What are we looking at? Who is is the magician and what illusion is he performing?
Clue: The image from an article, now part of HHCE collection, came from the Houdini Magical Hall of Fame and was used to advertise a famous illusion.
Will share the caption and additional info about the famous illusion and performer next week.
HHCE Collection
I recently acquired a very scarce German book (90 pages) by P Richards that had a splendid sketch on Houdini in it.
HHCE Collection
This led me to try and find out more about P. Richards and his connection to Houdini.
According to THE NEW YORK CLIPPER
P. RICHARDS, LIGHTNING CARICATURIST 6 February 1892
Recognized by leading papers and responsible managers as Strongest Comical Specialty. A1 Advertising Artist (late of NEW YORK HERALD, CHICAGO DAILY NEWS and LONDON ARGUS). Minstrels, Combination Companies of Circus, wishing to arrange for season at moderate terms. Address GENERAL DELIVERY, Chicago , Ill
P RICHARDS LEFT EUROPE SEPT 8, 1902 for AMERICA [Chicago]
He traveled for the past Summer in Europe, in the interest of Richard Pitrot, manager of European novelties for this country, visiting Germany, France, Russia, Italy, Holland and Austria, and has contracted for many attractions for America, and also booked many American acts in Europe.
Starting in 1903, P. Richards profusely illustrated his “Vaudeville Favorites” magazine devoted exclusively to Vaudeville, which led to a book in 1905, The Vaudeville Review of Vaudeville Favorites:
Ad from Stanyon’s Magic Magazine May 1905
In May 1905, THE CLIPPER announced that Mr. P. Richards would be one of THE CLIPPER Staff and produce each week a full page cartoon, illustrating in a humorous way, the leading features of theatrical and vaudeville productions.
In 1906, THE CLIPPER added a new publication entitled CLIPPER CARTOONS, that contained original drawings by the celebrated artist P. Richards.
THE NEW YORK CLIPPER announced that P. Richards, THE CLIPPER’s artist started his European tour on June 8, 1907. The artist continued his popular “Patsy Bolivar” series from abroad, sending to THE CLIPPER his impressions of every large city he visited, in the form of a full-page cartoon.
P Richards left Europe Sept 7, 1907 for America [New York] to resume for THE CLIPPER his original idea of cartooning the principal features of the leading dramatic and vaudeville productions.
In 1907, Harry Houdini’s Conjurer’s Monthly Magazine for July and August mentioned P. Richards sketches of magicians and men of mystery:
P Richards, the well-known cartoonist of the New York Clipper has gone abroad and is sending home every week a full page cartoon of “Patsy-Boliver.” Richards has drawn more magicians and men of mystery in his sketches than any other artist that we have heard of.
In 1908, THE CLIPPER Cartoonist, left for Europe again:
The growing interest of foreign performers in THE NEW YORK CLIPPER, together with the difficulties which the American performers appearing in Europe for the first time have to overcome, have induced the publishers of THE CLIPPER to establish a branch office in Berlin, Germany. This office will be known as the Berlin Bureau of THE NEW YORK CLIPPER, and will be under the direction of Mr. P. Richards, our widely known and popular cartoonist.
Having been born in Vienna, and thoroughly versed in the language and customs of the country, together with an extensive personal acquaintance with most of the foreign performers, Mr. Richards is eminently fitted for the position of manager of our Bureau. It will be his pleasure to give all the assistance in his power, both to foreign acts coming to America and in American acts visiting Berlin. He will also render valuable aid in receiving and forwarding the mail of performers traveling in Europe, and being familiar with the show business is both countries, he can give valuable advice to foreign performers contemplating coming to America, as well as important information to those American artists visiting Berlin. It is expected that this Berlin Bureau will be a great convenience to the performance of both continents. Mr. Richards will sail for Europe on July 25, 1908 and immediately upon his arrival will establish the Bureau, the location of which we will announce later.
P RICHARDS LETTER New York Clipper, 3 October 1908:
Circus Busch opened on Sept. 10, 1908 with Houdini as the feature, and the kind reception which was given to this performer proved the good memory of the audience, since he has not appeared in Berlin for the last five years. Houdini introduced, besides his famous escape from the straitjacket, an entire novelty in the form of his original can trick, where he allows himself to be handcuffed and then to be locked into a big can filled up the brim with water, from which he comes forth after a couple of minutes unharmed and—minus handcuffs. As he has a standing offer for 1,000 marks to anyone proving any portion of his exhibition a “fake”, the committee in the ring tries its utmost to earn the tempting prize, and submits Houdini, tin can and even the sawdust, around them, to a most thorough examination, without success (so far). Frobel and Ruge, besides Houdini are the only Americans on the bill.
P RICHARDS’ FAREWELL LETTER New York Clipper, 6 January 1912
This being my last letter in these columns (my contract with THE CLIPPER expiring on Jan. 1, 1912, and my time of being too much occupied with my illustrative work to permit me a continuance of thanking THE OLD RELIABLE, its highly esteemed managing editor, and also my friendly co-workers on THE CLIPPER staff, for all the kindness and congeniality bestowed upon me during the nearly seven years of our pleasant relations, and conclude herewith by wishing them, one and all, A HAPPY AND PROSPEROUS NEW YEAR.
P RICHARDS’ BOOK New York Clipper, 22 February 1912
“Zeichner and Gezeichnete,” “Sketcher and Sketched,” the new publication by P. Richards, the well-known artist and cartoonist, has reached THE CLIPPER. It is richly illustrated with original sketches, some of which had been drawn for THE CLIPPER, and cuts made from photos collected by Mr. Richards during his extensive travels. Interesting descriptions of incidents and places have found their way into this volume in German text, and it should find a ready sale among all classes of readers.
SHOULD AULD ACQUAINTANCE BE FORGOT New York Clipper, 31 May 1913
When P. Richards, the artist-author of International fame, some time ago reluctantly discontinued his Berlin Letters , which had been a most entertaining feature of THE NEW YORK CLIPPER for the past few years , he informed us that he was going to devote ln future all of his time and best efforts to the issue of a series of books, for which task he had been engaged by one of the most prominent publishers ( The Reflecklor-Verlag , Berlin-Leipzig ), of Germany. How conscientiously he must have been at work ever since ls amply proven by the first two volumes of his publications, which have been Issued recently and have just reached our office: “Zeichner Gezciehnete (“Caricaturists and Their Victims”) is a handsomely printed and bound volume , in which all of Richards wealth of distinguished acquaintances (especially in the theatrical and vaudeville field) have been utilized . A man possessing such a wide and rich experience has a right to glory in the memories upon which he can draw for his own pleasure and for the public’s benefit. The book contains a great number of photographs and also many sketches by the prolific pen of the author (two hundred and sixty-five illustrations in all), and ought to prove highly interesting and amusing , even to those who are not able to follow the German text. “Amerika Durch die Lupe der Karikatur” (America as Seen by a Caricaturist) . A beautiful album of large dimensions, most handsomely bound and printed . This is a picture work in the first place , being decorated throughout with full-page drawings , although there Is enough descriptive text to it to make it interesting reading as well. All phases of American life ore subjected to good-natured caricatures of sparkling, effervescent humor, quite in harmony with the vivacious tone of the work. Both of these volumes are enjoying a most enthusiastic reception by the public and the press of the Continent, and Richards may well be congratulated upon renewing his American success as an artist-author, also on German soil . Zeichner and Gezciehnete” sent post-free on receipt of $1.25, and “Amerika durch die Lupe der Karikatur” sent post-free on receipt of $ 1.75 , by Reflecklor Verlag, Querstrasse 26, Leipzig ( Germany ).
In 1914 he published this book, Varieté-Humor – Heiteres vom Brettl, Berlin (Reflektor), with sketchen on celebrated performers of the Music Hall (Variety Theatre) World. I am very lucky to have this extremely rare book in my collection. Unlike P. Richards other books, this is the only copy I have ever seen; and its the only one with a sketch of Houdini.
Today, I share from my personal collection, the verdict of the Press on Houdini’s “The Man From Beyond”:
HHCE Collection
Double-click image to enlarge for reading.
Related:
Houdini wrote, produced and starred in two of his feature films; he wrote a number of treatments – plots for potential productions; and he self-published several of these treatments. *
This post continues a series of posts where I summarize (or share tidbits about) film treatments (published and unpublished) by Houdini
* “Film Treatment” can be found in Patrick Culliton’s book, Houdini’s Strange Tales – A Collection of fiction by the legendary Harry Houdini [1992]
Today, we look at Out of the Shadows, from my personal collection.
Like the film treatments in the Tom Boldt collection, this manuscript was dictated by Houdini. It is 4 leaves written (entirely in pencil) on stationary with HOUDINI engraved in the upper left corner.
Out of the Shadows
The story concerns a man (called “Hero” in the outline) who went to jail to protect his younger brother. Upon his release, he has his heart broken, becomes a wastrel, falls in love, becomes a D.A., survives blackmail and several attempts on his life and finally marries the girl.
Note: Although Out of the Shadows was never filmed, there are elements in the story that echo in some of his other films.
Houdini wrote, produced and starred in two of his feature films; he wrote a number of treatments – plots for potential productions; and he self-published several of these treatments. *
This post continues a series of posts where I summarize (or share tidbits about) film treatments (published and unpublished) by Houdini
* “Film Treatment” can be found in Patrick Culliton’s book, Houdini’s Strange Tales – A Collection of fiction by the legendary Harry Houdini [1992]
Today, we look at Blood Brothers
Per Silverman:
Despite Houdini’s sudsy reasoning, in his affections he had always ranked his mother on a level with his wife, expected Bess to accept the fact, and even in some degree confused her with Cecilia. In one of his unpublished short stories, “Blood Brothers,” he named his hero Haddon Harcourt — HH — and gave Bess’s middle name, Beatrice, to HH’s mother.
Note: Unfortunately, this all the info I have on Blood Brothers at this time. I hope to get to read it one day. Especially, with the fact that he actually named the hero in this one, unlike most of the other unpublished film treatments. And we know, that the 4 feature movies he starred in, all had his characters initials as HH (Harvey Hanford–The Grim Game, Harry Harper–Terror Island, Howard Hillary–The Man From Beyond, Health Haldane–Haldane of the Secret Service).
Houdini wrote, produced and starred in two of his feature films; he wrote a number of treatments – plots for potential productions; and he self-published several of these treatments. *
This post continues a series of posts where I summarize (or share tidbits about) the film treatments he wrote:
* “Film Treatment” can be found in Patrick Culliton’s book, Houdini’s Strange Tales – A Collection of fiction by the legendary Harry Houdini [1992]
Today, we look at Floating Through Space, which was one of four treatments (The Great Tontine, The Monster, The Vulture, and Floating Through Space) that turned up in 1990 and was published in 1992*.
Per Culliton:
[These treatments] turned up in 1990, when an East coast book dealer offered them for sale. This dealer was under the impression that he had in his possession several manuscripts hand-written by Houdini, and he was asking a small fortune for them (which, if genuine, they were worth). Houdini bibliographer Manny Weltman asked to see a sample and the dealer sent along a xerox of one of the stories. Weltman correctly identified the manuscript as having come from Houdini’s mind, but not written in his hand. The dealer was crushed. He put the material up for auction and Tom Boldt of the Houdini Historical Center in Appleton, Wisconsin was able to obtain all of it. It is through his kindness that we are able to include these four previously unpublished film treatments.
Floating Through Space (Story Summarized)
During one of Hero’s journeys, a wicked and cruel Hindu girl before she dies, tells him of her everlasting love, also of her peoples belief – of the souls of the dead at some time inhabiting the body of some living person.
After a strenuous career abroad, our hero returns home and falls in love with a sweet girl and asks the girl to wear a particular amulet, and asks her to swear she won’t remove it ever until her wedding day.
Fade in the sweet girl, preparing for bath, removing amulet – then retires to bed. You see the shadow of Hindu girl gloatingly over sleeping girl. You see the transformation in the girl’s face.
Fade in our Hero, who finds her seated in a chair kissing his picture. He asks her had she removed the amulet. She answers, “No.”
He realizes he had fallen asleep and dreamed she removed the amulet. The girl smiles in his face with love and trust in her eyes, both parents look indignantly at the smiling lovers–
–as the curtain falls.
Houdini wrote, produced and starred in two of his feature films; he wrote a number of treatments – plots for potential productions; and he self-published several of these treatments. *
This post continues a series of posts where I summarize (or share tidbits about) the film treatments he wrote:
* “Film Treatment” can be found in Patrick Culliton’s book, Houdini’s Strange Tales – A Collection of fiction by the legendary Harry Houdini [1992]
Today, we look at The Vulture, which was one of four treatments (The Great Tontine, The Monster, The Vulture, and Floating Through Space) that turned up in 1990 and was published in 1992*.
Per Culliton:
[These treatments] turned up in 1990, when an East coast book dealer offered them for sale. This dealer was under the impression that he had in his possession several manuscripts hand-written by Houdini, and he was asking a small fortune for them (which, if genuine, they were worth). Houdini bibliographer Manny Weltman asked to see a sample and the dealer sent along a xerox of one of the stories. Weltman correctly identified the manuscript as having come from Houdini’s mind, but not written in his hand. The dealer was crushed. He put the material up for auction and Tom Boldt of the Houdini Historical Center in Appleton, Wisonsin was able to obtain all of it. It is through his kindness that we are able to include these four previously unpublished film treatments.
The Vulture (Story Summarized)
Our Hero promises to save his sister. The Doctor is announced. He tries to quiet her. She is hysterical, cries “Brother, you will recognize The Vulture. He has a –– “ But she falls back into the arms of the Doctor, dead.
…
After many adventures, our Hero discovers that the money lender and The Vulture are one. But there is still another side to this beast –– he tries to recall a defect that he recognizes in both the money lender and The Vulture. They each have one grey and one black eye. He arranges to have The Vulture raided in his den but he escapes. Our Hero then dashes to the money lender’s home, but he also has flown from there. The rest of the band is taken etc.
Our Hero then returns to the girl, whom he always reported his escapes. Whilst telling her of the Vultures’ escape, he looks at the Doctor, jumps on him, etc. He at last has The Vulture in his hands. It develops that the girl is not really the daughter of the Doctor. The real father and mother had died in this Doctor’s house; the Doctor then assumes the father’s name, estate, etc., really learned to love the child, continued to lead this triple life. He was really a mad genius, etc.
Houdini wrote, produced and starred in two of his feature films; he wrote a number of treatments – plots for potential productions; and he self-published several of these treatments. *
This post continues a series of posts where I summarize (or share tidbits about) the film treatments he wrote:
* “Film Treatment” can be found in Patrick Culliton’s book, Houdini’s Strange Tales – A Collection of fiction by the legendary Harry Houdini [1992]
Today, we look at The Monster, which was one of four treatments (The Great Tontine, The Monster, The Vulture, and Floating Through Space) that turned up in 1990 and was published in 1992*.
Per Culliton:
[These treatments] turned up in 1990, when an East coast book dealer offered them for sale. This dealer was under the impression that he had in his possession several manuscripts hand-written by Houdini, and he was asking a small fortune for them (which, if genuine, they were worth). Houdini bibliographer Manny Weltman asked to see a sample and the dealer sent along a xerox of one of the stories. Weltman correctly identified the manuscript as having come from Houdini’s mind, but not written in his hand. The dealer was crushed. He put the material up for auction and Tom Boldt of the Houdini Historical Center in Appleton, Wisonsin was able to obtain all of it. It is through his kindness that we are able to include these four previously unpublished film treatments.
The Monster (Story Summarized)
Our hero calls in his men, who arrest the Chief, stepmother, and nephew. Our hero would like to know how this Chief, who was officially dead came back to life. The Chief explains it was his cell mate who had died. He changed identities with the man. The stepmother, before being taken away to prison threatens to reveal the secret of the old Doctor unless she is set free. Girl enters room and wants to know the secret that had made her father’s life miserable. It’s revealed that the Doctor transposed the brain of a little dog into a dying foundling; The child lived, the dog died, but it had the habits of the dog. Our hero takes the girl in his arms to search for the old Doctor, discover a secret room, and the doctor sitting peacefully with his arms folded lovingly around the little monster, as a mother would hold her baby. They were both dead, at last happy together, they are where there are no monsters.
This post continues a series of posts where I summarize (or share tidbits about) the film treatments he wrote:
* “Film Treatment” can be found in Patrick Culliton’s book, Houdini’s Strange Tales – A Collection of fiction by the legendary Harry Houdini [1992]
Today, we look at The Great Tontine, which was one of four treatments (The Great Tontine, The Monster, The Vulture, and Floating Through Space) that turned up in 1990 and was published in 1992*.
Per Culliton:
[These treatments] turned up in 1990, when an East coast book dealer offered them for sale. This dealer was under the impression that he had in his possession several manuscripts hand-written by Houdini, and he was asking a small fortune for them (which, if genuine, they were worth). Houdini bibliographer Manny Weltman asked to see a sample and the dealer sent along a xerox of one of the stories. Weltman correctly identified the manuscript as having come from Houdini’s mind, but not written in his hand. The dealer was crushed. He put the material up for auction and Tom Boldt of the Houdini Historical Center in Appleton, Wisonsin was able to obtain all of it. It is through his kindness that we are able to include these four previously unpublished film treatments.
The Great Tontine (Story Summarized)
The Great Tontine, the founder of the insurance fortune he had accumulated; the last heir had been lost for many years ago in a submarine accident, and never again heard of. The plotters [Fraser, Rabbit, Toad, recently released from prison,] intend to produce an heir [with the Tontine birthmark on the right arm], [by using recently released Rodney, who was falsely charged]. Rodney is in love with Wilma Somers, who is to marry Maurice Darleton. Maurice who is financing the scheme, had quite an affair with Dr. Fraser’s daughter Madge who helped frame Rodney. Madge is jealous and kidnaps Wilma and tells how Maurice and her framed Rodney. Rodney shows up and saves Wilma.
Fraser and his gang abandoning of hope of getting Rodney to help in their fraud, decide on another subject. The plan is kidnap a physician and take him on a chartered vessel, have him do the tattoo, then calmly dispose of him. Old Mystery [detective and benevolent old man who would take mysterious trips, stay away for weeks or months) discovers the scheme, gets on the vessel in disguise and leaves a message for his now adopted son and helper, Rodney. Rodney is hit on the head and Wilma is taken to the vessel.
Per Culliton:
Houdini never finished The Great Tontine, so why don’t you do it for him? Complete this treatment in one hundred words or less and send it to:
The Great Tontine
c/o The Houdini Historical Center
330 East College Ave
Appleton, WI 54911
A panel of judges will read each submission, every entry will be acknowledged, and the winner will be awarded a swell prize on October 31st, 1993.
I checked my complete file of Mystifier Newsletters from The Houdini Historical Center, but found no mention of a winner.
That said, I believe the story would have gone on to prove Rodney is innocent and revealed that he is the true heir, that before remarrying and having Maurice, Mrs. Darleton secretly eloped with the Great Tontine (aka Old Mystery) and had him. So the story ends with: Rodney taking care of the gang on the vessel; discovering the truth (via matching birthmarks); Mrs. Darleton being reunited with her first child and learning that her first husband survived the submarine accident; and Rodney and Wilma living happily ever after.
Houdini wrote, produced and starred in two of his feature films; he wrote a number of treatments – plots for potential productions; and he self-published several of these treatments. *
This post continues a series of posts where I summarize (or share tidbits about) film treatments (published and unpublished) by Houdini
* “Film Treatment” can be found in Patrick Culliton’s book, Houdini’s Strange Tales – A Collection of fiction by the legendary Harry Houdini [1992]
Today, we look at Il Mistero de Osiris or The Mystery of the Jewel, courtesy of Silverman (italicized text) and the Harry Ransom Center (images):
At a U.S. Customs Service auction of unclaimed films, he bought an Italian-made feature, Il Mistero Di Osiris (The Mystery of Osiris) [and copy-righted the film as his own]
The Roman company that produced it, Vera Film had also published a lengthy scenario of the action, which Houdini had closely translated to English.
He published this as a pamphlet, The Mystery of the Jewel, with his name [actually Houdini’s portrait] on the cover. Giving no indication of the Italian original, he allowed it to pass as a scenario or short-story by himself.
…
Il Mistero gave Houdini the notion of making a roughly similar film based on Egyptian ideas of reincarnation, to be shot partly as the Grand Hotel in Cairo. To finance it he organized late in 1921 a new company, Mystery Pictures Corporation, again headed by himself and Hardeen.
He commissioned a photoplay, bought some stock footage of Egypt (the Nile, the Sphinx, a flotilla of crocodiles), and put the film into production as “The Ashes of Passion,” using FDC as a developing lab.
The picture was retitled “Reincarnation,” but however much of it he completed, if any, has disappeared.
Below is a summary of the photoplay.
The theory of re-incarnation, and the trans-migration of souls, and the scene is laid in Cairo of the present day, where a certain Princess and a painter meet. The Princess believes herself the re-incarnation of a woman who lived in the dim ages of the past, and whose love and life were beytrayed by one, Araxez, whom she now believes to be re-incarnated in the painter. She has no difficulty in luring the painter to the underground tomb of Araxez, where, after vividly recounting the story of his treachery is stabbed to death; the mystery lies in the identity of his murderer. The modern scenes include some pictures of Cairo today, the pyramids, the tomb of Memnon, and other well-known Egyptian monuments; whilst the scenes of ancient Egypt introduce a number of ancient ceremonies, one of which is the peculiar rite of uncovering a mummy at the marriage feast.