The Golden Age of Magic (1875-1930) generated thousands of colorful posters of all sizes, advertising impossible feats by famous magicians such as Kellar, Houdini, and Carter the Great. Generally produced via stone lithography, these posters ranged from formal portraits of the magicians, who are sometimes surrounded by red, devil-like flying imps, to fantastic depictions of specific stage illusions and tricks, from a woman being sawn in half to acts of self decapitation.

Though treasured by collectors today, who often back their fragile prizes with linen, the lifespan of magic posters was never intended to be long. Their purpose was solely to capture the imagination of an entertainment-hungry public in order to fill up a venue when a traveling magician came to town. Magic posters were printed on very thin paper and slapped up on the sides of buildings. After a show was over, the posters were either ripped down or plastered over with new posters advertising the next upcoming act. Given their impermanent nature and the unceremonious way in which they were handled, few of these posters survived.

The dean, literally, of the Society of American Magicians was Harry Kellar, whose heyday was the early 1900s. Kellar’s posters were printed by the Strobridge Litho Co. of Cincinnati, Ohio, and are considered the creme de la creme of magic posters for their gorgeous colors and rich detail. Some Kellar posters are nothing more than formal portraits but others depict the great magician causing a hypnotized woman to levitate or commanding little orange demons to perform circus tricks in the pits of Hell. In one memorable poster, Kellar invites the viewer to behold his own beheading as he relaxes comfortably in a chair.

In 1908, Kellar sold his show to Howard Thurston, who put Kellar’s tagline, “The Great Magician,” on his own posters. At first Thurston had Strobridge produce his posters, as they had done for both him and Kellar, but Thurston eventually switched to the Otis Litho Co. of Cleveland, Ohio, whose quality is generally considered just a notch below Strobridge’s.

Many magicians honed their craft in the shadow of more famous performers, who served as both their colleagues and promoters. For example, in the early 1920s, Harry August Jansen performed under his own name, billing himself on posters as America’s Greatest Transformist. By the 1930s, though, Jansen had changed his stage name to Dante and was promoted by Howard Thurston, whose name and photo (as well as Kellar’s) were often printed on Dante posters. In numerous depictions, a devilish imp whispered in Dante’s ear, a visual device common to Kellar posters. In 1940, after many years of touring in Europe, Dante returned to the United States to perform on Broadway with a magic review called Sim-Sala-Bim.

When Thurston died in 1936, a Lithuanian magician whose stage name was Will Rock (born William George Rakauskas) purchased Thurston’s show and effects and took it on the road as “Thurston Mysteries Presented by Will Rock,” a phrase found on many of Rock’s posters from the 1940s. In one famous illusion, Rock appears to pull the cord on his own guillotine, a trick updated by The Amazing Randi for rocker Alice Cooper in the 1970s.

Other magicians whose posters are sought by collectors include the mind reader Alexander (Claude Alexander Conlin), who is typically shown staring straight at the viewer, his dis...

Posters for Charles Carter, aka Carter the Great, are particularly colorful and lush, printed by Otis Litho Co. One classic Carter window card is titled “Carter Beats the Devil,” showing the magician playing poker with the devil (Carter holds four aces to the devil’s quartet of kings).

But the king of magic posters, as of magicians, was Harry Houdini, whose posters are in a class by themselves, sometimes commanding six figures. The best ones were printed by Strobridge and range from portraits to illustrations showing him escaping from chains or looking dapper as he performs card tricks. In one famous image, Houdini is depicted upside down in his Water Torture Cell (a glass rectangle filled with water), his escape made all the more impossible by the presence of a fanged monster holding down the container’s lid to ensure that he never gets out alive. How will he ever get out of this one, we are meant to wonder. To find out, the poster implies, pay your two bits and step inside.

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