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Two delftware large plates or chargers c.1730-60, one Bristol and painted in blue with a three storey house with a smoking chimney, a figure punting in the foreground, 3 mark to the underside, the other probably Liverpool and painted with a Chinese figure holding a bird by its long tail while a lady watches from a window, the rim with flowering branches and flying insects, some chipping, a short rim crack, 30.7cm max. (2) Provenance; the latter plate acquired from Sotheby's, 6th December 1983, lot 753 (part), formerly in the collection of Louis L Lipski. The other plate with a paper label bearing the initials GB, possibly for Golding Barrett.

A Liverpool delftware puzzle jug c.1740-50, the rounded body inscribed in blue with 'From Mother Earth I take my birth, Am Made a Joke for Man, And now am here fill'd with good Cheer, Come taste it if you can', flanked by peony sprays, the tall neck pierced with geometric floral designs, the hollow rim with three narrow spouts, repairs to the handle and neck, 20cm. Provenance: acquired from Christie's, 9th October 1967, lot 9.

Two pairs of delftware plates c.1740-50, one pair Bristol and painted in blue with a hut beneath a willow tree, the design echoed to the rim reserved on a manganese cracked-ice ground, the other pair Liverpool and decorated in blue, manganese, green and yellow with flowering chrysanthemum branches, manganese painter's marks to the underside, damages, 23.5cm max. (4) Provenance: respectively acquired from Puttick & Simpson, 8th August 1967, lot 163 (part); Sotheby's, 2nd March 1965, lot 106 (part), formerly in the collection of F H Garner; and Puttick & Simpson, 22nd November 1967, lot 65 (part).

Four delftware plates c.1740-60, one Lambeth and painted in polychrome enamels with a jardiniere of flowers within a swag border, one Liverpool and painted with bamboo behind a fence, and a pair of Liverpool plates decorated with peony sprays beside holey rockwork, minor faults, 23cm max. (4) Provenance: respectively acquired from Cambridge, 12th July 1968, formerly in the Gautier Collection; and Sotheby's, 26th January 1965, lot 34 (part), formerly in the collection of F H Garner.

Two Liverpool delftware printed tiles c.1770, printed in black by John Sadler, one with lovers seated beneath a tree, the other with a Biblical scene of Abraham and Isaac at the point of sacrifice, a Liverpool tile painted in blue with boats beside Classical ruins within an octagonal panel, a Lambeth tile painted with two figures conversing beneath trees, and a Dutch tile painted with a peasant woman holding a staff, 13cm max. (5) NO KNOWN PROV

A large delftware flower brick c.1760, probably Liverpool, painted in blue with a small figure fishing in a landscape containing trees and bold rockwork, the landscape echoed to the shorter sides, the recessed top pierced with 26 small holes arranged in rows either side of a larger circular opening, some chipping, 17.3cm across. Provenance: acquired from Christie's, 27th June 1965, lot 1 (part).

Five delftware plates c.1740-60, including Liverpool and Bristol, one painted in blue with chrysanthemum sprays, another with flowers in the Fazackerley palette, both within bianco-sopra-bianco borders, one plate with polychrome flower sprays, the last two with a similar design of chrysanthemum branches issuing from rockwork, some faults, 22.5cm max. (5) Provenance: respectively acquired from Christie's, 5th April 1965, lot 147 (part), formerly in the collection of Sir Gilbert Mellor; Sotheby's, 26th May 1970; Christie's, 20th February 1967, lot 25 (part); Puttick & Simpson, 23rd August 1966, lot 139 (part); and van Oss, Southwold, c.1953.

A pair of Liverpool delftware plates c.1760, each painted with a European couple dancing in a garden setting, she with left arm outstretched and raising her skirt with her right hand, the rims with sprays of flowering plants, the undersides with a leaf motif, some chipping, 21.5cm. (2) Provenance: acquired from Sotheby's, 6th December 1966, lot 27 (part). Cf. Frank Britton, English Delftware in the Bristol Collection, p.298, no.19.23 for the same design with a different border.

Four delftware plates and a charger c.1760, Bristol or Liverpool, two decorated in blue with oriental flowering plants, another with figures in a Chinese landscape, the last plate in blue, yellow and manganese with a figure before a two-storey pagoda, the charger in the same design, all within shaped rims with bianco-sopra-bianco decoration, some damages, 34cm max. (5) Provenance: respectively acquired from Sotheby's, 2nd March 1965, lot 106 (part), formerly in the collection of F H Garner; Christie's, 5th April 1965, lots 147 and 82 (part), formerly in the collection of Sir Gilbert Mellor; Puttick & Simpson, 1st March 1966, lot 162 (part); and Minette Puxon Antiques, Colchester, c.1963.

Four delftware plates c.1760-70, two Bristol and painted in blue with a figure fishing and two figures in a boat before a village landscape with a tall tree, one Liverpool with two Chinese figures beneath a willow tree, the last larger and painted with peony and bamboo beside an ornamental fence, all with floral bianco-sopra-bianco borders, some faults, 30cm max. (4) Provenance: acquired from Christie's, 5th April 1965, lot 82 (part), formerly in the collection of Sir Gilbert Mellor.

A rare Liverpool delftware armorial plate c.1750-60, decorated probably in Staffordshire in raised polychrome enamels with the arms of Cardonnel impaling Hilton, the cavetto with Chinese auspicious objects between a green trellis border, the rim with sprays of flowering Oriental plants, some wear, 22.3cm. Provenance: acquired from Allbrook, c.1971. Cf. David Sanctuary Howard, Chinese Armorial Porcelain, p.237, no. E4 for the Chinese famille verte original. It is presumed that this plate was made as a replacement or addition to the original service. Two other examples are known; one formerly in the F H Garner Collection and now in the Victoria and Albert Museum; the other sold at Sotheby's in 2006 as part of the Harriet Carlton Goldweitz Collection (lot 91). See also Michael Archer, Delftware, p.128.

A Liverpool delftware wall pocket c.1760, of cornucopia shape, moulded with a large bird picked out in blue and standing on polychrome flowering branches, the rim with shell scroll details in polychrome enamels, two cracks to the rim, 21cm.

Two delftware bowls c.1750-80, the smaller probably Liverpool, inscribed in blue to the interior well with 'Success to trade & navigation', the exterior painted with flowering Oriental plants, the larger probably Lambeth, painted in blue and manganese to the exterior with a pagoda island landscape, inscribed to the interior well with 'One Bowl more And then' within a bianco-sopra-bianco border, damages, 26.3cm max. (2) Provenance: respectively acquired from Sotheby's, 1st June 1965, lot 122 (part), formerly in the collection of F H Garner; and Sotheby's, 14th March 1971, lot 167 (part).

A Liverpool delftware char dish c.1760-70, Zachariah Barnes Pottery, the shallow circular form painted to the exterior with five narrow fish in manganese, green and red, some chipping to the rim, 19.7cm dia. Provenance: acquired from Sotheby's, 1st June 1965, lot 116 (part), formerly in the collection of F H Garner. Char fish (a member of the trout family) are found in deep cold water, and in the UK are found primarily in Lake Windermere. Potted char was spiced and covered with clarified butter, and was a favoured delicacy of the royal court.

A massive delftware vase c.1760, probably Liverpool, the baluster form painted in blue with a large spray of flowering peony issuing from rockwork, a butterfly or moth in flight to the reverse, the neck ground, 40.5cm. Provenance: acquired from Sotheby's, 19th May 1969, lot 71.

A large delftware charger and two punchbowls c.1740-80, the charger probably Liverpool and finely pencilled in pale blue with a flowering prunus tree, both bowls of shallow form and painted in blue with Oriental flower sprays, and a Delft charger painted with a bold floral arrangement within a yellow line border, some damages, 36cm max. (4) Provenance: respectively acquired from Sotheby's, 18th January 1972, lot 205; Sotheby's, 2nd March 1965, lot 15 (part), formerly in the collection of F H Garner; Dunmow, 1956; and Christie's, 5th April 1965, lot 18 (part), formerly in the collection of Sir Gilbert Mellor.

Two delftware bottle vases c.1750-60, one Liverpool and painted in the Fazackerly palette with flowering branches and rockwork, the other Lambeth and painted in blue with a Chinese figure standing beside another seated before rockwork in a pagoda landscape, damages and losses to the rims, 23cm max. (2) Provenance: respectively acquired from Christie's, 5th April 1968, lot 74; and Puttick & Simpson, 21st March 1967, lot 211.

Nine 18th Century Bristol Delftware manganese tiles and five others/see illustration CONDITION REPORT: one manganese landscape tile with a chip to the top corner, manganese tile with swans has a chip to bottom right corner, blue and powdered manganese tile (Adam and Eve?) has a chip on left and bottom sides. Polychrome tile small chip on top and bottom left corner, Liverpool tile with glaze chips at 1 and 5 o'clock, the black enamel has deteriorated in places. All unmentioned tiles have some very minor nibbling/glaze fritting to edges as would be expected

Two 18th century delftware blue and white decorated plates. Possibly Liverpool. Both 9' diam. Prov: Islwyn Watkins, Knighton

A Liverpool delftware theatrical printed tile, c.1775, printed by John Sadler with a scene from a play, perhaps La Malade Imaginaire, two ladies supporting a central gentleman while another looks on, some glaze chipping, 12.7cm. Cf. Anthony Ray, Delftware Tiles, p.257, no.703.

A group of six blue and white delftware tiles, probably Liverpool, circa 1750-70, one painted with figures skating on ice, the others with landscape views, each approx. 13cm. square, framed.

AN ENGLISH DELFTWARE CORNUCOPIA WALL POCKET, PROBABLY LIVERPOOL, C1760 moulded with a bird and painted in the Fazackerley style, 20cm h++Broken and restuck with small losses

A Liverpool delftware charger c.1760, painted in polychrome enamels with peony and bamboo issuing from an ornamental fence, the rim with four flower sprays, 33.4cm.

Two Liverpool delftware tiles c.1757-61, printed in black by John Sadler, one with a Tithe Pig scene of a young couple offering an infant to a corpulent clergyman, signed 'J Sadler Liverp.', the other after Lancret's Winter, a gentleman in a fur-lined hat tying the ice skate of a young lady seated on a tree stump, signed 'J Sadler', 12.8cm. (2) The Tithe Pig print is from an engraving by J S Müller after Boitard. The other print is adapted from de Larmessin's engraving after Lancret. Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B6-1 and B3-12. The former with a paper label for the Harriet Carlton Goldweitz Collection.

Two Liverpool delftware tiles c.1757-61, printed by John Sadler, one with a couple standing by a boathouse in a storm, a Thames Waterman reclining at their feet, signed 'Sadler', the other with a young man offering a bird's nest with three chicks to his seated companion, signed 'J Sadler Liverp', 12.8cm. (2) Paper labels for Jonathan Horne. Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B4-1 and B3-2.

Three Liverpool delftware tiles c.1757-61, printed in black by John Sadler, one with a milkmaid waking her sleeping companion while a dog laps from an upended milk pail, signed 'J Sadler Liverp', another with a couple in Scottish dress dancing a reel, the last with figures in a boat on a river winding between Classical ruins, both signed 'J Sadler Liverpool', one tile slightly reduced, 12.8cm max. (3) Paper labels for Jonathan Horne. Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B6-3, B4-4 and B8-1.

Three Liverpool delftware tiles c.1757-61, printed in black by John Sadler, one with a man dancing to the bagpipes, after Watteau's Le May engraved by Aveline, another of a couple playing shuttlecock and battledore while a girl and dog look on, both indistinctly signed 'J Sadler', the last of a suitor offering a gift to a lady seated beside her frowning father, 12.8cm. (3) Paper labels for Jonathan Horne. Cf. Anthony Ray, Liverpool Printed Tiles, nos. B3-10, B4-9 and D4-4.

Four Liverpool delftware tiles c.1757-61, printed in black by John Sadler, one with a lady pointing the way home to her drunken companion, another with a couple promenading in a garden beside a pineapple plant, another with a couple and dog seated beneath a tree, after Boucher's Les Amours Pastorales, the last with a young shepherd family seated beneath a tree, the woman dandling a baby on her knee, 12.8cm. (4) Paper labels for Jonathan Horne. Cf. Anthony Ray, Liverpool Printed Tiles, Nos. D5-13, D4-11, B3-4 and B3-3.

Four Liverpool delftware tiles c.1757-61, printed by John Sadler, one in manganese with the Sailor's Farewell, three in black with various scenes, one of anglers fishing beside a river, another of a lady churning butter in a field, each after John Bowles' drawing book, the last of The Three Horseshoes, a young lady being accosted outside of a country pub, 12.8cm. (4) Paper labels for Jonathan Horne. The latter with a paper label for the E N Stretton Collection. Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B6-20, B4-7, B6-14 and B6-11.

Four Liverpool delftware tiles c.1757-61, of theatrical and musical interest, printed by John Sadler, one in black with a lady playing the guitar and looking wistful while Cupid sits beside, signed 'J Sadler Liverpool', another depicting Miss Nancy Dawson dancing the hornpipe, another of a peasant figure dancing to the music of a fiddler outside a country inn, the last in sepia with a band of travelling musicians playing the barrel organ, hurdy-gurdy and triangle, 12.8cm. (4) Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B3-8, B4-3, B6-10 and D5-17.

A signed Liverpool delftware tile c.1757-61, printed in black by John Sadler with lovers seated beneath a tree, the lady draping her companion in a garland of flowers, signed 'Sadler Liverp.', and another delftware tile painted in blue with birds flanking an urn full of flowers within an octagonal panel, 12.6cm max. (2) Cf. Anthony Ray, Liverpool Printed Tiles, p.23, no.B3-6 for the former.

A creamware bowl late 18th/early 19th century, printed in Liverpool, the well with a three-masted ship at sail, with additional colouring, the exterior in black with an eight line inscription between prints of Neptune and Venus flanking figures dancing to a fiddle, some restoration, 20cm dia. The print of the dancers is similar to a Sadler & Green print seen on Liverpool delftware tiles of c.1760.

Six delftware tiles, mid 18th century, including Liverpool, one Biblical and painted in blue with Samson carrying off the gates of Gaza, one painted in manganese with a figure driving a cow, two with figures blowing a horn, one of them reserved on a sponged manganese ground, one painted in blue with a lady seated beneath a tree, the last printed by Sadler with four children representing the Seasons, reserved on a green ground, 13cm. (6)

A pair of Liverpool delftware tiles, c.1760, painted in blue with The Singing Shepherdess, after Nicolaes Berchem etchings, some damages, 12.7cm. (2)

A Liverpool delftware wall pocket, mid 18th century, the cornucopia shape moulded with three birds converging on fruiting branches, detailed in blue, good restoration to one side, 21cm.

An English blue and white delftware four-division tripod sweetmeat dish: painted with tree peonies and running foliate borders, probably Liverpool, circa 1750-60, 21 cm wide [minor hair cracks].* Notes Cf. Frank Britton 'English Delftware in the Bristol Collection' page 137, pl.9.38.

An English blue and white delftware three-division tripod sweetmeat dish: painted with Chinese figures by lattice fences, bamboo, flowers and foliage within foliate borders, probably Liverpool, circa 1750-60, 18 cm wide [some damage and restoration]. *Notes Paper label for F.H.Garner Collection.* Notes Cf. Frank Britton 'English Delftware in the Bristol Collection' page 137, pl.9.39.

An English blue and white delftware water bottle: painted overall with an extensive Chinese lake landscape, probably Liverpool, circa 1760, 23 cm [rim restored, glaze loss to footrim].*Notes Bears paper labels for F.H.Garner and Gautier Collection.*Notes Cf. Michael Archer 'Delftware/The Tin-Glazed Earthenware of the British Isles' page 277 E.21.

A Liverpool Delft tile, 1750 - 75, decorated an Oriental figure with blue flower heads at the corners, 13cm x 13cm/Literature: Archer (M) Delftware, 1997, p 500 fig 357/see illustration

A documentary Liverpool delftware plate, dated 1750, the front painted in blue with a bold peony flower before bamboo issuing from rockwork, the rim with tied scrolls between diaper panels, the reverse inscribed 'Richard Bury of Royley in the Township of Wrighton, 1750', 22.2cm. In 1887-1889 The Oldham Standard published the diary of William Rowbottom, a handloom weaver of Burnley Lane, which includes the following entry - "Mr Richard Bury of Royley, buried 6th June 1790", and the burial register of St Paul's in Royton confirms the burial of Richard Bury, aged 75. The baptism of his daughter, Betty, is recorded in 1755, Jenny in 1758, Mary in 1760, John in 1763 and Hannah in 1767. In 1780 his son, John Bury, was articled as a Clerk to John Ogden. His widow, Hannah, was buried on 26th February 1795 and son, John, died aged 43 the following year. Cf. Louis L Lipski and Michael Archer, Dated English Delftware, pp.122-123 for similar examples from this group of named and dated delftwares. The names on the plates appear to be those of landowners in the Oldham and Bury areas of Lancashire, who are possibly connected to the coal-mining industry and the mines of James Lees (later the Chamber Colliery Company). Both Richard Bury and John Wallwork are mentioned in the Quarter Sessions at Rochdale on 3rd October 1757 for non repair of a stretch of the Kings Highway, leading to the sluice carrying water to the coal pits, and John Wallwork is recorded as marrying Ruth Lees in 1748, believed to be a relation of the aforementioned James Lees.

Liverpool printed tile early 18th Century by J. Sadler in metal frame. Gentleman helping lady over stile. Signed Sadler (later Sadler and Green)Described by Anthony Ray in 'English Delftware Tiles' as "one of the finest engraved of the early designs

A pair of 18th century tin-glaze octagonal delftware plates painted with bowls of flowers and Daoist emblems to borders, small chip to underside of one rim, possibly Dublin or Liverpool, each 4 x 23 cm and another pair of similar plates with Japanese ladies to centre, each 23 cm diameter, without damage or repair (4)

Three Liverpool delftware tiles, c.1775, printed with scenes from Aesop's Fables, one in reddish brown with The Bear and Two Travellers, two in black with The Hunted Beaver, and The Fox and the Stork, within narrow foliate scroll borders, 12.6cm. (3) Cf. Anthony Ray, Liverpool Printed Tiles, Nos. D8-42, D8-4 and D8-22.

Two Liverpool delftware tiles, c.1775-80, printed in black and painted in green with vases within leaf husk borders, one with a flowerhead to each corner, 12.7cm. (2) Provenance: the right hand tile previously in the Blanchett Collection.

Two Liverpool delftware tiles, c.1775-80, printed in black and enamelled in green, one with the muse Terpsichore standing before a tall pillar, the other with four maidens in an oval panel tied with ribbon, 12.7cm. (2)

A Worcester small mug, c.1765, the cylindrical form slightly tapering and printed in black with The Tythe Pig, a couple presenting their baby to a cleric, 8.6cm. Paper label for the Liverpool Exhibition at Phillips,l 1997, No. B1. The engraving derives from a print by Müller after Boitard and also appears on Liverpool and Longton Hall porcelains, as well as Liverpool delftware tiles and Wedgwood creamware. The same subject is depicted in both Staffordshire earthenware figures and Derby porcelain figures.

A pair of Bristol delftware tiles, c.1720-40, painted in blue with central baskets of flowers, reserved on a sponged ground with angel corners, and two Liverpool delftware tiles, one Biblical and painted in blue with Christ leaning on the cross, the other in manganese with a figure fishing in a harbour before further boats and a low hut, 13cm. (4)

THREE ENGLISH DELFTWARE PLATES, ONE LONDON OR LIVERPOOL, C1750-60, TWO LONDON C1770-80 painted in cobalt with a Peony and Fence pattern or chinaman standing beside a weeping tree, 22 & 19.5cm diam ++First plate with fine short hairline crack at 5 o'clock, the two similar plates with small rim chips, one also with faint star crack, no restoration

A selection of books on British porcelain and pottery, comprising; Wolf Mankowitz - 'Wedgwood,' Phillips Auctioneers - 'The Norman Stretton Collection,' Knowles Boney - 'Liverpool Porcelain,' Geoffrey A. Godden - 'Minton Pottery and Porcelain of the First Period 1793-1850,' Bernard Watney - 'English Blue and White Porcelain of the 18th Century,' Geoffrey Bemrose - '19th century English Pottery and Porcelain,' Bernard Price - 'The Arthur Negus Guide to English Pottery and Porcelain,' Henry Sandon - 'The Illustrated Guide to Worcester Porcelain,' Griselda Lewis - 'A Collector's History of English Pottery,' F.H. Garner - 'English Delftware,' Margaret Hewat & June M. Owen - 'Hilditch Porcelain - A Collector's Guide,' John Cushion - 'English Porcelain,' W.B. Honey - 'Old English Porcelain,' Audrey Dudson and Alison Morgan - 'Dudson Staffordshire Figures c.1815-c.1865,' Leonard Griffin - 'Taking Tea with Clarice Cliff - A Celebration of her Art Deco Teaware,' Geoffrey A. Godden - 'The Concise Guide to British Pottery and Porcelain,' Henry and John Sandon - 'Grainger's Worcester Porcelain.' Generally in good condition.

An octagonal delftware plate c.1770, Liverpool or Dublin, painted in blue with La Pêche, a lady fishing, regarded by a figure beneath an archway, within stylized narrow panelled borders, a chip to the rim, 22.7cm. This design, commonly seen on Caughley and Worcester porcelains, is copied from a design by Jean Pillement, engraved by P C Canot and published in 1759. It was then published in the second edition of The Ladies Amusement the following year.

Three Liverpool delftware tiles c.1760-70, printed in black by John Sadler, one with a shepherd surprising a sleeping shepherdess, one with a gentleman helping a lady to fasten her ice-skate, with a partial signature, the last of a peasant offering a birdcage to a lady and child seated beneath a tree, the last broken and restuck, 13cm. (3) The tile with the ice-skater derives from Lancret's Winter. Cf. Anthony Ray, English Delftware Tiles, nos. 625, 635 and 732.

A mid 18th century Delftware puzzle jug possibly Liverpool, 19.5cm high

A documentary Liverpool delftware plate dated 1750, painted in blue with an insect around a tall peony spray and other Oriental flowers, the rim with panels of tied scrolls reserved on a hatched diaper band, the reverse inscribed 'Timothy Hoyle of Stublee in Rochdale Parish 1750', broken and restuck, 22.3cm. Provenance: the Liane Richards Collection. Exhibited: the English Ceramic Circle, 2009. The Timothy Hoyle in question seems likely to have been a yeoman, living in the Stublee (or Lee) area of Rochdale, near Newchurch. He married Elizabeth Topper on 29th November 1749, and the University of Manchester Library holds several records relating to financial transactions and the purchase of a pew in the chapel of Newchurch.

A rare Dublin or Liverpool delftware vase c.1760, the ovoid form boldly painted in blue relief with large peony and chrysanthemum blooms amidst scrolling leaves and prunus blossom branches, a rim crack, the cover lacking, 25cm. Cf. Peter Francis, Irish Delftware, fig. 175 for a similar garniture.

A rare Liverpool delftware tile c.1780, printed in red, probably by John Sadler with a head and shoulders portrait of a gentleman, perhaps Charles James Fox MP, and a Sadler tile printed in black with a boy watching a girl blowing bubbles at a table, after John Bowles, damages and repairs, 13cm. (2)

Three delftware plates mid 18th century, one Dublin and painted in blue with the Broken Scroll pattern, one Lambeth and decorated in polychrome enamels with a parrot perched on flowering branches, the last Liverpool and painted in the Fazackerley palette with simple flower sprays, some damages and repairs, 23.5cm max. (3) Provenance: the Iris Jones Collection.

A Liverpool delftware puzzle jug c.1760-70, of traditional form with a tall reticulated neck issuing from a squat globular body, painted with a four line stanza inviting 'Here Gentleman come try your skill', the sides with sprays of flowers in blue, red and green, some damages and repairs to the neck and handle, 18.5cm. Provenance: the Iris Jones Collection.

A Liverpool delftware guglet mid 18th century, the rounded body painted to two sides with a bird perched on rockwork beside bamboo and peony, the tapering neck rising to a swollen knop beneath the flared rim, painted with small leaf sprigs, a small amount of chipping to the rim, 23cm.

An English delftware blue and white plate, probably Liverpool, circa 1750, painted with an oriental crossing a bridge to an island, the border with four bunches of grapes, 22cm diameter, and five various English delftware blue and white plates and a bowl (7).

A Liverpool delftware plate c.1760-80, painted in blue with a seated figure playing the flageolet while a shepherd and two of his charges stand nearby, the upper rim with leafy branches issuing from the rocky precipice above the musician's head, 12cm rim crack, 22.2cm.