CULPITT, Frederick (1877 – 1944). Engraved Medallion Presented to Culpitt by David Devant. A gold teardrop-shaped medallion engraved with the initials “F C” on the central raised surface, surrounded by a floral-like pattern, the medallion itself hanging from a thick golden chain. Medallion 1 ¾ x 1 1/8” at widest points. The verso of the medallion finely engraved with the following text: “Presented to / Frederic Culpitt Esq. / by / David Devant / Managing Director of / MASKELYNE & DEVANT Ltd. / As a slight token of esteem / and in recognition of his abilities / as stage manager and artist / St. George’s Hall / April 1912 – July 1915.” In the original tooled leather presentation case, lined in white plush. Sold together with a vintage RPPC picturing the medallion in its case, circa 1920, and Val Andrews’ Fred Culpitt: A Brief Biography (Calgary: Abraxas, 2000), in fine condition, inscribed and signed by the author.
Culpitt was a stage magician of note who performed in a chatty, funny manner. He created many tricks, among them the Bathing Beauty and an original method for the Vanishing Cane, but is remembered by modern magicians primarily as the inventor of the Doll House illusion. Culpitt worked steadily at St. George’s Hall for three years and was presented with this handsome medallion upon his departure for other theatrical ventures. Culpitt reflected upon his time at the hall in an interview in The Magician for September, 1915:
“I venture to add again, I hope, without boasting, that the work has been useful and the labourer worthy of his hire. Mutual satisfaction, I trust, as between St. George's Hall and myself! Certainly I owe it a great deal. Every magician who has worked there does. However great his abilities, he has learned something there. It would be impossible not to benefit magically by association with such men as Maskelyne and Devant. Their keen eyes always detect the weak spot in a trick or effect. In consequence, one gets the advantage of tips and suggestions of incalculable value to the ambitious performer. The St. George’s Hall audiences too, are fine. Immediately you step out before them you realise that they are friends, and this sensation inspires so much confidence that repose and naturalness of action come as a matter of course.”