More Card Manipulations - Series No. 1

Jean Hugard

Description

This vintage book contains the second in the series of handbooks on card manipulation by master magician Jean Hugard. Card manipulation is an element of magical illusion concerning the creation of effects through sleight of hand techniques that involve playing cards. It is commonly employed in magical performances, particularly in street magic. Jean Hugard's fantastic series “More Card Manipulations” includes simple instructions for a variety of fantastic card tricks, making it ideal for novice illusionists or related collections of literature. Jean Hugard was an Australian professional magician. By the end of his life he had gone blind, having lost sight in both eyes as a result of cataract-removal operations. Despite his handicap he continued his work with magic at his home in Brooklyn, New York. Other notable works by this author include: “Show Stoppers with Cards” (1948), “Royal Road to Card Magic” (1948), and “Houdini's 'Unmasking': Fact Vs. Fiction” (1957). Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this classic volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new introduction on card manipulation.

Sujets

• Card manipulation
• Sleight of hand

Informations

• Publié par: Read Books Ltd.
• Date de parution: 28 juin 2021
• Nombre de lectures: 1
• EAN13: 9781528768160
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

MORE CARD - MANIPULATIONS
Series No. 1
by
JEAN HUGARD

ILLUSTRATIONS BY NELSON HAHNE
Copyright 2018 Read Books Ltd. This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing

British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library
Card Manipulation
Card manipulation is the branch of magical illusion that deals with creating effects using sleight of hand techniques involving playing cards. Card manipulation is often used in magical performances, to great effect, especially in close-up, parlour and street magic. Some of the most recognised names in this field include Dai Vernon, a Canadian magician with considerable influence, specialising in sleight of hand, Ed Marlo, an American born magician who referred to himself as a cardician , and Alex Elmsley, a Scot who was notable for his invention of the Ghost Count or Elmsley Count , creating various mathematical card tricks, and for publishing the mathematics of card shuffling. Before becoming world famous for his escapology act, Houdini billed himself as The King of Cards .
Cards have a long and illustrious history, they were first invented in Imperial China, and specimens have been found dating back as early the ninth century, during the Tang Dynasty (618-907). Female players were some of the most frequent participants, and the first known book on cards, called Yezi Gexi (presumably written in the 860s) was originally written by a Tang era woman, subsequently undergoing additions by other Chinese scholars. By the eleventh century, playing cards could be found throughout the Asian continent. During the Ming Dynasty (1368-1644), characters from novels such as the Water Margin were widely featured on the faces of playing cards. Playing cards first entered Europe in the early fourteenth century, probably from Egypt, with suits (sets of cards with matching designs) very similar to the tarot suits of Swords, Staves, Cups and Coins (also known as disks or pentacles). These latter markings are still used in traditional Italian, Spanish and Portuguese decks. Playing cards were first formalised into something closely resembling our modern deck in the seventeenth century, but the joker was only introduced by the USA in the 1870s.
As props, playing cards have only become popular with magicians in the last century or so, largely due to their inexpensive nature, versatility and easy availability. Although magicians have created and presented myriad of illusions with cards (sometimes referred to as tricks ), most of these illusions are generally considered to be built upon one hundred or so basic principles and techniques. Presentation and context (including patter , the conjurer s misleading account of what he is doing) account for many of the variations. Card magic, in one form or another, likely dates from the time playing cards became commonly known, towards the second half of the fourteenth century, but its history in this period is largely undocumented. Compared to sleight of hand magic in general and to cups and balls, it is a relatively new form of magic. Common manipulation techniques include lifts , where one or more cards (normally known to the audience) are selected and identified as part of the illusion, false deals , which appear to deliver cards fairly, when actually the cards are predetermined or known to the performer, and side slips , a technique generally used to bring a predetermined card to the top of a deck. Passes, Palming, False Shuffles, False Cuts, Changes, Crimps, Jogs and Reverses are also commonly utilised manipulations.
FOREWORD

The success which has been attained by Card Manipulations, Numbers I to V. has induced the author and publisher to venture on the production of a second series. The same policy will be continued, viz: the publication of new tricks and improvements on old ones, new and improved sleights and flourishes with unprepared cards only and without apparatus, with the closest attention to the simplest and most practical methods of working. As in the first series there will be no pipe dreams and no impractical sleights.
I have to render my most cordial thanks to Mr. Frederick Braue, of Almeda, California; Mr. P. W. Miller, of Susanville, California; Mr. Orville W. Meyer, of Denver, Colorado; and Mr. Jack McMillen, of California, for tricks and sleights they have contributed and for the friendly spirit of co-operation they have shown at all times.
I will be glad to correspond with any lovers of the art of card manipulation with regard to new ideas for tricks or sleights whether they are for inclusion in this series or not, and any assistance I may be able to give will be rendered most willingly.
New York.
MORE CARD MANIPULATIONS
No. 1.
CONTENTS
PART I. TRICKS.
1. The Three Musketeers and D Artagnan
2. The Sheep and the Goats
3. Snap-A Quick Trick
4. Crime Club Detection-Dr. H. Walter Grote
5. Infallible Prediction-Audley V. Walsh and Hal Haber
6. The Continuous Spelling Trick-Jack McMillen
7. The Burglars-Orville W. Meyer
8. The Magic Thrust-Orville W. Meyer
9. The Two Jokers-P. W. Miller
10. The Ladies Looking-glass-A New Version
11. The Conus Aces-A New Version
PART II. FLOURISHES.
Visible Color Change
Roll Down Color Change
Color Change With Fingers Wide Apart
PART III.
The Riffle Pass. I.
The Riffle Pass. II.-P. W. Miller
The Herrmann Pass
The Spring Force
New Light on the Glide
New Finger Clip Palm
Fan Production From Finger Clip Palm
New Throw Change for a Packet of Cards
Replacing a Palmed Card on Top of Deck-Braue
The Changes: I. The Top Change
II. The Bottom Change
The Delayed Location-Frederick Braue
I. On the Table.
II. The Spring.
a. Onto the Table. b. Into the Hand.
Card Control.
I. Jog and One Hand Fan
II. Fan Control
b. Riffle Control
PART I.
TRICKS
THE THREE MUSKETEERS AND D ARTAGNAN
EFFECT-The four Jacks, referred to as the Three Musketeers and D Artagnan, are widely separated in the deck, even by the spectators themselves yet they come together in one packet selected by the audience.
WORKING-1. From any pack, borrowed for preference, throw out the four Jacks face upwards on table. Introduce them as the Three Musketeers and D Artagnan: The Jack of Spades being Athos, the dark, silent leader of the gang; Porthos, the burly ruffian, as ready with a bottle or a club as with a sword, is the Jack of Clubs; Aramias, the dapper ladies man is the Jack of Hearts; and lastly, the Jack of Diamonds represents D Artagnan, the canny Breton, with a shrewd eye for the cash or diamonds.
Explain that these four are setting off on a vacation, each going his own way but with a pledge to meet at a rendezvous when ordered to do so by the leader, Athos.
2. While making this introduction, separate three cards at the top of the pack secretly. Take them off with a casual riffle and put them face down on the table without any reference to the number.
Pick up Aramis, the Jack of Hearts, saying he is the first to leave, and put the card face down on the three cards.
3. Secretly separate three more cards at the top of the deck as before, riffle them off and drop them on Aramis, saying nothing about the actual number. Take up Athos, the Jack of Spades, as the next of the Musketeers to leave, and put it face down on top of the pile.
4. Now invite a spectator to cut off a number of, cards, say ten or twelve, from the remainder of the deck, and place them on the pile. Then have him pick up either of the remaining Jacks, Porthos or D Artagnan, and put that card face down on the top of the packet.
5. While this is being done, quietly get three more cards ready at the top of the deck in your left hand, riffle them off and drop them on the pile. Finally let a spectator place the last Jack on the pile also face down. Leave this packet for the moment.
6. Hand the remaining cards to be shuffled, have them put on the table and invite a spectator to divide them into two packets. Then remark casually, You might as well cut the Jack pile too. Let him do this and COMPLETE this cut. The success of the trick depends upon this but the more offhand you are about it the better.
7. Invite your volunteer assistant to place the Jack pile on top of either of the two packets into which the remaining cards were cut, and then to put the other packet on top of all, thus reassembling the deck. The cards may now be cut as often as the company desires, each cut being completed.
8. Point out how widely separated the Musketeers are and how fairly they have been sent on their travels. Pick up the pack, turn it face up and run rapidly over the faces of the cards to show that this is the case. Spot the Jack of Spades, Athos, and draw it back so that it won t be seen. Separate the hands at that point, showing the cards spread in each hand and, in bringing them together, put the right hand portion under the cards in the left hand. Done casually, this will not be noticed but it amounts to cutting the pack at the Jack of Spades, bringing that card to the top.
9. Deal four hands of cards thus
2 3
1 4
The four Musketeers will be together at 1. Invite a spectator to call a number one, two, three or four. Whatever number is called, count accordingly to reach the packet of Jacks on that number. Put this packet aside as being the rendezvous at which the Musketeers are to meet. Give any signal you like, riffle the deck, whistle, snap your fingers, anything you please. Turn the ot