Avon the king chess piece

Avon the king chess piece DEFAULT




Circa 1970


Height of king: 5¾ inches / 14.6 cm
Stock number: RW4894/0120
Price: £325


A vintage Avon chess set, complete with all 32 pieces. 16 of the chess pieces are from the first set with amber glass bottoms and silver tops. The other 16 pieces are from the Chess Set II and have silver painted glass bottoms and amber tops. All 32 bottles are filled with the original contents, have never been used and are in excellent condition with no chipping, cracking or paint removal. All of the original stickers are still attached to the bottom of the bottles as well and all have the original boxes which are in excellent condition. I am not sure why, but the two amber bottle Bishops are in blue boxes, whereas all the rest are in red. This also comes complete with what we think is its original cardboard packing box.

If nothing else, you are getting a life’s times supply of after shave, shampoo and hair conditioning and some of the after shaves don’t smell to bad. 

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Sours: https://www.richardgardnerantiques.co.uk/shop/chess-sets-backgammon/vintage-avon-complete-chess-set/


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Vintage Avon The King II Chess Piece After Shave Decanter Bottle


Welcome to Whispering City RVA!

– Vintage Avon The King II chess piece amber glass decanter bottle w/ box
– Silver tone glass bottle with a dark amber glass king bust cap
– Size: Holds 3 fl oz. (this bottle is empty)
– Approx measurements: 6″ tall x 2.25″ deep x 2.25″ wide (box dimensions)
– Approx age: 1970s

– Vintage item, in used but excellent condition. May show signs of wear, use &/or storage indicative of age.
– The box shows some some shelf wear (see pics)
– This bottle is empty and does not contain the scent, however, I do recommend soaking/cleaning before use in case there is any residue from the original after shave left in the bottle or on the interior of the cap
– Ready to display
– Please see photos for details

Thank you!

Additional information

Weight10 oz
Dimensions8 × 5 × 4 in
Sours: https://whisperingcityrva.com/product/avon-the-king-ii-chess-piece-per114/
Artisans Crafting the Wooden Chess Pieces


By Charles Gilman

This is another Anglis Qi variant like Isis and Cam, again inspired by riparian cities with distinguished (though this time newer) universities. Two such cities at the western end of the old Mercia-Wessex border, Bath and Bristol, share a river, the more southerly of the two left-bank tributaries of the Severn called the Avon. The name Avon also means the cities and their environs considered as a single area, among the most pan-European in provincial Britain with links to such instances of an immigrant and his son making a big impact on some profession as the Cabots, Herschels, and Brunels. While nowhere can match Oxford for fantasy heritage the relatively obscure Katherine Roberts is, like this variant's inventor, a graduate of Bath and the more widely-known (at least in Britain) Terry Pratchett has been awarded honorary doctorates from bo Bath and Bristol. As with Isis and Cam the premise is the university Chancellors and local church leaders inviting an equal each from other cities and (alas, for the same date!) the royal family.

As there are two cities it is a four-player game, two players sharing the White and two the Black pieces. With one university north and one south of the River, same-colour pieces start in opposite corners. The board is a FIDE one with an extra rank at each end, numbered 0 and 9. To prevent an early massacre, moves crossing the boundary between files d and e must include at least one square each side on ranks 2-7, either as start/end (the only option for a Knight move) or en route (c1-f4 is allowed, as it passes through d2, but c0-f3 is not). Players are initially restricted to moves starting or ending their side of the River. Playing order is White 0-4, Black 5-9, White 5-9, Black 0-4. Where pieces vary, symmetric but mostly short-range pieces on the Bristol files are balanced by a Queen and forward-only pieces on the Bath ones. Forward always means away from the player moving them, so forward-only pieces crossing the River change both direction and player (but within the same team of two players) for their next move. As usual in my 4-player variants there is no castling, no surprise given that there are neither Kings nor Rooks! The pieces are as follows. Names without their own link are from my piece article Man and Beast 01: Constitutional Characters.
QueenPrincePrincess ROYALTY: Britain has never had a King during the history of Bath University (and, if I and other campaigners for a republic get their way, never will again). Therefore each army has a cross-section of the royal family circa 2000: a QUEEN, two PRINCES (moving like Kings but without the uniqueness), and a PRINCESS (a Queen confined to the 3 forward directions). No single type of royal piece need be retained, but a legal move must end with at least one from the player's army their side of the River. This is the only River restriction on any piece. White starts with Queen f0, Prince b9/c9, Princess g0; Black starts with Queen f9, Prince b0/c0, Princess g9.
Marshal or ChancellorMARSHAL, also called Chancellor: combines all moves of Rook and Knight, and is the dominant piece. White a9/d9/e0/h0; Black a0/d0/e9/h9.
BishopBISHOP: of Bristol only as Bath's moved many centuries ago to Wells, well away from the Avon. White b8/c8; Black b1/c1.
Abbot ABBOT: combines forward moves only of Bishop and Wazir, and represents the prominence of the Abbey in central Bath. White f1/g1; Black f8/g8.
Caryatid CARYATID: combines forward moves only of Rook and Ferz, and represents the fact that, while its University is very new, Bath as a city dates from Classical times. White e1/h1; Black e8/h8.
CarpenterCARPENTER: combines all Knight and Dabbaba moves, and represents a branch of the crafts especially useful (wood being lighter than water) in Bristol's long shipbuilding history. As Lewis Carroll's poem featuring his Carpenter character is set by the sea, that character may well have been intended as a shipyard employee. In this variant it is unblockable. White a8/d8; Black a1/d1.
PawnPAWN: The most numerous piece, no initial double move, promoted to Wazir on crossing the River. White a7-d7/e2-h2; Black a2-d2/e7/h7.

A player with no legal move (including ending with a royal piece on their half of the board) drops out of the game. All that player's turns are subsequently missed. Their partner, if still in the game, gains total control of the army with extensive promotions: Princess to Queen, Caryatid to CHATELAINE (all Rook and Ferz moves), Abbot and Bishop to PRIMATE (all Bishop and Wazir moves), and Pawn to Wazir. This strengthening is some compensation for the army moving only half as often as before. The form of partnership is suggestive of the card game Bridge, appropriate for a river through two such distinguished cities and thus so impressive a range of bridges! The game ends when both an army's players drop out of the game.

This variant can be played with varying amounts of communication allowed between partners. For example, you might allow an opinion to be expressed on a partner's initial proposal for a move but not on any change of mind. It can also be played with wins and losses for teams or individual players. In the latter case the player whose move ends the game ranks first and the first player to drop out fourth.

It is playable using two FIDE sets distinguishable by size, with (large/small) Pawns for Wazir/Pawn, Rooks for Marshal/Caryatid, Knights for Marshal/Carpenter, Bishops for Bishop/Abbot, Queens for Queen/Princess, and both Kings for Princes. No substitution is needed for mass promotions when a player takes control of their entire army, such promotion being obvious from the partner dropping out.

Since this variant I have posted two further 4-player multi-city ones set in more northerly conurbations. Irwell uses the same size (and shape) board but with armies more intermixed and no restriction on crossing between files. Aire has a larger, H-shaped board with sections of camp at different distances from the River and a ban on moving through concavities.

Written by Charles Gilman.
WWW page created: October 17th, 2004. 
Sours: https://www.chessvariants.com/multiplayer.dir/avon.html

Chess avon the piece king

Avon The King Chess Piece Bottle

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Avon The King Chess Piece Bottle
Sours: https://poshmark.com/listing/Avon-The-King-Chess-Piece-Bottle-60db5a93c936afc5868f1174
High Polymer Resin Chess Set

exclusive designs AVON Vintage Chess Piece "The Rook II" Wild Country After Shave wholesale prices

twitter announced today that it will be removing its implementation of stories dubbed “fleets.” the feature was either loved or hated by twitter users since its initial release last year.

this short-lived feature, which was released in november of last year, will be removed on august 3. twitter acknowledged the controversial nature of the snapchat/instagram clone with the farewell tweet. notably, there was no fleet from the main twitter account announcing the departure of the feature, only a standard tweet.

in the goodbye, the company said it is working on “new stuff.” one can hope that they add the ability to edit tweets, in addition to the new edit audience and monetization features.

in a more detailed blog post, twitter shared that it hoped fleets would make people more comfortable posting onto twitter. as fleets disappear, some of the fleet creation features, like gifs and stickers, will be implemented into the standard tweets composer.

ftc: we use income earning auto affiliate links.more.

check out 9to5mac on youtube for more apple news:

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Now discussing:

The Wire Chess scene(Explanation)

It’s No surprise. “The Wire” TV Show and the characters which are penned can be remembered for a really long time for its realistic and novelty touch. “The wire chess scene” Stood as one of the Masterpieces most of the viewers and here is everything explained clearly.

Chess is a metaphor for drug deals, Avon is the king and you’re the pawns.”–Larry Gillard Jr., reprising his role as D’Angelo Barksdale in The Wire: The Musical

What is “The Wire Chess Scene”?

The chess lesson from “The Buys” has become one of The Wire’s most iconic scenes. It is a brilliantly-scripted and -acted scene, one that actually serves as a double metaphor. D’Angelo uses the familiar world of the drug hierarchy to explain an alien and complex game to Bodie and Wallace. At the same time, Simon and Burns use this scene to explain the (presumably) alien drug game to their audience using the (presumably) familiar rules of chess. Call it a meta-metaphor.


The Wire Chess Scene Explained:

When I teach The Wire, this scene is always the moment where the students really buy into the show. During the previous two episodes, many of them seemed to like the show, but struggle with a lack of comprehension. My mostly-suburban students feel a little disoriented by a large number of characters, the nuanced plot, and the unfamiliar setting,  not to mention the difficulty of mastering the language of both the projects and the police department. As D’Angelo’s explanation unfolds, though, the students’ enjoyment grows almost palpably. In doing this, it fulfills the very purpose of the metaphor, which is to use something familiar to explain the unfamiliar.

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But if this scene is so iconic and effective, it is also ripe for parody, as in the above-quoted excerpt from The Wire: The Musical. This is because the scene really analyzes itself. There is nothing I can say about the comparison between the roles of the different chess pieces and the drug game that isn’t already said better and clearer by D’Angelo, Bodie, and Wallace. So instead of retreading familiar ground, I will step outside of the scene and take a closer at how the chess lesson reveals some important aspects of the very concept of metaphor.

When I was an English Major in college, I had a professor who said that “poetry is the study of metaphors and their limitations.” What he meant was that a metaphor is a comparison between two similar things or concepts and that comparison can be helpful, but just because concepts are similar, does not mean that they are the same. There is a real danger in taking a metaphor too literally. The example he used was the “domino theory” that dominated cold war foreign policy. The metaphor of falling dominoes suggested an image of how nations would fall to communism, but that did not necessarily hold. Nonetheless, that metaphor ended up leading us into two wars. So when we study a metaphor, it is just as important to be mindful of the differences as it is to think of the similarities.

Or, as Robert Anton Wilson put it, “The map is not the territory.”

I got an inadvertent lesson in this a few years later, when I was getting my education degree. I was in an Educational Psychology class when the professor began to introduce the concept of “scaffolding,” which is where a teacher introduces concepts that are one level above the students’ abilities and supports the students as they step up to a new, more complex level of understanding. Sort of like the very concept of a metaphor. The professor began to explain how builders use scaffolds to support walls that are in construction when a friend of mine corrected her. He spent the previous summer working as a mason’s assistant, and he informed us that scaffolds were used to allow workers to climb the wall, not to support the wall itself. The professor argued back, and an entertaining debate ensued.

One more key scene: Stranded Somewhere Between Life and Death

Here were two people who couldn’t agree on the metaphor. From my friend’s standpoint, the professor may have been an expert in education, but she knew nothing about construction. From her standpoint, my friend’s adherence to the literal function of scaffolds was obscuring a real and significant insight into a major concept about education.

Maybe the answer is somewhere in between.

A similar debate takes place in the chess scene. Right from the beginning, Wallace and Bodie are playing the wrong game, literally. “Why y’all playing checkers on a chess set?” D’Angelo asks, laughing at their ignorance. This itself is a fitting metaphor. The boys are a part of the larger drug game, but the game they think they are playing is the more one-dimensional game of checkers. In that game, each piece starts the same and has the same moves. Each piece has a one time chance of promotion, but there is a relatively limited choice and variety, especially when compared to the staggeringly-complex game of chess. D’Angelo isn’t so much teaching them how to play chess as he is trying to help them see that the world they are in is far more complex than they realize.

But they refuse to see it, or at least Bodie does. His questions about promotion show a fundamental misunderstanding of board games and all games. He keeps using the word “I,” as in a single piece standing in as his avatar. He is only capable of seeing the drug game as it applies to him in his limited experience in the Pit. He fails to consider the fact that a chess player has to manage an entire army of pieces with a variety of skills and abilities. The concept of both chess and the drug game are bigger than he realizes.

But that may also be a part of the problem with the chess metaphor. After all, as interesting as the connections between King, Queen, Rook, and Pawn are, there are a lot of missing pieces. What part of the drug game is the Bishop? Who is the Knight? What would be the equivalent of castling or putting somebody in check? D’Angelo never explains that, and as much as he teaches Bodie and Wallace, they could never play a full, legal game of chess with the rules D’Angelo imparts. Like my professor, D’Angelo understands the concepts of the drug trade more than he understands the concepts of chess.

Source: The Wire – How To Play Chess

Sure, the metaphor fails to teach Bodie and Wallace about the unfamiliar game of chess, but maybe that is not really the purpose. Look again at Bodie’s response, and his inability to grasp the game. The episode’s epigraph, “the king stay the king,” is D’Angelo’s response to Bodie’s insistence that a pawn can become a king. Sure, that is not possible in the rules of chess, but according to D’Angelo, it is also impossible in the drug game. If Bodie were really paying attention to D’Angelo’s lesson, he would realize that the game he thinks he knows, the game he thinks he can conquer if only he is enough of a “smart-ass pawn,” is really far more complicated than he ever gave it credit for.

Similarly, my friend’s insistence aside, the metaphor of the scaffold is still an important image to guide the way a teacher slowly brings their students up to a new level of understanding. A metaphor doesn’t have to be exact to be meaningful. The metaphor doesn’t just explain the unfamiliar by comparing it to something familiar. It also makes the familiar deeper and more complex, and therefore, unfamiliar.

Or maybe the answer is somewhere in between. After all, nothing is ever wholly familiar or unfamiliar. The power of a metaphor is to create new meaning in the space between familiar and unfamiliar. A metaphor can be useful, especially if we know how to look at it carefully, while not getting too literal. But in the end, we must also remember that the drug game both is and is not a game of chess and vice versa. Avon is the king and he is also just Avon. And a scaffold is both a scaffold and not a scaffold, no matter what metaphor or teacher is explaining it.

Filed Under: The WireTagged With: wire scenes

Sours: https://www.thewireblog.net/season-1/episode3_thebuys/chess-as-a-metaphor-for-everything/

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