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réf. Z1-E-007-01823Open University Press. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. Open University Press unknown
1825réf. 18320French: n.p. 1825. Very good. 11 engraved cut-out figures or objects including ferryman three couples wolf goat cabbage and boat to be slotted into boat original box with engraved pictorial label colored by hand A rare children's game possibly printed by the Parisian publisher Nepveau. Contained in the box measuring 14cm x 7cm x 1cm is a complete set of figures for the two river crossing puzzles known as the 'Jealous Husbands Problem' and 'Goat Wolf and Cabbage'. The earliest account of these puzzles is in the 9th century manuscript "Propositionnes ad Acuendos Juvenes" Problems to Sharpen the Young attributed to Alcuin. In both puzzles there are only two places in the boat. In the Jealous Husbands Problem no woman can be with another man unless also accompanied by her husband. In Goat Wolf and Cabbage the wolf will eat the goat and the goat will eat the cabbage unless they are guarded by the boatman. Originally accompanied by counters and an instruction sheet now lost. The box is lightly worn else in very good condition; the figures are in fine condition except the boat which has been repaired and the cabbage which lacks the lower part of its insertion tab and one female figure lacks a hand. Rare. n.p. unknown books
1723réf. Debonnaire1723GAME OF THE GOOSE Essay du nouveau conte de ma Mère l'Oye ou les enluminures du jeu de la Constitution by Louis Debonnaire. No imprint 1723. 8vo xiii xviii 176pp; early leather boards with original spine laid down. Despite the claim that this is a new edition it is nonetheless an UNCOMMON IMITATION of the traditional "Game of the Goose" a rhymed pastiche as if spoken by Mother Goose written by a Jansenist priest Abbot wherein one must win the formation of a new Council here referred to as a Constitution. It introduced what became a familiar catchphrase "LIBERTY EQUALITY FRATERNITY" condemned in 1725 as anti-Rome. Barber III 880 No imprint hardcover books
1825réf. 18320French: n.p. 1825. Very good. 11 engraved cut-out figures or objects including ferryman three couples wolf goat cabbage and boat to be slotted into boat original box with engraved pictorial label colored by hand A rare children's game possibly printed by the Parisian publisher Nepveau. Contained in the box measuring 14cm x 7cm x 1cm is a complete set of figures for the two river crossing puzzles known as the 'Jealous Husbands Problem' and 'Goat Wolf and Cabbage'. The earliest account of these puzzles is in the 9th century manuscript "Propositionnes ad Acuendos Juvenes" Problems to Sharpen the Young attributed to Alcuin. In both puzzles there are only two places in the boat. In the Jealous Husbands Problem no woman can be with another man unless also accompanied by her husband. In Goat Wolf and Cabbage the wolf will eat the goat and the goat will eat the cabbage unless they are guarded by the boatman. Originally accompanied by counters and an instruction sheet now lost. The box is lightly worn else in very good condition; the figures are in fine condition except the boat which has been repaired and the cabbage which lacks the lower part of its insertion tab and one female figure lacks a hand. Rare. n.p. unknown
1723réf. Debonnaire1723GAME OF THE GOOSE Essay du nouveau conte de ma Mère l'Oye ou les enluminures du jeu de la Constitution by Louis Debonnaire. No imprint 1723. 8vo xiii xviii 176pp; early leather boards with original spine laid down. Despite the claim that this is a new edition it is nonetheless an UNCOMMON IMITATION of the traditional "Game of the Goose" a rhymed pastiche as if spoken by Mother Goose written by a Jansenist priest Abbot wherein one must win the formation of a new Council here referred to as a Constitution. It introduced what became a familiar catchphrase "LIBERTY EQUALITY FRATERNITY" condemned in 1725 as anti-Rome. Barber III 880 No imprint hardcover
1938réf. 734G4576London: Robert Hale Limited 1938. Book. Good. Hardcover. First English Edition. 8vo - over 7¾" - 9¾" tall. 123 pages. Black and white photographic frontisplate of author. First published in German in the same year. Noteworthy for its call for a resurrection of the same two-front military alliance which was marshalled against Germany in the Great War. The following year 'Foreign Affairs Quarterly' published a review of this book endorsing this policy. - Mike King. "In July 1914 Dr. Ludwig expounded the causes and misunderstandings which led up to the Great War. The purpose of the present work is to provide a remedy for the present perilous impasse before it is too late to avert disaster." - from dust jacket. In preparing this work Ludwig confidentially sent the first 83 pages of his manuscript to Edward VIII for his corrections which were later provided by letter. Source available upon request. Bold dust jacket art depicts British/French/US spear piercing a Nazi swastika. Unmarked. Binding tight. Moderate wear to book. Somewhat above-average wear to dust jacket which is now preserved in mylar. Moderate age-toning near endpapers. Moderate foxing to edges and back half of dust jacket. A sound copy of this significant work. Robert Hale Limited Hardcover
2009réf. DADAX1934857319Catalyst Game Labs 2009-08-19. Anniversary. hardcover. New. 8.63x1.00x11.13. Buy with confidence. Excellent Customer Service & Return policy. Catalyst Game Labs hardcover
1840réf. 5201GAME. Arlequin und Columbine oder Arlequins Hochzeit. Nach der bekannten Pantomime gleichen Namens stellen bei diesem Spiele sämtliche Mitspieler Freier um Pantolons Tochter Columbine vor. n.p. n.p. ca 1830. VAT in EU & UK Lithograph broadside mounted on board 365 x 325 mm hand-coloured; board showing some staining and edges a little frayed; numbered 222 at bottom. A well preserved board game played with two dice relating to the marriage of Harlequin and Columbine. Based on the well-known pantomime of the same name in this game all the players introduce suitors for Pantolon's daughter Columbine etc. The central circular field depicts the wedding couple surrounded by a number of acrobats. The surrounding twelve numbered arches show twelve stock male courtship figures all vying for Columbine's attention. The four corners show Commedia dell'arte figures. Clockwise from the top the arches are numbered 2 7 5 4 10 2 8 3 6 9 2 11 while the central circle is numbered 12. The numbers thus represent all chances upon double dice with double 1 appearing three times. The rules give pay or take instructions for the various throws. The rules of the game are printed below. One participant is the 'banker' who organises the game and takes the pawns from all participants and arranges for the money to be distributed. The players throw dice andmove along according to their results. This board game is number 222 from the fund of an unknown German publisher printed about 1840. See Plock Phillippa and Adrian Seville "The Rothschild Collection of printed board games at Waddesdon Manor" in XIIIth Board Game Studies Colloquium Paris 14-17 April 2010; Buijnsters P.J. Papertoys. Speelprenten en papieren speelgoed in Nederland 1640-1920. Waanders Uitgevers-Zwolle 2005. n.p.
1938réf. 86240London: Robert Hale 1938. 1st edition. Nice Copy. octavo. dust jacket 123pp. frontis. A warning that the new alliance between Britain France the US & Nazi Germany will end in disaster.Very nice copy in grey boards in a very nice bright dust jacket with minimal chipping at edges. Extremely scarce especially in this condition. PHOTO available Robert Hale hardcover
1883réf. 4269Vienna: Militär - Wissenschaftlichen Vereines 1883. First Edition. 19th century marbled boards and linen backstrip. Good; two institutional stamps of the Officiers Bibliothek of the Bosn.- Herceg. Infant. Bat. #4 on the title page and a text page; some age toning; wear to the linen backstrip. 8vo 4 130 pp 11 charts some with outline color and maps with a printed pocket holder at the rear. The author was a colonel on the Austro Hungarian general staff and an authority on military science. The text is a very detailed and critical assessment of the usefulness and limitations of military war games e.g. the limitations of the use of dice in games of this kind based on the mathematical outcomes allowed. A rigorous critique. There are also lengthy descriptions of the combinations of troops terrain and actions based on chance. No American locations in OCLC and the five locations in Europe show at least two defective copies; absent from von Hilgers War Games - A History of War on Paper. Militär - Wissenschaftlichen Vereines hardcover books
1895réf. 78554August 1895 - 1978. original padded leather. The album's spine is perished with light wear at edges; contents sound and fine. 8vo. Illustrated throughout. The first page is an amusing original hand-colored cartoon of a Victorian couple cowering in front of a pig initialled "A.T." Following are 175 pig drawings all signed and most dated and many with a location. Dozens are neatly filled in in black and one is flesh-colored. 117 drawings were made between 1895-1900; 26 from 1900-1910 . hardcover
Lyon, chez les Fréres Bruyset, 1732. Dos volúmenes en gran folio; 6 hs., 1656 columnas de texto y 100 columnas de índices + 2 hs., 1570 columnas de texto y 85 columnas de índices. Con un total de 255 viñetas grabadas entre el texto, gran parte de ellas referidas a temas de caza, pesca, agricultura, jardinería y ganadería. Encuadernación uniforme en piel , de la época, con lomeras profusamente ornadas. Noël Chomel fue discípulo de Jean-Baptiste de la Quintinie, jardinero de Luis XIV. Párroco rural y ecónomo del Hôtel-Dieu de Lyon, reunió a lo largo de su vida sus experiencias campestres y domésticas, y publicó a los 76 años, en 1709, este monumental diccionario, traducido a numerosos idiomas, hasta el japonés, pero nunca en español.
réf. DADAX0385121857New unknown
2016réf. 126133I.B.Tauris. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- with a bonus offer-- . 2016. 178130047X . I.B.Tauris paperback
2006réf. 76481NMS. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 108 pp. With 138 ills. 125 col. . 20 x 21 cm. -- with a bonus offer--; The msot exciting contemporary jewelery by designers around the world. Gallery of works with discussion of technology style philosophy and design ideas. Superb photographs. . 2006. 1901663035 . NMS paperback
1724réf. BB_88102Game of the Goose Poesies sur la Constitution Unigenitus. Recueillies par le Chevalier de G. Officier de Regiment de Champagne. Villefranche i.e. Amsterdam: Chez Philalete Belhumeur 1724. Two volumes. Illustrated with duplicate frontispieces title-vignettes and many decorative woodcut head- and tail-pieces. 8vo. i i xxiv 317 pp. – i i 389 pp.; uniform polished tree-calf extra-gilt all edges gilt covers with armorial gilt stamp. First edition thus greatly revised and expanded from an earlier version with essays letters poems reviews and songs with political Constitution religious Pope Clement XI and literary interest. Most important this work includes an essay titled "Essai du Nouveau Conte de Ma Mere L'Oye" NewTales of Mother Goose showing the influence of Perrault's tales barely twenty years after his death AND a handsome folding-out engraved board game titled "Le Jeu de la Constitution" designed in a race-game format. As a notable compilation of pro-Jansenist writings of an often satirical nature with the aforementioned board game and its five pages of rules on a folding plate. Selections include: "Les 101 propositions de la constitution Unigenitus exprimées en cent et un couplets"; "Ode pindarique sur la destruction du monastère de Port-Royal-des-Champs"; "Adieu d'une dame janséniste qui se refugie en Hollande". Brunet 4: 755. Weller 2: 88. Willaert 2: 9370. For the game see Phillippa Plock & Adrian Seville "Rothschild Collection of Printed Board Games at Waddesdon Manor" in: Of Boards and Men: Board Games Investigated Proceedings of the XIIIth Board Game Studies Colloquium Paris 14-17 April 2010 pp. 101-103: "B3 2669.2.25 Le Jeu de la Constitution - 1721/22 or to give its the full title Le Jeu / De la Constitution / Sur l'air du branle de Mets sic is one of the most controversial games ever devised on the pattern of the game of Goose and perhaps may be regarded as the first polemical variant Girard and Quétel 1982: 58 and 73. It dates from about 1721 but is associated with a book that appeared a year later the Essay Essai du Nouveau Conte de ma Mère l'Oye ou Les Enluminures de la Constitution. This book contains a folding plate of the game in smaller format and with some omission of text. It also contains 18 enluminures in rhymed couplets which explain the game in detail. The claimed author is given in the subtitle: 'Poesies sur la Constitution Unigenitus recuellies par le Chevalier de G. Officier du Regiment de Champagne'. The publisher is given as Philalete Belhumeur "Good Humour" Villefranche. These publication details are of course wholly fictitious as is the claimed author who in reality was the Abbe é Louis de Bonnaire 1680-1752; the book was published in Amsterdam the full-sheet game probably in Paris. De Bonnaire was a supporter of the Jansenist heresy named for Cornelius Jansen 1585-1638: this theology emphasised a particular reading of Augustine's idea of efficacious grace which stressed that only a certain portion of humanity were predestined to be saved. Though the Jansenists were strongly Catholic Jesuits and the papacy were suspicious of their beliefs which seemed to limit free will and the ability to choose to do good or evil. Despite condemnation by Pope Innocent X in 1655 the movement gained strong support in the Church. The Jansenist position as included in 101 of the propositions of Pasquier Quesnel Jansenist theologian b1634 d1719 in his Épitomé des Morales des Évangélistes of 1671 was finally condemned by Pope Clement XI's Unigenitus bull of 1713 but even this condemnation did little to diminish the enthusiasm of adherents. Indeed in 1717 four French Bishops attempted to appeal Unigenitus to a General Council a move that received considerable support from other clergy and the parlements though the majority of clergy stood by the Pope: Clement responded in the next year by excommunicating all those who had called for a General Council. Even so it was not until 1728 that the death of Jansenism was marked by the submission to the Pope's authority of Cardinal Noailles Archbishop of Paris who had originally approved Quesnel's book and was reluctant to support Unigenitus arguing that many of the 101 propositions were in fact orthodox. The point of the game and of De Bonnaire's book is to challenge and mock the authority of the Church and in particular that of the Pope and of his bull. For example the columns on either side are each headed by a cartoon depicting the Pope in council all present being represented by geese wearing mitres. Below the lefthand cartoon is the Latin phrase "Non ego cum Gruibus simul Anseribusque sedebo in Synodis - S. Greg. Nazianz Carm. 10" I shall not sit in Synod with cranes and geese. This refers to a dictum of Gregory of Nazianzus c329-390 Archbishop of Constantinople who compared the rowdy Council of Constantinople 381 AD to the loud cackling of a flock of geese. The 'good' spaces show the Apostles 'equal in number to that of the geese which they replace': there are thirteen including St Paul and they occupy the traditional spaces. The traditional hazards are likewise replaced or given special significance and others are added. The usual entry arch appears as Noah's Ark at space 1 symbolising the Church as it is tossed about on the waters of Unigenitus. The bridge of explanations at the expected space 6 shows bishops falling into the water marking their error in taking the wrong sense of the 101 propositions: it leads to space 12 acceptance where a young woman blindfolded is shown as accepting Unigenitus through ignorance. At space 15 there is the torn robe symbolising schism of the Church. The labyrinth here at space 16 symbolises error into which fall those who subscribe to the condemnation of the 101 propositions. The inn at space 19 is here the cabaret and represents the 'accommodation' accommodement or submission of the Jansenists to the bull. The Tower of Babel at space 24 represents the confusion of language into which the bull has fallen. At space 26 is the first appeal of 1717 represented by a notice on the Vatican door. At space 33 we find the avertissemens or pronouncements of the Archbishop of Soissons Jean-Joseph Languet de Gergy 1677-1753 a notorious anti-Jansenist and vehement defender of Unigenitus. He has an oboe a horn and a trumpet the three instruments symbolising 'his three avertissements and their different tones': a special rule refers to moving forward with the 'small dice' and with 'the other' when going back. Next is the prison at space 40 where the player must wait until a throw of 5 which multiplied by 3 will lead to Louis XV and deliverance. The well space 49 symbolises the body of doctrine in which the truth is hidden. At space 51 are the re-appealing Bishops the second appeal being at space 53. At space 55 is the portrait of Louis XV - enluminere XV in the book makes clear that he was seen as a force for change and re-unifying the Church. The death space at 58 shows the skeleton of Pope Clement XI sitting in an armchair wearing his papal tiara and raising his bony hand to bless an infant at his feet which represents the Unigenitus bull. Cardinal Noailles appears at the penultimate space 62 from which point 'one may only go backward'. The explanatory text in the centre of the game claims that it 'presages the day that the constitution of the Church will no longer be nothing but un Conte de ma Mère l'Oye' - a Mother Goose tale here used as a figure of speech for something unbelievable and ridiculous. The winning space at 63 shows that this result is to be achieved by a General Council in reference to that called for in 1717. De Bonnaire's book was condemned at Arras in 1726. Although his anonymity as author seems to have been effective in protecting him the publishers father and son were thrown into the Bastille. Even today the game has the power to shock by the force of its imagery. Philalete Belhumeur hardcover books
1724réf. BB_88102Game of the Goose Poesies sur la Constitution Unigenitus. Recueillies par le Chevalier de G. Officier de Regiment de Champagne. Villefranche i.e. Amsterdam: Chez Philalete Belhumeur 1724. Two volumes. Illustrated with duplicate frontispieces title-vignettes and many decorative woodcut head- and tail-pieces. 8vo. i i xxiv 317 pp. – i i 389 pp.; uniform polished tree-calf extra-gilt all edges gilt covers with armorial gilt stamp. First edition thus greatly revised and expanded from an earlier version with essays letters poems reviews and songs with political Constitution religious Pope Clement XI and literary interest. Most important this work includes an essay titled "Essai du Nouveau Conte de Ma Mere L'Oye" NewTales of Mother Goose showing the influence of Perrault's tales barely twenty years after his death AND a handsome folding-out engraved board game titled "Le Jeu de la Constitution" designed in a race-game format. As a notable compilation of pro-Jansenist writings of an often satirical nature with the aforementioned board game and its five pages of rules on a folding plate. Selections include: "Les 101 propositions de la constitution Unigenitus exprimées en cent et un couplets"; "Ode pindarique sur la destruction du monastère de Port-Royal-des-Champs"; "Adieu d'une dame janséniste qui se refugie en Hollande". Brunet 4: 755. Weller 2: 88. Willaert 2: 9370. For the game see Phillippa Plock & Adrian Seville "Rothschild Collection of Printed Board Games at Waddesdon Manor" in: Of Boards and Men: Board Games Investigated Proceedings of the XIIIth Board Game Studies Colloquium Paris 14-17 April 2010 pp. 101-103: "B3 2669.2.25 Le Jeu de la Constitution - 1721/22 or to give its the full title Le Jeu / De la Constitution / Sur l'air du branle de Mets sic is one of the most controversial games ever devised on the pattern of the game of Goose and perhaps may be regarded as the first polemical variant Girard and Quétel 1982: 58 and 73. It dates from about 1721 but is associated with a book that appeared a year later the Essay Essai du Nouveau Conte de ma Mère l'Oye ou Les Enluminures de la Constitution. This book contains a folding plate of the game in smaller format and with some omission of text. It also contains 18 enluminures in rhymed couplets which explain the game in detail. The claimed author is given in the subtitle: 'Poesies sur la Constitution Unigenitus recuellies par le Chevalier de G. Officier du Regiment de Champagne'. The publisher is given as Philalete Belhumeur "Good Humour" Villefranche. These publication details are of course wholly fictitious as is the claimed author who in reality was the Abbe é Louis de Bonnaire 1680-1752; the book was published in Amsterdam the full-sheet game probably in Paris. De Bonnaire was a supporter of the Jansenist heresy named for Cornelius Jansen 1585-1638: this theology emphasised a particular reading of Augustine's idea of efficacious grace which stressed that only a certain portion of humanity were predestined to be saved. Though the Jansenists were strongly Catholic Jesuits and the papacy were suspicious of their beliefs which seemed to limit free will and the ability to choose to do good or evil. Despite condemnation by Pope Innocent X in 1655 the movement gained strong support in the Church. The Jansenist position as included in 101 of the propositions of Pasquier Quesnel Jansenist theologian b1634 d1719 in his Épitomé des Morales des Évangélistes of 1671 was finally condemned by Pope Clement XI's Unigenitus bull of 1713 but even this condemnation did little to diminish the enthusiasm of adherents. Indeed in 1717 four French Bishops attempted to appeal Unigenitus to a General Council a move that received considerable support from other clergy and the parlements though the majority of clergy stood by the Pope: Clement responded in the next year by excommunicating all those who had called for a General Council. Even so it was not until 1728 that the death of Jansenism was marked by the submission to the Pope's authority of Cardinal Noailles Archbishop of Paris who had originally approved Quesnel's book and was reluctant to support Unigenitus arguing that many of the 101 propositions were in fact orthodox. The point of the game and of De Bonnaire's book is to challenge and mock the authority of the Church and in particular that of the Pope and of his bull. For example the columns on either side are each headed by a cartoon depicting the Pope in council all present being represented by geese wearing mitres. Below the lefthand cartoon is the Latin phrase "Non ego cum Gruibus simul Anseribusque sedebo in Synodis - S. Greg. Nazianz Carm. 10" I shall not sit in Synod with cranes and geese. This refers to a dictum of Gregory of Nazianzus c329-390 Archbishop of Constantinople who compared the rowdy Council of Constantinople 381 AD to the loud cackling of a flock of geese. The 'good' spaces show the Apostles 'equal in number to that of the geese which they replace': there are thirteen including St Paul and they occupy the traditional spaces. The traditional hazards are likewise replaced or given special significance and others are added. The usual entry arch appears as Noah's Ark at space 1 symbolising the Church as it is tossed about on the waters of Unigenitus. The bridge of explanations at the expected space 6 shows bishops falling into the water marking their error in taking the wrong sense of the 101 propositions: it leads to space 12 acceptance where a young woman blindfolded is shown as accepting Unigenitus through ignorance. At space 15 there is the torn robe symbolising schism of the Church. The labyrinth here at space 16 symbolises error into which fall those who subscribe to the condemnation of the 101 propositions. The inn at space 19 is here the cabaret and represents the 'accommodation' accommodement or submission of the Jansenists to the bull. The Tower of Babel at space 24 represents the confusion of language into which the bull has fallen. At space 26 is the first appeal of 1717 represented by a notice on the Vatican door. At space 33 we find the avertissemens or pronouncements of the Archbishop of Soissons Jean-Joseph Languet de Gergy 1677-1753 a notorious anti-Jansenist and vehement defender of Unigenitus. He has an oboe a horn and a trumpet the three instruments symbolising 'his three avertissements and their different tones': a special rule refers to moving forward with the 'small dice' and with 'the other' when going back. Next is the prison at space 40 where the player must wait until a throw of 5 which multiplied by 3 will lead to Louis XV and deliverance. The well space 49 symbolises the body of doctrine in which the truth is hidden. At space 51 are the re-appealing Bishops the second appeal being at space 53. At space 55 is the portrait of Louis XV - enluminere XV in the book makes clear that he was seen as a force for change and re-unifying the Church. The death space at 58 shows the skeleton of Pope Clement XI sitting in an armchair wearing his papal tiara and raising his bony hand to bless an infant at his feet which represents the Unigenitus bull. Cardinal Noailles appears at the penultimate space 62 from which point 'one may only go backward'. The explanatory text in the centre of the game claims that it 'presages the day that the constitution of the Church will no longer be nothing but un Conte de ma Mère l'Oye' - a Mother Goose tale here used as a figure of speech for something unbelievable and ridiculous. The winning space at 63 shows that this result is to be achieved by a General Council in reference to that called for in 1717. De Bonnaire's book was condemned at Arras in 1726. Although his anonymity as author seems to have been effective in protecting him the publishers father and son were thrown into the Bastille. Even today the game has the power to shock by the force of its imagery. Philalete Belhumeur hardcover
1900réf. 2210013Wooden box 32 x 26 x 8 cm with light blue patterned paper covering; the lid with a label lettered 'Loterie' and a hinged pierced wooden sign with the words 'Loterie' lettered in gilt paper on red; the lined paper interior with a central mounted wheel between mirrored sides and two hanging silk balls; the fall front where the prizes are held with two spaces left and right containing six lottery cards one from another set together with 16 toy prizes as listed below. Lottery or carnival wheels games became popular at the end of the nineteenth century. Their construction was more complicated than heretofore with the addition of a rotating wheel with pins with a 'clack' mechanism sounding as the wheel is spun. The numbers on the wheel are randomly arranged from 0 through to 25 in white on alternating in black and red ground - clearly based on the 'single zero' form of roulette wheel that became the norm in Europe from the middle of the nineteenth century. The design has a second purpose as the box is hinged so that open it is given the form of a fairground entertainment with an assortment of prizes laid out in a display on squares below the wheel that each have a number too. The idea of the game is twofold firstly as the wheel is spun and numbers called out the player who first completes a card of numbers is the winner. In the second game when the numbers 1 to 16 are called out and a player has the number on one of the cards they can then claim one of the small toy prizes. The sixteen twenty assorted of toy prizes include: a handcart wall clock bracelet scales pram wooden top bracelet fairground horse two rabbits a chicken a dish a parcel a metal top metal puzzle pair antimony jardinieres and a heart broach. There is no makers name and the design although of a solid construction is nevertheless probably a bespoke production possibly made in order to be sold through fairgrounds and market stalls rather than the more salubrious emporia for children. The interior is lined in turquoise paper with bevelled mirrored silvered card sides and although simple the idea was glittery enough to catch any passing child's attention.
réf. 076544N: N 189-. Early English lotto game manufactured in Germany. Comprising: six coloured lithographed oblong card sheets 18.3 cm. x 23.5 cm. each incorporating eight removable pictorial disks representing the native animals of the different continents; contained within the original card box with decorative sides and pictorial title label on lid edges of box slightly rubbed and with a couple of neat repairs to corners the title label lightly soiled; a couple of small closed tears to the card beneath the Jaguar disk; n.d.c.1890s. The disks are all captioned with the name of the animal and feature a question about that animal on the verso which is answered by the brief text printed on the depression into which the disks are set on the card sheets. For example the Oceania sheet contains disks depicting a kangaroo which asks on the reverse: Who are these funny jumping creatures The answer printed below the disk is The kangaroo's with very clever features. This sheet also includes a black swan emu dingo and a Lyer-bird sic- Whose Lyer does not give one sound The lyer-birds in Australia it is found. N unknown
réf. DADAX194158232XCatalyst Game Labs 2017-10-04. paperback. New. 8.70x0.50x11.00. Buy with confidence. Excellent Customer Service & Return policy. Catalyst Game Labs paperback
réf. 17107Paris, Moutard, 1776. 2 parties en 1 vol. in-4, XII-208 pp. 39 pl., maroquin vert de Petit sccr de Simier, deux doubles filets à froid en encadrement sur les plats cantonnés de tête de cerfs dorées, dos à nerfs orné de caissons à froid ornés de têtes de cerf dorées, dentelle intérieure dorée, tranches dorées (petits frottements et taches)
réf. 04338Paris: H. Duru 1840. A Remarkable Survival H. Duru's Apparently Unrecorded Le Jeu du Portier Complete with All Six Hand-Colored Standing Figures and the Original Pictorial Box FRENCH GAME. DURU H. publisher. Le Jeu du Portier. The Doorman's Game. Paris: H. Duru ca. 1840. An exceptionally rare early French hand-colored lithographed game complete with the original architectural playing board all six numbered standing figures and the original pictorial card box. Original hand-colored lithographed board depicting the façade of a Parisian multi-story house 8 3/4 x 6 3/4 inches; 222 x 172 mm. the upper right corner beveled as issued. Six original hand-colored lithographed cut-out figures each mounted on its original base average size 3 1/8 x 1 1/4 inches; 80 x 32 mm. Complete in the original card box the lid bearing a hand-colored lithograph depicting the same multi-story house and titled beneath "LE JEU DU PORTIER PAR H. DURU." The board and figures in near fine condition; the box somewhat soiled with the corners strengthened with cloth tape. A remarkable survival in substantially complete original condition. The architectural board represents a vertically organized Parisian apartment house its occupants and businesses identified floor by floor. It is lettered from top to bottom: "No. 6"; "No. 5 / Locart Fnt Lunetier au 3me"; "No. 4 / F. Sonnet M.de Dentelles"; "No. 3 / Clagmann et Cie. Banquiers"; "No. 2"; and "No. 1 / Loge du Portier." The six accompanying figures correspond to the numbered hierarchy of the building and are identified as: 1. Le Portier the doorman or concierge; 2. Propriétaire proprietor or landlord; 3. Banquier banker; 4. Marchand merchant; 5. Fabricant manufacturer; and 6. Ouvrier worker. The original printed numbers and occupational designations remain visible on the bases of the figures. The figures form a delightful miniature gallery of French social types: the prosperous Propriétaire in his vividly patterned blue coat; the top-hatted Banquier; the fashionably dressed Marchand carrying his hat; the Fabricant; the plainly dressed Ouvrier; and the Portier the indispensable guardian of the building. Their original hand-coloring remains remarkably fresh. More than simply a children's amusement Le Jeu du Portier presents in miniature a fascinating picture of nineteenth-century Parisian urban life and social hierarchy. Proprietor banker merchant manufacturer workman and concierge are transformed into movable characters associated with a single apartment house. The game belongs to the particularly appealing nineteenth-century tradition in which children's toys simultaneously entertained and introduced their young players to occupations social distinctions and the organization of contemporary life. The choice of the portier as the central character is especially evocative. Occupying the loge at street level the Parisian concierge stood literally at the entrance to the social world represented by the building controlling access and observing the comings and goings of its occupants. The numbered inhabitants ascending through the building consequently provide an engaging physical representation of the social structure of nineteenth-century Paris. H. Duru was a Parisian publisher active in the production of illustrated educational works children's books puzzles and games during the middle decades of the nineteenth century. Among Duru's publications were Nouvelle méthode de lecture progressive ou Lecture apprise en quarante jours Syllabaire universel en action Les homonymes illustrés Grammaire illustrée and Alphabet chantant. Duru's activity as a publisher of games is independently confirmed by another lithographed production Le Jeu du Touriste preserved in the collection of the Musée des Civilisations de l'Europe et de la Méditerranée Mucem. The survival of the six separate standing figures together with their architectural board and original pictorial box is exceptional. The standing figures are of particularly delicate construction consisting of thin lithographed card cut-outs mounted upright on their original bases - ephemeral playthings never intended to survive nearly two centuries of use. We have been unable to locate another example of Le Jeu du Portier in OCLC or in the institutional collections and published references consulted. Apparently unrecorded and possibly unique in this complete state. A remarkable and highly evocative survival of an early French children's game combining hand-colored lithography three-dimensional play and a wonderfully detailed representation of nineteenth-century Parisian social life. Paris: H. Duru, 1840 unknown books
réf. 04338Paris: H. Duru 1840. A Remarkable Survival H. Duru's Apparently Unrecorded Le Jeu du Portier Complete with All Six Hand-Colored Standing Figures and the Original Pictorial Box FRENCH GAME. DURU H. publisher. Le Jeu du Portier. The Doorman's Game. Paris: H. Duru ca. 1840. An exceptionally rare early French hand-colored lithographed game complete with the original architectural playing board all six numbered standing figures and the original pictorial card box. Original hand-colored lithographed board depicting the façade of a Parisian multi-story house 8 3/4 x 6 3/4 inches; 222 x 172 mm. the upper right corner beveled as issued. Six original hand-colored lithographed cut-out figures each mounted on its original base average size 3 1/8 x 1 1/4 inches; 80 x 32 mm. Complete in the original card box the lid bearing a hand-colored lithograph depicting the same multi-story house and titled beneath "LE JEU DU PORTIER PAR H. DURU." The board and figures in near fine condition; the box somewhat soiled with the corners strengthened with cloth tape. A remarkable survival in substantially complete original condition. The architectural board represents a vertically organized Parisian apartment house its occupants and businesses identified floor by floor. It is lettered from top to bottom: "No. 6"; "No. 5 / Locart Fnt Lunetier au 3me"; "No. 4 / F. Sonnet M.de Dentelles"; "No. 3 / Clagmann et Cie. Banquiers"; "No. 2"; and "No. 1 / Loge du Portier." The six accompanying figures correspond to the numbered hierarchy of the building and are identified as: 1. Le Portier the doorman or concierge; 2. Propriétaire proprietor or landlord; 3. Banquier banker; 4. Marchand merchant; 5. Fabricant manufacturer; and 6. Ouvrier worker. The original printed numbers and occupational designations remain visible on the bases of the figures. The figures form a delightful miniature gallery of French social types: the prosperous Propriétaire in his vividly patterned blue coat; the top-hatted Banquier; the fashionably dressed Marchand carrying his hat; the Fabricant; the plainly dressed Ouvrier; and the Portier the indispensable guardian of the building. Their original hand-coloring remains remarkably fresh. More than simply a children's amusement Le Jeu du Portier presents in miniature a fascinating picture of nineteenth-century Parisian urban life and social hierarchy. Proprietor banker merchant manufacturer workman and concierge are transformed into movable characters associated with a single apartment house. The game belongs to the particularly appealing nineteenth-century tradition in which children's toys simultaneously entertained and introduced their young players to occupations social distinctions and the organization of contemporary life. The choice of the portier as the central character is especially evocative. Occupying the loge at street level the Parisian concierge stood literally at the entrance to the social world represented by the building controlling access and observing the comings and goings of its occupants. The numbered inhabitants ascending through the building consequently provide an engaging physical representation of the social structure of nineteenth-century Paris. H. Duru was a Parisian publisher active in the production of illustrated educational works children's books puzzles and games during the middle decades of the nineteenth century. Among Duru's publications were Nouvelle méthode de lecture progressive ou Lecture apprise en quarante jours Syllabaire universel en action Les homonymes illustrés Grammaire illustrée and Alphabet chantant. Duru's activity as a publisher of games is independently confirmed by another lithographed production Le Jeu du Touriste preserved in the collection of the Musée des Civilisations de l'Europe et de la Méditerranée Mucem. The survival of the six separate standing figures together with their architectural board and original pictorial box is exceptional. The standing figures are of particularly delicate construction consisting of thin lithographed card cut-outs mounted upright on their original bases - ephemeral playthings never intended to survive nearly two centuries of use. We have been unable to locate another example of Le Jeu du Portier in OCLC or in the institutional collections and published references consulted. Apparently unrecorded and possibly unique in this complete state. A remarkable and highly evocative survival of an early French children's game combining hand-colored lithography three-dimensional play and a wonderfully detailed representation of nineteenth-century Parisian social life. Paris: H. Duru, 1840 unknown
réf. PF48Fourteen loose original albumen photographs ca. 171x123 cm 6 ¾ x 4 ¾ in mounted on ornamented cardboards. All photos with period Russian captions on the verso. Photos housed in a folder. Light soiling of the cardboards photos age-toned several photographs with small stains but overall a very good collection of strong interesting photos. Historically important collection of professional albumen photographs mostly documenting Mashhad Iran in the late 19th century and before the 1912 bombardment of the city. At the time Mashhad was a major political and commercial center under the Qajar dynasty. Owing to its proximity to Afghanistan and Russian Central Asia the city became a focal point of the Great Game between Britain and Russia. Following the establishment of the Russian consulate in Mashhad 1889 Russian consular guards Cossack escorts and military advisers appeared in the city to protect Russian subjects. In 1912 amid anti-Russian protests Russian Cossack forces heavily bombarded the city heavily damaging the Imam Reza Holy shrine complex and surrounding areas. As follows from the captions the photographer was of Russian origin and was likely on assignment related to the military interests of the empire in the region. The stiff ornamental mounts suggest that the photos were produced for official or presentation purposes possibly intended for consular archives a government report or as a gift to a high-ranking official. The collection contains 14 photographs of mostly Mashhad including four well-executed early views of the pre-bombarded Imam Reza Holy Shrine. The images show a general view of the crowded shrine the arch and courtyard with horses and an archway guarded by armed soldiers. Another important photo depicts the interior of the nearby Gawhar-Shad Mosque with three Russian soldiers posing on the pulpit. Especially interesting is an image of the British Consulate entrance established in the city in 1889 The consulate was closed in 1911 following the Anglo-Russian Convention of 1907 which divided Persia into spheres of influence. Despite thorough research no other photographs of the consulate have been found online. Other identified photographs from Mashhad include the Persian artillery barracks with cannons in the yard and the entrance to the governor’s palace showing a dozen militaries and civilians posing for the photo. The collection also includes at least two photographs from Afghanistan depicting the crowded “Tehran Gate” with locals in traditional attire passing through and the “New Afghan Gate” with armed soldiers facing the camera. Among four unidentified photographs are “Igda” possibly “Eedgah” Kandahar Aghanistan “Kochan” possibly Kashan Iran the “Ergov” gates and the “Bank Gates” with Kazak soldiers guarding the entrance. Overall historically important collection of professional albumen photographs mostly documenting Mashhad Iran in the late 19th century and before the 1912 bombardment of the city. hardcover
1897réf. 2210164Comprising two coloured map board 66 x 99 cm folding down to 32.5 x 49.5 cm one cloth hinge broken; 14 route cards; a barometer dial 19 x 19 cm with gilt metal spinning arrow some abrading from use; eight painted white metal playing pieces in the form of ships contained in the original small box one piece not original; 16pp booklet of instructions bound in original light green printed wrappers; all contained in the original box 35 x 52 x 5 cm; the hinged lid with a large coloured lithograph title label showing the 'Normandie' leaving port at full steam some minor abrasions but overall in good condition. Jue des Paquebots was something new to games when it was published in 1897 as each player moves their boats on large maps exactly replicating the routes taken by two major French shipping lines. The game includes two large folding boards designated 'Carte A' which illustrates the Atlantic shipping lines the other 'Carte B' with the shipping lines leaving Marseilles in the direction of the Black Sea the Indian Ocean and the Pacific. Rather pointedly the instructions state that the two maps include only the French shipping lines of the Messageries Maritimes and the Cie Générale Transatlantique the United Kingdom then the leading maritime nation is neither shown on the maps nor mentioned. The players first decide which map they are going use and then select or bid one of the Itinerary cards 8 for map A and 6 for map B. The aim of each player is to complete the journey indicated by their itinerary and then make the return voyage; the first player to complete this double crossing wins. However the number of stopovers is not equal for each different itinerary in play. In order to equalise the chances of winning the players with the fewer ports of call have to repeat their journey a second or even a third time if necessary until the number of ports visited or passed by them in these different routes equates to the number of ports of the busiest route. The routes all follow those which the two major French shipping companies plied. These include final destinations at Yokohama Australia New Zealand Zanzibar Odessa Buenos Ayres New York and the Antilles. Each player places a ship playing piece at port at the beginning of their route. The first player now spins the Barometer Dial which has outer and inner instructions that allows them to advance out of port when their turn come around again the arrow is again spun and the player can read the inner line of instructions and so advance 1 2 or 3 ports along their route. However there are also stops on the Barometer Dial that include Damage - where you go back to the previous port and pay a token to the bank; Heavy Fog - where you are left stranded until the next round; Collision - this allows another turn of the dial but it the result is 50/50 chance of being sunk and thrown out of the game - you can pay for another ships so all is not lost; Call for Distress - also misses a turn; Shipwreck - something like collision although you can start out again with a new ship and no fine; Rescue - also causes the player to miss a turn; lastly and somewhat topical there is Quarantine - here the player misses a turn and also has a second spin of the arrow to determine if you can go into port or not. The lid of the box illustrates the Cie Général Transatlantique liner La Normandie that plied the North Atlantic to New York in the summer and the south Atlantic in the winter - the ship sports a US flag on the foremast and the makers initials on the aft mast. Built in 1886 it was the largest and fastest liner of the company and was originally named 'Ville de New York.' It was also lit by electricity and could carry 1000 passengers and became the model for several sister ships built to the same plan. The maker Charles Watilliaux succeeded the games manufacturer Coqueret in 1874 and for the next 35 years became a major publisher and manufacturer of board games and toys until their acquisition by Revenaz & Tabernat. His registered initials were 'W.X.' which is slightly modified for the flag on the box lid as C.W.X. Watilliaux, éditeur.
