18 octobre 2008

"Drawn to Drama: Italian Works on Paper, 1500-1800" @ the Sterling and Francine Clark Art Institute

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The Crucifixion, c. 1651, by Giovanni Benedetto Castiglione, Oil on paper, 16 x 11 inches, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

WILLIAMSTOWN, MA.- A magnificent group of rarely seen and unpublished sixteenth- through eighteenth-century Italian drawings will be highlighted in Drawn to Drama: Italian Works on Paper, 1500-1800, an exhibition on view the Sterling and Francine Clark Art Institute on view through January 4, 2009. Selected from the Clark's impressive collection of Old Master drawings and the private collection of Robert Loper, Drawn to Drama will offer a unique opportunity to view this special group of Italian drawings that are dramatic in subject, composition, and execution. Sixty-five drawings including those by Giorgio Vasari, Guercino, Giovanni Benedetto Castiglione, Salvator Rosa, Luca Giordano, and Giovanni Battista Tiepolo are featured in the exhibition.

"The Clark is pleased to be exhibiting for the first time the Robert Loper Collection along with a large selection of our own Old Master drawings," said Clark director Michael Conforti. "It is an exciting opportunity to bring these important works to the public in an exhibition that reveals the artistic process of sixteenth- through eighteenth-century Italian artists."

Drawn to Drama contains a wide range of works, from small rapid sketches to larger and elaborately finished drawings, all focusing on the human figure. The exhibition explores how Italian artists of the sixteenth, seventeenth, and eighteenth centuries used the body as the primary expressive vehicle in depicting scenes from classical history, mythology, and the Bible. These artists were particularly adept at using facial expression, gesture, and posture to convey miraculous, visionary, and dramatic events in a compelling way.

A group of ten drawings by two of the greatest draftsmen of eighteenth-century Venice, Giovanni Battista Tiepolo and his son Domenico Tiepolo, are a highlight of the exhibition. These rarely exhibited drawings from the Clark's collection have not been shown as a group for several decades. Acquired by Clark founder Sterling Clark in the first decades of the twentieth century, they are in particularly pristine condition and therefore demonstrate the two artists' mastery of pen, ink, and wash technique that is the hallmark of their style. Giovanni Battista's handling of ink wash is especially broad and fluid, while that of Domenico is more descriptive and detailed. The exhibition provides a fascinating opportunity to compare directly the two artists' abilities.

The Clark's collection of Old Master (pre-nineteenth-century) drawings was begun in the 1910s by Sterling Clark, who acquired significant drawings by Albrecht Dürer, Peter Paul Rubens, Antoine Watteau, and many others. Between the opening of the Clark in 1955 and recent years, older drawings have been acquired on occasion through both gift and purchase. The collection was greatly enhanced by the acquisition of thirty Italian, Dutch, Flemish, and French drawings from the Steiner Collection in 2003. More recently, in 2007, a suite of sixteen drawings by the great seventeenth-century French landscape artist Claude Lorrain was acquired from the estate of noted collector Peter Sharp. The Clark's world-famous collection of nineteenth-century drawings was further enriched in 2007 when the Clark acquired the Manton Collection, which included numerous drawings by J.M.W. Turner, John Constable, Thomas Gainsborough, and many other leading British artists.

Half of the drawings featured in the exhibition are from the private collection of Robert Loper. In March 2004, Mr. Loper was listed by Art and Antiques as one of the "100 Top Collectors" in America. His collection of Italian Old Master drawings is significant and largely unknown to the public as it has never been published or exhibited. The drawings exhibited in Drawn to Drama are among the finest in his collection and represent the breadth and quality of its contents.

The expressive potential of body language and type is evident in Standing Male Nude by Francesco Fontebasso, from the Loper Collection. In the drawing, a very muscular model faces away from the viewer, yet his pose, leaning back and twisted to one side, implies without the use of facial expression that he is reacting strongly to an event unseen by the viewer. In another work from the Loper Collection, Luca Cattapane's Adoration of the Shepherds, a series of gestures combine to direct the viewer's attention to the drawing's subjects, Mary and Jesus. The gestures are subtle-one shepherd with his hands joined in prayer, another raising his hat in respect, Joseph's outspread arms offering protection to Mary and Jesus-yet effective in directing the viewer's attention to mother and infant.

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The Flight into Egypt, c. 1750–60, by Giovanni Battista Tiepolo, Pen and brush with brown ink and brown wash over red chalk on paper, 9 5/8 x 8 inches, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts


Sapphire And Diamond Necklace

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Sapphire And Diamond Necklace

Designed as a graduated series of oval sapphires within borders of brilliant-cut diamonds, interspersed with cross-shaped connecting links set with brilliant-cut stones, length approximately 395mm. Estimate 25,000—40,000 GBP

Sotheby's. Fine Jewels.| 06 Nov 08 10:30 AM. London - www.sothebys.com - Photo Courtesy Sotheby's

Posté par Alain Truong à 10:35 - - Commentaires [0] - Permalien [#]
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"Under the Influence: Art-Inspired Art" @ The Norton Simon Museum

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Angelica at the Rock (After Ingres), 1878, Georges-Pierre Seurat, Oil on canvas, 32-5/8 x 26-1/8 in. (83 x 66.3 cm). Norton Simon Art Foundation, Gift of Jennifer Jones. Simon, M.1997.1.4.P.

PASADENA, CA.- The Norton Simon Museum presents Under the Influence: Art-Inspired Art, an exhibition that looks at the ways artists have been inspired by and responded to the artworks of others. More than 45 objects from the Museum’s permanent collection are examined through the lens of imitation and appropriation, bringing together rarely seen paintings, works on paper and sculpture from the late-15th through the 20th centuries.

Artworks in Under the Influence raise provocative questions about artistic emulation and innovation. Some works are direct copies, such as Degas’ study after Nicolas Poussin’s monumental Rape of the Sabines (Louvre, Paris). Others, like Picasso’s Portrait of a Young Woman (After Lucas Cranach the Younger), are recognizably in the artist’s own style and contrast greatly with the original. Additional works featured include Goya etchings after the Spanish court painter Diego Velázquez, drawings by Fragonard after the Italian Old Masters, paintings by Manet, Cézanne and Seurat, and lithographs by Picasso. Two works that have been considered study pieces at the Museum—Portrait of a Lady (formerly attributed to Sebastiano Mainardi) and Venetian Nobleman (formerly attributed to Titian)—are also included as exercises in connoisseurship.

The exhibition also includes a 21st-century piece—a model of artist David Schafer’s new work Separated United Forms (SUF). The bronze sculptures, commissioned by the Pacific Medical Buildings for installation at Huntington Hospital in early 2009, were inspired by Henry Moore’s Reclining Form, 1966, a marble sculpture in the Norton Simon collections. Schafer used a hand-held body scanning device to create computer generated renderings of Moore’s marble sculpture, which he then reconfigured to create SUF. Both Moore’s work and Schafer’s model will be installed side by side.

All together, this impressive assemblage offers visitors the unique opportunity to explore some of the motives behind artistic emulation, be they private patronage, formal training, personal admiration of a particular artist, and the growing demand for the wide distribution of notable works. To enhance the experience, when applicable, a small reproduction of the inspiring artwork accompanies the featured work; in several instances, both the inspiring and inspired artworks are presented.

Under the Influence is organized as a complementary exhibition to Ruth Weisberg: Guido Cagnacci and the Resonant Image, which features Los Angeles-based artist Ruth Weisberg’s new series inspired by Guido Cagnacci’s stunning Martha Rebuking Mary for Her Vanity, after 1660. Both exhibitions are on view in the Norton Simon Museum’s lower-level temporary exhibitions gallery from October 17, 2008 through March 2, 2009. Under the Influence is curated by Javier Ramirez, Academic Intern at the Norton Simon Museum.

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The Rape of the Sabines (After Poussin), 1861-62, Edgar Degas, Oil on canvas, 59 x 81-1/2 in. (149.9 x 207.0 cm). The Norton Simon Foundation, Gift of Mr. Norton Simon, F.1983.06.P.

Fancy Vivid Orange-Yellow Diamond, Diamond And Peridot Ring, George Pragnell, Circa 2008

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Fancy Vivid Orange-Yellow Diamond, Diamond And Peridot Ring, George Pragnell, Circa 2008

Designed as a daffodil, centring on an oval fancy vivid orange-yellow diamond weighing 0.82 carats, the petals pavé-set with brilliant-cut near colourless diamonds, the leaf and shoulders set with circular-cut peridots, size N ½, signed Pragnell and numbered, cased, accompanied by a facsimile design of the ring by George Pragnell. Estimate 20,000—40,000 GBP

NOTE: Accompanied by a report from The Precious Stone Laboratory, no. 984218, stating that the Fancy Vivid Orange-Yellow diamond weighing 0.82 carats, is natural.

This is a unique jewel created by George Pragnell for the 60th Anniversary of Marie Curie Cancer Care. The money raised through the sale of this beautiful Daffodil Diamond Ring by George Pragnell will help fund Marie Curie Nurses, who care for people with terminal illnesses, giving them the choice to die at home supported by their families.

George Pragnell is known as both a manufacturer and jewellery retailer, the company started in 1954. Charlie Pragnell, the founder's Grandson, based the design of the ring around the charity's emblem, the daffodil.

The ring was made in George Pragnell's workshops, Stratford upon Avon, home of Shakespeare. It is crafted in 18 carat yellow and white gold, centring on a rare oval Fancy Vivid Orange Yellow diamond weighing 0.82 carats, its petals pavé-set with near-colourless diamonds, with subtle green peridots to the stem and leaf.

This piece is a credit to British craftsmanship, it demonstrates that the skill of the goldsmith is still very much alive and required in making a bespoke jewel that is both original and unrivalled.

Historic coloured diamonds such as The Tiffany Diamond, a magnificent Fancy Yellow 128.54 carat diamond and the Hope Diamond, a Fancy Dark Greyish-Blue 45.52 carat diamond, have captured the public's attention over the years and the demand for coloured diamonds has continued to increase and is reflected in the high prices achieved for these rare stones at auction.

The first major discovery of quantities of what today would be considered fancy-yellow diamonds occurred at several locations in South Africa in the late 1860's starting with the Eureka discovered in 1866 on farmland. Today, yellow diamonds are found in the productions of mining operations throughout the world but only 1% of those diamonds mined are naturally coloured.

Fancy coloured diamonds are graded based on two factors. The first is their basic hue, such as pink, yellow, blue and even green, it is interesting to note that a secondary undertone that enhances the colour of a diamond is considered a plus, while a secondary undertone that detracts from the colour is thought to be a negative. The second is their intensity of colour. Both colour characteristics form the basis for determining a fancy coloured diamond's rarity and value.

When grading fancy coloured yellow diamonds, the Gemological Institute of America, G.I.A uses the following categories:

1. Fancy Light
2. Fancy
3. Fancy Intense
4. Fancy Dark
5. Fancy Deep
6. Fancy Vivid

Unlike other coloured diamonds (except brown) yellow diamonds with grades of Faint, Very Light and Light are not considered to be fancy-coloured diamonds, but are part of GIA's D-Z colour grading scale.

The formation of white diamonds involves a process that requires the presence of carbon being crystallised under immense heat and pressure deep in the earth's crust, but to colour a diamond one also needs the presence of additional trace elements and distortions to the typical diamond crystal. If an element interacts with carbon atoms during a diamond's creation, the diamond's colour can change. Radiation and pressure on a diamond's structure will also impact its colour as well. The presence of nitrogen can impart yellow or orange shades to a diamond.

Marie Curie Cancer Care has provided end of life care for 60 years and appropriately the charity was founded in 1948 following the donation of a diamond engagement ring, this raised £75 at auction, equivalent today to approximately £5,762.

Sotheby's. Fine Jewels.| 06 Nov 08 10:30 AM. London - www.sothebys.com - Photo Courtesy Sotheby's

"Konpira-San, Sanctuaire de la mer - Trésors de la peinture japonaise" au Musée Guimet

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Sanctuaire de Konpira, île de Shikoku, Japon © Keiichi Kawamura/ KOTOHIRA-GU

Le sanctuaire shintô de Kotohira-gu (ou Konpira-gu), point de convergence du culte des montagnes et de croyances relatives à la divinité gardienne des transports maritimes et protectrice des dangers de la mer, fut dès l’époque de Heian (794-1185) un centre de dévotion important, particulièrement populaire et fréquenté à partir du XVIIe siècle. Lieu de pèlerinage célèbre, Kotohira-gu apparaît aussi comme un foyer de création artistique très actif, conservant dans l’enceinte de ses bâtiments de nombreux témoignages picturaux de l’époque d’Edo.

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Hanamaruzu (Fleurs) Itō Jakuchū (1716-1800) Epoque d’Edo (1615-1867) 1764 Couleurs et particules d’or sur papier Quatre portes coulissantes, paroi sud du Jōdan no ma, Oku-shoin Chaque panneau : H. 177,5 cm ; l. 91 cm Sanctuaire de Konpira, île de Shikoku, Japon © Keiichi Kawamura/ KOTOHIRA-GU

L’exposition se propose ainsi de montrer, pour la première fois en dehors du Japon, l’essentiel de ces œuvres, pour la plupart des peintures murales de grande envergure (cloisons coulissantes et paravents) participant de l’architecture intérieure des lieux. La présentation muséographique de celles-ci tendra à rendre compte le plus fidèlement possible de cette dimension singulière de l’aménagement des espaces intérieurs au Japon, appliqué ici à la sphère religieuse.

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Vue générale des salles des Tigres, des Sept Sages et du Paysage Maruyama Ōkyo (1733-1795) Epoque d’Edo (1615-1867) 1787 Encre, touches de couleur et particules d’or sur papier Quatre portes coulissantes, paroi nord de la salle des Tigres, Omote-shoin Chaque panneau : H. 182,5 cm ; l. 115,5 cm Sanctuaire de Konpira, île de Shikoku, Japon © Keiichi Kawamura/ KOTOHIRA-GU

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Tigres, Maruyama Ōkyo (1733-1795) Epoque d’Edo (1615-1867) 1787 Encre, touches de couleur et particules d’or sur papier Quatre portes coulissantes, paroi nord est de la salle des Tigres, Omote-shoin Chaque panneau : H. 182,5 cm ; l. 139 cm Sanctuaire de Konpira, île de Shikoku, Japon © Keiichi Kawamura/ KOTOHIRA-GU

Ce sont donc de grands noms de la peinture japonaise qui seront évoqués, au travers d’œuvres célèbres dont beaucoup sont aujourd’hui classées Bien Culturels Importants. Si de rares paravents permettront d’illustrer les grands courants de la création picturale à l’époque Momoyama, notamment l’école Kanô (« Cèdres et Mont Fuji », paravent attribué à Kanô Eitoku) et l’école Tosa (paire de paravents illustrant des scènes du Genji Monogatari par Tosa Mitsumoto), ce sont surtout deux grands noms de la peinture du XVIIIe siècle qui seront par le biais de cette exposition magistralement représentés : Maruyama Ôkyo (1733-1795) et Itô Jakuchû (1716-1800). Des peintures à l’huile de Takahashi Yuichi (1828-1894) témoigneront de la portée des influences occidentales sur la création picturale de l’ère Méiji.

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Jeune pin et grues, Maruyama Ōkyo (1733-1795), Epoque d'Edo (1615-1868), 1787, Encre, couleurs légères et particules d'or sur papier, Quatre portes coulissantes, paroi nord de la salle des grues, Omote-shoin, Chaque panneau : H. 182,5 cm; l. 91,5 cm. Sanctuaire de Konpira, île de Shikoku, Japon. © Keiichi Kawamura/ KOTOHIRA-GU.

PARIS.- Musee National des Arts Asiatiques Guimet presents Treasures of Japanese Painting Konpira-San - Sanctuary of the Sea, on view through December 8, 2008. This exhibition, jointly organized by the office of Kotohira-gű and the Guimet museum is part of the commemoration of the 150th anniversary of diplomatic relations between France Japan. It is the perfect opportunity to admire major works from the XVIIIth century and to talk about Shintoism, the animist type religion proper to the Japanese archipelago.

The Shinto sanctuary of Konpira (or Kotohira-gű), a crossroad for the cult of the mountain and beliefs linked to the divinity that guarded sea transports and protected from the dangers of the sea, was since the time of Heian (794-1185) an important center of devotion, attended in particular as of the XVIIth century. A song that tells of the pilgrimages of boats from Konpira that sailed Japan’s Internal Sea, bears witness to the popularity of this famous pilgrimage site. Pilgrims from all over have converged towards this town, located in the island of Shikoku, to pray in the holy place, where the quietness contrasts with the bustling of the markets and theaters.

Konpira-san appears as a very active center of artistic creativity, that has kept inside the walls of its buildings numerous pictorial proofs of the Edo period. Both a venue of spirituality and culture, it has supported the arts and sciences since the Edo period and holds over 6000 works. The exhibition aims at showing, for the first time outside of Japan, a part of these works, most of them very large mural paintings (screens and sliding partitions) that participate in the site’s interior architecture. Their museum presentation will focus on rendering as faithfully as possible this unique dimension of the manner in which interior space is arranged in Japan, here applied to the religious sphere, in order to allow visitors to feel the spiritual world of Kotohira-gű where nature and culture are united.

The delicate cranes with their white necks, visible in the fresco Reeds and wild geese are side by side with paintings of majestic tigers. While screens illustrate the major currents of pictorial creation during the Momoyama period, in particular the Kanô school (Cedars and Mount Fuji, a screen attributed to Kanô Eitoku) and the school of Tosa (pair of screens illustrating scenes of Genji Monogatari by Tosa Mitsumoto), this exhibition brilliantly represents two great names in XVIIIth century painting: Maruyama Ôkyo (1733-1795) and Itô Jakuchű (1716-1800), whose famous works are considered today Important Cultural Goods. In the last part of the exhibition, the contemporary works of Takubo Kyôji, the cultural counselor of the sanctuary and a major Japanese artist who produced frescoes 4 meters tall and 25 meters long, ally delicateness and monumentality around camellias in indigo colors, the symbols of renaissance of the Kotohira- gű.

Du 15 octobre au 8 décembre 2008



Mon horoscope du jour


Ne négligez pas les opportunités qui se présenteront à vous aujourd'hui. Vous en serez plus convaincant!

Évitez tout nouveau projet. Une confiance exagérée en vos capacités vous mènerait à une fatigue exagérée!

Posté par Alain Truong à 09:24 - Commentaires [0] - Permalien [#]

17 octobre 2008

A Double-Strand Pearl And Cultured Pearl Necklace

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A Double-Strand Pearl And Cultured Pearl Necklace

Of forty and forty-two graduated pearls and cultured pearls, measuring from approximately 6.25 x 6.80 to 12.40 x 13.90 mm, to the old European-cut diamond openwork clasp, mounted in platinum, may be worn as a single or a double-strand, 17 ins. and 18½ ins. - Price Realized $302,500

With report 17211288 dated 21 May 2008 from the Gemological Institute of America stating that fifty-eight pearls are natural and twenty-four are saltwater cultured pearls

Christie's. Jewels: The New York Sale. 15 October 2008. New York, Rockefeller Plaza - www.christie's.com - Image Christie's Ltd 2008

Posté par Alain Truong à 23:10 - - Commentaires [0] - Permalien [#]
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A Continental Silver-gilt Figural Tazza, probably Moldavian or Transylvanian, mid 17th century

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A Continental Silver-gilt Figural Tazza, probably Moldavian or Transylvanian, mid 17th century

the hexafoil bowl finely chased with six scenes each in lobate cartouche comprising:
Pan and Syrinx
The Story of Io turned into a cow
Mercury with the head of Argus
Phaeton before his father Apollo
Phaeton mounting the chariot of the Sun
The Death of Phaeton
the center embossed in high relief with Argus and Hermes with Io in the background, the stem formed as a rearing horse, shaped oval base chased with lobate strapwork and shells and topped by a frog, the base struck with maker's mark IF device below and an unclear town mark, the bowl with a monogram mark ?IGV

weight 11oz 15dwt (367g) - measurements height 8in. (20.3cm) - Lot Sold 7,500 USD

NOTE: The same monogram mark appears on a parcel-gilt tankard, catalogued as Hungarian, second half seventeenth century, sold Sotheby's, Geneva, 12 November 1990, lot 146. A similiar monogram mark appears on an ewer and basin with Moldavian armorials, in the collection of the Metropolitan Museum of Art, New York, sold Christie's, Geneva, 15 May 1990, lot 218, where that mark was described as a "fouled anchor" and the date was given as circa 1650.

Sotheby's. Silver. 17 Oct 08. New York  - www.sothebys.com. Photo Courtesy Sotheby's

Posté par Alain Truong à 23:03 - - Commentaires [0] - Permalien [#]
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A 9.68 carats Heart-shaped Diamond Ring

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A 9.68 carats Heart-shaped Diamond Ring

Set with a heart-shaped diamond, weighing approximately 9.68 carats, with a circular-cut diamond gallery and shoulders, mounted in platinum, (accompanied by a textured 18k gold ring mounting) -  Price Realized $314,500

With report 17445808 dated 23 June 2008 from the Gemological Institute of America stating that the diamond is F color, VS2 clarity

Christie's. Jewels: The New York Sale. 15 October 2008. New York, Rockefeller Plaza - www.christie's.com - Image Christie's Ltd 2008

Posté par Alain Truong à 22:52 - - Commentaires [0] - Permalien [#]
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A Pair of French Empire Silver Urns and Covers, Jean-Baptiste-Claude Odiot, Paris, 1809-19

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A Pair of French Empire Silver Urns and Covers, Jean-Baptiste-Claude Odiot, Paris, 1809-19

of campana form, applied with butterfly-handled urns flanked by addorsed recumbant maidens with baskets of flowers, the handles formed as twin-tailed classical females with arches of reeds, the flat covers with wreath finials surrounded by an engraved band of running leaves, mounted on square plinths applied on one side with a partly-draped classical maiden led by Eros, the other side with Eros and a fully-dressed maiden holding a lyre, the sides with stylized classical foliage, the bodies engraved on one side with English arms - weight 149oz (4634g) - measurements height 15in. (38.2cm) - Lot Sold 50,000 USD

NOTE: The arms are those of Nicholas Vansittart of Foot's Cray Place, Kent, 5th son of Henry V, M.P., Governor of Bengal. He was born in 1766, M.P. for Hastings 1796-1802, for Old Sarum 1802-12, East Grinstead 1812, Harwich 1812-23, envoy to Denmark 1801, Joint Secretary of Treasury 1801-4 and 1806-76, P.C. 1805, Chancellor of the Exchequer 1812-23, created on his resignation for that post Baron Bexley of Bexley, co. Kent with a pension of 3000 pounds per year. In 1806 he married Catherine Isabella, 2nd daughter of Sir Gilbert Eliot Bart. He died without issue in 1851 when the peerage became extinct.

Sotheby's. Silver. 17 Oct 08. New York  - www.sothebys.com. Photo Courtesy Sotheby's



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