first and second fingers, and the silk
will once again be around the rope, as in figure 31.
THE MAGIC WAND
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 MASTERED
MASTEIIED
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A "MAGiC WAND PUBLICATION

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FIFTEEN PRACTICAL EFFECTS
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Foreword by E D W A R D G. L O V E
72 pages. Soft board covers. Profusely illustrated by Lamonte.
a A M A Z E M E N T WITH MONEY—The "Last W o r d " Note
Routine, The Master "Silver and C o p p e r " Routine, The
Master " Close-up " Coin Vanish.
• C I G A R E T T E S O R C E R Y — P e r f e c t Cig.-Switch a n d a r o u t i n e
f o r the C a r d in C i r a r e t t e T h e C h a p e a u Cigarettes. Cig.
Suspension.
• T H I M B L E A M A Z E M E N T — T h e Master Move, T h e " P i n c h "
H i g h Speed Visible V a n i s h , T h e " N o S t e a l " T h i m b l e R o u t i n e .
9 P A S T E B O A R D P A R A D E — K o r a n ' s M i r a c l e C a r d Stab, T h e
Eight Aces, C o r r e s p o n d i n g C o l o u r s , C u t e C u t , S l o w M o t i o n
Card Change, Flash Fan.
Speaking of A1 K o r a n ' s M I R A C L E C A R D STAB, E D W A R D LOVE.
A u t h o r of " C a r d Fantasies " a n d p r o m i n e n t L o n d o n Magician, says:
" It is t h e finest card effect t h a t I k n o w or have ever s e e n . "

This b o o k h a s already established itself as o n e of the most outstanding

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been used by the authors. Just sit down with the b o o k , pick u p your thimbles, cards,
cisarcttes or coins, and do the tricks.
A1 K o r a n is acknowledged as one of the finest exponents of "close-up " magic
in the country, while Jack L a m o n t e is a rising y o u n g professional of superb skill

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 THE WIZARD
A Modern Monthly Magic Magazine
Edited by GEORGE ARMSTRONG

£STABL)SHED 1905 RESUMED 1947

The first issue of the new W I Z A R D was published on 1 0th April

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]t has a colourful photographic cover and very often special colour

sections with illustrations printed in two or more colours.

The contents include the life stories of our leading Wizards, notes
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 CONVINCING
COIN MAGIC
By VICTOR FARELLI
Cloth Bound. G o l d Stumped Title
Beautifully P r i n t e d o n A r t P a p e r . 91 p a g e s .
P r o f u s e l y Illustrated w i t h
33 P h o t o g r a p h s a n d 24 D r a w i n g s
P r e f a c e by C a m i l l e G a u l t i e r , L L . D .
A u t h o r of " M a g i c w i t h o u t A p p a r a t u s "
Ten L a r g e C h a p t e r s , e x p l a i n i n g
T h e Classics of C o i n M a g i c , a n d
A complete Coin Act
B i b l i o g r a p h y of W o r k s o n C o i n C o n j u r i n g

THE LAST WORD

on
CONVINCING COIN MAGIC
V I C T O R F A R E L l . l ' S works on magic are famous throughout the world for their
d e t a i l e d d e s c r i p i i o n s o f e v e r y m o v e a n d s l e i g h t u s e d in t h e effects d e s c r i b e d . T h e y a r e
in f a c t , P E R F E C T L E S S O N S I N M A G I C . C o n v i n c i n g C o i n M a g i c is n o e x c e p t i o n .
W h e n o p e n i n g t h e p a g e s of t h i s b o o k t h e r e a d e r n e e d k n o w n o t h i n g e x c e p t t h e s t a n d a r d
m e t h o d of p a l m i n g o n e c o i n ( a n d e v e n if h e d o e s n o t k n o w t h i s , a r e f e r e n c e is g i v e n t o
w o r k s w h e r e it is d e s c r i b e d ) y#t a l i t t l e s t u d y a n d a l i t t l e p r a c t i s e w i l l f u r n i s h h i m w i t h
some really outstanding effects, M o n e y f o r N o t h i n g is a c l o s e u p g e m t h a t will a f f o r d
t h e p e r f o r m e r a n d s p e c t a t o r s m u c h a m u s e m e n t , a s will B a n g w e n t a P e n n y a n o t h e r c l o s e
up " S h a r p e r ' s " trick. F o r t h e d r a w i n g - r o o m t h e r e is a n a m a z i n g r o u t i n e w i t h T h e
P u z z l i n g P i s t e s w h i l e f o r t h e p l a t f o r m o r s t a t j e t h e C h u n g L i n g S o o M a s t e r p i e c e is s o
w e l l d e s c r i b e d a n d r o u t i n e d t h a t t h e p e r f o r m e r c a n n o t h e l p b u t p e r f o r m it w e l l . C h u n g
L i n g S o o f i l l e d t h e w h o l e s t a g e w i t h t h i s g e m of C o i n M a g i c a n d t h e g e n u i n e a n d c o m -
p l a t s r o u t i n e h »s n e v e r b e f o r e a p p e a r e d i n p r i n t . C o m b i n e t h e s e e f f e c t s w i t h a C o m p l e t e
C o i n Act including such o u t s t a n d i n g effects as C o i n s at the Fingertips, T h e M i s e r s D r e a m
I n t e r l u d e A S h o w e r o f C o i n s a n d M u l t i p l i c a t i o n a n d t h e r e a d e r w i l l h a v e s o m e i d e a of
t h e v a l u e of t h i s b o o k . I n a d d i t i o n , M r . F a r e l l i d e s c r i b e s S p e c i a l C o i n s f o r M a n i p u l a t i o n
Sleight of H a n d Vanishes, T h e " C l i p " a n d " P a l m " c o m b i n a t i o n , T h e O k i t o Slap, T h e
" S i m p l i c i t y " V a n i s h , P a l m i n g a n d " A c q u i t m e n t s , " a l s o n o n s l e i g h t m e t h o d s of v a n i s h ,
iug coins, s u c h as C o i n Folding a n d m a n y m e t h o d s with p r e p a r e d a n d b o r r o w e d h a n d -
k e r c h i e f s . N O T H I N G is lett t o t h e i m a g i n a t i o n . E v e r y " m o v e " is d e s c r i b e d in d e t a i l
and profusely illustrated with photographs and diagrams. T h e d e t a i l s of p r e s e n t a t i o n
a r e d e a l t w i t h a n d m u c h g e n e r a l a d v i c e of g r e a t v a l u e is g i v e n in t h e i n i m i t a b l e F a r e l l i
manner.
T H E B E G I N N E R w i l l b e p u t s t r a i g h t o n t h e r o a d t o t h e p r e s e n t a t i o n of C o n v i n c -
ing C o i n Magic.
T H E E X P E R T should consider whether his routines are m r a s u r e d by the s a m e
yard-stick as the effects in this b o o k . Are they convincing ? In a n y case the book will
b e of i n e s t i m a b l e v a l u e t o e v e r y m a g i c i a n , b e h e b e g i n n e r o r e x p e r t .

Post paid 17/10 ($3.75)

From
THE MAGIC W A N D PUBLISHING CO.
I I Monastery Gardens, Enfield, Middlesex.
INTERNATIONAL
COMMENT
on CONVINCING COIN MAGIC
Plr I Pll-I O T P I President. "Association Francais des Artistes
• J • u n u l l - L i Prcstidigitateurs" FRANCE
" L i k e all V i c t o r F a r e l l i ' s w r i t i n g s it is c l e a r , p r e c i s e a n d v e r y
w e l l e x p l a i n e d . T h e r e a r e m a n y o r i g i n a l t h i n g s in it, a n d it is
beautifully produced, with good illustrations excellently print-
e d o n f i r s t q u a l i t y p a p e r . I p r a i s e it w i t h o u t r e s e r v a t i o n a n d
m y p r a i s e is, I a s s u r e y o u , q u i t e s i n c e r e .

J. G . T H O M P S O N , Jr. In the Linking Ring, U.S.A.

" W o r d s f r o m t h e p e n of t h i s d i s t i n g u i s h e d a u t h o r i t y o n m a g i c
a r e w o r t h y always of a careful s t u d y and c o n s i d e r a t i o n . I find
this w o r k n o exception. You may rest assured . . . that t h e
m a t e r i a l can b e m a s t e r e d by t h e a v e r a g e magician w i t h o u t t o o
much difficulty. O f inestimable value t o t h e r e a d e r are t h e bits
of p s y c h o l o g i c a l d e c e p t i o n d e s c r i b e d h e r e a n d t h e r e in t h e t e x r
i n f o r m a t i o n of a t y p e t o o s e l d o m p r o c u r e d a n d t o o o f t e n o v c
l o o k e d in t h e r u s h t o g e t u n d e r w a y w i t h t h e t r i c k in h a n d . "

JULIUS S U N D M A N , President, " T h e Magic Circle," FINLAND

It is c l e a r t h a t a g r e a t w o r k h a s b e e n p r o d u c e d , b o t h b y t h e
a u t h o r a n d b y t h e p u b l i s h e r . It is a b o o k f o r e v e r y m a g i c i a n
i n t e r e s t e d in c o i n e f f e c t s . "

WILLIAM STICKLAND, Hon.s.c-Briti.hRm,. ' - B . M . ^ ^ ^

" T h e n a m e F a r e l l i is s y n o n y m o u s w i t h c o n v i n c i n g m a g i c , and
t h i s b o o k , w h i c h is v e r y w e l l p r o d u c e d , is a p t l y n a m e d and
s h o u l d b e in t h e l i b r a r y o f e v e r y d i s c e r n i n g m a g i c i a n . "

J O H N M U L H O L L A N D . E d itor T H E S P H I N X . U.S.A.

" . . . an e x c e l l e n t b o o k a b o u t s l e i g h t s a n d t r i c k s w i t h coins
T h e s l e i g h t s a r e n a t u r a l a n d n o t a t all i n v o l v e d a n d t h e tricks
will i n t e r e s t a u d i e n c e s . "

PERCY NALDRETT, Editor T H E M A G I C C I R C U L A R .

" . . beautifully p r o d u c e d on art p a p e r with many p h o t o g r a p h i c

a n d l i n e i l l u s t r a t i o n s . . . e a r l y o r l a t e , t h i s b o o k will f i n d its w a y
t o t h e l i b r a r y of t h e e n t h u s i a s t . "
 Tricks of the Trade
Collected, by
GEORGE ARMSTRONG

What Do You Want to know ?

T h e chemicals for the Clay Pipe trick
M a n y useful tips for R o p e C e m e n t
H o w best to p a i n t y o u r T h u m b T i p

HOW TO MAKE
I m i t a t i o n beer A n effective billiard ball holder
An i m p r o m p t u card stand Chemical c h a j k f o r slate writing
I m p r o m p t u coin holders Flash Paper
F l a m i n g liquid T h e Lighted M a t c h P r o d u c t i o n f a k e
T h e Lighted C a n d l e f r o m Pocket

HOW TO
Clean cards Peel c a r d s
Clean feather flowers R e m o v e grease spots
R e m o v e stains f r o m silk K e e p the h a n d s in good condition
Levitate your wand

The Answers
t o these a n d 57 o t h e r vital questions are contained within the twenty
f o u r pages of this invaluable b o o k . A total of 76 valuable hints, tips
f o r m u l a e , etc., that a r e indispensable to every magician. A r r a n g e d in
alphabetical order for easy reference.

STAGE MAKE-UP
Also a c h a p t e r on Stage M a k e - U p , with a great deal of valuable advice

Post paid 2/7 (50) cents.

From
THE MAGIC W A N D PUBLISHING CO.
11 Monastery Gardens, Enfield, Middlesex