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**A COMPOSITE CAP-A-PIE FIELD ARMOUR, EARLY 20TH CENTURY IN THE GERMAN 'MAXIMILIAN' STYLE OF THE EARLY 16TH CENTURY comprising close helmet with broad rounded one-piece skull (repaired at its rear) decorated on its upper surface with three low, boldly-roped sub-parallel-combs, fitted at its nape with a slender tapering plume-holder bearing simple incised ornament and at its front with a 'monkey-faced' visor and bevor attached by common pivots with radially-fluted heads (moved backwards and upwards to accommodate the later associated visor), the visor stepped and roped beneath its centrally-divided vision-slit, pieced at either side of the face with four columns of vertical ventilation-slots, decorated with three vertical roped ribs serving as continuations of the combs, and fitted at its right with a baluster-ended lifting-peg, and the bevor (fitted with small riveted extensions just behind the pivots to allow their movement) strongly shaped to the wearer's chin, the visor and bevor each secured at the right by a spring-catch with push-button release, and the lower edge of the skull and bevor each formed with a boldly-roped internally-hollowed rim that locks over and rotates on the turned upper edge of the collar which is formed of two lames front and rear, the lower of which is in each case much deeper than the one above it; breastplate formed of a rounded main plate fitted at each of its arm-openings with a moveable gusset, at its right with a sturdy folding lance-rest decorated peripherally with scallops and secured by two screws, and within its lower edge with a waist-lame flanged outwards to receive a fauld of two lames cut at its lower edge with a shallow arch separating a pair of pendent tassets each of four lames; backplate formed of a main plate fitted within its lower edge with a waist-lame flanged outwards to receive a culet of one lame with a notch at the centre of its lower edge; large asymmetrical pauldrons formed in each case of six lames fitted at the front of the third and largest of them with an upstanding haute-piece and connected by a boldly-roped internally-hollowed integral turner at the lower end of the lowest of them to the flanged upper edge of a three-piece vambrace formed in each case of a tubular upper and lower cannon linked by internal leathers to a large intervening winged bracelet couter pierced around its upper and lower edges with hearts; mitten-gauntlets each formed of a short slightly flared and rounded cuff fitted with a short separate inner plate, five metacarpal-plates, a transversely-roped knuckle-plate, five finger-plates and a laterally-hinged scaled thumb-defence (the right lacking its distal scales); cuisses each formed of a tall gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a winged poleyn of three lames; and full-length tubular greaves each terminating in a broad-toed sabaton of six lames, the last of which is decorated across its front with a boldly roped rib terminating at each end in an embossed whorl; the main edges of the armour turned inwards and boldly roped, except on the couters, and accompanied at most points by single or double recessed borders, and its surfaces decorated overall, except on the visor, bevor, waist-lames, haute-pieces, greaves and parts of the cuisses and poleyns with bands and panels of flutes emphasised by pairs of lines See note at front of catalogue for information concerning stands Provenance Ernst Schmidt, Munich, 29 November 1929 JWHA Inv. No. 1128 Exhibited Worcester Centennial Exposition, The Auditorium, Worcester, Massachusetts, July - August 1948 F. W. Woolworth Co., Worcester, Massachusetts, November - December 1954 WBZ Television, 14 January 1980

**A COMPOSITE CUIRASS AND OTHER ELEMENTS OF ARMOUR, PARTLY NUREMBERG, EARLY 16TH CENTURY AND PARTLY BY LEONHARD HUGEL, NEW YORK, CIRCA 1925 comprising breastplate with shallow neck and arm-openings, each formed with an angular outward turn, fitted at it lower edge with a series of blind rivets (added in the 19th to attach a mail skirt in place of a missing waist-lame), and struck at its upper edge with the quality-control mark of the City of Nuremberg; backplate formed of a central main plate and a pair of smaller side-plates (the left restored) rigidly riveted within its lateral edges, the broad shallow neck-opening and arm-opening each formed with a partial inward turn, and the main and right side-plates each struck internally with three triangular construction-marks; skirt of four lames front and rear, the lowest at the front cut with a shallow arch separating a pair of pendent tassets each of two lames narrowing to their lower ends; besagues each of circular form rising to a prominent central boss and formed around its edge with a partial inward turn; and a pair of pointed sabatons each formed of a rear section of one plate and a front section of seven plates joined to one another beneath the ankle-bones by a hinge at the inside and a self-sprung stud at the outside (the breastplate and backplate early 16th century but the remainder restored, largely using old plates; the whole moderately pitted throughout) See note at front of catalogue for information concerning stands Provenance Armoury of the Freiberg family, Schloss Hohenaschau, Bavaria, sold 1861 (breastplate) Dr Jacob von Hefner-Alteneck, Munich, sold Hugo Helbing, Munich, 6 June 1904, lot 23 (breastplate) Dr Bashford Dean, Riverdale, New York JWHA Inv. No. 938 Literature J. H. Heffner von Alteneck, Trachten, Kunstwerke und Gerätschaften, Frankfurt am Main, Vol. IV, `1882, p. 14, pl. 244 J. H. Heffner von Alteneck, Waffen, Frankfurt am Main, 1903, p. 26, pl. 36 Bashford Dean, Catalogue of a Loan Exhibition of Arms and Armor, Metropolitan Museum of Art, New York, 1911, no. 1 Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, pp. 6 & 32-3 Alexander von Reitzenstein, 'Hohenaschauer Waffen', Waffen- und Kostümkunde, Vol. 4, 1962, p. 39, fig. 26 Exhibited Metropolitan Museum of Art, New York, 1911 and 1914-28

**A PAIR OF GREAVES AND SABATONS, 19TH CENTURY IN THE SOUTH GERMAN STYLE OF CIRCA 1550-60 each with a full-length tubular greave formed of a rear plate cut at the heel with a large keyhole slot to accommodate a spur, and a front plate cut at its lower end with an arch to accommodate an integral sabaton of seven lames, the last forming a toe-cap of rounded square form; the main edges of both elements formed with notched inward turns accompanied by recessed borders repeated at the lateral edges of the front plate of the greave, and both elements decorated medially with a pair of recessed bands (some patches of light active rusts (2) Provenance Dr Bashford Dean, Riverdale, New York Clarence H. Mackay, Harbor Hill, Long Island, New York JWHA Inv. No. 2603 Literature Bashford Dean, Catalogue of a Loan Exhibition of Arms and Armor, Metropolitan Museum of Art, New York, 1911, no.23, pl.XIX Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 94

A GERMAN 'BLACK AND WHITE' BREASTPLATE, CIRCA 1570 formed of a medially-ridged main plate projecting forward over the belly, possessing a broad nearly-straight neck-opening, fitted at its arm-openings with moveable gussets and flanged outwards at its lower edge to receive a fauld of three lames (associated), the lowest of which is cut with a shallow arch over the crotch and pierced to either side of its upper edge with two pairs of holes (the innermost of the outer pair in each case also doubling as an articulating-point) for the attachment of former tasset suspension-straps, the main edges of the breastplate formed with file-roped inward turns, that of the cut-out in the lowest of its fauld-lames, with notched turns, and its surfaces decorated with raised bands and borders of which that at the neck-opening is enlivened by an ogee-shaped groove, all burnished bright against a blackened ground (refreshed with paint) 44.0 cm; 17¼ in

A GERMAN 'BLACK AND WHITE' BREASTPLATE, CIRCA 1580 formed of a medially-ridged main plate projecting forward over the belly, possessing a broad nearly-straight neck-opening, fitted at its arm-openings with moveable gussets and flanged outwards at its lower edge to receive a fauld of three lames (the lowest two associated), the lowest of which is cut with a shallow arch over the crotch and pierced to either side of its upper edge with two pairs of holes (the outermost hole in each case also doubling as an articulating-point) for the attachment of former tasset suspension-straps, the main edges of the breastplate and its fauld formed with file-roped inward turns and its surfaces decorated with raised bands and borders, that at the neck-opening projecting downwards at each side as a broad lobe, all burnished bright against a blackened ground (refreshed with paint) 47.0 cm; 18½ in

A GERMAN 'BLACK AND WHITE' BREASTPLATE, CIRCA 1570 formed of a medially-ridged main plate projecting forward over the belly, possessing a broad nearly-straight neck-opening, fitted at its arm-openings with moveable gussets and flanged outwards at its lower edge to receive a fauld of three lames, the lowest of which is cut with a shallow arch over the crotch and pierced to either side of its upper edge with two pairs of holes (the outermost hole in each case also doubling as an articulating-point) for the attachment of former tasset suspension-straps, the main edges of the breastplate and its fauld formed with file-roped inward turns and its surfaces decorated with raised bands and borders burnished bright against a blackened ground (refreshed with paint) 49.5 cm; 19½ in

A SOUTH GERMAN BREASTPLATE WITH EMBOSSED DECORATION IN THE 'BLACK AND WHITE' FASHION, NUREMBERG, CIRCA 1540-50 formed of a rounded, medially-ridged main plate projecting forward over the belly, pierced at the centre of its broad shallow neck-opening with a small hole, beneath and to the left of which are struck, respectively, three punched dots and the quality-control mark of the city of Nuremberg, bearing traces at the right of the chest of a pair of closed, probably later holes for the attachment a lance-rest, fitted at its arm-openings with moveable gussets and at its lower edge with a low waist-plate cusped above each of its three articulating-rivets and flanged outwards its lower edge to receive a fauld of three lames, the lowest of which is cut with a shallow arch over the crotch and fitted to either side of its upper edge with a pair of holes (the outermost hole in each case also doubling as an articulating-point) for the attachment of former tasset suspension-straps, the main edges of the breastplate and fauld formed with boldly roped inward turns, particularly prominent in the case of those of the neck and arm-openings, and its surfaces decorated with recessed bands and borders, the former medially-ridged, all burnished bright against a formerly black-from-the-hammer ground (now heavily cleaned) 48.0 cm; 19 in

A GERMAN BREASTPLATE WITH EMBOSSED DECORATION IN THE 'BLACK AND WHITE' FASHION, CIRCA 1580 formed of a medially-ridged main plate projecting forward over the belly, possessing a broad nearly-straight neck-opening, fitted at its arm-openings with moveable gussets (the left associated) and flanged outwards at its lower edge to receive a fauld of three lames , the lowest of which is cut with a shallow arch over the crotch (its edge showing a small split) and pierced to either side of its upper edge with two pairs of holes (the innermost of the outer pair in each case also doubling as an articulating-point) for the attachment of former tasset suspension-straps, the main edges of the breastplate and its fauld formed with file-roped inward turns and its surfaces decorated with raised bands and borders, the central band projecting to either side of the point of the breastplate as a small laterally-directed cusp, all burnished bright against a formerly black-from-the-hammer ground (now heavily cleaned) 51.8 cm; 20½ in

A GERMAN BREASTPLATE WITH EMBOSSED DECORATION IN THE 'BLACK AND WHITE' FASHION, CIRCA 1570 formed of a medially-ridged main plate projecting forward over the belly, possessing a broad nearly-straight upper edge, fitted at its arm-openings with moveable gussets and flanged outwards at its lower edge to receive a fauld of three lames, the lowest of which is cut with a shallow arch over the crotch and pierced to either side of its upper edge with two pairs of holes (the outermost hole in each case also doubling as an articulating-point) for the attachment of former tasset suspension-straps, the main edges of the breastplate and its fauld formed with file-roped inward turns (that at the neck with a crack at its right side and its surfaces decorated with a recessed band at the neck but raised ones elsewhere, all burnished bright against a blackened ground (the original blacking replaced by black paint) 46.5 cm; 18¼ in

An early 19th century 30-hour longcase clock, striking a bell, 32cm square dial with arched top painted with a thatched cottage an ruins to the spandrels, stained oak case with dome top, turned pilasters, lancet arch trunk door, pedestal base with shaped bracket feet. 204cm high

A 17th Century oak arch carved Coffer, 4ft wide

Yarndley, Birmingham. An early 19th century mahogany and oak eight day longcase clock, 7ft 7in. Yarndley, Birmingham. An early 19th century mahogany and oak eight day longcase clock, the 14 inch painted arch dial with moonphase, subsidiary seconds and date dials, 7ft 7in.

An early 19th century mahogany eight day longcase clock, 6ft 11in. An early 19th century mahogany eight day longcase clock, with indistinctly signed 13 inch arch painted dial, 6ft 11in.

An 18th century oak dresser, W.5ft 7in. An 18th century oak dresser, the open plate rack with three fitted shelves above an arrangement of five drawers, with central arch and pot space below, W.5ft 7in.

A Victorian giltwood and gesso overmantel mirror, W.4ft 6in. A Victorian giltwood and gesso overmantel mirror, with break arch acanthus scroll crest and egg and dart style border, W.4ft 6in.

A Sheraton revival satinwood and painted side table, W.1ft 10in. A Sheraton revival satinwood and painted side table, with rosewood crossbanding, fitted three drawers around a central arch, on square section tapering supports, W.1ft 10in.

A Queen Anne style arch top gilt framed wall mirror, the frame inset with textile panels, 51cm x 84cm.

A 19th century Dieppe carved ivory arch top wall mirror, the oval plate in an oak leaf carved border, mounted with armorial lions, putto and serpents, 47cm wide x 79cm high.

A set of six walnut framed arch back dining chairs on bobbin turned supports.

An iron arch top rose arbour with lattice sides and integral bench seats, 196cm wide x 200cm deep x 300cm high.

An Edwardian mahogany wheel barometer by J.Cetti and Co with brass urn finial and broken arch pediment over thermometer and eight inch silvered dial engraved with makers name, (a.f.) 100cm.

A 20th century oak eight day Westminster chime longcase clock with eight striking hammers (bells lacking), the arch top thirteen inch dial with gilt corner spandrels, subsidiary seconds and chime silent aperture, the trunk door with carved floral decoration, on plinth base, 220cm high (three weights and pendulum).

A 18th century green lacquer chinoiserie decorated eight day longcase clock, the 12 inch arch top dial with gilt spandrels subsidiary day of month and second aperture over arched trunk door and plinth base, (2 weights and pendulum), 226cm high.

An 18th century green lacquer chinoiserie decorated eight day longcase clock, the arch top over a twelve inch dial with subsidiary day of month and second aperture and gilt corner spandrels, the movement striking on eight bells, the silvered chapter ring signed 'Chr Parker, London', the trunk with arch top drawer and plinth base, 225cm high (two weights and pendulum).

A Kashan Souf prayer rug, Persian, the beige mihrab with a vase filled with a floral tree centred with a coronet, pair of birds, flowering trees, rising to a pale indigo arch with a pair of dragons, the dark indigo border with madder inscribed cartouches, 217cm x 140cm.

Louis Conrad Rosenberg (1890 - 1983) Meeting at the Arch. Good condition, signed L/R. Glue marks at upper corners. Etching, 6 1/2" x 5"

20TH CENTURY PROBABLY GREEK ICON, VIRGIN MOTHER AND CHILD oil painting on rustic pine panel with painted centre arch, 15" x 11 1/4" (38cm x 28.5cm) and similar ditto on painted arch panel, 12" x 11 1/2" (30.5cm x 29.2cm) both with punched outline for the halo's (2)

An early 20th century arch top mantel mirror, gilt frame with cherubs to each side

A 'Schist' stone carving with a seated Buddha beneath an arch, surrounded by mothers with their children, 26 cms x 56cms

A George III Scottish longcase clock, with mahogany case and painted dial, signed 'Wm Thompson, Dalkeith', the arch painted with a scene of Britannia, a Scotsman and other figures, 82" high x 90" wide

Good quality 18th century mahogany linen press with dentil cornice and two arch panelled doors enclosing four slides, with two short and two long graduated drawers below, on ogee bracket feet, 179cm high x 128cm wide x 63cm deep

18th century longcase clock with eight day movement striking on a bell, brass break arch dial with brass chapter ring, subsidiary seconds and calendar dials and foliate engraved centre with scroll spandrels, signed in the arch - Jno Hardie, Morpeth, in an oak case with blind fret decoration and shaped door, hood with fluted columns and pierced swan-neck pediment and two brass urn finials (key, weights and pendulum present), 225cm overall height

Georgian bracket clock with eight day fusee timepiece movement, break arch dial with silvered chapter ring, matted centre and face mask spandrels signed - Ja. Green, London, in a walnut case with blind fret decoration, glass side panels and caddy top with swing handle, on bracket feet, some veneer loose (door key, winding key and pendulum present), 49cm overall height to handle

George III bracket clock with eight day twin fusee five pillar movement striking on a bell, with floral engraved back plate brass break arch dial with matted centre and face mask spandrels, false pendulum and calendar aperture, silvered chapter ring with Roman numerals signed - Christopher Goddard, London, break arch with subsidiary seconds dial and strike silent control, in a mahogany case with dome top, brass front door surround, glass side panels and top carrying handle, on bracket feet (door key, pendulum and winding key present), 39cm overall height CONDITION REPORT General overall condition is good. Movement is clean and appears to be in working order. However, there are several holes in the back plate and at top left corner there appears something has been removed, possibly a repeat wheel. Cock may also not be original. Dial is clean and in good condition. Case very good overall. Rear door has minor damage to top left corner and has been cut inside to accommodate pendulum bob

Late 18th century longcase clock movement, striking on a bell with thirteen inch brass break arch dial with subsidiary second dial and signed - Baddely, Albrighton 1797, wide silvered chapter ring, classical pierced spandrels, break arch with silvered calendar dial (pendulum and weights present)

Late 18th / early 19th century thirty hour longcase clock movement with ten inch brass break arch dial, matted centre, scroll and foliate spandrels, brass chapter ring with Roman numerals, break arch signed - Rich Gilkes Adderbury (weights and pendulum lacking)

Tibetan gilt bronze Buddha, modelled seated holding a vessel on a shaped base, with removable arch to reverse, pierced with levels of figures, together with a pierced wood stand

George III mahogany bureau bookcase with broken arch pediment, Greek key and blind fretwork, two panelled doors enclosing adjustable shelves, fall-flap, fitted interior, four long graduated drawers with gilt brass fancy swan-neck handles, on ogee bracket feet, circa 1770, 117cm wide x 246cm high CONDITION REPORT Good overall condition. Large split to flap, replacement handles, split to side. Good overall colour

An Edwardian tall inlaid mahogany china display cabinet with arch top, early to mid 20th century construction in 19th century style with electrical illumination, the sides glazed and the two doors each with eight panes enclosing three adjustable shelves, compass inlay, standing on grooved tapering cylindrical legs (h199cm w115cm d37cm) (needs plug)

Tone Vigeland for PLUS Studios, a Norwegian silver brooch, of arch form

WALL MIRRORS, a pair, grey painted, Gothic arch, 60cm x 125cm H. (2)

A Charming 18th Century Boarded Oak Child's Coffer. The lid having a moulded edge and iron split pin hinges. The front board gouge carved with geometric quatrefoil roundel designs enhanced with dark stained segments and standing on similarly decorated end boards with arch cut feet, 17 ins (43 cm) high, 28 ins (71 cms) wide, 9½ ins (24 cms) deep.

A Late 18th Century Arch-topped Mirror. The moulded walnut frame having gilded edging and floral painted rebates, surmounted by an open carved giltwood pediment centred by a mermaid amidst intertwined scrolls of seaweed, 42 ins x 18½ ins (107 cms x 47 cms).

An 18th Century Lacquered Longcase Clock with chinoiserie decoration. The eight day movement having a 11¾ in (30 cm) brass dial with ornate scrolling spandrels to the corners and a pair of dolphin mounts flanking a silvered convex roundel in the arch signed Step Clarke London. The silvered chapter ring engraved with Roman numerals counting the hours and an outer ring of Arabics counting the minutes. The matted centre with subsidiary seconds ring and a calendar aperture. The case with pagoda pediment above a fretted panel and integral columns flanking the dial. The trunk with gilded chinoiserie ornamentation on a dark green lacquered ground, 94 ins (239 cms) in height.

A Fabulous 17th Century Yewtree Coffer Front of fine colour & patination. The facade enriched with carved arch topped panels of flowers and foliate designs beneath an undulating guilloche band, with a comical sullen face mask to the centre below date inscribed in reverse 1664, and lock void. The stiles carved with figures in arched topped niches; a crowned female stood on the back of a cat to one side, and a bishop above a fish on the other, 27½ ins (70 cm) high, 52½ ins 133 cms) wide.

A 17th Century French Walnut Fauteuil. The arch topped rectangular back and seat re-covered in pale tapestry upholstery woven with flowers and edged in brass tacks. The swept arms with scrolling terminals on finely turned spiralling supports with conforming legs and stretchers, 46 ins (117 cms) in height, 24 ins (61 cms) wide.

A Carved Oak Armorial Panel emblazoned with a heraldic shield surmounted by a lion, helm and crown, beneath a scallop edged arch with winged angels to the corners. The frame carved with trailing flowers, thistles and shamrocks incorporating inscription; VIRTUS MILLE SCUTA, DREDE GOD AND HONOUR THE KING, above a beaded edge to the base, 29 ins x 26 ins (74 cms x 66 cms).

A 17th Century & Later Carved Oak Wainscot Chair. The shaped cresting rail, shallow upper back panel and uprights enriched with carving, with an incised arch to the principal back panel. The replaced seat on turned legs.

Four 17th Century Carved Oak Derbyshire Chairs, Circa 1660's. Each having two arch topped back rails enriched with chip-carving and adorned with turned finials between plain uprights with scroll-carved lobe cut terminals. The seats in raised frames standing on ball turned legs united by turned front stretchers and plain rails to the sides and rear.

A MAHOGANY 5 PILLAR 8 DAY LONG CASE CLOCK WITH MOON PHASE AND CALENDAR CIRCA 1740 BY ROBERT ROUCH, BRISTOL D: Arched brass dial with Roman numerals, fitted spandrels, two winding holes and a subsidiary seconds dial signed on the arch Robert Rouch, Bristol and William Read in the centre, dial measures 17 inches diagonally across not including the arch. M: 8 day calendar moon phase 5 pillar movement striking on a bell with weights and pendulum. C: Mahogany case measuring approx 225cm tall/ base width 46cm/ trunk width 35.5cm. CONDITION REPORT D: Original dial in excellent condition. M. In very good condition. C: In very good condition, a crack in the middle of the base and a few small cracks in the hood. The door hinges on the hood are broken. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet

A Georgian mahogany stick barometer with a broken arch pediment over a silvered dial reading very dry to stormy with thermometer and replacement tube 95cm tall

19th century oak long case clock with 8 day movement, painted arch face with Roman numeral chapter ring subsidiary second dial Bedford

A very good and unusual Victorian Mahogany kneehole Dressing Chest having central arch top bevel plated mirror in swan pediment frame with carving and applied flower motifs, in elegant two pane single door corner cupboards on delicate spindle turned supports, flanked either side by bevel plate arched mirrors, the moulded rectangular top with moulded edge over central frieze drawer over carved and shaped apron, flanked by two flights of four graduated drawers, all drawers having brush stain decorated fronts, Mahogany linings, brass plate handles, and standing on twin plinth bases with castors. 54 1/4" wide x 73 1/2" high x 22 1/2" deep

Mahogany cased arch top mantle clock with white enamelled dial with Roman numerals, the back plate stamped W&H Sol, 36cm tall

19th century Dutch marquetry cabinet on chest, the arch top with carved fruit finial above a glazed panel door enclosing two glass shelves above four graduated drawers raised on tapering supports, 197cm x 95cm x 55cm

19th century Chinoiserie ebonised grandfather clock, the brass dial marked for William Ellies Digby having seconds and calendar dial the arch with central painted vignette depicting the vessel 'The Royal George', 248cm tall CONDITION REPORT: Two weights are with the clock and one pen (spring broken)

A late 18th century mahogany eight day longcase clock with bell strike four pillar movement, the arched brass dial with silvered and foliate engraved strike/silent to arch, silvered Roman chapter ring and foliate engraved silvered centre with subsidiary seconds dial at noon and date aperture at six, signed 'John May Southampton', within floral and cornucopia spandrels, in a pagoda top case with fluted pillars, panelled arched door and plinth base (reduced in height), 85½in. (217cm.) high.

1930's Walnut Veneered Single Door Display Cabinet with arch shaped astral glazed doors to the front with a bow front. Terminating on small queen anne type feet. Fitted with two glass shelves. 48'' in height, 28'' in width.

Early 19th Century oak and mahogany longcase clock with enamelled dial, Roman and Arabic numerals with floral face, date arch, makers name John Hudson of Nottingham

Ebbw Vale rly station colour card plus market street, railway crossing, plus colour of Great Western Arch and RP of railway bridge Ebbw vale -4 Reserve: £24