Gibecière Vol. 7 No. 1

Contents Pocket Notes—Stephen Minch 7 Suffering Hyperbole— Ricky Jay 9 Andrew Oehler’s Myths of Old Mexico— Enrique Jiménez-Martínez 19 Dear Orville–The Hugard Letters 89 Introduction to the Hugard Letters: 1938–1958— Stephen Minch 91 The Story Behind Hugard’s Letters to Orville Meyer— Ted Lesley 93 The Letters— Jean Hugard 95 Furthermore... 213 Contributors 217 Volume 7 ‹› Number 1 • 5

Courtesy of the Ricky Jay collection

A fantastic representation of the Phantasmagoria from Juegos de manos by Pablo Miguet, 1857

SUFFERING HYPERBOLE • RICKY JAY

I

have, I confess, been intrigued by The life, adventures, and unparalleled sufferings of Andrew Oehler since I read of it as a young man with a burgeoning interest in the history of magic. The reasons, I think, were threefold. I found the peripatetic misfortunes of the protagonist amusingly romantic, I was seduced by the book’s rarity, and I just loved, loved, the title.

Mostly, however, I was captivated by the thought of a magic show so dangerously compelling that it resulted in the imprisonment of its performer. At the time I was completely persuaded by this tale as it was recounted in the histories of conjuring that I read.

I now believe that the book is very largely fictional, that it expresses a strong anti-Catholic bias (also anti-Spanish and anti-Mexican), and that it is not rare (scarce, yes, but not rare). In addition, I now appreciate that the phrase “unparalleled sufferings” was a standard bit of hyperbole, used by many before Oehler.

According to his account, Oehler staged in Mexico City the first successful balloon ascension, and to repay the plaudits he received, he staged a Phantasmagoria ghost-show as an entertainment for the Mexican governor and his party. The favor went unappreciated, to say the least: the presentation was so frightening that Oehler was accused of diabolic agency, arrested, and incarcerated in a dungeon 150 feet below the ground. There he languished for six months until an enlightened visitor from Spain explained that such shows were Volume 7 ‹› Number 1 • 11

Mexico City’s Palace of the Inquisition—a building Andrew Oehler never saw.

Andr ew Oehler’s Myths of Old Mexico Two Hundred Years After Something That Never Happened • Enrique Jiménez-Martínez

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utobiographies, however sincere and however honorable their authors, are seldom fully reliable. Even those regarded as being faithful to the facts often present some adornment, exaggeration and omission.

Though at times these divergences may be involuntary in nature, more frequently they are done with deliberate intent.

This kind of literary license is commonly accepted as harmless. But in some cases fictional embellishments can be unfair or offensive. When the authors are insignificant and their books unimportant, it is pragmatic to ignore their untruths and effronteries, or to respond to them with silence.

But when such a volume receives too much attention and, in spite of its evident fallacies, is mistaken as factual, a refutation becomes necessary.

This is particularly the case when the author, in exalting himself, abuses the reputations of others, and his calumnies become wide spread, insulting not only his victims but also the intelligence of his readers.

The second centenary of The life, adventures and unparalleled sufferings of Andrew Oehler is such an occasion. In assuming this obligation, my intention is not to attack anyone, or to defend any nation, people, idea or faith.

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E n r i q u e J i m é n e z -M a rt í n e z

Courtesy of the Ricky Jay collection.

Title page variant showing “printed for the author.”

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An d r ew O eh l er’s My t h s o f O l d Me x i co

Another illustration of “La Femme Invisible,” taken from La Femme invisible et son secret dévoilés, by E. J. Ingannato. Paris, c. 1800 Volume 7 ‹› Number 1 • 37

Jean Hugard and Orville Meyer

Introduction to the Hugar d Let ter s: 1938–1958 • Stephen Minch

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en years ago, the fine German magician and mentalist Ted Lesley sent me a paperbound photocopy of twenty years of correspondence by Jean 1 Hugard to Orville Meyer,2 two distinguished names in twentieth-century conjuring. Ted felt the letters should be published, and I agreed. However, to do the job right, I felt annotations were needed, to explain references to the persons, tricks, publications and events discussed by Hugard. This research promised to be considerable and time consuming, so the manuscript served to keep a portion of my desktop dust free for ten years while I wondered when I would have the time to tend to the project. I never did.

Then two things occurred that have allowed my plan and Ted’s to be achieved. The first was Ask Alexander; the second was the addition of the admirably determined Ricky Smith to the staff of the Conjuring Arts Research Center. I asked Ricky if he would like to collaborate in investigating the many references in Hugard’s letters, and he jumped on the task with all the tenacity I expected. Together we dug up both images and references to help make the many topics in the letters clearer. From this information I composed endnotes. While I foresaw that a number of notes would be necessary, that number swelled well past my expectation. While these notes would be far more convenient as footnotes than as the endnotes they are, the sheer quantity of them made f­ootnoting too Volume 7 ‹› Number 1 • 91

The Letters 2661 East 18th Street Brooklyn, N.Y. July. 29, 1938.

Dear Orville, (It’s time we dropped the Mr.) your letters c/o Holden1 received today. I can only think that in the stress of moving, etc. I made a bloomer and wrote 2216 instead of 2661. Sorry. I will get the package from the P.O. and return the set as requested after trying out the trick. I couldn’t use it for Baker 2 is a most vindictive man. In my revised edition of Close-Up Magic in writing about the use of a hair or thread and a pellet of wax I mentioned it could be used for making a card walk out of the pack, out of a glass or a hat but giving no details. Baker accuses me of exposing his rising card out of a hat and wrote Holden accusing him of having put me up to it in order to hurt his sales. He has even written to people, not knowing it would come back to me, making the same complaint. When I put out my torn and restored newspaper and he got to know of its big sale he fixed up another version and is constantly advertising that his has no clip, no bundle at the back and so on.3 I take no notice because mine sells and his doesn’t. But it’s just as well you should know the sort of fellow he is. The most jealous man I’ve ever met, yet as nice as pie to your face.

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Jean Hugard

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Ad for “Hugard’s Torn and Restored Newspaper” in the January 1930 issue of The Sphinx, and ads for “Al Baker’s Torn and Restored Newspaper” placed by Baker and Martin Sunshine for their newly established Broadway Magic Shop from the August 1931 issue of The Sphinx (above) and December 1931 issue of The Linking Ring (below).

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D e ar O rvi l l e Now to take your queries seriatim and there are quite a few.

Last word locator. This is very good and I think so far ahead of other similar methods as to be well worth while so I should like to have it.4 With regard to the books you mentioned. My position is this. I sell m/ss to Holden and he takes all the risk of publishing, cuts, etc. Now you know what the magical fraternity is.

Comparatively few buy books and, in general, publishing them means a loss. So far we have been lucky. The books I have put out have had a very good press and Holden has not had to suffer a loss on any of them, which is something of a record. But it means that I haven’t any copies to send out. However an opportunity may arise for me to wangle the two you want and I will certainly do it. Naturally I have had him send you a copy of the new card book which I inscribed to you yesterday.5 If it clears itself like the others there will be more for sure. I have good material and some good folk like yourself help me with their ideas. Now I am using the pairs trick you sent me in the 1938 Annual a copy of which will go to you in due time.6 I am hoping that in further return I may be able to give you items you will consider a quid pro quo.

I am rather hoping that you stop in Denver, there would be so little work in a small town in magic but don’t let love of magic interfere with your ultimate prospects in business. I often regret having done that to take up magic professionally. Although it has been

Volume 7 ‹› Number 1 • 97

Jean Hugard

for unlighted cigarettes is undoubtedly Diestel’s price $1.50 I think. The P&L for lighted cigarettes I haven’t seen but will have a look at one. When you get ready to put a routine together I’ll draft out a few ideas I have on the subject. I was all set to put out a book on cigarettes when Clark came to me in trouble with his material and a lot of thanks I got for my work on it.

Mahendra. I think you are wise not to enter into a controversy with [him].

He simply wanted to advertise his wonderful book.16 It irks me the way some people puff their stuff. Have you seen his book? I cannot see how Abbott can expect to get $2 for it. Apart from the marvellous gimmick, numbers printed on wrist watch strap, there is nothing new in it except a few complicated short cuts. Nearly all patter and I cannot see anything entertaining in a trick that runs to two or three pages of patter for one small effect. His greatest

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D e ar O rvi l l e card trick in the world, having a card drawn from set up deck, cutting at that point, turning away and noting bottom card, then naming card drawn is simply incomprehensible....

I mean in the sense of how any supposed card man could rate that as the best card trick in the world!!!!

Pass. You are wise in sticking to a substitute yet here is the funny thing. Many times I have taught fellows substitutes that give perfect control of the chosen card without the necessity for any sleight of hand move but they will insist on trying to learn an invisible pass. Probably it is because the textbooks for generations have insisted on the absolute necessity of the pass. It always takes a long time to realise that the simpler the means, generally the better the trick.

Well I think I have covered our letters. I am going to Philadelphia for a couple of days next week and while there will see Tarbell’s 17 show.

With best wishes, as ever,

Jean Hugard

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Jean Hugard 2661 East l8th St Brooklyn, N.Y. Sept. 26/38.

Dear 0.

That abbreviated style of starting will give you an idea of how I am fixed. Am just back from Minneapolis having got the book 41 at last in the printer’s hands. Tarbell did the illustrations some 1260 and you can imagine the work of getting the cuts, putting them ready with the m/ss etc. I am just sending this note to let you know I have your letter and will reply to the very interesting points in it just as soon as I make a hole in accumulated work for I had to let everything slide for the time being. Just two points for this time. In working the silver boxes42 most performers discard the wool and wrap the boxes and fake with length of silk ribbon, narrow, then a couple of silks or small flags. The parcel then is small and yet the effect of unwrapping is as effective as the wool. Another plan may suit. Put ball of wool in a

A contemporary version of the “silver boxes” discussed, from an ad by Kanter’s Magic Shop in the July 1938 issue of The Linking Ring 112 • Gibecière ‹› Winter 2012

Jean Hugard never get any engagements in any other way. I don’t know if you have ever seen him work but he’s just about as far from my idea of a magician as you could get, yet he has worked up a publicity reputation that is astonishing. I remember years ago a manager got hold of a real Hindu magician in Australia. This man had a few of the little Hindu tricks which he worked very well but that’s

John Mulholland

all he had, yet the manager made a pile of money out of him thus. He got wonderful lines of posters and printing generally and would bill a town like a circus. He would bring his man in a day or two before the show date (one night only) parade him in full costume, give a party to the mayor and notables at which the Hindu did his stunts. Everyone impressed, if a man could do these things at close quarters what a marvellous stage show he must give and so on.

Well the stage show consisted of the same stunts and nothing else, but the house was always sold out at good prices and away they went to repeat. Well M. works the same line. He has cultivated some close up stunts which he works on every possible occasion,

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D e ar O rvi l l e A. Color changing silk. I do think it detracts from the trick to show the second one. Of course the color change is not strong enough to finish an effect on. But in the course of a routine where the change

Nate Leipzig Volume 7 ‚› Number 1 • 141

D e ar O rvi l l e still chatting in the boudoir (lift right pad). So they were satisfied......and everyone was happy.”

(Gather the six cards, face up, fakes at bottom, put pack on them face up, left palm the fakes. At the start you secretly put ordinary Q.D and J.C. on top of pack, so after you lay pack down if anyone examines it they will find six ordinary cards.

This can be done with a borrowed deck and then it becomes a first class mystery. Hope you’ll like it.171

Jean Hugard Volume 7 ‹› Number 1 • 175