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Auction Description for Potter & Potter Auctions: The Golden Age of Magic Posters • The Nielsen Collection Part II
Auction Description:
We are proud to announce the greatly anticipated follow up to last years highly successful June auction. The Golden Age of Magic Posters • The Nielsen Collection Part II is taking place on Saturday, February 4, 2017. Don't miss out on your second chance to own a piece of this significant magic collection. Deluxe hardbound special edition catalogs are once more available.

The Golden Age of Magic Posters • The Nielsen Collection Part II (294 Lots)

by Potter & Potter Auctions Inc.


294 lots with images

February 4, 2017

Live Auction

Chicago, IL, USA

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ABBOTT, ANNIE (DIXIE HAYGOOD). Annie Abbott. The Little Georgia Magnet.

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Description: Belfast: David Allen & Sons, ca. 1905. Half-sheet color lithograph the American stage magician Annie Abbott. The poster reads, “Can you Lift Her? Twenty Men Try It Every Night and Fail.” 20 x 30". Over painting and chipping throughout; B. Uncommon. Capitalizing on the sensation caused by Lulu Hurst (“The Georgia Wonder”), Annie Abbott rose to prominence in the early twentieth century with an act almost identical to Hurst’s. As advertised on this uncommon lithograph, Abbott demonstrated an incomprehensible ability to resist the strength of many men from her audiences, who tried to push, pull, and lift her from where she stood on stage. Despite their might, Abbott remained solidly in place, as if held to the stage by a giant unseen magnet.

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ALBA. Professor Alba.

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Description: Valencia: Graficas Valencia, ca. 1950. A human skeleton holds a menacing scythe in one hand, with other arm wrapped around the bicep of the tuxedo-clad Alba, here billed as “The man who plays with death.” 13 x 27 ¾". Minor wear in upper third; A-. Half of a matching poster set. The other for his performing partner Gioconda is found in Lot #87

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ALBINI, HERBERT. (ABRAHAM LASKI). The Incomparable Albini.

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Description: Milwaukee: American Show Print, ca. 1910. Three-quarter length portrait of Albini in a three-piece suit, holding a sheaf of documents in his lap, his free hand supporting his head. 20 ¾ x 28 ¼". Four losses repaired, borders over-colored; B. Uncommon.

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Albini, LiEUTENANT. (FREDERICK BAXTER EWING). Leut. Albini.

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Description: 1881. Two color broadside features a portrait of the British illusionist and touts his popularity. 11 x 33 ½". Significant losses and tears; C. Sometimes confused with the Herbert Albini, Lieutenant Albini (1851 – 1930) was the first magician to use that stage name as a magician, and one of the first performers to present an act of stage filling illusions in British music halls of the late nineteenth and early twentieth centuries. His career spanned several decades, included notable contracts of 100 weeks or more with more than one impresario, and he also appeared before British royalty on more than one occasion.

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ALEXANDER (CLAUDE ALEXANDER CONLIN). Alexander. The Crystal Seer.

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Description: [Bombay: Av Yaga?], ca. 1920. Lithograph panel poster bears a striking portrait of Alexander’s turbaned visage surrounded by skulls, and hovering over a crystal ball. 14 ¼ x 41 ¼". Slight tear affecting. Old fold and minor repairs. Good condition; B+. Alexander was, perhaps, the most successful professional theatrical mind reader of his generation. He made millions of dollars performing on the grandest vaudeville stages — nearly $240,000 in 1924 alone — and retired at age 47 to a sprawling estate in the Pacific Northwest. According to Alexander’s biographer, David Charvet, “Claude Alexander Conlin admitted to killing four men, was married seven times, occasionally to more than one woman at a time, spent time in jails and prisons around the United States, and counted some of the greatest magicians of his time as his close friends.” In 1944, Alexander sold his entire show — props, posters, costumes, and all — to Robert Nelson of Columbus, Ohio, who ran a successful business supplying mentalists and mind readers. For decades, Alexander posters, including those offered here, filtered out into the magic community and beyond, from Nelson’s store rooms.

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ALMA, WILL (OSWALD GEORGE WILLIAM BISHOP). Will Alma.

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Description: Richmond, Australia: Gee. Whitehurst, ca. 1930. One-color broadside advertising the Australian magician who gathered together one of the largest and most important collections of conjuring material in the southern hemisphere. 13 ¼ x 30 ¼". Edges chipped, tearing affecting text; B-.

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ANDERSON, JOHN HENRY. Professor J.H. Anderson. The Great Wizard of the North.

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Description: Liverpool: S.A. Hurton, 1851. Magnificent letterpress broadside embellished with a woodcut illustration showing the Wizard on stage with a pistol in one hand. Flowery language fills the bill to overflowing, describing the feats he will perform at the Theatre Royal, Bristol, mentioning in no uncertain terms that the tricks he will exhibit will be many of the same performed before Queen Victoria. These include the Inexhaustible Bottle, Dejeuner Magique, The Magic Scrapbook, The Suspension Chloroforiene, and more. 10 ¾ x 34 ¼". Restoration to borders only slightly affecting some text, minor soiling, old folds prominent. B.

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ANDRESS, CHARLES. Andress and His Novelty Gift Shows.

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Description: [Cincinnati & New York: The Strobridge Litho. Co., 1917]. Vignettes from Andress’s variety show fill the poster, including depictions of his ventriloquism, juggling, acrobatics, mind reading, and magic tricks. In one scene, Andress produces a rabbit from the coat of an unsuspecting volunteer, while demons litter the stage with cards and animals produced from a top hat. 9 ½ x 26". Minor over-coloring in margins. A-.

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ANDRESS, CHARLES. Andress and His Novelty Gift Shows.

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Description: Cincinnati & New York: The Strobridge Litho. Co., 1917. A grisly self-decapitation is depicted in this still-handsome poster. Andress, in the style of his contemporary Harry Kellar, sits in a gold chair while a spirit floats above him and a devil looks on from below. He holds his own head in one hand and a bloody knife in the other, having severed the head from his own body. 8 ¾ x 29 ¼". Old folds throughout, some over-coloring primarily in border and at one large closed tear; B-. Text below the image states, “Andress’ latest mystery sensation, in which, in full view of the audience, he apparently decapitates himself, and, while holding his head in his own hand, converses with the awe-stricken onlookers, and “in the twinkling of an eye” is again restored to normal conditions and walks smilingly to the footlights, to the great relief of the astonished auditors. No cabinet is used, no curtain is drawn, no one on the stage but Andress himself.” The illusion was, perhaps, a version of the famous Blue Room popularized by Kellar.

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BAJADUR, ALIBEN. Aliben Bajadur und Indra.

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Description: Berlin: Beigat, ca. 1910. Half-sheet color lithograph advertising der geheimnisvolle Inder or “The mysterious Indian.” The poster depicts a series of vignettes featuring several Indian performers. 19 ½ x 28". Overpainting and repairs throughout image; B+.

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BALABREGA (JOHN N. MILLER). Balabrega.

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Description: New York, The Metropolitan Printing Co., ca. 1880. Handsome color lithograph depicting a central portrait of “The Swedish Wonder” who began his career on stage as a boy. His face is surrounded by vignettes of his performances, including the Decapitation illusion, card tricks, and trained canaries. 30 x 40 ½". Minor restoration not affecting image, light soiling. B. Scarce.

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BALDWIN, SAMRI (SAMUEL SPENCER BALDWIN). The World’s Greatest Psychic Sensation. Samri S. and Miss Baldwin. In Oriental Hypnotic Dream Visions. The White Mahatmas.

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Description: Hartford: Calhoun Print, ca. 1895. Eight-sheet color woodblock lithograph depicting a blindfolded Miss Baldwin surrounded by an army of red demons bearing questions on billets, from the ridiculous to the commonplace, to the sublime. To wit: “When will I be married?” “Will I ever travel?” and “Where are my pants?” 82 x 109 ¾". Chips, folds, and small losses restored, a few chips in upper border unrestored; B+.

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BALDWIN, SAMRI (SAMUEL SPENCER BALDWIN). Mystic Odylicism. The Materialized Mahatmas. As Given by Prof. and Miss Baldwin of the Butterfly Coterie.

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Description: Cincinnati: The Enquirer Job Printing Co. ca. 1895. Large and striking four-sheet woodblock billboard poster depicting Baldwin’s presentation of the spirit cabinet effect. Bolts of lightning radiate from the head of the female medium, who sits in a chair at the right side of the image. Oddly, Baldwin himself does not appear in the poster. 56 x 83". Soiling in margins, closed tears at intersection of sheets, minor chips. B+.

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Bellachini, Fredo. Schweizer Bellachini

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Description: Frankfurt: Maingau Druckerei, ca. 1920. Panel-size poster bears vignettes of various illusions and tricks performed by Bellachini and his wife, including the levitation and disappearing acts. 11 _ x 32 ¾". Very minor chipping along edges; A.

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BELLARDI. Bellardi Assisted by the celebrated Medium Miss Elly Scott.

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Description: Hamburg: Adolph Friedländer, 1921. Clad in white tie and tails, Bellardi removes the gloves from his hands in the central three-quarter length portrait dominating the poster. Vignettes surrounding him depict his performance of the Sword Box, Spirit Cabinet, flower production, Aerial Fishing, and other miraculous feats. 38 x 54". Over-coloring in margins and to closed tears; B+.

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Benevol (Luigi Maria Benevolo). Benevol. Le Légendaire Professeur.

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Description: Paris: Imp. Spéçiale des Tournées, ca. 1910. Color lithograph portrait of the Italian magician in his trademark Mexican-type costume, surrounded by three green demons. 24 x 33 ½". A.

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BENYON, EDGAR. Direct from London. The Great Benyon.

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Description: Auckland: Wright & Jacques Ltd., 1955. A menacing devil in red, green, and black looks down over Benyon’s name, with lightning radiating from his outstretched hand. Pasted-down date strip advertises the show at the Civic Theatre on June 21, 1955. 14 ¾ x 39 ¾". Pinholes restored; A-.

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BENYON, EDGAR. World’s Most Versatile Boy Entertainer. Edgar Benyon.

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Description: Christchurch: The Lyettleton Times Co., ca. 1910. Letterpress broadside for an early appearance of this Kiwi magician who went on to considerable success in England, Australia, and the nation of his birth. Here, he is billed as a “juggler, mimic, magician, ventriloquist,” as part of a larger variety bill. 14 ¼ x 35 ¾". One clipped corner over-painted. B-.

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BLACKSTONE, HARRY (HENRY BOUGHTON). World’s Super Magician. Blackstone.

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Description: Circa 1950. Oversize poster depicts and older Blackstone posed with one of his most famous effects, the Dancing Handkerchief. The caption reads, “At last!…The Bunny Outdoes Blackstone.” A giant rabbit standing on his haunches stands at the right side of the poster. 20 ½ x 55 ½". Considerable wear and over-painting throughout; C. Sold as-is. The only known example of this poster.

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BLACKSTONE, HARRY (HENRY BOUGHTON). Thrill After Thrill! World’s Super Magician. Blackstone.

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Description: Chicago: Globe Poster Corp, ca. 1947. Three-color offset window card bears a bust portrait of an older Blackstone looking down over text describing his show, including the catchphrase, “Company of 30 mostly gorgeous girls!” 14 x 22". Billposter’s stamp. Considerably worn, scuffed and with two large punctures; C. Sold as-is.

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Blackstone, Harry (Henry Boughton). Blackstone. The World’s Master Magician.

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Description: Erie, Pennsylvania: Erie Litho. Co., ca. 1917. Iconic color lithograph depicts a striking portrait of the Chicago-born magician in his earliest days as Blackstone. Red and green imps whisper to him against a spooky background of bats and ghosts. 27 x 41". Prominent fold lines; B+. Rare. Though he rose to fame as America’s foremost magician, Harry Blackstone was born on the south side of Chicago as Henry Boughton, and performed in small-time vaudeville shows under a host of other names. His first taste of success came while using the moniker of Frederik the Great, but after anti-German sentiment swelled during WWI, he adopted the name of Blackstone, and it stuck. Though he never strayed far from his Midwestern home, Blackstone traversed the country for decades with a show frequently billed as being staffed by a “Company of 30,” including “mostly” gorgeous girls. His production, in its heyday, required a box car full of illusions, animals, and props, and featured a vanishing horse (called Doc Bill, thanks to the veterinary costs associated with his care), escapes, and rapid-fired exchange illusions. Despite the stage-filling spectacle, it was Blackstone’s personality that made his reputation, along with his presentation of “in one” effects in front of the theatre curtain, and with audience volunteers. His Floating Light Bulb and Vanishing Bird Cage were trademark tour-de-force tricks that showcased his everyman appeal, amazed theater patrons and children alike, and cemented Blackstone’s reputation as the “world’s master magician.”

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BLAND, WILL. The Celebrated Illusionist Will Bland and his Magical Maids.

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Description: Marseille: Nicolitch, ca. 1917. A central portrait of the Australian magician is surrounded by images from his show, including performances of the Duck Tub, Levitation, and Substitution Trunk tricks. Devils whisper in one ear while three of Bland’s “magical maids” perch on his other shoulder. 38 x 53 ½". A.

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BRUSH, EDWIN. Two Edwin Brush Window Cards.

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Description: Chicago: Windermere Press et al, ca. 1910. Each card, ornamented by witches, owls, clowns and demons, advertise the Chautauqua and Lyceum show of this pioneering Chicago-based entertainer who was among the first to work in both of these fields. Portraits of Brush with his signature upturned mustache appear on both window cards. The larger 11 x 16". Both with wear, tears, and faults. B-.

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BRUSH, EDWIN. Brush. King of Wizards. School of Occidental and Oriental Magic.

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Description: Chicago: Goes Litho. Co., ca. 1920. Color lithograph depicts Brush – with his ever-present upturned mustache – conjuring a witch from a cauldron supported by skulls, while a devil observes the proceedings. An Alligator sits in the foreground at the right, while a black cat, rabbit, and duck fill out the scene. 21 1/8 x 28 ¼". Slight tears at edges; A.

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BRINDAMOUR, GEORGE. The Great Brindamour Magician. The King of Wonder-Workers.

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Description: Cincinnati & New York: The Strobridge Litho. Co., ca. 1903. Striking full color lithograph depicts Brindamour performing the Levitation illusion, his brunette assistant suspended in mid-air in front of him, while mystic rays radiate from his fingertips, apparently causing her to float in mid air. Three gnomes look on as he performs. 17 5/8 x 27 ¼". Tiny repaired tears, minor restoration in lower border; A-. Scarce. Best-remembered as an escape artist, Brindamour (1870 – 1941) was Houdini’s most successful competitor. Besides jail breaks, his signature escape was a handcuffed bridge jump, sometimes into partially-frozen rivers. He also devised clever escape stunts from unusual devices and restraints, including locked barrels filled with beer, a spiked Spanish Cell, and glass display cases. The levitation was part of his full stage show that was soon abandoned in favor of his more successful (and in-demand) escape act. As a result, few posters featuring Brindamour’s illusions have survived the years. Along with Brindamour’s magic apparatus, the posters were discovered in storage in the 1920s.

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Cardini (Richard Valentine Pitchford). Cardini. The “Ace” of Conjurors.

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Description: London, 1934. Five-color broadside for a variety bill featuring nine acts, among them Cardini, billed as “The “Ace” of Conjurors – Royal Performance 1933.” Other acts include Claude Dampier “the professional idiot.” 16 ¼ x 22 ¼" Slight fold lines visible, otherwise excellent; A-.

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Cardini (Richard Valentine Pitchford). ? Cardini ? Die Weltsensation des Lachens.

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Description: Berlin, 1933. Two-color broadside advertising the Suave Deceiver’s appearance at the Jewish-owned Kabarett der Komiker just months after Hitler came to power. 19 x 27" Margins trimmed, significant staining and repairs throughout; C.

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CARMO (HARRY CAMERON). The World’s Colossus of Mystery. The Great Carmo.

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Description: Bolton: Robt. Whewell & Son Ltd., 1936. Letterpress broadside in three colors advertising Carmo at the top of a variety bill featured alongside trick cyclists, comedians, dancers, and acrobats. Carmo’s act featured the production of a living lion, and his rendition of the Noah’s Ark illusion, in which a cavalcade of animals was produced from a small ark first shown empty to the audience. 10 5/8 x 34 1/8". A. Starting out in show business as a stage magician who featured animals prominently in his act, Carmo was later lured into the world of the circus. He began his career under the big top partnering with Bertram Mills, the famous English circus owner, but the two parted ways nearly as quickly as they joined together. Carmo went on to build and operate his own circus, but two disasters kept him from the successful career he had hoped for. During a wintertime tour of England, his low-pitched tent could not be struck in time to avoid a storm. The weight of the snow on the canvas crushed the structure, resulting in a total loss of the tent. After rebuilding, Carmo once more went back on the road, but again disaster struck, this time in the form of a fire. Carmo played his last shows as part of a smaller circus owned by Raymond Toole-Stott, the man who went on to chronicle the great books of the circus in a monumental five-volume bibliography.

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Carter, Charles. Carter the Great. The Napoleon of Magic.

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Description: [New Zealand], ca. 1926. Two-color panel size poster features a portrait of the famous magician in Oriental dress with a sword at his hip, and advertises feats, such as, ‘the magic divorce’ and ‘the lion’s bride’. 15 x 31". Minor tears on edge repaired; A-. Scarce.

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CARTER, CHARLES. Carter The Great.

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Description: [Cleveland or San Francisco]: Madeleine Brown, 1927. Original black-and-white illustration for what would become one of Carter’s spectacular billboard-size stone lithographs printed by the Otis Lithograph Co. of Cleveland. A half-length portrait of Carter appears at right, intermixed with devils, ducks, skeletons, and other trappings of the magician’s trade. Signed by the artist. 22 ½ x 17 7/8". Margins over-colored. A-.

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CARTER, CHARLES. Carter The Mysterious. The Metamorphosis.

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Description: Chicago: Illinois Litho, ca. 1905. A full-length portrait of Carter, clad in a Chinese robe, fills the poster, with a shadowy portrait of the magician in his tuxedo in the background, along with Mephistopheles. In his performance, Carter played the role of a Chinese magician, presenting feats associated with Ching Ling Foo, including the production of a giant bowl of water. 40 x 79". A. The only known example of this poster.

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CARTER, CHARLES. Carter. The Witcheries of the Ethereal.

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Description: Chicago: Goes Litho Co., ca. 1905. Three images show Carter performing his famous “Divorce Machine” illusion. In effect, an assistant seated in a wicker chair was hoisted in the air by two ropes attached to a winch. At the shot of a pistol in Carter’s hands, the lady vanished from mid-air while the chair crashed to the floor. 20 ½ x 26 7/8". Borders recreated, registration issue original to poster; B. Rare.

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CARTER, CHARLES. Carter. Sawing A Woman in Halves.

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Description: Cleveland: Otis Litho., ca. 1928. Panel-size poster shows an artist’s version of the popular Sawing in Half illusion as presented by Carter, here depicted without the boxes used on stage to conceal the assistant’s body. At the top of the image, Carter, dressed in Chinese garb, produces a bowl of water here reported to weigh “150 lbs.” 12 ½ x 40". Three short closed tears; A-.

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CARTER, CHARLES. Carter. The Mysteries of the Yogi’s.

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Description: [Chicago: Goes Litho Co., ca. 1905]. A dozen gnomes in green pants and pointed red caps, some ringing bells, others with drums or horns, float above Carter and spirit away his suit coat, even though the magician is lashed to a chair. 20 ½ x 26 7/8". Numerous old folds and scuffs, borders over-colored; B. Rare. Carter posters printed by the Otis Lithograph Co. of Cleveland are relatively common, but also widely popular; one Otis poster produced for Carter was used as the basis for a best-selling novel. Several of the posters offered here, are, on the other hand, relatively scarce. Printed in Chicago by the Goes Lithograph Co., the images were produced early in Carter’s career and few examples of each poster have survived. Goes also printed posters for Edwin Brush, Eugene Laurant, and a host of other entertainers. The firm later sold off a portion of its business to several employees who founded the Illinois Litho. Co. Illinois kept Carter’s account active and printed many beautiful images for him, including magnificent billboards advertising his version of the Sawing in Half illusion.

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CHAMBLY. Chambly’s Mysterien.

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Description: Hamburg: Adolph Friedländer, 1913. A spectral angel floats over the shoulder of the magician, while ghastly scenes from his magic show fill the remainder of the poster. These include scenes of a cremation, spirit cabinet, and talking skull. A demon in the lower right offers Chambly a playing card from his outstretched hand. 37 ½ x 53". Restoration to long closed tears through image; B. Uncommon.

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CHANDOS. America’s Foremost Entertainer. Chandos.

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Description: Circa 1910. Two-color pictorial broadside advertises Chandos as a “human target,” “handcuff king,” and as presenting the Miser’s Dream, Indian Mystery, and more. The central image is clearly a pirating of the masthead of Will Goldston’s periodical, The Magician. 11 x 21 ¼". Margins added, abraded throughout. B-.

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CHANG (JUAN JOSÉ PABLO JESORUM). Un Espectaculo Differente. Chang.

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Description: Argentina: Sisto & Lemme, ca. 1949. Large horizontal poster bears a central bust portrait of Chang, clad in an elaborate costume. The magician is cast in a blue light, offset by images of a juggler and acrobats on one side and a clairvoyant named Cleopatra on the other. 55 x 39". One border chip repaired; A-.

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CHANG (JUAN JOSÉ PABLO JESORUM). Chang. Los Misterios De Pekin.

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Description: Buenos Aires: Familia Italiana, ca. 1950. Pictorial playbill enumerating the program of Chang’s illusion show and bearing a bust portrait of the magician at the top, over a bullfighting scene. 5 ¾ x 22 ¼". Losses, chips and damage; C.

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CHANG (JUAN JOSÉ PABLO JESORUM). Chang. Half Devil Half Man.

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Description: Australia [?], ca. 1930. Three-color panel poster bearing a graphic Oriental mask advertising the Panamanian illusionist. 15 x 40". Light staining, margins closely trimmed; A-. Not to be confused with Spain’s Li-Chang, this Panamanian illusionist had a career that spanned decades. Chang found his greatest successes in South and Central America, though he also appeared in America, Africa, Australia, Europe, and India. Born in 1889, he apprenticed to The Great Raymond as a young man, later striking out on his own with a large and colorful illusion show. To confuse the historical record, he performed as Li Ho Chang during his formative years, but eventually settled on the shorter stage name he is remembered by. For years, Chang played a game of theatrical leapfrog with Fu Manchu (David Bamberg). The two magicians worked the same routes and towns in opposition to each other across the South American continent. Chang died in Mexico in 1972, at the age of 82, and performed up until the end of his days.

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CHARLTON, CHRIS. Royalty Theatre of Magic.

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Description: Leicester: Willsons Printers, ca. 1939. Three-color letterpress poster advertising Charlton at the top of a varied bill and presenting his Vanishing Vauxhall car illusion, alongside Fred Culpitt (inventor of the Doll House illusion), Kuda Bux (The Man with the X-Ray Eyes), and several other acts. 20 1/8 x 29 7/8". A.

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CHARLTON, CHRIS. Chris Charlton Says It’s Fun to be Fooled.

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Description: Wakefield, England: Teddy & Co., ca. 1925. Striking three-color poster depicting a striking and modernistic bust portrait of Charlton. Strong fold lines visible. 19 7/8 x 29 7/8". Linen backed. Minor chipping; A-.

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CHARLTON, CHRIS. Magicland with Chris Charlton.

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Description: Yorkshire: Taylors Colour Printers, ca. 1945. Two-color broadside for Charlton’s appearance at the top of the bill at the Royal Hall, Harrogate, with a program including the Self-Healing Glass, Inexhaustible Kettle, Invisible Girl and “a bewildering array of modern miracles you will never forget.” 10 x 30". Laid down.

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Chefalo (Raffaele Chefalo). Chefalo. Magician.

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Description: Birmingham: Moody Bros. Ltd., ca. 1925. Rays of light radiate from the magician’s eyes, looking over his name in bright red lettering. His bust floats on a blue and red background with a multicolored border surrounding the image. 19 ¾ x 29 ¾". Old central folds, minor wear in borders repaired; B+. Uncommon.

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Chefalo (Raffaele Chefalo). Chefalo. The Master of Miracles.

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Description: Bradford, England: WE Berry Ltd. Nesfield Printing Works, 1948. Three-color letterpress broadside features Chefalo at the Alhambra; other performers include a “young girl juggler, faultless dancers, and Australia’s sweetheart of song.” 9 ¾ x 34". Fold lines visible, margins trimmed; B.

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CHEFALO (RAFFAELE CHEFALO). Chefalo Magician and Illusionist.

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Description: Birmingham: Moody Bros., ca. 1925. A central bust portrait of the famous Italian magician fills the middle of the large and visually arresting poster, with a montage of Egyptian imagery on one side and an all-seeing eye looking down on a devil, magician, ghosts and skeletons on the other. Chefalo holds a monocle in his glove-clad hand. 60 x 116". Wear at intersection of sheets and old folds, one corner inexpertly restored; B. Rare. Many of the images filling this large poster were borrowed by the printer, Moody Brothers, from the artwork created by the firm for other magicians, including Rameses, Chung Ling Soo, and Ionia.

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CHEFALO (RAFFAELE CHEFALO). Chefalo de Koning der Illusionisten.

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Description: Amsterdam, ca. 1933. Three-color broadside advertises the great Italian magician at the top of a mixed variety bill at the Carré theatre with his show of “1001 Wonders.” He shares the stage with contortionists, eccentric musicians, and acrobats. 15 3/8 x 24 3/8". Pinholes and tape wear at corners; B+.

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CHEFALO (RAFFAELE CHEFALO). Chefalo with Maddalena and his Big Company.

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Description: Bolton: Richard Whewell, 1950. Three-color letterpress broadside for Chefalo’s appearance at the New Tivoli, Hull, where he performed twice nightly alongside knife throwers, comedians, dancers, and musicians. 11 x 34 ¾". Minor wear; A-.

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Chefalo (Raffaele Chefalo). Chefalo. Merry Master of Magic.

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Description: Sydney: Simmons Ltd., 1933. Panel-size color poster with a blue background advertising the show of the Italian magician and his troupe of midgets and one giant. Chefalo looks down on the scene from the top of the colorful poster. 14 ½ x 40". Borders trimmed, minor repairs in margin; A-.

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CHEFALO (RAFFAELE CHEFALO). Chefalo. Magician & Illusionist.

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Description: Birmingham: Moody Bros. Ltd, ca. 1925. A winged devil cranks the handle on a small box as Chefalo looks on from the right. A host of showgirls and turban-clad assistants – perhaps the “Magda Palermo Midgets” advertised at the bottom of the poster – spring forth from the box filling the scene with bright colors and lively action. 18 ¾ x 28 5/8". Old central folds, insignificant restoration to margins; A-. The illusion depicted in this poster was a favorite of many stage illusionists of the “golden age” of the art. Invented by Walter Jeans of Leeds and first billed as the Silver Hat, the effect was eventually adopted by Thurston and others under the name by which it is now widely known: The Million Dollar Mystery.

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CHUNG LING SOO (WILLIAM ELLSWORTH ROBINSON). Chung Ling Soo. Studying Ancient Chinese Mysteries.

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Description: Birmingham: James Upton Ltd., ca. 1910. Six Chinese men gather around a source of reddish light obscured by one of their bodies. One man holds a scroll in his hand, presumably full of the “ancient Chinese mysteries” alluded to in the title of the poster. The initials of the designer, “T.E.S.” are incorporated into the image. 30 x 19 ¾". Strong central folds; vertical crease restored. B.

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