Pentagram

An independent monthly bulletin for all who want good magic

Oltice Cue Sfiittiny

May, 1947

"d Sjiidk with a (2undi'"

This trick is well suited for an intimate audience (one that can gather around a card table and watch at close quarters), but it can also be adapted for stage presentation, and as such it was recently performed by the Author at a " Magic Circle" Entertainment in the Portland Hall.

The effect is as follows: Two packs of cards are shuffled by a spectator and she, and she alone, handles the cards from start to finish, so ruling out any sleight-of-hand antics on the part of the performer. I say ' she ' advisedly, for it is always better to have a lady volunteer— she will add a touch of glamour to the proceedings !

One pack is spread face-downward on a small table so that its surface is completely covered with the cards. Two copies of " Punch " are taken their covers are torn off and handed to the lady with the request to put them over the face-down caids and so hide them from view. She then takes the second pack, shuffles it and cuts it for the selection of a card. This card, as the performer is careful to point out, is an absolutely

The above Cover Design is reproduced by permission of the Proprietors of " PUNCH "

free selection, for the pack never leaves the lady's own fair fingers. Somewhere in the spread-eagled pack there is a duplicate of this card, and because twins are always en rapport they will be drawn together by " sympathetic attraction."

The lady is told to hold her card firmly between finger and thumb, and to pass it to and fro over the concealed pack, the performer holding her wrist while she does so. Suddenly she feels an irresistible impulse to lower the card over a certain spot, the magician asks her to place her forefinger firmly on the paper at this point. He tears away the " Punch " cover and the card beneath on which her finger is now resting is found to be the duplicate of the one she selected.

As an example of " Sympathetic Magic" this will take a lot of beating. Actually, however, the only sympathy employed is a sympathetic understanding of human gullibility!

Although you impress upon the lady the " obvious fact" that she is having a free choice of a card, in reality it is forced—sadly we have to confess it!— Of the two packs used, one is ordinary and unprepared, and this is first handed to the lady to shuffle and spread on the table; but the other is a " Rough and Smooth Pack." The principle employed by this forcing pack is well known an<J need not be entered into here.

One of the " Punch " covers is ordinary but the other is faked. First take any card from the unprepared pack and gum on to its face a piece cut from the front cover of a spare copy of " Punch" Now take another cover and place this card, faked side outward, in such a position that it is superimposed on that part of the cover design that figures on the card. Keep it in place by sticking two narrow strips of transparent gummed paper (the kind used for repairing sheets of music) one at each end in such a way that the card is held loosely inside as if it were in a frame. (N.B.—the gummed paper must not be fastened to the card but only to the cover.) Before fastening the card in place, the duplicate of the one to be forced is put beneath it face outward. The cover will appear to be quite unprepared, and if kept slightly moving can be shewn at very close quarters without fear of the faked part being detected. The illustration ehows prepared card. Black lines show position of transparent tape.

The " modus operandi" will now be obvious. The performer takes off the covers, shows them on both sides and hands first the unprepared one to the assistant, who puts it over half of the spread pack and then the faked cover, and he must see to it that she puts this one with the design side in contact with the cards. All that remains is for him to supply the " urge " that impels the lady's card to come down on to the paper at the exact spot where he knows the faked part to be. She marks the point with her finger: a sharp pull by the performer tears away the paper and forces out the two concealed cards—the one immediately under the assistant's finger will be the duplicate, and the one beneath it will be the faked card, but as it is now back up on the table the " Punch " side is invisible and there is nothing to give the show away.

Note 1.—As the "Punch" cover is made of good quality paper it is not too easy to tear. To get over this difficulty make a small slit in the paper behind the cards—this will serve to mark the place and also greatly assist the final tearing process. A " Punch " cover is used for the trick because its design lends itself so admirably for camouflage, but for stage purposes a sheet of newspaper can be substituted. In this case the faked card will have a piece of the same newspaper (a picture part for preference) pasted on to its face, but otherwise the preparation of the sheet will be the same as that for " Punch

Note 2.—Care must be taken as to lighting: if there is a strong light behind the paper when it is shown back and front, its silhouette will be clearly visible to the audience!

Suggested Patter.—" Tricks with cards are very often rather insipid—they have no punch about them—well, you will not be able to say that about the card trick I am now going to show you, for if it is lacking in every other quality it certainly has a " punch " in it as you will see in a minute. It is an experiment in ' sympathy.' Sympathy, as you know, is that instinct or influence, that tends to draw those who are like-minded together, and so we have the well-known saying ' Birds of a feather flock together.' But this proverb applies not only to birds and humans but also to playing cards, as I will now try and show you with these two packs. There are fifty-two cards in each, and, of course, every card has its duplicate, or opposite number, in the other pack. Because these duplicates are twins they are in sympathy with one another and they will tend to gravitate together even though one of them is hidden from view. Let me show you. Madam, will you please shuffle this pack and then spread the cards face down on the table ? Please do it so that they overlap as little as possible. I promised you that there would be a ' punch ' in this trick. As a matter of fact there are going to be two' Punches ' for I want you to hide the cards which you have spread on the table, under, these two covers of ' Punch ' which I will tear off and give to you . . ."

SLATES OF HECATE—continued from page 55

performer draws his chalk through the number and then repeats the procedure with the three remaining persons who selected numbers. Having thus convinced everybody of the apparent fairness of everything, the two spectators with the slates are asked to hold them up, showing the two totals to be the same and the prediction, therefore, correct.

Observations.—The above routine can be made more foolproof by using locking-type flap slates, as this allows the spectators to write their own numbers on the slate. If a loose flap slate is used, the performer must ask for numbers and write them himself, and a person quick at adding figures can cause a disaster. This can be avoided by having the numbers whispered, or by standing so close to the spectator that he need only give his number in a low voice. It is also wise to have some space between the four spectators selecting numbers so as to avoid a check up amongst themselves. If a locking-type flap is used, it will be found an advantage to have three permanent white lines on one side of the flap and also on one side of slate number Two, so that the slate and flap will be divided into four equal parts. This will lead the spectators to write their numbers, one in each division, and it will be found helpful in keeping the spectators' numbers and those of the performer similar in general appearance. The above description may appear involved, but five minutes' study with the slates in hand will, we trust, make everything clear.

1947

TOM SELLERS

:EMBER 1947

23 24 25 26 27

Methods for finding out which day of the week a given date will fall date back into the distant past. The method to be described whilst having the standard basis is designed to help, not necessarily those with a poor memory, but those whose memories during a presentation of conjuring do not function at their best.

Presentation.—The operator takes from his pocket twelve visiting cards—each one has typed on its back of each one month of the year.—The cards are spread on the table (month side up) and the spectator asked to think of and then state a certain day—month and year.—The operator picks up the appropriate month card, and holding it to his ear as though it would whisper to him, then states the day of the week on which the chosen day falls.

Preparation.—The immediate aid which allows the slowest thinking conjurer to arrive at this result in a period not exceeding ten seconds lies in the typing on the back of the cards, and can be seen in the heading to this effect. The letter or full stop which is slightly out of alignment is the key. For this purpose counting is from back to front. The following is the lay-out:—

January.

= 1

so

full-stop out of alignment.

February.

= 4

so

"a" out of alignment.

March.

= 4

so

" r " out of alignment.

April.

= 0

nothing out of alignment.

May.

= 2

so

" y" out of alignment.

June.

= 5

so

" J " out of alignment.

July.

= 0

so

nothing out of alignment.

August.

= 3

so

" s " out of alignment.

September.

= 6

so second " e " out of alignment.

October.

= 1

so

full-stop out of alignment.

November.

= 4

so

" b " out of alignment.

December.

= 5

so

" m " out of alignment.

The typing should be done on a well-aligned machine and the difference in alignment should be very slight, much less than that shown in heading.

Method.—The operator keeps in mind the basic number 23. Taking the 12 cards from his pocket, they are spread on the table, month side up. When the spectator has stated the date, all but the appropriate month card are swept up and dropped in the pocket.

Supposing that the date chosen is 4th October, 1947. With the basis number 23 in his mind the operator notices the wrong alignment of the full stop which, of course, means 1 :—23 plus 1 equals 24. To this latter number the operator adds the date, i.e., 4, making a total of 28. This is divided by 7—the result being 0, which, according to the following table is Saturday :—

Sunday

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Just to conclude, here is another example:— 23rd June, 1947. Basic figure, 23 ; June Card shows fifth letter out of alignment; therefore 23 plus 5 equals 28 ; date is 23 ; therefore 23 plus 28 equals 51 ; 51 divide by 7 equals 7 and 2 over. Second day of week is Monday.

PETER WARLOCK'S

PENTT^GRW JVf

Published on the 15th of each month

1/1 single copy, post free 11/- per year, post free from . . .

" GREENBANKS," BRAMGOTE, NOTTS.

or from your dealer

In order to give credit for all artifices utilized in the following effect, I should call it " The ANNEMANN — YOSBURGH — WARLOCK — May " Book Test, with the " May " in very small letters in comparison, for my contribution to it being only " re-appropriation."

Effect.—On operator's table stands a normal sized sealed letter envelope (a large dab of red sealing wax looks very efficient in an effect of this nature) ; this envelope he marks with initials called out by any spectator, in order to prevent the possibility of exchange. This envelope is left isolated in full view. Pattering anent the powers of prediction, he requests the assistance of two spectators, who I will designate A and B respectively. B is requested to choose one of three novels present on the table and to stand holding the volume selected.

Operator next produces a pack of cards, and after carelessly mixing {not shuffling—this is a mental item) them, he requests A to cut the deck into two portions and then to remove the top and bottom cards of each portion in order to make picking as mixed as possible. With these four cards in hand, A is requested to add their values together and announce the resulting total.

Spectator B is then requested to turn to the equivalent numbered page of the chosen book, look at and remember either the first or last word on that page, whichever he prefers, then to close book and place down.

Operator then recapitulates briefly what has taken place and emphasises the apparent impossibility of predicting the chosen word, in view of the thousands of possible alternatives (?) Spectator B is then asked to clearly announce the word arrived at. Operator then reaches for envelope, opens it, and produces a white card, across which in blood-coloured letters is written in a bold, but rather shaky ghostly fashion the same word !

Method.—As previously stated, I claim no originality for this, except for the final " put-together," and the only excuse I offer for this yet another book test, is the apparent freedom of choice present throughout the effect.

The envelope shown is constructed as detailed in " Jinx" No. 15, and also in " Annemann's Practical Mental Effects," pages 155-6, and Peter Warlock's " Patterns for Psychics," pages 29-30.

In each of the three secret compartments of the envelope is placed a white card endorsed as follows:—

First Compartment : Card bearing on one side tht first word of page 28 of book to be used ; on reverse the last word of page 28.

Second compartment : Card bears on face first word of page 29 ; on reverse last word of page 29.

Third Compartment : Card bears on face, first word of page 30 ; on reverse, last word of page 30.

The order of cards and words is memorized by operator. Three books are on table, one of which contains the words on the cards. The deck is set up in the well-known (to conjurors only, I hope !) 14-15 arrangement.

Presentation.—Envelope is shewn and marked by operator with selected initials {Note : do not let spectator personally mark envelope as he may detect unusual thickness). Envelope is then placed in full view—a stand is suitable for this.

The services of two spectators are obtained. The attention of spectator B is invited to the three books ; these are spread on the table, the ' force ' book being in the centre, and he is asked to select one. The centre one is forced as described by Annemann in page 70 of his " Practical Mental Effects." He is then requested to stand with book.

Spectator A is then invited to stand, and operator after false shuffiing in a casual manner—a series of short cuts with cards in hands is sufficient—gives deck to A and requests him to cut it into two heaps and then take top and bottom cards cf each heap, add their values together and announce the result. Owing to the arrangement of deck result can only be one of three numbers : 28, 29, or 30. (Credit to this is due to Jack Vosburgh, of U.S.A., vide his excellent effect " Monk's Mystery."

Spectator B is then requested to turn to page of the book held by him, bearing the number called for by A, and to look at and memorize either first or last word on that page, as his fancy dictates, then to close book. Operator, emphasising fairness and freeness of selection of {a) boolo, (b) cards, (c) page, and (d) word, asks B to announce for the information of all present the word finally arrived at.

Operator repeats word for sake of effect and to impress it on audience, then takes scissors from pocket, picks up envelope and remembering the position, snips the appropriate side, the envelope is tilted and the card showing the appropriate word " side " is allowed to slide into his hand ; this is then placed against envelope and exhibited (to prevent word on reverse being seen) or placed on the stand which originally supported the envelope.

The credit for the prepared envelope is due to the late Theo. Annemann, and the additional subtlety of a double-faced card in each compartment was originated by Peter Warlock and disclosed in his " Small, Medium and Large " effect contained in " Patterns for Psychics."

facfa

Slate* of Mecate

Some time ago I was greatly intrigued by a Slate Prediction effect which was being fratured by several American performers, including, I believe, Dunninger. Briefly the effect is that four spectators each think of a number of four digits. The performer takes a slate and writes a number which he states is the total of the four numbers as yet only in the minds of the four spectators. This slate is given into the custody of a spectator and need not be touched again by the performer. A second slate is taken and each of the four spectators asked in turn for their mentally selected number—the numbers being written on the slate in the form of an addition sum and verified by the spectators. The sum is added by yet another spectator, and the total is found to agree with the performers' prediction written on the first slate.

This apparent miracle was accomplished by the aid of a special slate with a hinged flap. Slates of this type not being obtainable in England, and wishing to perform the effect as outlined, the following routine was worked out. It has been performed many times, is very practicable, and has a good audience effect.

Requirements.—Three slates are required which for ease of description we will call numbers One, Two, and Three. A flap also is required, and this flap must fit both sides of slates numbers Two and Three. At the commencement of the routine, the three slates are in a stack, number One on the top and number Three on the bottom. Slates numbers One and Three are unprepared, but on the top side of slate number Two is written an addition sum composed of four lines of four digits each, and the total of this sum must be memorised by the performer. These figures are covered by the previously mentioned flap.

Working.—Four spectators sitting on the left hand side of the room are asked to stand up and to think of a number of four digits. The performer looks at each spectator in turn, concentrates for a moment, and, taking slate number One, states he will write a number on it, and that this number will be the total of the four mentally selected numbers. The number actually written is the one previously memorised by the performer, i.e., the total of his own numbers hidden by the flap on slate number Two, and he then places his initials openly on the reverse side of the slate which is given to a spectator on the left side of the audience to hold, number side downwards.

The performer now takes slates numbers Two and Three, the flap side of number Two still being uppermost, and going to the first of the four spectators asks him to name his mentally selected number. This is written on the flap, apd the spectator asked to verify that his number has been written correctly. This procedure is repeated with the other three spectators, the four numbers being placed in the form of an addition sum. Turning slate number Two over on top of slate number Three, a fifth spectator is asked for his initials, which are placed on the now top side of slate number Two "just to identify the slate." The result of this procedure is that the flap has dropped on to slate number Three, hiding the spectator's numbers, and walking across to the right hand side of the room, the performer lifts off slate number Two ; the spectator's initials still being on one side whilst the performer's own figures originally placed on the slate are visible on the other side. Choosing a spectator on the right hand side of the room, he is given slate number Two and asked to add the four numbers which he believes are the numbers given by the original four spectators. The performer still holds slate number Three and this slate is turned over whilst talking, so that the flap is underneath and held in place by the fingers of the left hand. The person making the addition is asked to call out the total of each column as he adds them and the total is written figure by figure by the performer on the top side of slate number Three. When the addition is complted the performer holds slate number Three in his left hand and takes slate number Two in his right hand and says to the spectator " You are sure that the total I have written is the correct total of the four numbers on this slate ? " The spectator agrees and slate number Two, numbered side uppermost is placed under slate number Three ; the flap allowed to drop on to slate number two as the performer asks " And what are your initials, Sir ? " The top slate, number Three, is then openly turned over and the initials placed on the blank side of the slate which is immediately handed into the custody of the spectator who has made the addition.

The position now is that slate number One, containing the performer's prediction, is held by a person on the left of the performer, slate number Three, containing the spectator's addition is held by this spectator on the right of the performer, whilst slate number two is held by the performer himself; the flap being on top with the original four numbers chosen by the four members of the audience, now visible.

The performer now pauses and states that before proving his prediction to be correct, he wishes to convince everybody that the numbers originally chosen have not been altered in any way, and, walking across to the first person who thought of a number, he asks, " Is that the number you selected mentally ? " Receiving a confirmatory reply, the d Wmd a&eut Úiaakt . . „

PENTAGRAM GRADING : ***** (Five *** (Three stars)—Of Practical Value.

Stanley Collins (published by the Fleming Book Co., Berkeley Heights, price 4 dollars).

A Fleming publication is an event, and this book is no exception. Dealing with the book's physical aspect first, it can be said that it consists of 256 pages well printed in large type on good paper. It carries nearly a hundred and fifty line drawings and the binding is blue linen finish with gold stamped titling.

The book starts off with a very interesting preface by Paul Fleming; in this there are some biographical notes anent the author. Mr. Collins adds a foreword and we get down to a very long Part I., which deals with card tricks. Altogether there are twenty seven effects plus a very good version of the double-lift. Mr. Collins echoes all our own thoughts on the maltreatment and abuse of this sleight. It can safely be said that in this section all tastes are catered for. The advanced card-worker will find yet another brilliant Collins's Four Ace routine, under the title of " The Forthright Aces." At first we thought this was a reprint of " Those Aces," contributed by Mr. Collins to the Jinx (page 697). It was good to see '4 The Spider " once more, for the plot of this effect is so different and it has a story which is generally lacking with most card tricks. " The Anti-Gravity Cards" is a beautiful impromptu, whilst for those who like spelling-bee tricks there are two splendid examples : " The Comedy of Errors " is Mr. Collins's version of the classic 44 Everywhere and Nowhere." The two effects which we plump for, however, in this large section are 44 Sympathetic Coincidence " and 44 The Mystery from Domdaniel." This latter requires only the skill of presentation to produce a ihiracle card effect in the minds of this audience. In this section there are some typical Collins's remarks such as " there are, of course, exceptions to this rule, which the born conjurer will know instinctively—-the others will do the wrong thing in any case ! "

The second part deals with pocket tricks and takes in its stride a penetration effect (a matchstick is pushed through a borrowed coin), an improved cricket bat effect, the jumping bands, a removable thumb idea and notes on the coin roll.

The third part deals with tricks for children, and there is no doubt about the entertainment value for that section of the community.

In the fourth part handkerchiefs are covered and there is a twentieth-century effect using a glass tube. Whilst we have seldom seen this effect performed, it is exceptionally effective» We always thought that this was an idea of the late Bretma's, but knowing that so many of Mr. Collins's ideas (including 44 Sawing through a Woman ") have been

C (Two stars)—No Reason for Publication.

attributed to other sources, we now know the true originator. This section would not have been complete without 44 Knee Plus Ultra " silk effect which is now very clearly described.

Part V. describes three mental effects—a very ingenious method of the " Quick and Dead," an effect called 44 Whisper Word," which contains a little used principle. (We have only encountered it twice—once in an effect by Jack Vosburgh and secondly in a recent44 Phoenix.") 44 Chiffrenon " is an improvement on an A1 Baker effect.

Part VI. covers miscellaneous tricks and devices —there is a very good description of the 44 Flying Die," the 44 Hindu Bead," and several other small and large effects.

Part VII. deals exclusively with 44 Le Mystere Electrique "—a stage effect.

Author, publishers and artist (Alba) are all to be congratulated on a book which has such outstanding merit. Unreservedly recommended. # * #

**** 44 MANUAL OF JUGGLING " by Max Holden (published by Max Holden, New York,, price One dollar Fifty cents.).

In this well printed and well illustrated book, there are contributions by Charles Carrer, Larry Weeks, Leo Rullman, Roger Montadon, Harry Ferrier, H. M. Lorette, and Max Holden. Of these Larry Weeks of 44 This is the Army" fame, is perhaps the only one whose work is known to modern English magicians. Each of these contributors takes a particular branch of juggling, and describes not only the basic actions, but also suggests a routine. Juggling is not for the lazy man, for skill is essential, and skill means hours and days of practice. Faked juggling effects are quite rightly ignored. Hoop juggling is a thing which seems to have gone out of favour in recent years, but in this book there is a chapter devoted to this very pleasing branch of the art. (I wonder how many 44 Pentagram " readers can remember Eddie Gray doing his mirrored club and hoop act at St. George's Hall!) The chapter on plate-spinning is the best we have seen on this subject. The 44 Devil Sticks," which always form an effective interlude are also well described.

Besides the headings mentioned, Ball, Club, Hat and novelty juggling are all effectively dealt with. A lovely little item by Herman Hanson, suitable for inclusion in a conjuring act, concludes this informative book.

The illustrations are by Nelson Hahne. To those who have a desire to juggle this book is unreservedly recommended.

5Jh& Magic-Qa-^Reund

I was deeply grieved to hear of the passing of Dr. E. G. Ervin. It was such a little while since I had heard from him. To his friends and relatives we Extend both on our own behalf and that of our readers, the deepest sympathy.

The first number of the new " Wizard " is to hand. Printed in two colours and with an attractive cover it should find a steady market. In this issue there are two magical effects, a.book test by the Editor and a tube production idea by K. J. Bays. Articles fill up the rest of the twelve pages.

Rather late in the day we have received Nos. 2, 3 and 4 of Goodliffe's Magic Monthly. The articles by Duval 1 and Robert Edmanson seem to be the thing to try and equal in other departments, for if you are trying to teach boys a subject like conjuring give them the basic knowledge first. It does seem all wrong, and we were more than surprised, to see an effect which requires confederacy for a person at an impressive age can so easily abuse this unethical aid, bringing ultimate disaster.

Congratulations to friend Holden on the write-up and photographs in the April issue of the " American." Mentalists and those making use of reflectors note that there is now on sale at ladies' beauty shops a very small mirror complete with clip to go on lipstick case. It is called ' Immaculip.' The clip can be easily adjusted to slip on the finger, the price is a modest 1 /6.

We notice that N.A.M.S. have started a new book reviewing policy ... an attempt possibly inspired by the famous Fleming reviews. To the reviewer in question the use of an adequate dictionary is recommended.

We have often wanted to see the second deal and bottom deal performed in a perfect manner. The other day that pleasure was ours when we were with Fred Robinson. We asked him how long it took to acquire the second deal (the strike method of Scott). The answer was three hours practice a day for nine months! ! !

The Cotswold Convention is over. On the whole it was an excellent piece of organisation. Our chief criticism relates to the lateness in starting shows. Nothing can be worse for the temperament of competitors than to face a delayed appearance because of the late appearance of the Judges. The other criticism, and this is no minor one, is the running of a licensed bar in the rear part of the hall during the big show. It is hoped for the sake of those who wish to see the show, and for the artists as well, that this so-called feature will be eliminated on future occasions.

Telephone tests still seem to take up a lot of printed space in our contemporaries. In this sphere of mentalism you will like Victor Peacock's " Western 1248," which will appear in July issue.

To those who use conjuring as a peg on which to hang a little dreary comedy, the ditty " Open the Door, Richard," will, no doubt, inspire a version of the " Seven Keys to Baldpate," using a miniature door and the ghost of the much overworked Richard.

Coming on top of our note in the April issue of the " Pentagram," regarding Jim Thompson's routine " Hoiman the Spirick," is the welcome news that the effect in question can now be obtained in England.

Very interesting has been the response to Fred Braue's requect to readers of Hugard's Monthly for their opinions of the five best effects with playing cards. In this response most writers have taken the short view and considered their own programmes instead of a more general view of card magic. Most of the replies are, naturally, from Americans. Irrespective of performance on the part of individuals we should very much like to have the opinions of our readers on what they consider the ten best effects in conjuring. If you are interested, please list them on a postcard and sent it along. The deadline date will be 23rd June, 1947.

Of particular interest to English readers was an article in " Magic is Fun " anent Richard Cardini, and one wonders how long it will be before this great conjurer can be seen again in this country. Well can I remember in those days before he performed the act for which he is so famous, his presenting the handkerchief and inkbottle. To the audience there was ink everywhere and it seemed a miracle when the handkerchief which had been borrowed was returned to its lender in pristine condition !

Readers of the " Pentagram" who visited Cheltenham will, no doubt, be pleased to know that Harold Poole's excellent and most entertaining Slate routine will appear in a future issue. Hairy Vernon and Reg. Gayton also passed on some very nice effects. We still can't understand the change of Bill Larsen's opinion from page 119, volume 7, of the " Genii" to that in the April, 1947, issue. For our part we have always liked the " Genii," we still like it, and with our own belief that there is room for everybody, only hope that this wild hitting at all and sundry is not the first note cf the " Genii's " swan song !

Those who want a somewhat different entertaining routine will like John Brearley's " You can't be Wrong " in next month's issue.

WANTED.—Good price offered : clean copies of Pentagram Nos. i and 2. Also Collins' " Holiday in Morocco " FOR SALE-—A few sets of my " 4 Ace Lovelies" club or lodge effect now otherwise unobtainable, 12 /6

BAYARD GRIMSHAW

The Bungalow, Castleton House, Rodhdale

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