Part I: Alternative Approaches
In Part 1, I described some resources that the serious dealer or collector in antiquarian magic books
will want to be familiar with. But, while we can all recognize the names of the classic rarities
described in the magic bibliographies - e.g., Reginald Scot's Discoverie of Witchcraft
(1584), Samuel Rid's The Art of Jugling or Legerdemaine (1614), Hocus Pocus Junior
(1634), and Henry Dean's Whole Art of Legerdemain, or, Hocus Pocus in Perfection, which went to sixteen editions from 1727 to 1850 - very few of us will find, sell, or own such material or obtain many of the other items listed in Toole-Stott's bibliography.
Even if you can't buy or sell those rare and expensive classics, you can still pursue the history
and bibliography of magic books. The "books-on-books" approach is always popular: Start your
collection with some of the bibliographies I discussed in Part I. If, however, you're more
interested in narrative, you're in luck because the history of magic has never been taken
more seriously. A biennial Conference on Magic History has been held in Los Angeles for the past
15 years, and Muhlenberg College in Pennsylvania has sponsored a series of conferences since
1999 on "The Theory and Art of Magic." Now, a similar conference has been inaugurated in
Europe, with the first European Congress on "Magie, Histoire & Collections" in Paris last year. But despite this recent academic interest, some of the most interesting contemporary works on magic history have emerged from the community of performers.
Ricky Jay, whose bibliographic and bibliophilic acumen were previously noted, has also produced
several important works of magic history. His infamously titled Learned Pigs & Fireproof Women
(1986), a rollicking pageant of the history of unusual entertainers, will run $250 and up in first
edition. His more recent sequels, Jay's Journal of Anomalies (2001) and
Extraordinary Exhibitions (2005), both lavishly illustrated from his own collection, will bring
similar prices when signed by the master. But his Magic, Magic Book, a limited-edition
fine-press production that combines a history of magic trick books with several artists'
reproductions will go for $3,000-$5,000. (Jay's first book, Cards as Weapons [1977], a pseudo-history inspired by his predilection for throwing playing cards, will bring $500 for a fine first edition, and even copies of the paperback reprint edition will bring a few hundred, as they frequently do on eBay.)
Jay's work has inspired other magic historians, like Jim Steinmeyer, a renowned designer of
magic illusions, who has worked with Jay, David Copperfield, and Siegfried & Roy, among others.
Steinmeyer recently published two histories: Hiding the Elephant: How Magicians Invented the Impossible
(2003), and The Glorious Deception: The Double Life of William Robinson, aka Chung Ling Soo,
the "Marvelous Chinese Conjurer" (2005), which may eventually rise in monetary value but are sure to have high content value as introductions to their subjects.
Likewise, other new works, like Karl Johnson's
The Magician and the Cardsharp: The Search for America's Greatest Sleight-of-Hand Artist
(2005), and Peter Lamont's
The Rise of the Indian Rope Trick: How a Spectacular Hoax Became History (2005), readily available now, may be a entry to collecting the history of magic.
Questions or comments?
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