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Albert BirkleDer BahnwärterÖl auf Pappe 103 x 71,5 cm Gerahmt. Unten links in Sütterlinschrift

In Moderne und Zeitgenössische Kunst - Evening Sa...

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Albert BirkleDer BahnwärterÖl auf Pappe 103 x 71,5 cm Gerahmt. Unten links in Sütterlinschrift
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Albert Birkle
Der Bahnwärter

Öl auf Pappe 103 x 71,5 cm Gerahmt. Unten links in Sütterlinschrift hellgrau signiert 'A. Birkle'. Rückseitig mit schwarzer Kreide in Sütterlinschrift signiert und betitelt 'Albert Birkle "Der Bahnwärter"'. - Die Ecken bestoßen und mit kleinen Farbverlusten. Partiell mit schwachem Craquelé.

Wir danken Roswita und Viktor Pontzen, Archiv und Werkbetreuung Albert Birkle, Salzburg, für ergänzende Informationen. Das Werk ist im Werkverzeichnis unter der Erfassungsnummer 203 gelistet.

Provenienz
Bis 1971 im Besitz des Künstlers, danach Kommission Neue Münchner Galerie Dr. Hiepe, München; ab 1974 Privatsammlung Süddeutschland, seitdem in Familienbesitz

Ausstellungen
Berlin 1927 (Kunsthandel Johannes Hinrichsen im Künstlerhaus Bellevuestraße), Sonder-Ausstellung Albert Birkle, Kat. Nr. 21; Salzburg 1980 (Museumspavillon im Mirabellgarten), Albert Birkle. Ölmalerei und Pastell, Kat. Nr. 23 mit ganzseitiger Farbabb.

Literatur
W. Seelemeyer, Gespräche im Atelier. Betrachtungen über moderne Malerei, in: Die Räder. Zeitschrift der Technischen Nothilfe, IX. Jg., Nr. 3, Berlin, 15. Februar 1928, S. 85 mit Abb.; Richard Hiepe, Vom Ruhm der Malkunst. Zur Wiederentdeckung des Malers Albert Birkle, in: Bildende Kunst, Heft 7, Berlin 1982, S. 343 ff., mit Farbbeilage; Rudolf Pfefferkorn, Albert Birkle. Leben und Werk, Hamburg 1983, S. 56, mit ganzseitiger Farbabb. 38; Sylvia Kraker, Albert Birkle 1900 - 1986. Diss. phil. Universität Innsbruck, 1992, S. 159, Abb. 44 und Kat. Nr. 433; Nikolaus Schaffer, Albert Birkle, Ausst. Kat., hrsg. v. Salzburger Museum Carolino Augusteum (Monographische Reihe zur Salzburger Kunst Bd. 20), Salzburg 2001, S. 25

Albert Birkle zählt zu den Malern der Neuen Sachlichkeit, sein Werk hebt sich hier jedoch durch eine einzigartige Bildauffassung hervor. Sie ist geprägt von einer gewissen Düsterkeit und Ambivalenz, seine Bilder zeigen Charakterköpfe und hintergründige Geschichten, die bildlich angestoßen aber nicht aufgeklärt werden. Mysteriös und doppelbödig ziehen sie den Betrachter in ihren Bann - ebenso wie offenbar auch die realen Modelle, die eine große Faszination auf den Maler ausübten. „Mich interessiert nur das Geheimnisvolle, nicht Klare bei Menschen und Dingen. […]. Mich fesselt nicht die Landschaft, deren Konturen eindeutig vor klarem Himmel unter der Sonne stehen und nicht der nichts als gesunde sportliche Typ des Menschen. Da gibt es kein Geheimnis und keine Überraschung.“, schilderte er selbst seine Motivwahl (zit. nach: Ausst. Kat. Salzburger Museum etc., op.cit., S. 24).
Seine Menschentypen sind in bisweilen grotesker, karikierender Überspitzung wiedergegeben. Dennoch beraubt er die Porträtierten nie ihrer Würde. Sie sind im Kontext ihrer Zeit und ihres Umfeldes gesehen, teils umgeben von den Insignien ihrer Tätigkeiten. Ihr persönliches Schicksal und ihr Charakter sind durchaus ablesbar an ihren Gesichtern und Händen, auf die Birkle in seinen Bildern einen besonderen Fokus legt. So wird auch der „Bahnwärter“ von seinem hageren Gesicht und den übergroßen, von harter Arbeit zeugenden Händen gekennzeichnet. Er ist der Typ eines einfachen, genügsamen Arbeiters, die Lachfalten um seine Augen künden

Full description on lot-tissimo.com
Albert Birkle
Der Bahnwärter

Oil on card 103 x 71.5 cm Framed. Signed 'A. Birkle' in light grey Sütterlin script lower left. Verso signed and titled 'Albert Birkle "Der Bahnwärter"' in black chalk in Sütterlin script. - The corners bumped and with minor losses of colour. Partially with light craquelure.

We would like to thank Roswita and Viktor Pontzen, Archiv und Werkbetreuung Albert Birkle, Salzburg, for additional information. The work is listed in the catalogue raisonné under the registration number 203.

Provenance
Until 1971 possession of the artist, thereafter commission Neue Münchner Galerie Dr. Hiepe, Munich; since 1974 private collection, South Germany, in family possession since

Exhibitions
Berlin 1927 (Kunsthandel Johannes Hinrichsen im Künstlerhaus Bellevuestraße), Sonder-Ausstellung Albert Birkle, cat. no. 21; Salzburg 1980 (Museumspavillon im Mirabellgarten), Albert Birkle. Ölmalerei und Pastell, cat. no. 23 with full-page colour illus.

Literature
W. Seelemeyer, Gespräche im Atelier. Betrachtungen über moderne Malerei, in: Die Räder. Zeitschrift der Technischen Nothilfe, yr. IX, no. 3, Berlin, 15. Februar 1928, p. 85 with illus.; Richard Hiepe, Vom Ruhm der Malkunst. Zur Wiederentdeckung des Malers Albert Birkle, in: Bildende Kunst, number 7, Berlin 1982, p. 343 ff., with colour supplement; Rudolf Pfefferkorn, Albert Birkle. Leben und Werk, Hamburg 1983, p. 56, with full-page colour illus. 38; Sylvia Kraker, Albert Birkle 1900 - 1986. Diss. phil. Universität Innsbruck, 1992, p. 159, illus. 44 and cat. no. 433; Nikolaus Schaffer, Albert Birkle, exhib. cat., ed. by Salzburger Museum Carolino Augusteum (Monographische Reihe zur Salzburger Kunst vol. 20), Salzburg 2001, p. 25

Albert Birkle was among the painters of the New Objectivity, however, within this context his work stands out on account of a unique pictorial concept. It is defined by a certain darkness and ambivalence: his pictures present expressive heads and inscrutable stories that are set in motion by the pictures, but not resolved. Mysterious and ambiguous, they put viewers under their spell - just as the real models had apparently done, exercising a great fascination over the painter. “I am only interested in the mysterious, not-clear among people and things. […] I am not captivated by the landscape resting beneath the sun, with contours standing out plainly before a clear sky, and not by the nothing-but-healthy, athletic type of person. There is no mystery and no surprise there”, is how he described his own choice of motifs (cited in: exhib. cat. Salzburger Museum etc., op. cit., p. 24).
His human types are depicted in sometimes grotesque, caricatural exaggeration. Nonetheless, he never robs his subjects of their dignity. They are seen within the context of their time and their surroundings, sometimes surrounded by the symbols of their work. Their personal fate and their character can certainly be read in their faces and hands, which received special emphasis in Birkle's pictures. Thus the “Bahnwärter” is also characterised by his haggard face and his oversized hands testifying to hard work. He is the archetype of a simple, undemanding worker; the lines that laughter has left around his eyes certainly indicate a sense of humour, but the vacant gaze emerging from the strikingly blue eyes is difficult to interpret. The little girl next to him, perhaps his granddaughter, seems to consist entirely of her serious little face with gigantic eyes. Together, these two dissimilar people stand in unsettling contrast to the grey colossus of the steam engine and the details of the crossing barrier and signal in the background. Here viewers are offered not a double portrait, but an enigmatic narrative that raises many questions and permits extremely diverse interpretations.
Nikolaus Schaffer writes of this painting: “It suits him much better when the objective level is linked with a fairy tale-like, metaphorical and almost naive narrative tone, which nonetheless sends a shiver down our spine, as […] in the case of “Bahnwärter”. As in this case, where the upstanding man and his child stand in front of the crossing barrier with an expression of tense expectation awaiting something terrible, while the overwhelming fate in the form of the black locomotive inexorably rolls forward, the signal lights glowing faintly, like celestial bodies which have lost their way: of all Birkle's pictorial inventions, this is perhaps the most striking.” (Nikolau

Full description on lot-tissimo.com

Albert Birkle
Der Bahnwärter

Öl auf Pappe 103 x 71,5 cm Gerahmt. Unten links in Sütterlinschrift hellgrau signiert 'A. Birkle'. Rückseitig mit schwarzer Kreide in Sütterlinschrift signiert und betitelt 'Albert Birkle "Der Bahnwärter"'. - Die Ecken bestoßen und mit kleinen Farbverlusten. Partiell mit schwachem Craquelé.

Wir danken Roswita und Viktor Pontzen, Archiv und Werkbetreuung Albert Birkle, Salzburg, für ergänzende Informationen. Das Werk ist im Werkverzeichnis unter der Erfassungsnummer 203 gelistet.

Provenienz
Bis 1971 im Besitz des Künstlers, danach Kommission Neue Münchner Galerie Dr. Hiepe, München; ab 1974 Privatsammlung Süddeutschland, seitdem in Familienbesitz

Ausstellungen
Berlin 1927 (Kunsthandel Johannes Hinrichsen im Künstlerhaus Bellevuestraße), Sonder-Ausstellung Albert Birkle, Kat. Nr. 21; Salzburg 1980 (Museumspavillon im Mirabellgarten), Albert Birkle. Ölmalerei und Pastell, Kat. Nr. 23 mit ganzseitiger Farbabb.

Literatur
W. Seelemeyer, Gespräche im Atelier. Betrachtungen über moderne Malerei, in: Die Räder. Zeitschrift der Technischen Nothilfe, IX. Jg., Nr. 3, Berlin, 15. Februar 1928, S. 85 mit Abb.; Richard Hiepe, Vom Ruhm der Malkunst. Zur Wiederentdeckung des Malers Albert Birkle, in: Bildende Kunst, Heft 7, Berlin 1982, S. 343 ff., mit Farbbeilage; Rudolf Pfefferkorn, Albert Birkle. Leben und Werk, Hamburg 1983, S. 56, mit ganzseitiger Farbabb. 38; Sylvia Kraker, Albert Birkle 1900 - 1986. Diss. phil. Universität Innsbruck, 1992, S. 159, Abb. 44 und Kat. Nr. 433; Nikolaus Schaffer, Albert Birkle, Ausst. Kat., hrsg. v. Salzburger Museum Carolino Augusteum (Monographische Reihe zur Salzburger Kunst Bd. 20), Salzburg 2001, S. 25

Albert Birkle zählt zu den Malern der Neuen Sachlichkeit, sein Werk hebt sich hier jedoch durch eine einzigartige Bildauffassung hervor. Sie ist geprägt von einer gewissen Düsterkeit und Ambivalenz, seine Bilder zeigen Charakterköpfe und hintergründige Geschichten, die bildlich angestoßen aber nicht aufgeklärt werden. Mysteriös und doppelbödig ziehen sie den Betrachter in ihren Bann - ebenso wie offenbar auch die realen Modelle, die eine große Faszination auf den Maler ausübten. „Mich interessiert nur das Geheimnisvolle, nicht Klare bei Menschen und Dingen. […]. Mich fesselt nicht die Landschaft, deren Konturen eindeutig vor klarem Himmel unter der Sonne stehen und nicht der nichts als gesunde sportliche Typ des Menschen. Da gibt es kein Geheimnis und keine Überraschung.“, schilderte er selbst seine Motivwahl (zit. nach: Ausst. Kat. Salzburger Museum etc., op.cit., S. 24).
Seine Menschentypen sind in bisweilen grotesker, karikierender Überspitzung wiedergegeben. Dennoch beraubt er die Porträtierten nie ihrer Würde. Sie sind im Kontext ihrer Zeit und ihres Umfeldes gesehen, teils umgeben von den Insignien ihrer Tätigkeiten. Ihr persönliches Schicksal und ihr Charakter sind durchaus ablesbar an ihren Gesichtern und Händen, auf die Birkle in seinen Bildern einen besonderen Fokus legt. So wird auch der „Bahnwärter“ von seinem hageren Gesicht und den übergroßen, von harter Arbeit zeugenden Händen gekennzeichnet. Er ist der Typ eines einfachen, genügsamen Arbeiters, die Lachfalten um seine Augen künden

Full description on lot-tissimo.com
Albert Birkle
Der Bahnwärter

Oil on card 103 x 71.5 cm Framed. Signed 'A. Birkle' in light grey Sütterlin script lower left. Verso signed and titled 'Albert Birkle "Der Bahnwärter"' in black chalk in Sütterlin script. - The corners bumped and with minor losses of colour. Partially with light craquelure.

We would like to thank Roswita and Viktor Pontzen, Archiv und Werkbetreuung Albert Birkle, Salzburg, for additional information. The work is listed in the catalogue raisonné under the registration number 203.

Provenance
Until 1971 possession of the artist, thereafter commission Neue Münchner Galerie Dr. Hiepe, Munich; since 1974 private collection, South Germany, in family possession since

Exhibitions
Berlin 1927 (Kunsthandel Johannes Hinrichsen im Künstlerhaus Bellevuestraße), Sonder-Ausstellung Albert Birkle, cat. no. 21; Salzburg 1980 (Museumspavillon im Mirabellgarten), Albert Birkle. Ölmalerei und Pastell, cat. no. 23 with full-page colour illus.

Literature
W. Seelemeyer, Gespräche im Atelier. Betrachtungen über moderne Malerei, in: Die Räder. Zeitschrift der Technischen Nothilfe, yr. IX, no. 3, Berlin, 15. Februar 1928, p. 85 with illus.; Richard Hiepe, Vom Ruhm der Malkunst. Zur Wiederentdeckung des Malers Albert Birkle, in: Bildende Kunst, number 7, Berlin 1982, p. 343 ff., with colour supplement; Rudolf Pfefferkorn, Albert Birkle. Leben und Werk, Hamburg 1983, p. 56, with full-page colour illus. 38; Sylvia Kraker, Albert Birkle 1900 - 1986. Diss. phil. Universität Innsbruck, 1992, p. 159, illus. 44 and cat. no. 433; Nikolaus Schaffer, Albert Birkle, exhib. cat., ed. by Salzburger Museum Carolino Augusteum (Monographische Reihe zur Salzburger Kunst vol. 20), Salzburg 2001, p. 25

Albert Birkle was among the painters of the New Objectivity, however, within this context his work stands out on account of a unique pictorial concept. It is defined by a certain darkness and ambivalence: his pictures present expressive heads and inscrutable stories that are set in motion by the pictures, but not resolved. Mysterious and ambiguous, they put viewers under their spell - just as the real models had apparently done, exercising a great fascination over the painter. “I am only interested in the mysterious, not-clear among people and things. […] I am not captivated by the landscape resting beneath the sun, with contours standing out plainly before a clear sky, and not by the nothing-but-healthy, athletic type of person. There is no mystery and no surprise there”, is how he described his own choice of motifs (cited in: exhib. cat. Salzburger Museum etc., op. cit., p. 24).
His human types are depicted in sometimes grotesque, caricatural exaggeration. Nonetheless, he never robs his subjects of their dignity. They are seen within the context of their time and their surroundings, sometimes surrounded by the symbols of their work. Their personal fate and their character can certainly be read in their faces and hands, which received special emphasis in Birkle's pictures. Thus the “Bahnwärter” is also characterised by his haggard face and his oversized hands testifying to hard work. He is the archetype of a simple, undemanding worker; the lines that laughter has left around his eyes certainly indicate a sense of humour, but the vacant gaze emerging from the strikingly blue eyes is difficult to interpret. The little girl next to him, perhaps his granddaughter, seems to consist entirely of her serious little face with gigantic eyes. Together, these two dissimilar people stand in unsettling contrast to the grey colossus of the steam engine and the details of the crossing barrier and signal in the background. Here viewers are offered not a double portrait, but an enigmatic narrative that raises many questions and permits extremely diverse interpretations.
Nikolaus Schaffer writes of this painting: “It suits him much better when the objective level is linked with a fairy tale-like, metaphorical and almost naive narrative tone, which nonetheless sends a shiver down our spine, as […] in the case of “Bahnwärter”. As in this case, where the upstanding man and his child stand in front of the crossing barrier with an expression of tense expectation awaiting something terrible, while the overwhelming fate in the form of the black locomotive inexorably rolls forward, the signal lights glowing faintly, like celestial bodies which have lost their way: of all Birkle's pictorial inventions, this is perhaps the most striking.” (Nikolau

Full description on lot-tissimo.com

Moderne und Zeitgenössische Kunst - Evening Sale

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

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Conditions of Sale

1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.

2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.

3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.

4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.

5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.

6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.

7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid
another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.

8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.

9. Up to a hammer price of € 400,000 a premium of 24 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.

10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate.

11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.

12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.

13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.

Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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