My daughter is a party this weekend and part of it will be inside in the basement unfinished mostly. The walls are unfinished dark wood and insulation exposed (we have not been able to drywall yet) but we have managed to paint the floor to cover the gray tinted concrete. I have a futon, 2 dressers and a coffee table in there and a few carpets, but it still seems "uncozy. Any ideas to get closer to the room? One idea I had was to hang balloons from the ceiling and sliding a few plants there but I need help.
Go to a thrift store and pick up old sheets of white tie dye and hang them to cover the walls. Pick some light rope or some type of additional lighting so its not so dark (basement can be very dark) throw pillows Additional around you should be fixed! You have a lot of fun.
Biography The ancestors of the family had moved to Cliff Tunstall Eccleshall area in about 1725. When Clarice was born their home was on the Meir Street, a terrace of modest houses, but Tunstall was in fact a little better part of Stoke on Trent. Cliff father Harry worked at local iron foundry in Tunstall, his mother Ann took in washing to supplement the family income, and they had seven children. Cliff was sent to a school different from his brothers and sisters, and this may be his guest more independent approach to his career and his lifestyle non-standard standards Stoke on Trent. We know that after school Cliff will paintresses aunts who were finalizing a local pottery business, and has also made models Paper-MCH at school. The family size means that, in 1906, moved to the cliffs a bigger house on the adjacent street Edward, where, as children have left school (13 years), they were able to increase family income, so they never undergone intense events that affected many in pottery because of high unemployment. Career At the age of 13, Cliff began working in the pottery industry. His first job was as a gilder, add lines of gold on the traditional conservation. Once she has mastered what she changed jobs to learn freehand painting at another potbank in same time studying art and sculpture at the Burslem School of Art at night. In 1916, Cliff took the unusual step of going factory of AJ Wilkinson Newport, Burslem, improve career opportunities. This required a long journey to work. Was an unusual start to an unusual path, the youngest women in the Staffordshire Potteries related to "apprentice wages", and have mastered a task particular, stayed with that to maximize their income. However, Cliff was ambitious and acquired skills in modeling figurines and vases, gilding, bookkeeper and fashion items Handpainted: exponent, enamelling (fill in the color contour) and banding (stripes on radial plates or vessels). In the early 1920s his direct boss Jack Walker Cliff to the attention of one of two owners of the factory Colley Shorter, who has managed with his brother Guy. Colley Shorter was 17 years older than Cliff, and thus play a major role in nurturing their skills and his ideas, he later her husband. The first impression "Bizarre backstamp is used on articles of Clarice Cliff 1928 to early 1936, styles. Cliff received a second learning to AJ Wilkinson in 1924 (when she was already 25 years), mainly as a modeller "But she also worked with facility designers and Fred Butler John Ridgway. They preservative, utensils Victorian – Butler had been Designer over 20 years at that time. Finally, Cliff wide range of skills have been recognized and in 1927 she gave her own studio in the nearby Newport Pottery Shorter had purchased in 1920. Here, Cliff was allowed to decorate some of the bad old "Gloster" (white) Articles in her own freehand patterns. For these she used on-ice colors of enamel, which has a better range of underglaze colors. She covered the imperfections in simple patterns of triangles, in a style she called "bizarre". Early examples had a mark painted hand, usually in a rust-colored paint, "Bizarre by Clarice Cliff, sometimes with 'Newport Pottery' below. To the surprise of executives Business Seller Ewart Oakes, when he took a car to a major reseller, he was immediately very popular. Clarice has been given a young woman painter Gladys Scarlett for help with ceramics, and soon a more professional "backstamp has been made, which was signed facsimile of Cliff, and hand painted proclaimed Bizarre Clarice Cliff, Newport Pottery England. Early 'Original Bizarre pattern on a form Athens jug This backstamp was in fact lead to bizarre used as a generic name for its entire model range, so that the plant then had to refer to the first pieces in Original Bizarre simple triangles. In March 1927 Colley Shorter (who acted with considerable independence Guy's brother), Cliff sent to the Royal College of Art in Kensington, London for two brief periods in March and May These dates are recorded the Royal College of Art and archives have also been recalled by Gladys Scarlett (1982) as it was briefly left alone Newport painting the new items 'bizarre'. pattern 'Ravel on the conical pot of coffee, sugar and cream – 1930 1927 Cliff has been credited to the forms, she designed, as its flower holder Viking boat, although his models for the plant is recorded in the log Trade from 1923-24. The forms from 1929 took an influence more 'modern', often angular and geometric, and some are what should be named later, Art Deco. Abstract and cubist patterns appeared on these forms, such as Ravel 1929 (seen on ware Cliff conical shape), which has a sheet Summary of floral and the name of the composer. The image shows a conical coffee, and sugar bowl and cream with four triangular feet, another form of ideas rather bizarre Cliff that has proved popular with customers in 1930. Ravel was to occur between 1929 and until at least 1935. In 1928, Clarice produced a simple but clever hand-painted flower pattern Crocus orange, blue and purple, each flower being built with confidence blows up. Then green leaves were added into the room upside down, and make fine lines among the flowers. As established by the individual brush strokes, Crocus model was clearly completely hand painted, and the vibrant colors immediately attracted significant sales. Crocus model 1928-1963 Initially, Clarice was just a young designer produce Crocus, Ethel Barrow. But as orders flooded in 1930 a decoration store "separate was created under the top floor of the building that housed the "stop Bizarre, and Ethel became responsible for training young people how to paintresses configuration. Twenty young women painted, but nothing Crocus 5 1 / 2 days per week, for much of the 1930s. Crocus was unusual in that it has product on both tableware, tea and coffeeware and "chimeras" manufactured novelty items mainly giftware. The model has many color variations, including Purple Crocus (1932) Blue Crocus (1935), Crocus Sungleam (1935) Spring Crocus. It has even been produced after the war, the pieces Clarice Cliff finals with marks made in 1963, although Midwinter (which bought the plant) has continued to operate up Paint It also late as 1968. In 1929, the team of designers Cliff had grown to a team of around 70 young painters, mainly women (called "Bizarre girls"), but four boys – who hand painted the goods under his leadership. Many of these workers were found in the years 1980 and 1990 they totaled over 100. Their names and their work for Clarice Cliff was recorded in the book's centennial. 1930 Lugano applied Plant produced a series of small leaflets printed color (quite unusual for this period) that could be obtained by mail or picked up by distributors. The promotion system was clearly a success, as a young girl was an employee whose sole job was to put flyers in envelopes stamped sent addressed in the plant. At this time, many women bought pottery by "correspondence" of advertising in magazines. The series of brochures, each of which covers a range of pieces in a similar style or color combination, including those for Bizarre, Fantastic, Delecia, applied, Inspiration, and Crocus and Gayday others. The original notice for the models applied, only two, Lucerne and Lugano, but Cliff's ability to design new models is prolific evidenced by the fact that in 1932 the range was applied to 14 models: with Avignon, Windmill, Red Tree, romance, Palermo Blossom, Caravan, Bird of Paradise, Etna Garden of Eden and the monsoon in the two most original. The model applied Lugano is displayed on the left on a wall plaque 10 inches (250 mm), with ( inset) Bizarre print brand and a range name hand-painted as often seen on this pottery. Applied, with its more intense staining, showed long term to be one of the most sought after ranges Cliff. 'Red Autumn' pattern 1930 The range Fantasque evolved between 1928 and 1934 and headlined abstracts or landscapes of cottages and trees, and some models of Art Deco inspired. The first structure landscape was Fantasque trees and House and it sold well from 1930 until at least 1934. However, he was a bit later more sophisticated model released in late fall of 1930, which was to demonstrate the most versatile and popular. Created Originally red (coral) green and black in 1930, since 1931 many color variations appeared. The rarest is the red color, shows a wall plate 13 inches (330 mm) but the version sold in the most time was a tree with blue green and yellow. All these changes were particularly collectible. In 1930, Cliff was appointed Artistic Director of Newport Pottery and AJ Wilkinson, the two neighboring factories that produced her wares. His work involved passing more time with Colley Shorter, and this gradually developed into an affair, conducted in secret. The couple worked closely on education of "Bizarre Ware" to attract the attention of buyers in the midst of a great financial depression, and with a clever eye and a great vision, Colley Shorter registered on behalf of Clarice, and even some of its forms. It was his ability to develop both models and the forms they were to go on the cliff above other distinguished designers in the pottery of Staffordshire at this time. Her first modeling in the 20s was mid characters stylized people, ducks, flowers Davenport relief items of 1925. But in 1929, at the same time she began the cubist colorful and facilities landscape, modeling Cliff took a new style. This has been influenced by European originals by Dsny, Ttard Brothers, Josef Hoffmann and others, she had seen in design reviews, including "e Dcoration Furniture. Between 1929 and 1935 Cliff has published a mass of lines form, including the conical Good Day / Biarritz, Stamford, Eton, daffodil, and Trieste. In each of these there was tea and coffee forms of conservation, but the first two were so popular that barrels of biscuit, sugar sieve, bowls and vases were made to expand the range. Good Day 20 forms were created in 1933, with about 10 more added in 1934. There were also many other innovative form vases, bowls and "fantasies", as the vessel liner, and the vase of flowers tube (now rare) Lido Lady ashtray and age of jazz musicians and dancers. 1930 models: a melon shaped vase 14, and the circle of trees on a Eton form coffee Thanks to the depth of depression Cliff goods continued to sell in volume to that high prices were yet. Her Bizarre and Capricious items were sold in North America, Australia, New Zealand, South Africa, but not in continental Europe. Great Britain many top London stores sold it, including Harrods. Some of the other stockholders London have long since closed, but the list is impressive: "Maple & Co., Lawley, Bon Marché, John Lewis, Peter Robinson, Selfridges, John Barker & Co., Warring and Gillow and Gorringe's'. But existing order books of the period confirm that the equipment was never sold Bizarre Woolworths as some have indicated by error. More scandalous reasons, colorful, such as melons and tree circle appeared in 1930. Cliff devised many ways to market these; demonstrations paint shop, including Cliff chose only the most beautiful of his most famous and paintresses and Shorter had the idea of actually paying major celebrities 1930 to approve the ceramic. This was done in both journal articles and appearances at department stores. Celebrities included "actress Adrienne Allen, Marion Lorne, Marie Tempest, the BBC presenter Christopher Stone, musical Bobby Howes. Even Sir Malcolm Campbell, who had broken the world record for land speed appeared to promotion to the First Avenue Hotel, London in 1930. the global impact of Cliff was explained by a story in the "Pasadena Evening Post" in California. He saw a horse with five feet high "made entirely of ceramic Bizarre that had been made to promote ceramics in Britain. It was in this article, Cliff did what has become his most famous quote: Having a little pleasure in my work does not make me no less an artist, and people who appreciate truly beautiful and original ceramic creations are not afraid by innocent antics Between 1932 and 1934, Cliff was artistic director for a major project involving some 30 artists of the day (you are invited by the Prince of Wales) to promote good design in the arts of the table. The "Artists in the examples of the clay products industry were under his direction, and the artists included notable names as Duncan Grant, Paul Nash, Barbara Hepworth, Vanessa Bell and Laura Knight Dame. The modern project "Art of the Table" was launched at Harrods in London in October 1934 but received a lukewarm reception from both the public and the press, but at the same time Cliff own models and forms of sale were abundant in the world. Clarice Cliff 'Honolulu' pattern on traditional "Jug form Athens. Approximately 1932 Cliff's designs are very stylized and interpreted in strong colors, like the model 1933 in Honolulu. The trees are dotted red (coral), orange and yellow. Cliff is a variation of colors on the trees by simply changing to shades of blue and pink, and what was then called Rudyard after a local beauty spot Staffordshire. Clarice Cliff fame and success in the 1930s is difficult to fully appreciate the moment but this time there was no such thing as "career women. The publicity she received in the national press was unprecedented. Research conducted by a doctoral student in the press of the time between 1928 and 1936 '360 contains articles on Cliff and his work has been published in the press, women's magazines, national newspapers and local. This has been put into context when he said that during the same period, Susie Cooper, another ceramist and designer, Staffordshire, was "less than 20 comments, All Bar One in the press. Clarice Cliff (right) with visitors to Newport in 1933 Pottey Despite all the publicity it has received, Cliff was quite shy camera, and in most cases, images of his creations were what dominated the women's magazine of the day. An image that shows informal Cliff was taken when a dealer from South Africa Articles, brothers Werner, visited the factory on a buying trip. Cliff is seen with the 3 year old daughter and wife of the dealer. After visiting Cliff sent the daughter a gift of tea to a child painted miniatures whole model Honolulu. In the mid 30's tastes have changed and greatly inspired conservation was in vogue. My Garden series issued since 1934 has opened the way, with small flowers modeled as a handle, or the basis on forms rounder. They were all painted bright colors – the body of the merchandise was covered in thin color washes – "Verdant Green was," Sunrise yellow and so on. This range includes vases, bowls, jugs, kegs of biscuit, and proved very popular gift items. He been produced in several colors muted, just before the start of the war in 1939. A record of 1935 shows the original factory size and diversity of model ware my garden " Other forms modeled included the 1937 "Raffia" based on traditional basketry by the Indians, decorated in a similar style to them with small blocks of color. More popular was strongly inspired by the ceramics collection, jugs and bowls modeled with corn and fruit. After the war, this range has been heavily marketed in North America (very patriotic) than England. This model conservation later attracts relatively low prices at auction. In 1940, after the death of Ann Shorter, Colley's wife, he married Cliff and she moved into his house in Chetwynd House Clayton, Staffordshire. The House of Arts and Trades was designed in 1899 and was one the first commissions of British architects Parker and Unwin, Barry Parker Raymond Unwin, who were then heavily involved in the project from Welwyn Garden City. During the Second World War that the plain white pottery (ceramics utility) has been authorized by the regulations in time of war, then helped Cliff management of the pottery but was not able to continue the design work. Instead, she focused her creative talents on gardening and The massive 4-acre (16,000 m2), garden house in Chetwynd became his passion shared with Shorter. After the war, although Cliff was the opportunity for those nostalgic for the "Bizarre", as shown by personal letters to friends, she seemed to be realistic and accept the taste for commercial items has been conservative. Clarice seemed to enjoy playing a smaller role in the plant, knowing she could not resume those crazy days of the thirties. Much of the pottery production post went to Australia, New Zealand or North America, where the taste for dishes was formal in the traditional patterns such as English rather than models Tonquin deletion and shapes that had established the reputation of Cliff, so it never to return to creative work. The ceramic post-war has little value at auction. AJWilkinson Newport Pottery and continued to sell items under the name of Cliff to the death of Colley Shorter in 1963 led Cliff to sell the plant in 1964 Midwinter and she withdrew more and some a recluse so. However, from December 1971 to January 1972, the first exhibition of Clarice Cliff pottery took place in Brighton, East Sussex. Cliff reluctance comments to the catalog, but she declined an invitation to attend the opening. The exhibition was prompted by enthusiastic collectors, including Martin Battersby, a devotee of the early 20s and 30s design, the first author to publish this period of major works, and an avid Cliff ceramics. Then, Oct. 23 Cliff died suddenly at Chetwynd House. The exhibition and the first book published in 1976 the private sector "Clarice Cliff 'by Peter Wentworth-Sheilds and Kay Johnson (The Odeon publishing) marked the beginning of a major revival of interest in the work of Cliff, who has continued to be sought by Art Deco Ceramic collectors since. Cliff's Original paintresses Re-United in the CCCC founder Leonard Griffin is pictured with them in 1986 In 1982, the Clarice Cliff Collectors Club was ORIGINAL trained and promoted her and her work worldwide. The founder of the club had called in Staffordshire Sentinel evening for all those who worked with Cliff to communicate with him and was happy when he found 28 former employees. But the girls calling themselves the Odd, "even in their mid-70s and early 80s paintresses Old Cliff were delighted with the interest in the pottery they had painted by hand 50 years earlier. They attended the annual meeting of the club, and should be involved in television and radio broadcast extensively on Cliff, and a mass of books that have appeared. Many of their memories have been registered in the UNFCCC review 1982-2004. The club also held meetings and exhibitions in Great Britain, North America, Australia and New Zealand. Members of the original to the UNFCCC Cliff 'Bizarre Shop "at Newport in 1992 Burslem Stoke on Trent meetings visited the store paint old ceramic Bizarre by channel, Newport, Burslem from 1987 to 1997, ironically the only building still standing on the site. Unfortunately, it was demolished by Wedgwood in 1997, and the land sold for housing. A string of mergers led to the owner of Wedgwood Clarice Cliff name, and from 1992 to 2002, they produced a series of reproductions of the 1930 coins in high demand. These were made to a high quality and were produced in small numbers for sale to collectors who could not find (or perhaps can not afford) the most striking pieces of origin. The first range of reproduction equipment Wedgwood from 1992 The first exhibits included a jar of ginger in the House and the bridge form a large 14 cup in solitude, as a milk tea and sugar in Stamford Pink Cottage roof, a conical bowl in tennis, and a wall plate to the Lightning. 1996 2002 pieces were made for members FCCC and they were also sold in major halls Wedgwood. Hand painted parts ceased production in 2002, but with articles printed (not hand-painted models) were made in large quantities by Wedgwood, during and after this period. These reproductions should not be confused with forgeries (some of which are located), the Wedgwood those are clearly marked as' Wedgwood Clarice Cliff. A woman born painter Alice Cliff Andrews, then aged 80, was employed to attend the launch of the merchandise in stores in Great Britain. In the position of the mid 90's Cliff as a major artist of his time was confirmed when it was included in the great works international reference, the massive dictionary of art by Macmillan Publishers, and Allgemeines Knstlerlexikon by KG Saur Verlag. The work of the UNFCCC has peaked with the Centennial Exhibition "Clarice Cliff Bizarre Art" Wedgwood Museum, Barlaston Stoke on Trent. Today, with 26 years experience the club is based on the Internet (see below). It should not be confused with an organization that has used the same name in 2001 after in 1997. The UNFCCC was then a consultant for the BBC Radio 4 drama 'The Odd Girl, "written by Lizzie Slater has been described as" a thrilling drama exploring the spectacular rise of Clarice Cliff workshop at the Art Director Company ~ showing how a girl of the working class Staffordshire introduced modern art to the people. " The drama was broadcast in December 2000. In 2002 Peter Wentworth-Sheilds and Kay Johnson, authors of the original "Clarice Cliff book" of 1976 returned to Britain to lecture at an event CCBC at Christie's South Kensington. They talked about the early days of collecting on their first purchase was "a pitcher of Athens Summerhouse for 7 shillings and 6 pence, 35 pence. Stone Cliff had actually spoken to on the phone, but she refused to be interviewed. They revealed that they had all both worked for Stanley Kubrick when they wrote their book, Kay was Kubrick's personal assistant, and as a set designer Peter had been able to decorate a room in A Clockwork Orange with a frieze, he designed on the basis of original landscapes by Cliff. The market for collecting Clarice Cliff pottery is complex, it is still possible to find examples of Crocus, the reason the longer product's Cliff (1928-1964) for as little as 30-50. But rare combinations of shape and drawing attract very high prices at auction. The world record price for a piece of Clarice Cliff is owned by Christie's, South Kensington, London, which sold a 18-inch (460 mm) 'Load' (wall plate) in the model Avenue of 39,500 in 2004. Shortly after the house of the same Auction sold a vase 8 inches (200 mm) in sunspots to 20,000. In 2008, Cliff pottery has continued to prove both sought and appreciated. Despite the financial depression collectors still pay high prices for special pieces. In Great Britain, Bonhams, London sold a Triple Hello "blue vase Firs 6000. A rare form Autumn Red vase sold for 369 to 4900 auctioneers Fielding, Stourbridge in the West Midlands and Woolley and Wallis Salisbury auctioneers sold a miniature 3-inch (76 mm) tall vase Caf (used as a sample from a seller in the years 1930) for a 3000 stunning. On 2 August 2009 was Farmer of the BBC Antiques Roadshow and members of the Clarice Cliff Collection Original Club unveiled three Plaques commemorating the life of Clarice Cliff and work in pottery. They were at his place of birth, Meir Street, Tunstall, his second home on Edwards Street, Tunstall and the site of the Newport Pottery Burslem Canal where his bizarre items was decorated. They were filmed by BBC television for display on a special program Antiques Roadshow in December 2009. In September 2009, the Victoria and Albert Museum in London opened its new galleries and ceramics Cliff's work was chosen to be included, "There will be two rooms where collections are presented in the 20th century. A poster made ceramics in a factory and include objects by designers such as Susie Cooper and Clarice Cliff. See also Susie Cooper Charlotte Rhead Keith Murray, ceramic artist References Peter Wentworth-Sheilds ^, Kay Johnson: Clarice Cliff, The Odeon publishing 1976/1981 ^ The decoration shops in Staffordshire many factories at that time consisted almost entirely of women, the seven years of apprenticeship " have been called paintresses hand. They have produced work of high quality at a price that trainee gave them job security. The term is still good in Staffordshire, where the art of hand painting on Ware is now rarely seen in trade ^ Wentworth-Sheilds Peter Johnson Kay: Clarice Cliff, the Odeon 1976/1981 edition ^ A term for a Staffordshire pottery factory, probably because they had a bank "of clay for the manufacture of pots' ^ Leonard Griffin, Louis and Susan Meisel: Clarice Cliff Bizarre Affair Thames & Hudson, London / New York Abrams 1988/1995 ^ Leonard Griffin: An Interview with Gladys Scarlett in "The Collectors Club Clarice Cliff Review magazine ' ^ Leonard Griffin: The fantastic flowers Cliff Pavilion Clarice / Chrysalis 1998/2001 ^ Greg Slater, Jonathan Brough: Clarice Cliff exhaustively: Thames & Hudson 2005 Leonard Griffin ^: Clarice Cliff Art Pavilion Bizarre / Chrysalis 1999/2002 ^ Leonard Griffin: The Complete Book of applied 1989/1994 published privately by collectors of original Clarice Cliff Club Leonard Griffin ^: Clarice Cliff Bizarre Art (chapter "Dramatic Art Deco) Pavilion / Chrysalis 1999 / 2002 For illustration ^ Good Day range see p.53: Leonard Griffin, Louis and Susan Meisel: Clarice Cliff Bizarre Affair Thames & Hudson, London / New York Abrams 1988/1995 ^ Knight, Lynn p.167 Clarice Cliff biography Bloomsbury Press 2005 ^ Lynn Knight: Clarice Cliff biography Bloomsbury Press 2005 ^ 'Pasadena Evening Post History 1931 ^ Leonard Griffin: The Art of Clarice Cliff Bizarre (Bizarre Chapter meets Bloomsbury) Pavilion / Chrysalis 1999 / 2002 ^ Dr. Philip Woodward: write 'Bizarre Art of Clarice Cliff "(Pavilion / Chrysalis 1999 / 2001 ^ Leonard Griffin: Tea with Clarice Cliff (Pavilion / Chrysalis 1996 / 2002 Clarice Cliff ^ Leonard Griffin: The fantastic flowers of Clarice Cliff Pavilion / Chrysalis 1998/2001 ^ Mann Doreen (nee Jenkins) wrote in fantastic flowers Clarice Cliff Pavilion / Chrysalis 1998 ^ Greg Slater, Jonathan Brough: p. Clarice Cliff 266 exhaustively: Thames and Hudson 2005 ^ Martin Battersby: Years thirty Decorative Studio Vista Edition 1969/1976 ^ The Review "Magazine of the Clarice Cliff Collectors Club: 1997 ^ The Original CCCC Review magazine 1992-1999 Allgemeines Knstlerlexikon ^: KG Saur Verlag 1998, Germany. Dictionary of Art: Macmillan, London, 1996 ^ CCBC Newsletter "original" October 2000 ^ Original CCCCC 'Comments' Magazine – Summer 2002 Sevi Guatelli ^ Leonard Griffin: p. 264 (for a similar example) The Best Clarice Cliff 50 publishers 2008 Sevi Guatelli ^ Leonard Griffin: p. Best 183 The best of Clarice Cliff 50 publishers in 2008 ^ Miscellaneous: auction www.claricecliff.com reports in 2008. ^ Stoke-on-Trent Sentinel – August 3, 2009 and reports on www.claricecliff.com. ^ Victoria and Albert Museum, the press Press Hindocha by Meera, September 17, 2009 References The Clarice Cliff Collectors Club Original founded in 1982. Registered under the Act registering the names Commercial 1982. No. 2803197 The Clarice Cliff Collectors Club. Recorded in 1997 (and launched under this name in 2001) in England and Wales number 3212959 as non-profit organization owned by its members Stoke-on-Trent Museums See drawings Clarice Cliff's, and the World's Finest Staffordshire ceramics collection at The Potteries Museum & Art Gallery. Categories: 1899 births | 1972 deaths | English artists | Artists Modern | English potters | Art Deco designers | People from Tunstall, Staffordshire About the Author
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