Therefore, if Anderson’s programme was passé and uninteresting, so also must have been the one offered by Robert-Houdin!
enlarge-imagePoster used by Anderson during his closing week at the Strand Theatre, London, January 11th, 1848. From the Harry Houdini Collection.Poster used by Anderson during his closing week at the Strand Theatre, London, January 11th, 1848. From the Harry Houdini Collection.
Second, John Henry Anderson was not in London when Robert-Houdin arrived there in May, 1848. He was on the Continent, and a bill reproduced will show that he was in Germany in January, 1848, and did not open at the Strand Theatre until December 26th, 1848. Then it was Robert-Houdin who had just returned from the provinces, not Anderson. Anderson had been playing the capitals of Europe. Robert-Houdin had been in Manchester, England.
Robert-Houdin again skilfully twists the truth to suit his own ends. He actually states that Anderson, returning from a tour of the provinces, used a new poster, a caricature of the famous painting, “Napoleon’s Return from Elba":
“In the foreground Anderson was seen affecting the attitude of the great man; above his head fluttered an enormous banner bearing the words ‘The Wonder of the World’; while, behind him and somewhat lost in the shade, the Emperor of Russia and several other monarchs stood in a respectful posture. As in the original picture, the fanatic admirers of the Wizard embraced his knees, while an immense crowd received him triumphantly. In the distance could be seen the equestrian statue of the Iron Duke, who, hat in hand, bowed before him, the Great Wizard; and lastly, the very dome of St. Paul’s bent towards him most humbly.
“At the bottom was the inscription,
Return of the Napoleon of Necromancy.
“Regarded seriously, this picture would be found a puff in very bad taste; but as a caricature it is excessivelycomic. Besides, it had the double result of making the London public laugh and bringing a great number of shillings into the skilful puffer’s pockets.”
enlarge-imageEugene Bosco, son of the original Bosco. From the Harry Houdini Collection.Eugene Bosco, son of the original Bosco. From the Harry Houdini Collection.
Reference to my collection of Anderson programmes and press clippings proves that while on the Continent his performances had created such a sensation that, according to the ethics and etiquette of his profession, Anderson was quite justified in assuming the title of “The Napoleon of Necromancy” and in depicting even kingsand noblemen admiring his abilities as a conjurer. But, alas, Robert-Houdin had played only before English and French monarchs, not before the other crowned heads of Europe, including the Czar of Russia and the German Kaiser!
It required weeks and months of browsing in old book- and print-shops, national libraries, and rare collections on my part to prove that Anderson had really played these engagements, when his bitter rival, Robert-Houdin, his heart eaten with jealousy until his sense of honor and truth was hopelessly blunted, was claiming that Anderson had just returned from a trip in the English provinces.
It will be noted by reference to the Anderson programme that he had been engaged only for the Christmas holidays, but despite Robert-Houdin’s claim that he was a failure and was obliged to close and seek new fields of conquest in the provinces, Anderson’s engagement was extended. He remained at the Strand until January 11th, 1848, then after a brief provincial tour he actually returned to London and played to big receipts. Again and again he appeared in London. Far from being the unpopular, forgotten ex-magician pictured by Robert-Houdin, he performed with great success at the St. James Theatre, London, in 1851. Robert-Houdin appeared in London for the last time in 1853, but in 1865 “the despised and forgotten Anderson” was there again, creating a furor in his exposure of the Davenport Brothers.
enlarge-imageJohn Henry Anderson as he appeared in his later years. From a cut in the Harry Houdini Collection.John Henry Anderson as he appeared in his later years. From a cut in the Harry Houdini Collection.
Robert-Houdin might have been justified in criticising Anderson’s sensational advertising methods, for these were entirely opposed to the more elegant and conservative methods employed by the French conjurer. Butcertainly he was not justified in picturing his rival as one who had passed his prime, whose popularity had waned, whose répertoire no longer attracted the public. For, in addition to duplicating Robert-Houdin’s entire répertoire, Anderson offered tricks of which Robert-Houdin knew nothing, and for years to come he constantly reconstructed his programmes, keeping them strictly up-to-date.
Anderson did die a poor man, but this was not because the amusement-loving public had wearied of him. A popular performer, like so many of his class he did not know how to invest his huge earnings. It is known that he gave $20,000 to various charities, while no record of Robert-Houdin’s charities exists. He was burned out several times. He lost money through a bad contract made for his Australian tour. Certain investments dropped in value because of the Civil War in the United States, during which England sympathized with the South. Finally, during his American tour after the Civil War, Anderson played the Southern States, then steeped in bitterness toward the North, and was unfortunate enough to bill himself as “The Great Wizard of the North.” This roused the Southern prejudice to white heat, he was almost mobbed, and was finally driven from that section of the country. He went into bankruptcy, November 19th, 1866, and died at Darlington, County Durham, England, Feb. 3rd, 1874. His remains were interred, in accordance with his dying request, at Aberdeen, Scotland.
So ends the true history of Robert-Houdin. The master-magician, unmasked, stands forth in all the hideous nakedness of historical proof, the prince of pilferers. That he might bask for a few hours in public adulation, he purloined the ideas of magicians long dead and buried, and proclaimed these as the fruits of his own inventive genius. That he might be known to posterity as the king of conjurers, he sold his birthright of manhood and honor for a mere mess of pottage, his “Memoirs,” written bythe hand of another man, who at his instigation belittled his contemporaries, and juggled facts and truth to further his egotistical, jealous ambitions.
But the day of reckoning is come. Upon the history of magic as promulgated by Robert-Houdin the searchlight of modern investigation has been turned. Credit has been given where it belongs, to those magicians who preceded Robert-Houdin and upon whose abilities and achievements Robert-Houdin built his unearned, unmerited fame. The dust of years has been swept from names long forgotten, which should forever shine in the annals of magic.
Thus end, also, my researches, covering almost two decades of time, researches in which my veneration for old-time magicians grew with each newly discovered bit of history; researches during which my respect for the profession of magic has grown by leaps and bounds. And the fruits of these researches I now lay before the only true jury, the great reading public. My task is finished.