Edward Bagshawe Sympathetic Silks Pdf

38

Did^Pdm?

WILL ALMA M.I.M.C.

(LONDON)

/

PROUDLOCK'S

VERSION

OF

THE

SYMPATHETIC SILKS' 1

TO RO "

EDWARD PROUDLOCK'S VERSION OF THE

SYMPATHETIC SILKS 111 DESCRIBED BY

EDWARD

BAGSHAWE

F O R E W O R D BY

BRUNEL

WHITE

ILLUSTRATED BY

ERN SHAW

COPYRIGHT

E D W A R D BAGSHAWE

& CO.

LAMPTON ROAD, H O U N S L O W , MIDDX.

WITH 38 LINE DIAGRAMS

CONTENTS A FEW W O R D S BY BRUNEL WHITE

PAGE

5

PREFACE

7

INTRODUCTION

9

BRIEF DESCRIPTION EFFECT AS SEEN AUDIENCE

OF BY

11

REQUIREMENTS

12

STAGE SETTING

12

PREPARATION

12

WORKING AND PRESENTATION

14

SOME SUGGESTED PATTER

25

• A FEW W O R D S BY BRUNEL WHITE

T

H E " Sympathetic Silks " is in M a g i c a classic Effect w h i c h has been p o p u l a r in t h e p r o g r a m m e s of some of o u r leading Magicians.

T h o s e w h o have been f o r t u n a t e e n o u g h to see E d w a r d P r o u d l o c k p e r f o r m his original version of " T h e Sympathetic Silks " have witnessed a Magical S y m p h o n y in Silk, an Effect with six large one-vardsquare Silks of varying duplicated colours that, in a fashion which convevs real mystery, k n o t and u n k n o t themselves ; one lot at a distance and seemingly securely tied, o r mysteriously minus their k n o t s — f r e e or tied one in sympathy w i t h the o t h e r . Edward P r o u d l o c k ' s Sympathetic Silks are a joy t o behold, n o less to the Magician than t o the uninitiated beholder. A n y o n e w h o could include E d w a r d P r o u d l o c k ' s version and w o r k i n g in his act or p r o g r a m m e could indeed regard himself as extremely f o r t u n a t e , ant! w i t h o u t q u e s t i o n the Effect w o u l d be regarded by any class of audience as Real Magic. T h a t E d w a r d P r o u d l o c k has n o w been persuaded by that o t h e r g o o d friend of ours, E d w a r d Bagshawe, to g i v e t o his B r o t h e r Magicians the full secrets, details and w o r k i n g o f " T h e Sympathetic Silks " as presented by h i m , is n o t only a gesture of infinite fraternalncss b u t gives to every reader, so that Magic is the richer and that he may m a k e the fullest use o f it, o n e of the finest Effects in the w h o l e of Magic. T h a n k s , many thanks, E d w a r d B a g s h a w e too.

Edward

Proudlock

BRUNEI,

London, September, 1936.

and

WHITE.

E D W A R D PROUDLOCK GOLD

MEDALLIST

MAGICIAN'S CLUB LONDON

• PREFACE

T

H E E F F E C T described in this little v o l u m e has b e e n a f e a t u r e of m y o w n p r o g r a m m e f o r s o m e fifteen years, and it has never failed to w i n applause w h e r e v e r it has been s h o w n . This, then, must be my excuse f o r the publication of the r o u t i n e t o m y magical b r e t h r e n at large.

I d o n o t , of course, desire to m a k e any claims in regard to the actual invention of the effect, b u t I think I may safely describe the a r r a n g e m e n t and presentation of the trick as my o w n . T h e different m o v e s arc by n o means difficult t o p e r f o r m , and if the reader will f o l l o w t h e m carefully 1 am confident that, o w i n g t o the clear explanation (for which m y hearty t h a n k s are d u e t o the a u t h o r and artist) he will e n c o u n t e r n o obstacles. T h e description should be f o l l o w e d with a set of silks at h a n d , and each detail c o m m i t t e d t o m e m o r y . In conclusion, I shall feel adequately r e w a r d e d if this b o o k l e t is the means of f u r t h e r popularizing this interesting effect t o the magical fraternity. May the reader have as m u c h success w i t h it as I have experienced myself ! EDWARD

PROUDLOCK.

NOTES

REGARDING

ILLUSTRATIONS For descriptive purposes, the illustrations show the Purple Silks as black, the Green Silks shaded, and the Orange Silks white. All A sketches show Audience's viewpoint—B sketches show performer's view. Owing to space considerations the silks are NOT shown in their full sizes in relation to the hands.

• INTRODUCTION

S

O m a n y of m y magical c o n f r e r e s h a v i n g evinced great interest in the presentation of the " Sympathetic Silks " devised by E d w a r d P r o u d l o c k , I recently a p p r o a c h e d h i m w i t h the suggestion that the entire w o r k i n g and p r e s e n t a t i o n of the effect, as p e r f o r m e d by him, be p r o d u c e d in b o o k f o r m , f o r the benefit of those magicians w h o wished t o add this very effective magical p r o b l e m to their p r o g r a m m e s . M r . P r o u d l o c k , ever willing t o pass o n the benefit of his experience, readily agreed to my p r o p o s a l . . . and so this b o o k l e t is the result.

T h e " Sympathetic Silks " is u n d o u b t e d l y o n e of the finest tricks in the realm of silk magic, and the reader w h o diligently studies and masters the material in the f o l l o w i n g pages will h a v e at his finger-tips (in m o r e senses than o n e !) an effect w h i c h he can w o r k at any time, at any place—in brief, a real magical effect of w h i c h he may be justly p r o u d . EDWARD

BAGSHAWE.

PRINTED

IN

ENGLAND

BY

B O B B Y & CO. LTD.. M A R G A T E

T h e Stale L i b r a r y of V i c t o r i a "ALMA CONJURING COLLECTION"

PROUDLOCK'S

VERSION

SYMPATHETIC BRIEF

OF

THE

SILKS

D E S C R I P T I O N OF E F F E C T AS SEEN BY AUDIENCE

S I X large silk squares are s h o w n — t w o orange, t w o g r e e n and t w o p u r p l e . T h e s e are c o u n t e d f r o m the left h a n d to the right, and it is seen that they are separate and, apparently, quite unprepared. T h e y are n o w divided into t w o sets (orange, g r e e n a n d p u r p l e ) , a n d o n e of these is placed o n a chair o n p e r f o r m e r ' s r i g h t . T h e r e m a i n i n g set is k n o t t e d t o g e t h e r in a string a n d placed o n a chair o n p e r f o r m e r ' s left. T h e silks o n the r i g h t are n o w f a n n e d , picked up, and seen t o b e also tied t o g e t h e r in a string. T h e y are h a n d e d t o any spectator t o u n t i e ; taken back, and again placed o n r i g h t - h a n d chair. T h e silks o n the left are n o w f a n n e d , and t h e n picked u p a n d f o u n d t o h a v e b e c o m e untied. T h e y are next k n o t t e d t o g e t h e r w i t h a single k n o t and laid o n left side of stage. T h e silks o n r i g h t arc picked u p and seen t o be k n o t t e d t o g e t h e r w i t h one k n o t also. T h e spectators are asked if they p r e f e r these silks t o be untied visibly o r invisibly. I n m o s t cases the a n s w e r is " invisibly," and the silks are t h e n b u n c h e d t o g e t h e r and t h r o w n into the air. U p o n being picked u p they are f o u n d t o be all separate again. T h e three silks on stage (which h a v e been left k n o t t e d t o g e t h e r ) are taken u p and f o u n d t o be separate again. The p e r f o r m e r n o w has t h e six silks in his hands, and all h a v e been s h o w n t o b e separate. T h e y are n o w t h r o w n in the air, a n d a f t e r w a r d s f o u n d to be secured by a single k n o t . Finally, the silks are f o l d e d t o g e t h e r , then tossed i n t o t h e air a n d c a u g h t in t h e r i g h t h a n d , w h i c h is e x t e n d e d — a slight shaking m o t i o n is i m p a r t e d a n d the silks t h e n flutter separately t o t h e floor, t h u s c o n c l u d i n g the effect.

REQUIREMENTS

x

x

x

Six h e m m e d squares of fine J a p silk. These should be o f contrasting colours, and in the description it is assumed that O r a n g e , G r e e n and Purple are used. T w o silks of each colour are required. T h e size of the silks used in this r o u t i n e is three feet square, b u t smaller ones can be used if desired. A box of small R u b b e r Bands. Walker's " A n c h o r " Bands, Size N o . 8 (2 in. circumference), are recommended. These bands m a t c h the colour of the hands, and d o n o t discolour in use. O n e small Bulldog Clip. A large Fan. T w o Chairs.

STAGE

Fi<$V3.

SETTING

O n e chair is placed at left of stage, the other at right. O v e r the back of the right-hand chair are laid the six silks (their m a n n e r of a r r a n g e m e n t follows), and o n the seat of the chair is placed the fan. (Fig. 1.)

PREPARATION T a k e o n e set of silks (orange, green and purple) and tie the orange and

Page Twelve

green silks together by their corners, making a small double knot. This knot is an ordinary one, and is shown in Fig. 2. N o w tie the purple silk to the orange one, using the same type of double knot. The silks are n o w in a string, with the orange in the centre. Arrange them as seen in Fig. 3. N o w hold them in the right hand by their corners ( X X X in diagram), and arrange the green and purple ones around the orange so that the latter is concealed f r o m view—this also has the effect of concealing the knots. Place the Bulldog clip over the silk ends held in right hand. The silks n o w present the appearance shown in Fig. 4. Lay them over the back of chair at right of platform, together with the remaining set of loose silks. The exact positions f o r all silks are indicated in Fig. 5. In parenthesis, it may be remarked that this presentation enables the performer to commence the trick at any stage of his programme, as the silks are picked up and arranged in the hands in view of the audience. If, however, the trick is being used as an opening effect the performer may walk o n with the silks already in his hands. T w o of the elastic bands arc placed over the tip of the second finger of the right hand. T w o further bands are also placed over second finger of left hand, near lowermost joint (normally, these bands are not used in the trick— their presence is merely a precautionary measure).

Page Thirteen

WORKING

Fi 6 - 6

J

AND

PRESENTATION

W A L K forward to the chair with silks and with right hand pick u p and display the loose green silk. Slip one end of this silk under the second finger of the left hand, as seen in Fig. 6B. N o w twist the silk around the second finger (Fig. 7 B). With the right hand pick up the three clipped silks and place the clipped end between the third and f o u r t h fingers of the left hand—clip being at back of hand. Left hand is held as shown in Fig. 8B, but in this and the following diagram, for the sake of clearness the first green silk has not been shown. Holding the clip in right hand, lace the clipped ends of silks between the second and third, and then first and second fingers of left hand (Fig. 9B). O n completing this movement, pull off the clip with right hand ; drop this hand to side and make a slight turn to right, disposing of clip in right-hand coat pocket. Right hand n o w removes the loose purple silk f r o m chair and places it in the left hand, where it is held by one corner between the t h u m b and first finger. Finally, right hand picks up the remaining orange silk and places this also between t h u m b and first finger of left hand (Fig. IOB). Next follows the " c o u n t , " in which the silks are apparently shown to be all separate, and special care should be taken in performing the following

Page Fourteen

moves, as the result is a perfect piece of misdirection. The loose orange silk is counted first'. Let the right hand approach the left, the fingers and thumb closing around this silk, near the top corner. Slowly run the right hand down the silk, fingers and t h u m b encircling it, until the bottom corner is arrived at— raise this corner, the position of the hands and silks n o w being as depicted in Fig. 11a. Allow the corner held in the left hand to drop, leaving the orange silk separate in the right hand. Count " One." This is merely a pretty move f o r displaying the first silk. Next, with right hand take the loose purple silk f r o m the left. Count " Two." At each count allow the hands to separate to the extent of about t w o feet, so that there can be n o doubt in the spectators' minds that the silks are separate f r o m each other. In counting off the next silk—or, to be accurate, in appearing to count it—the crucial move occurs, what actually happens being as follows. The right hand should be holding the orange and purple silks by their corners as seen in Fig. 12A. The hands approach, and the right hand deposits the ends of the orange and purple silks between the thumb and first finger of left hand. As this is done, the first and second fingers of the right hand grip the protruding ends of the three tied silks and remove them. The hands draw apart as " Three" is counted. It will be seen that whilst in

Page Fifteen

appearance all that has happened is that a further silk has been counted off into the right hand, in reality the right hand h o w holds the three knotted silks and the three separate silks are n o w together in the left hand. Properly executed, this is one of the most deceptive moves in silk magic, the onlooker being unable to detect the slightest difference between the genuine and the false count. The three knotted silks should be held by their corners in the right hand, as shown in Fig. 13B, in which it will be observed that the ends project f r o m between the first and second fingers. N o pause should be made in the counting, which continues unhurriedly as follows.

Fig.

Page Sixteen

156.

The orange silk in the left hand is removed by the right, which holds it between first finger and thumb. " Four " is counted. Next the purple silk is transferred to the right hand as " Five " is counted. Only the green silk, the end of which is twisted around the second finger, remains in the left hand, and this hand is held out to display i t ; at the same time the corner is allowed to untwist f r o m the finger. Finally, this silk is placed in the right hand and " Six " is counted. T h e last three silks counted should all have been placed between t h u m b and first finger of the right hand, and n o w they are again taken into the left hand. The hands are held apart, each

displaying an orange, green and purple silk. The silks in the left hand are next laid over the right arm. (Fig. 14A.) The left hand is n o w allowed to travel d o w n the silks held by the right hand, to centre, whereupon the right hand releases its grip. The silks, thus folded in half, are placed upon the right-hand chair. N o w cross over to the opposite chair, remove the three silks upon the right arm, and deposit them on the seat. These, of course, are the separate silks, and the next operation is to knot them together in the manner outlined below. The purple silk is picked up in the left hand and the orange silk in the right, and the ends are tied together in the manner previously described, and illustrated in Fig. 2. T h e double knot should be made loosely, in this instance. The knot is shown to the audience, as illustrated in Fig. IJB. T h e left hand n o w grips the end of the orange silk whilst the right grips the same silk on the opposite side of the knot, and the hands pull against each other (Fig. 16), apparently to tighten the knot. It will be observed that this diagram gives the side view, an arrow indicating the direction of the audience. Pulling on the knot in this manner has the effect of converting it into a slip-knot, allowing the end of the orange silk to be quickly pulled free when desired. As the end of the orange

Page Seventeen

silk will n o w be longer than before the knot should be slid up a little to match in size the protruding end of the other silk. Display the silks as shown in Fig. 17A. Left hand n o w drops the knot to the stage—which it should touch—leaving the corner of the orange silk still in the right hand. Left hand n o w picks up the green silk and ties it to the corner of the orange one, using exactly the same moves as before to convert the knot into a slip-knot, so that the orange corner can be slipped free. T h e silks are then displayed as in Fig. I8A. The hands are n o w b r o u g h t together and the knot in the left hand is placed with that in the right. Left hand is removed, the position of the silks in right hand being as shown in Fig. 19A. The left hand n o w grips the green and purple silks about three inches below the knots (Fig. 20A), the first finger being extended to point to the other set of silks at right (in accordance with patter). T h e right hand, retaining its hold of the orange silk, is n o w lowered behind the left and pulls the orange silk free f r o m the knots. As soon as this silk is free, the left hand folds the silks it holds over the right hand, and grips all three silks, allowing the right hand to be removed to again point toward the other set of silks. Position is n o w as shown in Fig. 21 A. Silks are n o w laid u p o n chair at left side.

Page Eighteen

N o w w e revert to the other set of silks on right-hand chair. The fan is picked u p with left hand, and the silks are gently fanned. Right hand picks u p the purple silk, raising it slowly, and the three silks are seen to be tied together. Silks are displayed and then handed to any spectator with the request that the knots be untied. While this is being done, the elastic bands over the second finger of right hand are secretly pulled over the first finger also, so that both fingers are encircled. {Note.—Should the performer be unable to get to the audience he will, of necessity, have to untie the knots himself.) The three silks just untied are again taken and shown, t w o in the right hand and one in the left. Those in the right hand are counted separately into the left. At this juncture the thumb of right hand is also passed under the elastic bands. T h e hands are brought together and the silks transferred to the right hand, which holds them as seen in Fig. 22A. A b o u t f o u r inches of the silk ends should project above the right fist. Left hand n o w grasps silks at a position about a f o o t below the right hand, and is raised, the position n o w being as depicted in Fig. 23A. At this m o m e n t the right hand allows the bands to slip off the fingers and thumb, on to the silks, which are thus held together in the way shown by Fig.

BANDS

JF~BANDS

24B.

Page Nineteen

Next the right hand is lowered to the position indicated in Fig. 2 5 A, and the silks are folded in half and deposited on the empty chair. N o w , proceeding once more to the chair on left, the silks on this chair are fanned gently, picked up and seen to be separate. In the next part of the effect the presentation differs in some details f r o m other versions. Continuing, the silks which have just been shown to have mysteriously untied themselves are held as indicated by Fig. zGk—the orange silk being by itself in the left hand, and the remaining t w o in the right. About six inches of the ends of silks project above the hands. The end of the orange silk is n o w laid over the ends of the other t w o silks (Fig. 2 7 B . ) . N o t e the position of hands, both thumbs being above the silks. A special knot is n o w formed, and the exact method of executing this is shown in Figs 28B to 30B. Fig. 28B.—The corner of the orange silk is twisted around the other silks. Fig. 29B.—Orange corner is turned over to encircle the corners of the other silks completely. In doing this the second finger of right hand must be

Page Twenty

placed f r o m underneath into position shown in this diagram.

the

Fig. 3OB.—The tip of the orange silk is n o w turned under the other t w o ends and up t h r o u g h the space just previously occupied by the second finger of right hand (this finger n o w having been removed). This is clearly shown by the arrow in the diagram. The knot is now pulled tight as follows. Silks are held in the manner illustrated in Fig. 31B, and the knot is tightened up, with left hand grasping end of orange silk, and right hand the ends of the other silks. If the knot has been properly made and tightened it will not unravel prematurely, but it should be understood that in the following moves the silks must be handled carefully.

Fio 29s

The silks are held in the left hand as seen in Fig. 32A, and attention is directed to the knot, which has every appearance of being a genuine one. Next they are transferred to the right hand, being held in exactly the same way. The right hand is n o w lowered so that knot touches the stage. The hand makes a slow turning movement— anti-clockwise—and it will be f o u n d that the knot will begin to untwist and dissolve. W h e n it has almost disappeared the orange silk is dropped u p o n the other two silks on stage.

Page Twenty-One

PROUDLOCK'S VERSION OF

W e n o w r e t u r n t o the second set of silks. These silks are picked u p and s h o w n to have become securely tied together in a b u n c h ; this effect, of course, being caused by the elastic bands. T h e three silks are exhibited as seen in Fig. 33A. They are then held by their corners in the left hand (Fig. 34A). N e x t the spectators are asked if they w o u l d care f o r the silks to be untied visibly or invisibly. Usually the answer is " invisibly," b u t below you will find w h a t to d o in either case. If visibly.—Merely p r e t e n d to untie the knot, slipping the bands off the silks to their previous position a r o u n d the second finger of right hand. If invisibly.—Slip the bands off on to second finger, as above, whilst addressing audience. T h e n fold the silks as s h o w n in Fig. 35A. Again fold t h e m and taking the b u n c h thus f o r m e d , t h r o w it into the air. As silks fall t o stage, pick t h e m u p separately with the right hand and place t h e m in the l e f t ; holding them, as usual, by their corners. {Note.—Bands can be easily slipped off by pressing o n the " k n o t " with the tip of the second finger, and w o r k i n g t h e m d o w n over the finger-tip w i t h the assistance of the t h u m b . ) A g a i n pull the bands finger of right hand, encircle first and second Walk over to the other

Page

Twenty-Two

_

over the first so that they fingers. set of silks on

THE SYMPATHETIC SILKS

stage (these silks, you will remember, have been left there apparently knotted together), and with right hand pick up the orange silk by its corner—turning it anti-clockwise (this to complete the dissolving of the fake knot). Show the orange silk to be separate f r o m the others, and place it in the left hand, which also holds the other set of silks. With right hand pick up one of the other silks on stage and place in the left hand. The thumb of right hand is now allowed to slip under the bands, as the remaining silk is picked up with the same hand and also placed in the left, (in picking up the last two silks impart a turning motion as before—this is simply to misdirect.) Transfer the bunch of silks f r o m lefthand to r i g h t ; leaving about six inches of " ends " above the right fist (as Fig. 2 2 A ) . With left hand grasp the silks at the position shown in Fig. 36A. Right hand then folds the silks down behind left hand, and as this is done the bands are allowed to slip off the fingers and t h u m b on to the silks, exactly as before, gripping them securely. Again fold the silks over, and then b o w with them held to body as if concluding effect. Suddenly throw the bunch into the air and, as it descends to the stage, quickly grasp one or two of the silks, raising them slowly, and they appear to be all tied together. Display them with fake knot at centre as depicted in Fig. 37A. T h e silks are then held as shown in

Page

Twenty-Three

38A.

Page Twenty-Four

Fig. 3 8A, left hand gripping the bunch at centre and right hand holding the ends. Note position of the elastic bands. The effect is concluded by showing the silks to be all separate once more, and this is accomplished by merely pulling on the ends held by the right hand—causing the bands to fall away, as silks are folded in three again. The bunch is held in the right hand, tossed in the air and caught . . . a slight pause . . . and then, with a shaking movement of the hand, each silk is allowed to fall separately.

SOME

SUGGESTED

"PATTER"

" L A D I E S and Gentlemen—I shall now endeavour to entertain you by drawing your attention to a problem in magic which I think you will like. " N o w I have here half-a-dozen squares of silk, all of which are exactly the same size and shape, but are ranged in three different colours—namely, orange, purple and green. First I will show you each silk separately, so that you may be assured that they are exactly as I say, and you will notice that the colours are in duplicate. (Count follows.) " For the time being, 1 propose placing these three silks on this chair (chair on right) . . . and the remaining three silks over here (chair on left). (Pick up orange and green silks, and commence tying them together.) " I should like to explain at the outset that this particular experiment is based on an old Indian fable in which it is said that whilst one man may be pricked with a needle, another may feel the pain. As to the truth, or otherwise of this old Indian story, I really cannot say . . . but I shall now attempt to show you that it is possible to demonstrate a similar effect by the use of these silk squares. " However, my object will be to carry out the experiment in such a simple and straightforward manner that you cannot help seeing exactly what I am doing . . . (Pick up third silk and tie to orange, as dircctcd) . . . and at the same time understand quite clearly the idea of the problem we have in hand. Y o u will notice that while I have been chattering to you I have been tying these three silks together in a string, with the orange-coloured square in the centre. The sympathy being so great, the result should be that the other three (point to silks on right-hand chair) will now have become similarly tied (in due course, this is shown to be so). Will you please oblige, sir, by untying these silks for me ?—there is not the least need for you to hurry because although we are rushed for time I am here for the rest of the night (receive silks back). " The fact that these three silks are all separate no doubt indicates that the remaining three will, upon being fanned, be

Page Twenty-Five

found again single and separate in sympathy (shown single in accordance with Working). " In order that you may be able to appreciate still more fully the peculiar bond of sympathetic understanding which we find existing between these two sets of silks, I shall again tie these together . . . only this time in a somewhat different manner— namely, in a bunch, or, more properly speaking, into a magical knot which is known as the star-shaped knot of India ; a knot which, I understand, is usually associated with the Indian turban. " I would particularly direct your attention to the fact that the knot really is there, for I am n o w about to show you something even more marvellous . . . so look (point to silks on stage) . . . watch . . . (point to those on right) and listen to some more special bars of sympathetic music, whilst we continue with the phenomenon!. (Pick up silks on right-hand chair and show knot.) May I ask if you would like to see this knot g o visibly or invisibly ? (Whichever replyis made, proceed as already given.) " And now, if we may have some more bars of this special sympathetic music, we shall no doubt find that the remaining silks have also untied themselves." (Show this to be correct, as detailed in Working. The concluding part of the effect— namely, the instantaneous tying of the bunch of silks and their immediate separation—is one which the originator prefers to perform in silence, no patter actually being required.)

Page Twenty-Six

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REDUCTIONS in

SILK

H A N D K E R C H I E F S

F O R

C O N J U R I N G

PURPOSES.

P r e p a r e n o w f o r the W i n t e r S e a s o n . P r i c e s w i l l n e v e r a g a i n be as l o w as they are t o - d a y . All Silk is First-class Q u a l i t y . Just right f o r Conjuring. SILKS SUPPLIED A N Y C O L O U R — A N Y SIZE. C h e a p e r than M o t h e r can m a k e t h e m . T h e f o l l o w i n g sizes A L W A Y S in S t o c k : — 9 inches s q u a r e .. 4d. 18 inches s q u a r e .. 1 2 inches s q u a r e . . 6d. 24 inches s q u a r e . . i f inches s q u a r e .. 8d. 36 inches s q u a r e .. U N B E A T A B L E FOR V A L U E AND QUALITY. D E M O N

I L L U S T R A T E D

i/1/9 3'-

SILKS.

S e n d f o r illustrated d e s i g n s . P r i n t e d on Best Q u a l i t y Silk. All 18 inches s q u a r e at the B A R G A I N price o f I / - each. E a c h Silk p r i n t e d in 2, 5, or 4 c o l o u r s w i t h b o r d e r . FIRST-CLASS QUALITY O N L Y . T h i s s a m e quality is still being sold e l s e w h e r e u p to 4/- each.

OUR T H E

LATEST

PEACOCK.

J O H N

PRODUCTIONS C H I N A M A N .

B U T T E R F L Y .

Size 36 by

36 inches. P r i n t e d in S i x Brilliant C o l o u r s o n J a p a n e s e Silk. P r i c e 5/6 each. D i t t o , small size, 18 by 18 inches. Price 1 / 6 each.

T H E

D R A G O N .

T H E

S N A K E

C H A R M E R .

JAZZ.

Size 36 b y 36 inches. P r i n t e d in F o u r Brilliant C o l o u r s o n J a p a n e s e Silk. P r i c e 3/6 each. D i t t o , small size, 18 by 18 inches. P r i c e 1 /- each. T H E

F I N E S T

C A R D

SILKS

E V E R

Best

Best

P R O D U C E D .

O u r F o u r P i c t u r e C a r d s still g o i n g w e l l . J u s t try o n e a n d then s e n d f o r the o t h e r three. Printed in F o u r Brilliant C o l o u r s . P r i c e 1 / 6 e a c h . S P O T

C A R D

SILKS.

9 o f Spades. 7 of Clubs. 10 of Clubs. Border Silk. T h e a b o v e F O U R Silks are p r o d u c e d in d e a d b l a c k w i t h b l u e b o r d e r s , shaded with black. R e m e m b e r the m o r e they are w a s h e d the better they l o o k . C o l o u r s g u a r a n t e e d n o t to run. S i z e 18 b y 18 i n c h e s . P r i c e 1 / - each ( p o s t a g e 2d.). O u r N E W D E M O N C A T A L O G U E N o . 16. N o w R e a d y . Consists of 420 p a g e s of t h e Latest a n d Best in M a g i c . W i t h o u t d o u b t t h e B E S T a n d L A R G E S T C a t a l o g u e in t h e M a g i c a l B u s i n e s s to-day. P r i c e 1/-, b y post 1/6. Sent f r e e w i t h a n y o r d e r to value of 20/-.