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 UBft,

WILL ALMA
M.I.M.C. (LONDON)
'Controlled

Co line idence

A New and
Subtle System for
Card Workers

By VICTOR FARELLI

With Four
Detailed Effects

LONDON
EDWARD BAGSHAWE & CO.
97, HEREFORD ROAD, W.2
 "To the real Magician, Magic is a constant revelation
of new principles or the discovery of new application for
the old.”

" The Measure of a Magician’s ability is nor by the

number of magical effects he can produce, but by the
quality or completeness of them.”
—The late Dr. A. M. Wilson, in " The Sphinx.”
(June and August, 1928.)
 Introduction
In the Winter of 1928, or early in the following Spring,
Messrs. Bagshawe & Co. issued a catalogue entitled " New
Magic,” in which an item called ” Card Control ”
appeared.
Briefly, the effect was that any card (not forced) could
be taken from a pack—if desired, in the performer's
absence—and the performer was able always to locate in
the pack a card of the same VALUE and a card of the
same SUIT, as that chosen.
Being struck by the novelty of the effect I wrote to Mr.
Bagshawe, requesting him to send me the trick and
adding: ” As a matter of experiment I have worked out a
method to obtain the same result as you do with Card
Control. I shall be glad when the instructions arrive, as
I am anxious to know if I am on the right track as regards
the method.”
As a matter of fact, I was entirely wrong, my system
being quite different from the original. However, Mr.
Bagshawe thinks my version of the effect an improve­
ment .... hence this little booklet.
V. F.
■ Illllll 111<lillll1111 till 11111IIIII

Arrangement of the Cards

Examination of the accompanying table will show that
the pack (composed of forty-eight cards) is arranged in a
definite and novel order. When a card is removed from
the pack, the cards immediately above and below it indi­
cate its suit and value.
Suppose that the Eight of Diamonds is drawn : the card
above it will be an eight (viz., Eight of Clubs), and the
card below it will be a Diamond, namely, the Four of
Diamonds. This pair of cards we will call the “ denot­
ing cards.” The system is absolutely fool-proof and works
automatically. There is no need to " sight ” any of the
cards, nor is any memory work required.
It will be observed that the Six of Spades, the Six of
Hearts, the Three of Clubs and the Three of Diamonds
are not included in the Table. These cards should be
disposed of as explained under the caption, " Choice
Foretold.”
It will be unnecessary to point out to the expert that the
pack may be cut any number of times without breaking
the sequence.
The principle may be employed in a variety of ways,
the first to be dealt with we may name:
A STRANGE COINCIDENCE.

Page Three
 ARRANGEMENT OF THE CARDS.

The State Library of Victoria

“ALMA CONJURING COLLECTION

Top Card K of Diamonds

K „ Spades
8 „ Spades

F 8
A
A
„ Hearts
„ Hearts
„ Clubs.
10 of Diamonds 9 „ Clubs.
10 „ Spades 9 „ Diamonds
9 „ Spades 5 „ Diamonds
9 „ Hearts 5 „ Spades
5 „ Hearts Q „ Spades
5 „ Clubs Q „ Hearts
8 „ Clubs 4 „ Hearts
8 „ Diamonds 4 „ Clubs
4 „ Diamonds J ,, Clubs
4 „ Spades J ,, Diamonds
3 „ Spades A ,, Diamonds
3 „ Hearts A „ Spades
2 „ Hearts 7 „ Spades
2 „ Clubs 7 „ Hearts
Q „ Clubs K „ Hearts
Q „ Diamonds K „ Clubs
2 „ Diamonds 7 ,, Clubs
2 „ Spades 7 „ Diamonds
J „ Spades
J
10
10
6
„ Hearts
„ Hearts
„ Clubs
„ Clubs
1
6 „ Diamonds Bottom Card

Page Four
 A Strange Coincidence
Effect.—Knife inserted by member of audience in any
part of pack. No forcing. Spectator removes, at his
choice, either card above or below the knife. This card
he places face down on table, or else in his pocket. The
helper again inserts knife in pack. No forcing. The
magician divides pack at this point. No false move is
made or any sleight performed. He places both packets
on table, one over-lapping the other, thus :—
The selected card is laid face
up on the table. The conjurer,
without having recourse to any
secret manoeuvre, or making any
suspicious movement, turns over
the upper half of the pack, thus
exposing the face card. He
next displays the top card of the
lower packet. These two cards
are the " denoting cards.” The effect, if desired, may be
immediately repeated.

General Working.
Should you happen to be an absolute master of a con­
vincing false shuffle, you may, as a prelude to the experi­
ment, prove your proficiency in this direction. It is by
no means necessary, or perhaps even advisable, to shuffle
the cards, a few genuine cuts being all that is required.
I may here point out that nothing looks worse than an
indifferently executed false shuffle. By performing it one
advertises the fact that the pack is " stacked ” or " faked ”
in some way. That is, however, en passant.

I. The Selection.
Holding the pack in the left hand, in the position
adopted when about to make the " Charlier Pass,” offer,
with the right hand, a knife to a member of the audience
—
and remark: " I want you to take this knife and insert
it in any part of the pack you like. Thanks. Are you
perfectly satisfied? If not, you may put it somewhere else.
You are quite content? Very good. We are now going
to remove a card. Which shall it he? the one above the
knife or the one below it? The card below it. Very well."
Still holding the pack in the left hand, fan it slightly
towards your right with the left thumb (the fingers of the
right hand assisting the movement), the helper all the time
keeping the knife in position. Let him remove the de­
sired card, namely, the one above, or the one below, the
knife, as the case may be. Make it quite clear that you

Page Five
do not perform any " slip ” or other sleight, without, of
course, saying this in so many words. Let it be obvious
that all is quite fair and that the man gets the card, he
actually chose.
Now comes the important move. As the spectator seizes
his card, quietly cut the pack at the point where this card
is removed. Place the upper half of the pack, held in the
right hand, under the packet in the left. Do this slowly
and deliberately. Square up the pack in the left hand.
The top and bottom cards will be the " denoting cards.”

If. The Revelation.

Again present the pack to the spectator, remarking as
—
you do so: "Kindly insert the knife once more, any­
where you may fancy. Are you quite content? You don’t
want to change your mind? You don’t. Good, I always
get a man to assist in this experiment. Now watch
very carefully! I divide the pack at the exact point you
have selected. 1 place the two portions of the pack on the
table in this fashion: one on top of the other. Is that
quite fair?"
The helper having inserted the knife, remove, with the
right hand, the upper half of the pack and place it face
down on the table. Next place the lower half, held in
the left hand, on the top of the other and overlapping it.
See sketch. This manoeuvre, which should be done calmly
and deliberately, brings the " denoting cards" together.
That is to say the position is as follows:—
On the face of the NOW upper packet: one of the
denoting cards.
On TOP of the NOW lower packet: the other denoting
card.
You do not know which is which, but, as will presently
be seen, this is a matter of no consequence whatever.
Address the spectator somewhat after the following
manner:—"Now, sir, please place the card you selected
face up on the table so that we may all see what it is.
The Jack of Spades. That is to say, it is a fack and also
a Spade. Remember! fack, Spade. Spade, fack. Now
notice this strange coincidence. I turn over the top packet
and we find a ... . Spade (viz., two of SPADES),
7 turn over the next card and we have a .. . Jack'
(namely, JACK of Hearts). Truly, as I say, a strange
coincidence.”
Suit the action to the words and display the two cards.
Let the effect ” sink in ” for a moment, and then gather
up the cards, being careful to get them in correct order.
You are now ready immediately to repeat the experiment,
preferably in one of the ways to be described in the

Page Six
succeeeding sections.
Notes.—1. If you wish to do so you can "sight" the
card above the chosen one, when the pack is separated at
the " break,” but no useful purpose is served thereby.
The " patter ” is designed to avoid all necessity of this.
2. I can assure the reader that this version of the
" Cards and Knife ” is thoroughly practical and, when
performed as above outlined, that it invariably creates
the greatest astonishment not only amongst the unsophis­
ticated, but also amongst experienced magicians. I have
done it hundreds of times without the slightest hitch.
3. I am unaware whom the originator of the ingenious
final subterfuge may be. Mr. Max Holden described the
move in the July (1925) number of " The Magical
Monthly" (No. 18, Vol. 2, Messrs. Bagshawe and Co.),
but does not claim to have invented it. It is undoubtedly
very little known. I fully realise that it does not " read
well,” but, in spite of this, it is one of the very best
and most subtle moves with which I am acquainted.
Every magician to whom I have demonstrated the effect
has spoken of it in the highest terms. The intelligent
reader will be well advised to add it to his " bag o’ tricks ”
forthwith.
llllltlllllOtlMIIIIIIUlHimilll

The Reversal

Effect.—1. Card selected by member of the audience

by knife method. Let us call this man Mr. A.
2. Another spectator (Mr. B) picks a card out of the
pack and pockets it.
3. Mr. B inserts knife in pack. The "denoting cards”
at the break reveal the name of his, Mr. B’s card.
4. The pack is spread out, backs upwards, on table.
One card is seen to be reversed. It is one of Mr. A’s
" denoting cards.” The other denoting card is facing
the first.
Note.—If desired, both the " denoting cards ” may be
reversed.

General Working.
I. Mr. A’s Selection. The entire procedure is exactly as
in " A Strange Coincidence.” Mr. A having taken a card,
the position is as follows:—
Chosen card : in Mr. A’s pocket.
Denoting cards : on top and bottom of pack.
II. Mr. B’s Selection. The second helper, Mr. B, should

Page Seven
be on Mr. A’s right (i.e. facing you and towards vour
left). Remark to Mr. B : " Would you take the knife from
your friend?”
Under cover of the quarter turn to your left, slip, with
the fingers of the left hand, the top card of the pack to
the bottom, reversing it as you do so. This is probably
one of the easiest manceuvres in the whole realm of card
conjuring. (See Note 2.) The position now is:—•
On bottom of pack: Mr. A’s " denoting cards facing
each other.
Still addressing Mr. B, continue:—"7 don’t want you
to use the knife yet a moment. Just take a card from the
pack, and put it in your pocket. Thanks."
Fan out the pack and take care that one of the cards
near the top is selected. Cut the pack at the point where
the card is removed. Place the upper half of the pack
under the lower and the position will be:—
On top of pack: one of Mr. B’s denoting cards.
On bottom of pack : the other of Mr. B’s denoting cards.
Near bottom of pack: both Mr. A’s denoting cards;
one reversed.
III. Revelation of Mr. B’s card.
Now remark to Mr. B:—" Have you got a good eye?
I hope you have, for in order to bring this experiment to
a successful conclusion, it ivill be necessary to divide the
pack into two portions as nearly equal as possible.”
Holding the pack in the left hand, present it to Mr. B
v/ith the remark:—"Stick the knife in, please. Do you
think it is near the centre? Would you like to try again?
As you wish.”
Separate the packets at the break and place one over­
lapping the other as explained in "A Strange Coincidence.”
The position will be as follows:—
Near the TOP of the NOW upper packet: Mr. A’s
" denoting cards ” (one reversed).
On bottom of same packet: one of Mr. B’s “ denoting
cards.”
On top of the NOW lower packet: the other of Mr. B’s
" denoting cards.”
Next get Mr. B to place the card he chose face up on
the table, reveal the corresponding " denoting cards ” as
already explained in ” A Strange Coincidence.” The
position will be:—
Face up on table: Mr. B’s card, say, the Four of
Diamonds.
Face up on table: packet of cards with Eight of
DIAMONDS on face. (N.B., Mr. A’s cards are in this

Page Eight
packet.)
On top of other packet (which lies face down): FOUR
of Spades, face up.
IV. Replacing Cards in Correct Order.
Now read very carefully.
(a) Turn Four of Diamonds (Mr. B’s card) face down
on table.
(b) Place the " Eight of Diamonds Packet ” on top of
the Four of Diamonds. Face down of course.
(c) Place the " Four of Spades Packet ” on top of the
other packet.
(d) The Four of Spades is now face up on the PACK.
Turn it face down.
The result of these manoeuvres, which are so hard to
describe, but which are childishly simple in actual practice,
is to bring the pack into its correct order. Follow the
instructions with a pack of cards and my meaning will
become perfectly clear.
Mr. A’s " denoting cards ” (one reversed) are near the
bottom of the pack.
V. Revelation of Mr. A’s Card.
Cut the pack near the top, bringing Mr. A's " denoting
cards ” to the approximate centre. Request him to re­
move his card from his pocket and to place it face up on
the table. Spread the pack on table, backs upwards,
showing one " denoting card " reversed, the other facing
it.
Notes.—1. In order to reverse both of the “denoting
cards,” proceed as follows:—
(a) When Mr. A selects his card, cut the pack at one
card above the break, thus bringing the required
pair of cards to the top of the pack.
(b) Insert the third finger of the left hand under the
two top cards, in the position adopted by American
magicians when about to make the pass.
(c) Pull these cards, with the fingers of the left hand,
to the bottom of the pack, reversing the cards as
you do so. This is not so easy as the reversal of
a single card, but it is by no means difficult.
2. Should you doubt your ability to reverse the card,
or cards, in an indetectable way, you may turn your back
to the spectators while Mr. B shows his card to the com­
pany. You can then perform the reversal in perfect
safety.
3. If you intend to perform the experiment about to
be described (viz., " Choice Foretold ”), there will be no
need to gather up the cards in their correct order. You

Page Nine
may take the opportunity of shuffling the pack.
4. The reversal effect has been worked out specially
at Mr. Dagshawe’s request.

Choice Foretold
Effect,—1. The performer hands the pack, which has
just been used, to a member of the audience, telling him
to put it in his pocket. He also gives a sealed envelope
to a second spectator.
2. The magician now introduces another pack of cards.
A third member of the company thrusts a knife into this
pack, the conjurer remarking :—
" I want you to remove two cards. What cards do you
select? The two above the knife or the two cards below it?
Or else you may have one card above it or one card below
it? Notice that you have the choice of three pairs of
cards: the pair above the knife: the pair below the knife:
a pair composed of one card above and one card below it.
Is that quite clear? Which will you have? The pair
below the knife. Are you quite satisfied? You are still at
liberty to change your mind. You don’t wish to. Very
good. The pair below the knife. Kindly remove them
from the pack and place than face up on the table. The
Six of Diamonds and the Three of Spades."
The cards are removed and placed on the table as indi­
cated in the patter, the performer making it quite evident
that helper really gets the cards he has chosen.
3. The magician then proceeds: " 1 am sure that you
will all be very much surprised to learn that I have fore­
told this gentleman?s choice. Before the entertainment
started. I removed four cards from the other pack and
placed them in that envelope. Let us open it. One of the
chosen cards is the Six of Diamonds: here is the cone-,
sponding pair, a SIX and a DIAMOND (viz., Six of
Hearts and the Three of Diamonds). The other card is
the Three of Spades: here is the pair to match, a THREE
and a SPADE (i.e., the Three of Clubs and the Six of
Spades). Examine the envelope, if you wish; it is empty.
Another strange thing to note. The spots on the two
chosen cards total nine. Each of the pairs in the enve­
lope also total nine, which goes to prove that I knew be­
forehand what cards would be selected. Yes, and you
may examine both packs. Each is composed of fifty-two
cards.”

Page Ten
Preparation.
I, Seal the four cards not included in the table in an
envelope.
II. In the second pack arrange the four following cards
thus:—
The Six of Clubs, about the 20th from the top.
The Three of Hearts, about the 21st from the top.
The Six of Diamonds, about the 22nd from the top.
The Three of Spades, about the 23rd from the top.
The Six of Diamonds is a " short" card.

I. Hand the envelope to a spectator and the pack of

forty-eight cards to another. It is advisable to shuffle it
before you do so in order to destroy the arrangement.

II. Introduce the second pack and, by means of the

familiar " riffle force,” get the knife inserted between the
Three of Hearts and the Six of Diamonds, that is above
the short card. The helper may then be given an abso­
lutely free choice of the three pairs of cards, as it does not
make the slightest difference to you which pair he may
select. The four cards in the envelope will cover all
cases. See Note No. 5.

III. The following diagram should make the principle

perfectly clear:—

Pairs of Cards Cards in

Position in 2nd Pack Envelope
Six of Spades
1 Black
Six of Clubs and /pair
Above Three of Clubs
a and
Knife Three of Diamonds
Three of Hearts \ Red
and
Six of Hearts /pair

Six of Hearts
\ Red
Six of Diamonds and /pair
Below Three of Diamonds
and
Knife Three of Clubs
Three of Spades \ Black
and
Six of Spades J pair

Three of Clubs
Three of Hearts | Pair
and
Either Six of Hearts
side of and
Knife Six of Spades
Six of Diamonds | Pair
and
Three of Diamonds
IV. There must not be the slightest hesitation in remov­
ing the required pairs of " denoting cards ” from the
envelope, or much of the effect will be lost. Fortunately,
there is no need to memorise the cards. Simply remember
that when a pair above or below the knife is chosen, the
" denoting cards ” will be of the same colour as each card
of the selected pair. When the two cards on either side
of the knife are selected, a little care must be exercised in
removing the corresponding cards from the envelope.
Remember the key word, " 3s. 6d.” (3 and 6). Each
of the " denoting pair ” must be composed of a " Three
and a Six ” and they must be of OPPOSITE colours. By
bearing this in mind it is impossible to go wrong.
Notes.—1. Obviously any method may be used to force
the required cards, but the one above explained allows
of a perfectly free choice of three pairs of cards after the
actual force has been made.
2. Instead of sealing the cards in an envelope, you
might have them in your pocket, but this does not seem
so effective.
3. Should you dislike the idea of introducing a second
pack, you could have a card chosen from the " forty-
eight ” pack, and cut it at one card above the " break ”
to bring the two " denoting cards ” to the top. While
the selector is holding up his card for the company to
see, you could palm off the two top cards and slip them
into your pocket, even turning your back for this purpose.
4. One of the advantages of the plan I have outlined
is that the previously arranged pack becomes a complete
pack of fifty-two and may be counted and examined by
any curious person who may express the wish.
5. Should it be decided to include this effect in a series
based on the same principle, namely the " forty-eight"
pack, it would unquestionably be more artistic to riffle the
pack whenever the knife must be inserted therein and
not only when the short card is used.

The Marvellous Discovery

Effect.—The cards are spread out on the table, backs
up. During the performer’s absence from the room any
card is removed by a spectator, who then squares up the
pack and cuts it any number of times. The magician
returns, picks up the pack and fans it out, back up.
Without looking at the face of a single card he discovers
the required " denoting cards.” These he may produce
in any way to suit his fancy or degree of skill.
First Method.
In order to obtain the required result it is essential that

Page Twelve
the performer be able to distinguish every alternate card
by its back. The simplest method is by means of a " one­
way ” pack. Alternate cards are arranged with their
" heads ” pointing in opposite directions. For instance,
the Ten of Diamonds will be " head-up,” the following
card, namely the Ten of Spades, will be " head-down,"
the next card (Nine of Spades) " head-up,” and so on
to the end of the pack of forty-eight.
To find the position where a card has been removed,
all you have to do is to fan the pack, or run through it,
until you come to two cards whose upper ends (or lower
ends, as the case may be) point in the same direction.
By cutting the pack between those cards, the " denoting
cards ” will be brought to the top and bottom. If the cut
be made at one card above the " gap " they will both be
on top: while by cutting it at one below it, the cards in
question will be brought to the bottom.
Should you intend to perform a number of effects with
the " forty-eight ” pack, you will do well to make this
version of the experiment, which relies on the " one-way ”
principle, the first of the series, in order to guard against
the danger of some of the cards being accidentally
reversed.

Second Method. (” Shades.”)

A far more satisfactory plan is to use what are known
to the card-sharping fraternity as " shades," or cards
whose backs differ slightly in tint.
Assuming that you intend to use a pack of cards of red
and white design, dilute some red ink with water, and,
by means of a camel’s hair brush, give every alternate
card a coat of this liquid. When dry it will be quite easy
for you to distinguish those cards from the others by the
difference in shade, although this will be imperceptible to
anyone unacquainted with the secret. Care should be
taken not to colour the white borders of the cards.
The advantage of this method is that it does not matter
how many cards get reversed in the course of previous
experiments. Provided that the sequence remain intact,
you will always be able to bring the effect to a satisfactory
conclusion. It is also much easier to set the pack.

Third Method. (Difference in Design.)

When it is possible to secure tivo packs which differ very
minutely in design it saves the trouble of preparing the
" shades.” I have not seen any such cards for years and
I do not know v/hether they are still obtainable or not.
The effect might also be workable with cards of smooth
and " linen ” (i.e. ribbed) finish, arranged alternately. In
this case the magician could hold the pack behind his

Page Thirteen
back and locate the " gap ” by the sense of touch alone.
There may be unforeseen difficulties in the way, but I think
that it would be well worth trying.
Note.—Unless you are very sure of the voluntary assist­
ant it will undoubtedly be more prudent not to allow him
to square up the pack or to cut it. Through clumsiness
he might disarrange the cards, or through ignorance or
malice he might shuffle them. I have found out to my
cost that a great many people do not know the difference
between cutting and shuffling. They think that to all
intents and purposes the result is the same, and that when
a magician allows the cards to be cut he would have no
objection to their being shuffled! I suppose that every
experienced card conjurer has discovered this for himself.

Some years ago a well-known performer, I think it was

Mr. T. Nelson Downs, brought out a new type of pack.
It was composed of twenty-six pairs of cards, each card
of the pair being a duplicate of the other. A free choice
of a card might be allowed, and all that the conjurer had
to do in order to obtain the duplicate, was to make the pass,
or cut the pack, at the point where the card had been
drawn. The disadvantage of this plan was that the pack
could not be handled by the spectators. This drawback
does not apply to the method which has been under con­
sideration, as, after the pack has been shuffled, it may be
examined.
In addition to this, the system is susceptible to a great
variety of combinations and arrangements. In fact,
practically any standard card experiment, in which the
magician discovers a chosen card, may be combined with
this method. The magician has no need to have a chosen
card returned to the pack, thus avoiding the necessity of
" controlling ” it, ana also eliminating all danger of a
careless spectator forgetting its name.
Suggestions
Rising Cards.
Denoting cards on top of pack. Caused to rise by hand
method. (” Modern Magic.”)
Cards in Rocket.
Denoting cards palmed off. Pack shuffled by audience.
Pack placed in performer’s or spectator’s pocket. Cards
found. (” Modern Magic.”)
The Blindfold and Knife.
Denoting pair on top or bottom of pack. Conjurer

Page Fourteen
blindfolded. Transfixes cards with knife. ("The Modern
Conjurer.”)
Caught in the Air.
(A) Denoting pair palmed off. Pack shuffled and
then thrown towards performer. Cards apparently caught.
(B) Another method. Denoting pair brought to TOP
of pack. Top card slipped to bottom and REVERSED.
Fingers moistened. Pack thrown in air by performer.
Denoting cards adhere to forefinger and thumb. (Similar
effect used to be performed by Charles Bertram.)
Cards through Handkerchief.
Denoting pair palmed off. Pack enveloped in hand­
kerchief. Cards (in fold as usual) pass through, one after
the other.
“Tips.”
Using the Joker instead of a Knife.
The effect which I have described under the heading " A
Strange Coincidence ” is one of my favourite " pocket
tricks." A good way to present it is the following.
Having first of all placed the Joker about the centre of
the pack, remark to a friend :—" Have you seen my new
move with a Joker?” Remove the cards from their case
and, holding them in the right hand, faces up, run through
them until you come to the Joker, observing:—"1 think
/ have a Joker here. Yes, here it is. In this way, and
without drawing any particular attention to the fact, you
let your friend see that the cards appear to be quite
ordinary, but the pack must be held in the right hana, as
explained in the next paragraph. Hand the Joker to your
” audience,” who will use it to thrust into the pack in­
stead of a knife.
How to " Fan ” the Pack.
Holding the pack in the right hand, face up, fan it
towards your left with your right thumb and left fingers.
The indices will thus be hidden and the arrangement of
the cards will not be in the least noticeable, as “ a trial
will readily convince.” Of course, the fan must not be
opened too wide, and the cards must be “ run ” fairly
quickly.
A Good Finish.
Having performed the effect as already outlined, offer
to do it again. A second ” denoting pair ” being on top
and bottom of the pack, shuffle it by means of the ” hand
riffle shuffle,” or the ” table riffle shuffle,” being careful
not to disarrange these two cards. You may then execute
a few false cuts as described in ” The Expert at the Card

Page Fifteen
Table,” still keeping the required in position. Bring the
experiment to a conclusion in the usual manner and leave
the pack on the table in order that your friend may
examine it should he wish.

A Final " Tip.”

After the two packets have been placed on the table,
the one overlapping the other, do not be in too great a
hurry to disclose the " denoting cards.” One must give
the onlooker time to forget exactly what has been done.
The " patter ” given has been tested by numerous
performances and may be relied upon.

Copyright by Edward Bagshawe

ALL RIGHTS RESERVED

ALMACP

F12-CA

Printed by the Kent & Surrey Press, Peckham, S.E.15