Collector’s Cabinet

Owen Magic Supreme, ca. 1990s.

A freely selected card appears visibly trapped between two clear glass panels within an open wooden frame. Finely crafted with Owen’s characteristic attention to finish and form, featuring a rich wood grain support and lacquered base with contrasting trim. Hallmarked.

Owen Magic Supreme, ca. 1990s

Finely made hardwood stocks with metal blade. A spectator places both wrists through the stocks, which are secured; handcuffs may be added for effect. The blade is then driven downward, apparently passing through the spectator’s wrists. Hallmarked.

A tumbler of milk is placed within the cabinet, which is then turned completely upside down. Despite the inversion, the glass remains upright. The tumbler is removed and caused to vanish, only to reappear inside the cabinet, still full. From the personal collection of Paul Daniels.

Owen Magic Supreme, ca. 1950s

A classic production apparatus: an open-front cage is shown unmistakably empty, yet in an instant a live rabbit appears within. Constructed of hardwood and lined with striped fabric. Measures 12 × 10 × 7”.  Wear to paint and damage to fabric. Condition fair.iption goes here

Gimacs Unlimited (Richard Himber), New York, ca. 1960

A clear Lucite beer stein is shown filled with liquid—typically milk—yet its entire contents are poured into a much smaller vessel, an impossible transposition of volume. A classic Himber-style effect combining visual clarity with mechanical ingenuity. Clear acrylic (Lucite) stein, approximately 7” high. Light toning and wear consistent with age. Very good condition. Rare

Mephisto Novelty Company, Los Angeles, 1936.

Small-format booklet of card effects using a regular deck. Illustrated paper covers with bold court card design. 56 pages in pocket-sized softcover format. General wear to covers, including edge wear and small losses. Interior presumed complete. A scarce, ephemeral example of early mass-market magic literature.

Thayer [?], ca. 1930S to 1940s.

A clever Thayer control effect. A black lacquered wooden ball travels along a length of cord, stopping and releasing at the performer’s command. Turned hardwood ball in the larger 3 ¼” format, threaded on cord with metal rings. Smooth, responsive internal mechanism.

Bud West Die Box. Abbott’s Magic Mfg. Co., ca. 1970s.

Compact wooden die box of Bud West’s design, in the smaller early 3” format. Double-door cabinet with sliding die and characteristic sound convincer. Well-made with contrasting panels and brass hardware. Includes original instructions. Cabinet measures approx. 7” × 5.5” × 4.5”.

Heavy clear embossed glass quart bottle, prepared for the classic visible vanish of milk. Retains original red neck band (worn, with loss). Interior residue and light clouding from age and use. Expected handling wear. A solid mid-century utility example.

Thayer, ca. 1930s–40s

Ebonized wood stand with gilt dividers and numerals 1–4, for displaying and secretly switching Jumbo cards. Used for clean Four Aces sequences or transformations. Measures approx. 23 × 10”. Very good condition.

Al Wheatley, mid-20th century.

Gimmicked stemmed glass for the classic egg on fan style effect using a brandy snifter style glass. Crumpled paper placed in the bowl visibly becomes a real egg, which may be broken into the glass.

Limited Edition Magic, ca. 2015.

One of 12 produced. Egyptian-themed cabinet in blue and gold, decorated with a winged motif. Doors open to display a ribbon running through the interior; cut and instantly restored in performance. Measures approx. 7″ × 4″ × 3.5″. A scaled interpretation of Alan Warner’s Siamese Ribbon.

Silent Mora (Louis McCord), 1956

A classic sympathetic-cord illusion in which the cords running through each bamboo stick mysteriously respond to one another— when one end is pulled, the other retracts, despite no visible connection. Hand-made and hand-painted by Silent Mora (Louis McCord), signed and dated in his hand (Sept. 21, 1956), and inscribed with the proverbs.

E.J. Moore, ca. [?]

Inspired by Egyptian mythology, the Phenix—the legendary bird said to rise from its own ashes—serves as the basis for this effect. A marked strip of paper is placed on a staff, burned, and instantly restored. Direct and visual. Provenance: Andrew Pinard Collection

Ireland Magic, ca. 1930

A finely engineered mechanical stand designed to facilitate the production or vanish of up to six pocket watches in rapid succession. Constructed with a heavy nickel-plated base, lending both stability and an attractive gleam. An impressive display piece from the inventive Chicago firm of Laurie Ireland, known for its precision-built apparatus. Height 17 ¾”, width 12”.

Houdeen—stage name of Svenne Herman DeHolt (1890–1968)—performed for over 50 years, bringing magic to schools, auditoriums, and community halls nationwide. His son Jack continued the tradition, touring with the Ken Griffin show.

After Martinka & Co. A selected card is placed into a finely crafted wooden box, its lid gently closed. Moments later, when reopened, the card has vanished—only to be replaced by a live bird. The missing card is then discovered in an unexpected location.

An elegant example of turn-of-the-century magic apparatus, this Flyto Cage effect features a brass cage that vanishes beneath a handkerchief, only to reappear instantly—and in full view—within the open frame of a skeleton stand on the magician’s table. The reappearance requires no cover, allowing the audience to witness the impossibility without distraction.

A clock, covered by a cloth, hangs from a metal stand where it rings audibly. The cloth is whisked away, the ringing stops, the clock has vanished.