Last week, I (along with other Houdini Nuts above) had the pleasure of attending the opening reception of “Houdini Unchained” at the Muzeo Museum and Cultural Center in Anaheim, California.

It show-cased the amazing collection of Dr Randall Bell, which included an original milk can (below) that reportedly came from the basement of 278 W. 113^th St, which I was dying to see in person. Randy Bell calls it “Can #1”.  And Patrick Culliton thinks its Houdini’s “Last Milk Can”.

What a treat! Previously, I had only seen a picture of it in Patrick Culliton’s book, “Houdini the Key” on page 448. Per Mr. Cullltion (Nov 1993 Genii), if it is not a genuine Houdini prop, I’ll eat my hat. It’s the right age, the right size (small) and its beautifully gaffed.

The Milk Can measures 36 inches high, 26 inches at its widest point, and is 15 inches across the top. The top is secured by 4 hasps.

Besides this Milk Can, what other Houdini related Milk Cans are known to exist?

There is the first Houdini Can with straight sides (above) that Mueller acquired in 1967 from Dunninger and displayed in the Houdini Magical Hall of Fame, which later was sold in auction in 2008 for $13,000 to an unknown owner.

David Copperfield has a Houdini Milk Can (above Left) and the Houdini Estate in Laurel Canyon has the Milk Can (above Right) used in the Doublefold escape,

And Dr. Moore (Left Can Above) and the American Museum of Magic (Right Can Above) each have a Hardeen Milk Can.

What is curious about the Bell can is it only has 4 locks compared to the other cans  with 6 locks.

While I am obsessed with milk cans related to Houdini, the highlight of the collection IMHO, was seeing Houdini’s Cone to Flower illusion with traveling crate (above). Houdini’s assistant would enter the empty BIG TALL cone (that was large enough to completely cover her). When the cone was whisked up, the assistant was replaced with a bouquet of flowers. The girl would then reappear at the back of the theater. Note: according to “Great Magic Shows” Reviewed by Arnold Furst, Houdini also did this effect with an Orange Tree.

Seeing the Houdini’s Blooming Rosebush illusion (above Left) in person was also a highlight, along with Houdini’s Personal Séance Clock (above Right).

With an imperceptible bit of pressure on a foot pedal, the cast iron table would sprout flowers before a stunned audience. Although it dates from the early years of the 20^th century, it was modified repeatedly during Houdini’s lifetime. Very few magic tables exist today.  Note: Per October 2014 Genii, The “Blooming Rosebush” would be used in conjuction with the “Cone to Flower Illusion” for a complete flower routine.

The clock was used in Houdini’s “debunking” séance performances of 1923-26 in which he demonstrated how fraudulent mediums use trickery (in this case a wax hand taking the place of the mediums hand while the real hands were busy stopping the clock!)

This is a “must-see” collection “in person”.

Related:

• Houdini lives in Aneheim!

Special Thanks to John Cox for “Houdini Nuts” photo and Joe Fox for “Houdini’s Blooming Rosebush and Flower Cone” note references.

HHCE Collection

Recently I woke up in the middle of the night and couldn’t sleep, so I checked out eBay and saw the above photo with a dog that resembled the dog in the Terror Island movie, so I bought it.

Image from Terror Island Movie

The following morning, I took a closer look at what I bought, along with the description:

Harry Houdini, Trips to Europe 1900-1915(?)

Hmm, I had seen the photo before, but where? And who was in the photo and when/where was it taken?

Well, we know that is Houdini and Bess in the photo, but what about the dog and boy?

My initial thought was that I had seen it among the Library of Congress photos.

• https://www.loc.gov/pictures/resource/cph.3b10574

And sure enough, there it was with the following description:

Harry Houdini, 1874-1926, full length, standing, facing left; with boy, woman and dog on board the KROUP.

I also found it on page 108/109 of Houdini His Legend and Magic with scrapbook images of Bess and Houdini with the following description:

Enroute to Europe, nd

But the descriptions were not that helpful, so that led me to do a deep-dive on Houdini’s pets, family and voyages. And this is what I found:

Houdini and “Bobby” in front of a lost poster Credit: John Cox at WildAboutHoudini

The dog in the photo is the Houdini’s pet dog, Bobby.  The key clues can be found at WildAboutHarry links below:

• Houdini’s Pets
• The lost poster’s of Harry Houdini

Bobby died on December 15, 1918 so he is not the same dog in Terror Island that was filmed in 1919.

But the kid is the same boy in both photos. And that boy is Theodore Hardeen Jr.

Photo of Harry & Bess Houdini with dog “Bobby” Credit: Potter & Potter

The clues were his dad, Dash (Theo Hardeen) in the WAH photo and a photo that sold for $1,200 on Potter & Potter with the following description:

Houdini’s, The. Candid photograph of Harry & Bess Houdini and Hardeen. Circa 1910. Possibly gathered on a ship, and standing with a small group. A dog, perhaps Houdini’s faithful escape artist terrior named Bobby, hangs on his shoulder. 6 3/4 x 4 3/4″. Image somewhat faded, one corner clipped.

In the P&P photo, you can see Dash and Elsie Hardeen with her hand on the shoulder of Theodore Hardeen Jr.

Last but not least, I believe the photo was taken aboard the Kronprinzessin Cecilie, while sailing from the UK [June 14, 1911] to New York City [June 20, 1911]. Note: Dates are from Koval.

The LoC photo description mentioned being on board the KROUP,  where I believe the U should have been an N making it KRONP.

But, the key clue was in the captions of two photos found in the 1911 chapter of The Great Houdini British Tours:

Houdini celebrating his birthday in Hudderfield UK in April 1911. Pictured with him is his dog Bobby.

Houdini with his dog, Bobby. In the background is a poster advertising an appearance at the Palace Theatre in Halifax, UK [May 29th thru June 4th 1911]

Theordore Hardeen Jr. was born December 20, 1905, so would have been 5 1/2 years old at the time of the photo.

In 2017, I shared three rare 1976 Plymouth Volare auto brochures that featured HOUDINI performing the Dekolta chair, Sawing a woman in half, and escaping from a locked safe.

Today, I share another one from my collection that features Houdini’s Vanishing Elephant.

The Bros Hernes, were none other than Jacob and Joseph Hyman.

Credit: Harry Ransom Center (HRC)

You may recall that Jacob and Joe Hyman both performed Metamorphosis with Houdini as The Brothers Houdini.

As Joe put it:

Things were not so good for the The Brother’s Houdini in those days. Bookings were few and money was scarce. Suddenly my brother Jack decided to give up show business [April 10, 1894], even though the boys had a few more weeks booked under the team name, so my Brother suggested that I play these weeks with Harry. I did and became the second member of the Hyman clan, who appeared under the magic name of Houdini. [SAS]

Once Joe and Harry were finished with their engagements, Jacob took the name Jack Hayman, and began practicing a song and dance act with his brother Joe. [SAS]

After a short while, Jacob left the act, with his brother, and took off on his own as, Houdini, Oriental Conjurer and Mysterious Juggler. [SAS]

Sometimes his billing name was JH Houdini, which stood for Jack Hayman Houdini. [SAS]

He also went by JH Herne, when his brother (now Jos Herne) rejoined the act (now called The Bros Herne direct from Europe). Robert Fulgora of Hopkins Trans-Oceanic Star Special Co first booked them for 1897-98 season. The brothers would present the startling theosophical illusion, Substitution, which was their name for The Metamorphosis. [HRC]

Later, the Substitution transformed from a box into the prison barrel escape performed by The Bros Herne. [P&P]

1902 Postcard (Potter & Potter Auction 2014)

And, Houdini would eventually acquire the barrel [1903] used in The Bros Herne act and perform the Prison Cell & Barrel Mystery [1904-1906].

References:

• SAS: The Brothers Houdini lecture notes by Stephen A. Sparks (HHCE Collection)
• HRC: Harry Ransom Center
• P&P: Potter & Potter

Related:

• The Strange Life of a Different HOUDINI
• The Prison Cell & Barrel Mystery…or misfire?
• The Brothers Houdini take Buffalo

Today, I share from my personal collection, Irvin’s S. Cobb book, Incredible Truth, published in 1931.

It contains a chapter, The Original Houdini Tells His Tale, which is actually a reprint of his 1925 article titled, Houdini Not First Handcuff King by Irvin S. Cobb

Is this Houdini in his past life?

Our good friend, John Cox, at WildAboutHoudini did a post on this in 2012. Click on the link above to check it out.

Today, I thought I would share The Magic and the Myths that appeared at the bottom of the article (Houdini Knew There Was No Escape From The Other Side) I shared last week.

Last week, I shared the Vanishing Elephant Photo (with Milbourne Christopher) from an article to celebrate the 100 year anniversary of Houdini’s birth.

Today, I thought I would share the main article, Houdini Knew There Was No Escape From The Other Side, from my personal collection:

As promised, here is the caption and additional info on the photo I teased last week.

The National Star April 4, 1974

The image (with Milbourne Chrsitopher in tux performing the Vanishing Elephant) was used in an article to celebrate the 100 year anniversary of Houdini’s birth.

Unlike other authors (e.g., Gresham, Silverman, Culliton, Steinmeyer), Milbourne Christopher’s, Houdini The Untold Story,  mentions Houdini firing a pistol to make the elephant disappear.  Per Linking Ring [Vol. 48 No. 6], Walter B. Gibson would also echo this, “Four men push cabinet on wheels in center stage, Magician leads elephant up ramp into cage. Fires gun. Elephant disappears.”

And per WAH, David Haversat has Christopher’s” unpublished notes “explaining how he vanished his own elephant. Christopher writes that he believes the method is the same that Houdini used.”

On January 1, 1967, CBS presented, The Garry Moore Show, The Greatest Magicians in the world, where:

Milbourne Christopher [co-producer] closed the all too fast hour taking us back through time and space to present the Asrah Floating Lady, the Sword Basket and ending with the biggest effect in magic the vanish of an elephant, Miss Ronnie by name. Ronnie was brought on stage, a slat framed cabinet built around her and with a flash of flame and a puff of smoke she vanished. Needless to say, CBS, got a lot of publicity out of this effect and the audience wasn’t disappointed.  [Genii Vol 31, No. 5]

Image from DVD

I recently acquired the hard to find historic magic special (of Milbourne Christroper performing the vanishing elephant effect) on DVD.

The sword basket from that special is on YouTube:

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.