HARRY KELLAR : THE DEAN OF AMERICAN MAGICIANS.
- Sid Quatrine
- Nov 24, 2025
- 11 min read
Updated: Dec 14, 2025
Born to German Immigrant parents in Erie, Pennsylvania. (July 11th 1849) Heinrich Keller was an adrenaline junkie from a young age. With a love for Dangerous games he was known to play Chicken with oncoming trains to amuse his friends. He would go on to being an apprentice under a local druggist, frequently experimenting with a variety of chemical mixtures on the upper level of the store. Young Kellar, terrified of the potential repercussions of this act both from the store owner and parents adopted the rather excessive approach of becoming a vagabond, stowing away on train and travelling the country. In and out of a series of odd jobs, predominantly a newspaper boy to pay for the basic necessities of a wanderer. An upstate New York Minister would offer to adopt Kellar and become a benefactor of his pursuits on the condition he studied for ministry. On an evening trip to the theatre Kellar would bear witness to a travelling magician under the name of 'The Fakir of Ava.' The stage name of English Magician Isaiah Harris Hughes. From this point forward he became restless with the urge to perform on stage, purchasing every book on magic he could find and leaving his friend and benefactor. as he later detailed to Houdini. He went and found work on a farm in Buffalo New York where he saw an ad in the local newspaper that was placed by Hughes. He was looking for an assistant. He enquired approaching Mr Hughes house, the portly gentleman opened the door to which Hughes's dog bound up to Young 12 year old Kellar licking his face.
He was hired on the spot to which Hughes would explain that various people had shown up that his dog detested, barking and growling. Kellar was the first to which the dog took a liking to and so was hired on the spot.
His first few years were an introduction to the world of magic for Kellar. He learnt the basics of the craft alongside assisting Hughes with his show. At 16 he thought he'd try and give his first solo performance in Dunkirk, Michigan;
His first few performances were a disaster, he reverted back to Hughe's as a result to continue his apprenticeship. At 18 he went out and tried again. This was to better success, however the gigs were few due to a depressed economy as a result of the American Civil War. Kellar in poor financial condition, would often borrow equipment for his show and avoid creditors where he could, often sneaking out during the intermission of his performance as a means to dodge them.
In the spring of 1869 Kellar would see an advertisement for a performance of 'The Davenport Brothers and Fay', a group of stage spiritualists, who would perform a spirit cabinet routine, where they'd be tied in ropes and blindfolded inside a wooden cabinet, have instruments placed in with them and the audience would witness these same instruments being played to perfect effect, when he doors were opened they'd be situated and bound in the exact same positions, attributing this effect to the realm of the spirits.
A group of magicians he would see at six years of age.
This time round he would enquire about a becoming their stage manager. Hiring Kellar from 1869-1873. Heinrich Kellar, would alter his name to Harry to sound more integrated and his surname to Kellar as oppose to Keller, to avoid confusion with another magician of the time Robert Heller. He would climb up the ranks with the Davenports, learning the method and ultimately being promoted to their business manager. However in 1873, when they had stopped by a train station when William Davenport laid the claim that Kellar was 'his servant'. This didn't sit so well with Kellar, who decided to leave but not without the Davenports chief assistant William Fay.
They developed a new act 'Fay and Kellar' who toured their own spirit cabinet act,
touring the states and South America.
When they reached Mexico they came into a logistical issue, deciding the cabinet was impractical to tour from town to town.
Their solution... build a brand new cabinet in each town they visited.
Their Mexican tour which spanned across 20/30 different Towns netted them over $10,000 (£250,000) adjusted for inflation.
After their tour finished in July 1875, they boarded a steam ship known as Boyne to England to perform there. Their trip across the Atlantic went smoothly, However the weather turned sour, so they decided to divert past the coast of Molène, near Brest, France. Where the ship hit the Rocks damaging the Hull. The passengers and crew were safely put into the lifeboats where The Boyne sunk. The next day they attempted to salvage what they could from the wreckage. However the majority of baggage and cargo were lost, Including two chests of Mexican Curios of suits, taxidermy birds, gold laced saddle and $8,000 of cut & uncut Brazilian Diamonds.
They make it to London where he sold his ring and parted way's with Fay, who went on to regroup with The Davenports's.
While in London he learns of the Vanishing Birdcage from a performance by Buatier de Kolta at Maskelyne & Cooke's theatre Egyptian Hall. He would purchase the Effect from supposedly one De Kolta's cousins.
Kellar was left with the clothes he was wearing an a single diamond ring.He would cable his Bankers in New York asking for money, to no avail for his bank had failed. Wiring his friend Junius Spencer Morgan (father of J.P Morgan) for $500 to return to the United States as an attempt to retrieve fund's from his bank from two transaction's. One initiated in Brazil, the other France In the knowledge that mail from Brazil was slow. He was able to retrieve the full sum of $3,500.
He goes to Henry Stone; an illusion builder, and demonstrates the Vanishing Birdcage. Stone loved the effect and they reach an agreements that Kellar would expose the method if he will help rebuild his show for him. The Vanishing Bird 'and' Cage would become an incredibly popular effect amongst magicians across the United States. Many magicians such as Servais Leroy, Bamberg, Blackstone Sr. and De Bier would become embroiled in a controversy of animal cruelty with claims that the original method would kill a bird each time the effect was performed.
Kellar would head a new troupe called The Royal Illusionists and tour the world,
Featuring himself, Cunard, Ling Look and Yamadeva. The show would consist of 'The Flying Cage' and his classic Coffee Vase routine, where from a pile of shredded paper Kellar would make milk and sugar appear with the climax being the appearance of a vase of hot coffee. in 1877, Kellar would add the Flower Growth illusion to his show, with the Appearance of genuine flowers, which he would cut and hand out to members of the audience. Ling Look & Yamadeva were actually brothers of the names Ferdinand and Lewis Gouder. Cunard would leave the troupe early on. While on a tour in Shanghai the trio would engaged in a game of ten pin when Yamadeva started shrieking in pain, passing away later that day. His brother Ling Look would pass a few months later as a result of depression. Kellar would find two gentlemen to replace the brothers completing the tour in London June 1878. Kellar would invest $12,000 dollars in equipment for his new show this included a version of Maskelyne's whist playing automaton "Psycho". Possibly A.W Gamage's. It's speculated a French Firm built one for a magician named Everett and that was the one Kellar bought, however Everett's utilised a small boy to operate and Kellar's did not.
The Royal Illusionist's would tour with Psycho up until 1879.
Robert Hellar would pass November 28th 1878 at 52,
The New York Sun would accuse Kellar of violating Hellers Personality rights on his return tour stating "Heller is scarcely dead before we read of 'Kellar the Wizard'." The article goes on to say, "Of course 'Kellar' aims to profit by the reputation that Heller left, by adopting a close imitation of Heller's name." He would then offer to expose the secret of the spirit cabinet at the National Theatre through performing his spirit cabinet then exposing the method. This would Garner far larger audiences than all of his prior audiences in Washington.
After a recently completing a less than lucrative tour of South America , Kellar was forced to cancel his upcoming Tours in the States as a result of the negative publicity returning to Brazil.
After a series of trips to London Kellar would open his own version of Egyptian Hall in December 1884. renting out the old Masonic Temple on Chestnut Street, Philadelphia. He'd open with a simple but visual handkerchief transposition; The Spiritual Decanters. Then onto the Visible Transformation; A Glass of Water & Glass of Ink Changed places, The Obediant Cards; Kellars take on The Rising Cards Incorporating a Spirit Bell. His Coffee Vase routine, Flower Growth Illusion, The Enchanted Casket, nest of boxes with multiple borrowed rings, into the intermission. Before going into his Spirit Cabinet Routine, Then into his solo levitation act where he'd levitate vertically to the dome of the theatre before returning to the finale of the Spirit Cabinet Routine.
Kellar would close the show after 264 performances on June 24, 1884. Shortly after Kellar left the Temple would burn down.
Kellar would wed his first wife Eva Medley Nov 1 1887. Who he'd meet and exchange letters and postcards with on a tour in Melbourne in 1882. She would be a Cornet soloist within his show before assisting him in a second sight routine amongst playing a part in his upcoming larger illusions. William Robinson and his wife Dot would join the show in the same year. He was perceived as the most knowledgable man in magic during this period. He would devise a precursor to the artists dream called the cocoon which was utilised within the show by him and his wife, as well as Astarte, co-created by Robinson and Illusion builder Keyes. In 1892 Kellar would add an effect called 'Oh!' into his show, an assistant would vanish from behind an enclosed curtain within supposed second's for their hand was protruding out of the cabinet and visible up until the moment of the disappearance. Other effects included Out of Sight which was another vanish utilising a hoisted chair. (Not incorporated into show until after Robinsons departure due to complications with the effect.) Robinson and Dot would leave Kellar after a more lucrative offer from Herrmann. At this point Kellar would seemingly vanish from the performing world, for around 7 months. This absence was most likely due to how reliant Kellar was on both Dot and Robinson to have the show run effectively. In March 1893 Alexander Herrmann would appear at the Park Opera House in Erie, Pennsylvania; Kellars hometown. Two weeks later Kellar would return to his hometown performing in the same Theatre Herrmann had. With one New Illusion Flyto and Out of Sight revamped. Both being hits with the Audience.
Kellar Opened his second Egyptian Hall at Concert Hall, also located on Chestnut Street. On April 30th, 1892. He would do seven months here before touring the road in competition with his rival Alexander Herrman, who criticised Kellars lack of technical manipulation and use of sleight of hand. Kellar however favoured misdirection and had mastered it so much as to claim. "... a brass band playing at full blast could march openly across the stage behind me, followed by a herd of elephants, yet no one would realise they went by." Herrmann would pass away on December 17, 1896, paving the way for Harry Kellar to become "Americas's Greatest Illusionist." Robinson would return to Kellar for a brief period in 1897 before parting ways in the hope he could launch a successful solo career. Kellar would take the gas off performing so much and make regular trips to London to watch Maskelyne & Cooke's performances at Egyptian Hall. Here in 1901 he would witness an impossible levitation coined "The Floating Lady." A woman would levitate as a hoop was passed across her body with seemingly no supports.
Kellar would attend many viewings of this and it's rumoured one night he stood up during a performance walked on stage to observe it's workings. Though witnessing the method he still had no ideas as to how it worked. Kellar would hire Magician Paul Valadon, a magician who knew of the methods of Egyptian Hall having worked there for a period of time. Kellar invited him to join him in America and tour him in his own show, promising a far greater segment within the show than he had had previously, with the opportunity of becoming his successor. He would accept the offer and devise Kellar's levitation, 'The Levitation of Princess Karnak', With the major improvement from the Maskelyne Levitation being it's portability. Maskelynes was built into the dedicated theatre, Kellar's he could tour. Valadon would also incorporate the Table vanish Illusion, 'Well I'm!' into Kellar's show. Kellar would alter the title of the effect to 'Gone!'. A Third illusion Kellar would add oon Valadon's pproposal was a comedy routine called the Witch, The Sailor & The Enchanted Monkey!, a straight rip of a Maskelyne and Cooke Sketch caled The Will, The Witch & The Watchman.
One final illusion was a take on a Devant illusion called The Mascot Moth. Devant & Maskelyne would send the Moth to America having Max Sterling present it alongside other Devant Creations. Harry Kellar would witness a performance of this effect, and had Martinka's build him one. Naming it 'The Golden Butterfly'. in 1905.
Paul Valadon was dimissed in 1907 due to personal conflicts as a result of his Alcohol abuse. He would often cause friction behind the scenes of the show and was disliked by Kellars wife Eva.
A 38 year old accomplished performer would pass through Kellar's web under the name Howard Thurston. during a three year international tour in Paris, France.
Thurston would pay $5,000 dollars for the show approximately
£100,000 (adjusted for inflation), they would tour together for a year.
He would hand the Mantle of Magic down to Thurston at the end of the Tour.
He would visit England for one last Illusion from Maskelyne. This illusion was The Spectre of the Sanctum. For the first time Kellar had paid for the rights to this illusion even incorporating Maskelyne's name his program. He would rename the prop 'The Spectre Cabinet.' This would become a predecessor to Kellar's famous Blue Room Illusion. Creating spirit forms that would materialise and dematerialise before the eyes of the audience. Kellar would open the show with a selection of his best illusion's and Thurston would close it with a series of his. The joint finale would be the Spectre of Cabinet's Illusion.
Their final performance was at Ford's Theatre in Baltimore on May 9th 1908 where Kellar would hand over the mantle of magic to his then 40 year old successor. Thurston would only put Kellar's levitation and Spirit Cabinet into his final show. Selling off the other illusions to other magicians. Notably Charles Carter bought Flyto, Robinson's Out of Sight and Psycho the whist playing automaton. He wanted the levitation but couldn't get it so hired Kellars original assistants Fritz and Karl Buker to disclose and replicate the famous Levitation, becoming known as The Carter Levitation. Kellar caught wind of it and wasn't too happy.
Houdini would beckon Kellar out of retirement on 11 November, 1917. for a benefit show put together by the Society of American Magicians. Members of the Society would carry Kellar of in a sedan chair, whilst the 125 piece orchestra of the Hippodrome played "Auld Land Syne." The audience would break into Old Lang Syne, celebrating the retirement of the Great Harry Kellar.
Eva Kellar would pass of heart failure at 47 in 1910. He would live into retirement being frequently visited by magicians at his residence and Fish in Southern California. In 1917 Kellar watched a special showing of Hookers Rising Card's in New York. And performed it in his home in California. When he was asked to perform in retirement he'd perform three effects. The cut and restored string effect, The Ching Ling Foo paper tear and his own Kellar Rope Tie routine. While Charles Carter was performing in Los Angeles 1919 he witnessed the show and managed to convince Carter to sell him back his old automaton psycho. Then in May 1919 Harry Houdini would receive a package and letter from Kellar. He would gift him his psycho the whist playing automaton alongside the Spirit Cabinet used in his farewell performance.
He would be disturbed of the lack of Thurston's correspondence with Kellar, and was disappointed that Thurston would allow spectator's and children on the stage during the performance exposing the method to select individuals.
He would continue to work on his levitation, The final rendition of the Kellar levitation would be sold onto Harry Blackstone Sr. and built by Thayer.
Before passing away March 3rd, 1922 from a pulmonary hemorrhage brought on by the flu.
Copyright © 2025 by Sid Quatrine, Author, Editor
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