Art and Architecture Philobiblon

One Thousand Years of Bibliophily from the 11th to the 21st Century

Daily life in eighteenth-century Venice

30. Zompini, Gaetano (1698-1778)

Le arti che vanno per via nella città di Venezia. Inventate, ed incise del Gaetano Zompini. Aggiuntavi una memoria di detto autore.... Venice, 1785 [i.e. London, 1787].

Large folio (525x325 mm). Frontispiece, title-page, sixty plates showing Venetian tradesmen, and a final leaf of index, all engraved. Each plate with the English translation on pasted-on slips below the original captions in Venetian dialect. Early twentieth-century half-calf. Spine with five raised bands, gilt-tooled; title in gold on morocco lettering-piece. Upper joint partially cracked. A good copy, repairs to the blank margins of the title-page, tear to the frontispiece and plate no. 6, without any loss. A few marginal foxing.

Third edition – the first to be printed outside of Italy – of this highly original work, which suggests, with vivid immediacy, the harsh realities of daily life for the Venetian people. A painter and engraver from Neversa (Treviso), Zompini was encouraged by the printmaker and collector Anton Maria Zanetti to make a series of drawings of Venetian traders and hawkers (the original drawings are now held at the Correr Museum). Zompini later etched these drawings under Zanetti's supervision, and the series was first published in 1753. The copperplates were later acquired by the antiquarian John Strange (1732-1799), a British resident in Venice between 1773 and 1788, through his delegate Gianmaria Sasso. A second edition was then published in Venice in 1785; this edition introduced a new title-page and was supplemented with a life of Zompini – who had meanwhile died in 1778 – written by Sasso.

A few years later the work was also published in London with English translations of the original verse captions written in Venetian dialect by a certain Questini, priest of Santa Maria Mater Domini and a friend of Zompini and Zanetti. The copies printed in London, as with the present example, have the watermark '71 Lepard'. Some copies also include a letter-press leaf containing the life of the author (Memoria); this is not present in the current copy, a feature which can be explained by the fact that this London issue was intended for an English audience, as evinced by the English captions. Zompini was active as an engraver for the press of Antonio Zatta, and was responsible for the majority of plates included in Zatta's celebrated editions of Dante and Petrarch.

Cicogna 1733; Lipperheide 1330; R. Pallucchini, Incisori veneti, Venezia 1941, pp. 55-56; D. Succi, Da Carlevaris ai Tiepolo, Venezia 1983, pp. 451-461; Philobiblon, One Thousand Years of Bibliophily, no. 249.

The first monograph on Leonardo’s 'Last Supper’

31. Pino, Domenico (fl. between 18th and 19th century)

Storia genuina del Cenacolo insigne dipinto da Leonardo da Vinci nel refettorio de’ padri domenicani di Santa Maria delle Grazie di Milano.... Cesare Orena in the Malatesta Press, 1796.

8° (223x134 mm). [8], 139, [1] pages. Contemporary red morocco, over pasteboards. Covers within elaborate gilt frames, gilt centrepiece. Spine with five raised bands, gilt-tooled; title in gold on blue morocco lettering-piece. Marbled pastedowns and flyleaves, gilt edges. Small wormholes at the bottom of the spine. A fine copy printed on thick paper. Shelfmark 'L4' on the front flyleaf.

Provenance: old stamp of an unidentified noble family on the title-page. Rare first edition – dedicated to Ferdinand III, Grand Duke of Tuscany – of the first book entirely devoted to the history of the famous 'Cenacolo' (The Last Supper) fresco painted by Leonardo da Vinci in the refectory of the Santa Maria delle Grazie monastery in Milan between 1495 and 1498.

The author, the Dominican Domenico Pino, was prior of the monastery when he wrote the book, and thus had access to the conventual archives, which were later dispersed upon the arrival in Milan of Napoleon's troops.

Pino was assigned – by a Milanese printer who was about to publish a new guide of Milan – with the task of collecting more information on the 'Cenacolo' and revising its history. He was then visited by the painter Teodoro Matteini, who had been charged by Grand Duke Ferdinand III with the task of making a copy of the fresco. The copy was later used by Raffaello Morghen for his engraving of the 'Cenacolo'. In scouring the archives, Pino was especially motivated to debunk legends circulating about Leonardo's work, which had discretited the fathers of the convent.

The book therefore represents an important historical resource, chockful of evidentiary material; for example, Pino is able to quote a specific document referring to payment given to Leonardo on June 1497. The text is accompanied by the author's annotations and an extensive index.

Pino's Storia was surpassed a few years later by Giuseppe Bossi's monumental work on Leonardo's 'Cenacolo', published in 1810.

E. Verga, Bibliografia vinciana, Bologna 1931, no. 271; F. Predari, Bibliografia enciclopedica milanese, Milano 1857, p. 443; Philobiblon, One Thousand Years of Bibliophily, no. 256.

Neoclassical scenography

32. Basoli, Antonio (1774-1848)

Raccolta di prospettive serie, rustiche, e di paesaggio dedicate al merito di alcuni mecenati, professori, amatori di belle arti, ed amici. Incise a semplice contorno, e stampate in carta velina ad uso di Francia per poterle acquerellare... Disegnate da Francesco Cocchi... Incise da diversi scuolari del professore Francesco Rosaspina, dall’autore e dal disegnatore. vendibili presso l'autore e presso diversi negozianti di stampe e libri in Bologna, 1810.

Oblong folio (380x485 mm). Title-page with engraved vignette at the centre; 102 plates (numbered I-CII) engraved by Ignazio Sarti, Giulio Tomba, Luigi and Francesco Basoli, after Francesco Cocchi. Contemporary half-calf. Spine tooled in gilt; title in gold on morocco lettering-piece. A fine copy.

The Raccolta di prospettive serie, rustiche, e di paesaggio is composed of a wide range of inventive set designs by one of the most important and active Italian scenographers of the nineteenth century, Antonio Basoli. This is the first published collection of his stage designs, which were widely copied and imitated. The album includes landscapes, interiors, neoclassical reconstructions of Rome, and Egyptian scenes.

Born in Castel Guelfo, near Bologna, Basoli was educated by his father in classical art, classic and contemporary literature, and in the works of Giovanni Battista Piranesi (see no. 239). He often worked in partnership with his brothers, Francesco and Luigi. He taught at the Accademia Clementina in Bologna until 1826, and was active as a scenographer at the Teatro Taruffi, also in Bologna. Many of his publications, as with the present example, had a didactic purpose.

Berlin Katalog 4165; Millard IV, 15; Thieme-Becker II, 599; C. Ricci, La scenografia italiana, Milano 1930, pp. 2 and 23, pls. 138-146; F. Farneti-E. Frattarolo et al. (eds.), Antonio Basoli, 1774-1848. Ornatista, scenografo, pittore di paesaggio; il viaggiatore che resta a casa, Argelato 2008; Philobiblon, One Thousand Years of Bibliophily, no. 260.

33. Rothschild, Charlotte Baroness de (1825-1899)

Italie. Souvenir d’un voyage de Nice à Génes par la Corniche. Vingt-trois de mes Dessins. Eaux-fortes. 1869.

Oblong folio (435x600 mm overall; 250x430 mm platemark). Title-page printed in red and black. Twenty-three mounted etchings. Contemporary dark brown shagreen, covers double-ruled. Spine with six raised bands, title lettered in gilt. Minor abrasions to covers, spine partially cracked. Generally the etchings are superb impressions.

Provenance: Baroness Charlotte de Rothschild (ex-libris 'Abaye des Vaux de Cernay. Nathaniel de Rothschild' on the front pastedown).

Extremely rare and charming series of etched views of areas between Côte d'Azur and Genoa, designed by the accomplished painter, amateur printmaker, and art collector Baroness Charlotte de Rothschild. A visual record of one of the great Romantic voyages pittoresques, the journey began in Nice and concluded in Genoa, with stops in Menton, San Remo, etc. From the Parisian branch of this immensely wealthy and cultured family, Charlotte studied watercolours under Eugène Lami, with whom she founded the Society of French Watercolour Painters. Her Parisian salon included such luminaries as Corot, Manet, and Chopin. Published in a small number of copies, strictly for distribution as gifts to family and friends, we have only located two institutional copies: at the Bibliothèque Nationale de France, Cabinet des Estampes, and at the Bibliothèque de Cessole in Nice.

The copy presented here has a very appropriate provenance, bearing her ex-libris on the front pastedown, with the inscription 'Abaye des Vaux de Cernay. Nathaniel de Rothschild'. The Baroness had bought the Abbaye des Vaux de Cernay, located in the Chevreuse valley, in 1873, after the death of her husband, her English cousin Nathaniel Rothschild (1812-1870).

Most of the plates, as the title indicates, show harbours and coastlines from the viewpoint of the shore, although four are townscapes. The outlines of cities appear in some of the harbour plates as well; the emphasis falls on the romantic celebration of nature, with picturesque elements (fishermen, washer women) providing a sense of scale and enlivening the scenes. Unusually, the place names of the locales depicted are etched in the plate. Proximity is indicated by densely etched areas of black in the foreground, distance by a lighter and lighter line. The pitch-black areas are reminiscent of Manet, who most influenced the artist.

The album represents a quite unknown document, and a significant addition to the corpus of engraving by female artists.

Astengo-Fiaschini, nos. 55, 99, 122, 123, 132, 147, and 160; La route de Gènes. La riviera da Nizza a Genova nelle stampe romantiche francesi, nos. 58-59; M. Hall, “The English Rothschilds”, G. Heuberger (ed.), The Rothschilds: Essays on the History of a European Family, Rochester, NY 1994, pp. 265-286; P. Prévost-Marcilhacy, “Charlotte de Rothschild: artiste, collectionneur et mécène”, Histoires d'art, (2008), pp. 252-265; Philobiblon, One Thousand Years of Bibliophily, no. 274.

Manet’s Etching Revival

34. Manet, Édouard (1832-1883)

Manet. Trente eaux-fortes originales. A. Strölin, 1905.

Large folio-size collection (546x360 mm) comprising a four-leaf booklet and complete set of thirty etchings with aquatint set in mats. The title-page includes a heliogravure portrait by Fantin-Latour; introduction and index by Théodore Duret. Edition of 100 copies. In original tan cloth portfolio case. Sheets with full margins, 445x312 mm; plates ranging in size. Printed on paper with the Van Gelder watermark or with crowned lily and monogram 'JGL'. In the lower right margin of each sheet is a small red editorial stamp with numbering of the plates. Good impressions, neatly inked and very fresh, in a perfect condition.

Exceedingly rare complete set of etchings with aquatint by the famous French artist Édouard Manet, the eldest son of an official in the French Ministry of Justice and a visionary Realist with a profound impact on Modern Art. Printed in Paris by the Swiss-born art dealer, publisher, and collector Alfred Strölin, the etchings are accompanied with an introduction and index by the French journalist, author, and art critic Théodore Duret, one of Manet's greatest champions, and a heliogravure portrait of Manet by Henri Fantin-Latour, an extraction from the latter's celebrated canvas, Hommage à Delacroix, which was exhibited at the Salon in 1864.

The early 1860s was a particularly fruitful time in Manet's career specifically and printmaking generally. As Duret explains, this was when the artist was most fascinated with Spanish themes, taking as his subjects the various singing and dancing troops that made their way into Parisian entertainment. In 1861, as a young artist of only twenty-nine years, Manet received honourable mention at the tremendously important Paris Salon with Le Guitarrero ('The Spanish Singer') followed by great notoriety at the 1863 Salon des Refusés with the scandalous Déjeuner sur l'herbe, a reputation perhaps most solidified when his Olympia was shown in 1865. In the same years, the 'Etching Revival' – a period from about 1850 to 1930 when the medium was re-embraced by artists, particularly in France, England, and the United States – was gaining speed thanks to the establishment of the Société des Aquafortistes in 1862. The Society, which aimed to promote etching among artists and the public alike, was established at the urging of the skilled etcher Alphonse Legros. As with other painters, Manet joined the Society new to the graphic arts, and it was Legros who taught him the ropes. Fittingly, among his earliest efforts counts an etching of Le Guitarrero, included here in its final state – a poetic testament to Manet's artistic and technical maturation.

Between 1860 and 1882, Manet produced about 100 prints (etchings and lithographs); although a number of these were included in Society-related projects, many others were published posthumously. Upon the artist's death in 1883, thirty etched plates were counted among his possessions, which then became the property of his wife, Suzanne; in 1890, Suzanne printed about thirty impressions of twenty-three of these (including thirteen which had previously been unpublished) at Gennevilliers, where Manet had summered at his family's house. These twenty-three plates, along with seven more, were then ceded to the dealer and printer Louis Dumont who likewise published thirty impressions of each of the thirty plates. As Dumont's successor, the plates then passed into the hands of Alfred Strölin, who is responsible for the current edition, of which 100 copies were printed. Apart from contemporary impressions known in only a small number of copies, the plates of the Strölin edition are generally considered most desirable, as those of previous editions are often poorly inked. There is, however, an additional measure of finality at play: upon completing the print run, Strölin destroyed all the coppers by punching holes in them, thus ensuring his would be the final prints pulled from Manet's plates.

The beautiful impressions included in Strölin's edition are representative of the vastness and depth of Manet's lauded career, ranging from his early investigations into Spanish themes to such famous masterpieces as Olympia (included here in two versions), and the portraits of Eva Gonzalès, Baudelaire (again in two versions), Berthe Morisot, and Edgar Allan Poe.

It is extremely rare to find the Strölin set complete with all thirty etchings along with the text.

E. Moreau-Nélaton, Manet, Graveur et Lithographe, Paris 1906; M. Guérin, L'Oeuvre gravé de Manet, Paris 1944; J. C. Harris, Edouard Manet: Graphic works, New York 1970; F. Cachin - C. S. Moffett - J. Wilson Bareau, Manet, 1832-1883: Galeries Nationales Du Grand Palais, Paris, April 22-August 8, 1983, the Metropolitan Museum of Art, New York, September 10-November 27, 1983, New York 1983; Philobiblon, One Thousand Years of Bibliophily, no. 280.

One of thirty printed on Japon Ancien, bound by Madeleine Gras

35. Bonnard, Pierre (1867-1947) - Mirbeau, Octave (1848-1917)

Dingo. Ambroise Vollard, 1924.

4° (371x274 mm). 193, [11] pages. Fifty-five original etchings, some with drypoint: fourteen hors-texte plates, forty inthe text, one at the end; etched initials, headpieces and vignettes, all by Bonnard. Black and red morocco binding with white and red accents by Madeleine Gras (1891-1958), title lettered in gold in 'dymo' style on spine. Black suede endleaves and flyleaves. Gilt edges. The original wrappers preserved inside. Copy no. 23 of a total 350 copies, one of thirty printed on Japon Ancien. With a separate sheet showing the Indication pour le placement des eaux-fortes hors-texte, and a double suite of the fourteen plates sur papier d'Arches. A beautiful, pristine copy.

A fine copy of the famous French dealer-printer Ambroise Vollard's deluxe printing of one of Octave Mirbeau's final texts, illustrated throughout by the celebrated French painter and printmaker Pierre Bonnard. No. 23 of 350 copies printed – and one of only thirty copies printed on Japon Ancien – it is one of the best examples of early twentieth-century livres d'artiste, counting among Bonnard's masterpieces, and further enriched with a design binding by Madeleine Gras, pupil of the great binder Noulhac.

Dingo is an autobiographical tale of the author's adventures with his semi-feral Austrialian dog – the titular Dingo – in a lowly French country village reminiscent of the town in which Mirbeau grew up. It was published by Eugène Fasquelle in May 1913 although some months earlier, on 23 January, Vollard had written to Mirbeau stating that Imprimerie Nationale had agreed to print it for Éditions Vollard and on 29 December 1916 the dealer paid Bonnard 9,200 francs for illustrations for Dingo as well as another project he was illustrating. In failing health, Mirbeau turned to his long-time friend Léon Werth to help complete the work and passed away less than a month after Vollard's letter, on 16 February 1917. It is still a matter of debate as to why the printing of the text then shifted from Imprimerie Nationale to Émile Féquet, but by 26 November of that same year Vollard wrote to Mirbeau's widow announcing that the printing of Dingo was to commence that same day.

Regarded as the champion among champions of young avant-garde artists in the late nineteenth and early twentieth centuries, Vollard was endowed with a great eye and an incredibly energetic creative spirit, constantly moving from one novel project to the next. It was likely in 1893 that Vollard met a young Bonnard, now known for his intimate Post-Impressionist style and painterly approach to printmaking, and the former acted as the latter's 'impresario' for over twenty-five years thereafter.

Already an established dealer, in 1895, Vollard entered the world of print publishing and set out to issue annual collections of fine prints commissioned from an array of contemporary artists. This included Bonnard, who was increasingly involved with these efforts; indeed, in 1897, Vollard published his second collection, Album d'estampes originales de la Galerie Vollard, for which Bonnard designed the wrapper, inside covers, and contents page, and also contributed a lithograph to the collection itself. Although Vollard's early efforts in this domain were both critically and commercially unsuccessful, it was to Bonnard that he turned when he decided to begin printing his livres de luxe, Dingo being the second of five such works that Bonnard worked on with the great printer-dealer.

Bonnard, for his part, seems to have begun working on illustrations for Mirbeau's text shortly after it was published, and his 'croquis d'après le Dingo de M. Octave Mirbeau' was published in the June 1913 issue of Les Cahiers d'aujourd'hui. His illustrations mark Bonnard's first use of line etching and drypoint, and his excitement at the new technique – which to Vollard's dismay rendered his a more lengthy task than had been anticipated – can be felt in the animated strokes that enliven his illustrations; they capture at once the nobility, savagery, and freedom of the animal spirit and the powerfully dynamic nature of one's relation to space.

Vollard also had a lengthy relationship with Mirbeau himself. The French journalist, art critic, travel writer, pamphleteer, novelist, and playwright – who travelled breezily around popular and avant-garde domains alike – wrote a catalogue preface for a Manzana-Pissarro exhibition at Vollard's gallery in April 1907 and purchased a number of works from him around 1904; by 1907 the author had still not paid what he had owed, and it has been suggested by former Metropolitan Museum curator of Modern art Rebecca A. Rabinow that, 'given the nature of their relationship, it is possible that Mirbeau offered Vollard the opportunity to publish his latest work to defray his debt' (Rabinow, Cézanne to Picasso, 333).

N. Rauch, Les Peintres et le livre, 1867-1957, Genève 1957, 26; U. Johnson, Ambroise Vollard, Editeur, New York 1977, no. 169; F. Bouvet, Bonnard the Complete Graphic Work, London 1981, no. 90; C. Ives - H. E. Giambruni - S. M. Newman, Pierre Bonnard: The Graphic Art, New York 1989, no. 103; R. Jentsch, Ambroise Vollard, Éditeur, Stuttgart 1994, no. 17; R. A. Rabinow - D. W. Druick - M. A. di Panzillo, Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-garde, New York 2006, no. 20; Philobiblon, One Thousand Years of Bibliophily, no. 281.

Picasso’s true meditation on Art

36. Picasso, Pablo (1881-1973) - Balzac, Honoré de (1799-1850)

Le Chef-D'oeuvre Inconnu. Ambroise Vollard, 1931.

4° (335x260 mm). XIV, [3], [16 pages lettered A to P], [3], 92, [14] pages. With thirteen original etchings by Picasso, pulled by Louis Fort; sixty-seven wood engravings cut by George Aubert after Picasso's drawings; and 16 pages reproducing lineblock dot and line drawings. Handsomely bound in a custom binding by René Kieffer, with his signature on the lower turn-ins of the upper cover and his stamp pasted on the verso of the second flyleaf. Linen pastedowns, linen and marble-paper flyleaves. In marbled slipcase. Small stain on plate no. V of the table of etchings and on facing page (a blank), otherwise in pristine condition.

Beautiful centennial edition of Balzac's short story, Le Chef-d'oeuvre inconnu – originally published in the newspaper L'Artiste in August 1831 with the title 'Maître Frenhofer' – commissioned by Picasso's dealer, Ambroise Vollard, and illustrated with thirteen original etchings by the Spanish master, sixty-seven wood engravings cut by George Aubert after his drawings, and sixteen pages reproducing lineblock dot and line drawings. This edition was printed in 305 copies, of which 240 – including the present one, no. 230 – were printed on Rives wove paper.

Admired by such artists as Paul Cézanne and Henri Matisse, Balzac's story tells the tale of an ageing seventeenth-century artist named Frenhofer who obsessively works on a canvas he keeps hidden for years. When two young painters and admirers of Frenhofer's work finally manage to see the canvas, they are shocked by what they discover to be an indistinguishable mass of tangled brushstrokes and layers of paint. Deciding that the older artist must have gone insane, the two young artists deride Frenhofer who subsequently destroys all his works and commits suicide.

The story of this dramatically misunderstood yet visionary hero was well suited for the avant-garde artists pursuing careers in Balzac's wake; indeed, in 1904 Cézanne exclaimed outright 'Frenhofer, c'est moi' (J. Medina, Cézanne and Modernism: The Poetics of Painting, 1995). Arguably the most innovative and ground-breaking artist of the Modern period, Picasso was no exception and identified heavily with Balzac's tragic protagonist, so much so that he later moved his studio to the very seventeenth-century townhouse believed to have been the setting for the opening scene of Frenhofer's tale. It is perhaps hardly a coincidence that the dealer of both Cézanne and Picasso was the great avant-garde champion and mentor Ambroise Vollard, who, in addition to dealing art, was also an avid collector, biographer, and publisher.

In 1927, twenty-six years after mounting Picasso's first Paris exhibition in 1901, Vollard asked the Spanish artist to illustrate a centennial edition of Balzac's text. Although Picasso – widely recognized as one of the greatest printmakers of all time – counts among the most prolific book illustrators of the twentieth century, the etchings he produced for this edition in fact bear little relation to Balzac's text; rather, the artist seems to have used the opportunity to reflect more generally on one of his favourite subjects: the artist-model relationship and the act of creation itself. It is perhaps for this reason that the final product – a true meditation on Art – is itself a work of art, ranking among one of the most beautiful artist's books of the twentieth century.

Cramer, Picasso. Catalogue raisonné des livres illustrés, no. 20; Bonet, Carnets, no. 690, pl. 175; Philobiblon, One Thousand Years of Bibliophily, no. 283.

The Leonardo of our time — Pablo Picasso

37. Munari, Bruno (1907-1998)

Le macchine. Einaudi, 1942.

4° (283x210 mm). [32] pages. Fifteen full-page coloured plates showing 'useless machines'. Editor's illustrated cardboard, spine covered in black cloth, black-and-white author's portrait on the front pastedown. A very good copy.

Provenance: given by the author to the Italian architect Carlo Paccagnini (see Munari's autograph dedication to on the front pastedown: “Caro Paccagnini, ti regalo l'apparecchio per sostenere la testa del cane stanco, puoi fartene pure uno di ferro (da Crespi) e tenerlo in casa tua. Ciao. Munari” ('Dear Paccagnini, I give you as a present a device to sustain the head of the tired dog, you can also have it made in iron (by Crespi) and keep it at home. Bye. Munari').

First edition of Munari's most important artist book, a brilliant re-use of those 'useless machines' invented by the American cartoonist Rube Goldberg (1883-1970). The definition 'useless machines' indicates machines, made up of various movable parts, which are unable to produce expendable goods and do not increase resources. Munari, inspired by Goldberg's comics, began to draw these humorous machines during his student period to make his friends laugh. Some of these 'useless machines' are: a Machine to tame alarm clocks, a Mechanism to smell artificial flowers, an automatic Gauge of cooking time of boiled eggs, a Device to foresee the aurora, and an Apparatus to make hiccup music.

Bruno Munari is one of the most successful and prolific twentieth century Italian artists and designers. With his fundamental contributions to the visual arts in painting, sculpture, film, and industrial and graphic design (in modernism, futurism, and concrete art), as well as to non-visual arts with his ground-breaking research into games, didactic methods, tactile and kinaesthetic learning, and creativity, Munari became known worldwide as a true design legend. Called by Picasso 'the Leonardo of our time', Munari considered the book the best medium to communicate his visual ideas, showcase his art, and convey his creative spirit: he produced over sixty publications, ranging from design manuals and manifestos to visionary tactile children's books.

Munari's Le macchine appeared in the Einaudis' series “Libri per l'infanzia e la gioventù”, the press run for which is unknown. This copy was given as a gift by the author to the architect and friend Carlo Paccagnini, who was one of the participants to the Movimento per l'Arte Concreta (Concrete Art Movement) or MAC, the artistic movement formed in Milan in 1948 by, among others, Munari and the critic Gillo Dorfles.

G. Maffei, Munari: i libri, Mantova 2007, p. 56; Philobiblon, One Thousand Years of Bibliophily, no. 284.

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