1931 Photographer HELMAR LERSKI Photography ART BOOK Jewish 80 EXPRESSIVE PHOTOS

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285591241416 1931 Photographer HELMAR LERSKI Photography ART BOOK Jewish 80 EXPRESSIVE PHOTOS.   DESCRIPTION :  Here for sale is an original and quite rare THRILLING PHOTO ART BOOK from 1931 . The book "KOPFE DES ALLTAGS - Unbekannte Menschen gesehen von Helmar Lerski  " ( HEADS of EVERYDAY LIFE - UNKNOWN PEOPLE seen by HELMAR LERSKI ) is considered to be an important MILESTONE in history of modern PHOTOGRAPHY and modern PHOTO BOOKS .  HELMAR LERSKI , The acclaimed JEWISH - ISRAELI photographer , Camera man and film director has created an amazing cycle of EIGHTY HUMAN PORTRAITS in this thrilling PHOTO BOOK which was published in 1931 ( Dated ) . With these EIGHTY most expressive portraits , As if they were casted in bronze, Lerski clearly expressed his conviction: in it he showed anonymous people from the lower classes of Berlin society, but staged them like stage characters, so that job titles such as "parlour maid", "beggar" or "textile worker" appear as randomly placed roles.  As a still photographer and portraitist, Lerski became “a key influence on Germany’s Neue Sachlichkeit or New Objectivity movement” and a pioneering figure whose work was showcased at the influential 1929 “Film und Foto” exhibition. In  Köpfe des Alltages, his first photobook, Lerski’s close-ups of anonymous working-class people are lit with a distinctive Expressionist theatricality, creating an effect that “is eerie and transfixing” It is this iconic, “intensely dramatic” sculptural effect that firmly establishes Lerski as “a singular figure in photographic and photobook history” with Germany on a path toward fascism,  Wrappers . Spiral binding as issued .   9.5 x 12" .  80 numbered 1- 80 mat chromo thick leaves of PHOTOGRAPHS + Around 16 text and content PP ( German ). Very good used condition. Very good condition of the spiral bound leaves. Tiny imperfections in upper margins of 15-20 leaves were nicely mended. The black wrappers are nicely restored and a reproduction of the original DJ is pasted on the front weapper. ( Pls look at scan for accurate AS IS images )  . Will be sent inside a protective rigid packaging . PAYMENTS : Payment method accepted : Paypal . SHIPPMENT :SHIPP worldwide via registered airmail is $ 25 .Will be sent inside a protective packaging . Handling around 5-10 days after payment.  Helmar Lerski ( Hebrew הֶלְמַר לֶרְסקי; * February 18 , 1871 in Strasbourg ; † September 29 , 1956 in Zurich ), born Israel Schmuklerski , later also: Hjalmar Lerski , was a Swiss photographer , still photographer , cameraman and film director . Table of contents 1 Life 2 Photographic works by Lerski 3 Exhibitions (selection) 4 publications 5 filmography 6 literature 7 web links 8th itemizations life The son of the Polish-Jewish emigrant couple Lea and Getzel Schmuklerski from Zgierz grew up in the Aussersihl district of Zurich, which was later incorporated, from 1876 , where the family received Swiss citizenship on August 28, 1887. On January 3, 1893 he traveled to the USA and appeared as an actor in Chicago , Milwaukee and New York City on German-speaking stages. Since April 30, 1897 he called himself Helmar Lerski . In 1910 he set up a photo studio in Milwaukee with his wife Emilie. From 1911 his photo publications appeared. With this and at exhibitions, he quickly made a name for himself as an innovative portrait photographer. In 1914/15 he taught as a guest lecturer in German language and literature at the University of Texas at Austin . In 1915 he returned to Europe and became a cameraman and photographer in Berlin . He worked for various production companies and because of his excellent skills he was entrusted with technically demanding projects such as Paul Leni's The Wax Museum . [1] Lerski, who married Anneliese Margarete Wolfkamp in 1922 after the death of his first wife, who died in 1921, was technical director for Schüfftan photography at Deutsche Spiegeltechnik GmbH & Co from 1925 to 1927, which was used at Fritz Lang's Metropolis . In 1925 he worked for Arnold Fanck on his film The Holy Mountain as a cameramanSepp Allgeier and Hans Schneeberger with actors like Leni Riefenstahl and Luis Trenker . [2] From 1929 he worked again as a portrait photographer. In 1931 he first traveled to Palestine to take pictures of Jewish settlers. He went there again in the fall of 1932, and when the Nazis seized power in Germany in 1933 , he never returned. In 1936 he created his photo series Metamorphoses, published in 1982 . He took around 170 close-up photographs of the face of a single young man in Tel Aviv . In addition to photos, Lerski also created a number of short documentaries at this time, which he directed himself. In 1937/38 he traveled to France and England to present his works. From 1939 to 1941 he headed the film department of the Jewish union Histadrut (הָהִסְתַּדְּרוּת שֶׁל הָעוֹבְדִים בְּאֶרֶץ בְּאֶרֶץ יִשְׂרָאֵל). In addition to documentaries, he created the 1945–47 puppet film Baalam's Story . [3] Helmar Lerski's last film Adamah(=Earth) from 1948 tells the story of the arrival and settling down of the young Holocaust survivor Benjamin in the Ben Shemen children's and youth village . [4] [5] On March 22, 1948, Helmar Lerski and his wife left Palestine and returned to Zurich . Lerski's photographic works From the Human Hands series (1933-1940) From the Human Hands series (1933-1940) From the series Jewish Soldiers (1942–1943) From the series Jewish Soldiers (1942–1943) Exhibitions (selection) 1912: Helmar Lerski, Portraits , Annual Convention of Photographers' Association of America, Philadelphia 1929: Contemporary Photography, Museum Folkwang, Essen (further stations: Galerie Neumann-Nierendorf, Berlin; Kestner-Gesellschaft, Hanover; Atrium of the New Town Hall, Dresden; exhibition building at Adolf-Mittag-See, Magdeburg; Rostock Art Association) 1929: International exhibition of the Deutscher Werkbund 'Film und Foto' , Stuttgart (further stations: Zurich, Berlin, Danzig, Vienna, Agram) 1930: Drawn or Snapped? Art sheet exhibition in the Reckendorf-Haus, Berlin (further stations: Frankfurter Kunstverein; Kunstgewerbemuseum Köln; Nassauischer Kunstverein Wiesbaden; Kunstkring Groningen/Netherlands; Kunstverein Halle) 1936: Helmar Lerski, Metamorphosis through Light , Divan Art Gallery, Jerusalem 1941: Helmar Lerski, 30 Years of Photographic Works , National Bezalel Museum, Jerusalem 1945: Helmar Lerski, Human Hands, Tel Aviv Museum, Tel Aviv 1948: Helmar Lerski, Metamorphosis through Light, Kunstgewerbemuseum, Zurich 1954: Subjective Photography 2 , State School for Arts and Crafts, Saarbrücken 1955: Photographies de Helmar Lerski, Musée de l'État, Luxembourg 1958: Helmar Lerski, Brother Human , State Photo Agency, Hamburg 1961: Helmar Lerski, Man my brother, Paulskirche, Frankfurt/Main (further stations in 1962: Landeshaus, Münster; Stadttheater, Bremerhaven) 1971: Photo Eye of the 20's , George Eastman House, Rochester, New York 1980: Avantgarde Photography in Germany 1919-1939 , San Francisco Museum of Modern Art 1982: Helmar Lerski, Photographer, Museum Folkwang, Essen 1987: Helmar Lerski, Metamorphosis , Maison de la Culture, Amiens 1990: Helmar Lerski, Metamorphosis through Light 1936, Gallery Kicken-Pauseback, Cologne 1995: Helmar Lerski, Mission du Patrimoine Photographique, Hotel Sully, Paris 2000: Helmar Lerski: Lichtbilder/Photographs, Art Gallery of Ontario, Toronto 2003: Helmar Lerski 1871-1956: Métamorphoses par la lumière , Musées de Strasbourg, Strasbourg 2005: Helmar Lerski: Metamorphoses of the Face, Fotostiftung Schweiz, Winterthur 2009: Helmar Lerski, Man my brother, Gallery Berinson, Berlin 2010: Helmar Lerski, Transformations Through Light , Ubu Gallery, New York 2015: Mixed media (I). About Portrait , Kicken Berlin 2018: Helmar Lerski, pionnier de la lumière, Musée d'art et d'histoire du Judaïsme, Paris Publications 1905: HL with EF Ruedebusch: Live love! , Berlin. aphorisms. Drawing of Fidus. 1931: Heads of Everyday Life: Unknown People Seen by Helmar Lerski: 80 Slides, with an Introduction by Curt Glaser , Hermann Reckendorf, Berlin. 1953: I write with light . essay. posthumously: 1958: Man - my brother: Photographs by Helmar Lerski Text by Louis Fürnberg, Berthold Quarter and Arnold Zweig (edited by Anneliese Lerski), Verlag der Kunst, Dresden. 1982: Helmar Lerski, Photographer (ed. by Ute Eskildsen, Jan-Christopher Horak ), Museum Folkwang, Essen. exhibition catalogue. 1982: Transformations through Light. Metamorphosis Through Light (ed. by Ute Eskildsen), Luca Verlag, Freren. 2002: Florian Ebner: Metamorphoses of the face: The 'transformations through light' by Helmar Lerski , Siedl, Göttingen. Filmography 1916: Peter Lump 1916: Pink can do everything 1916: The Countess Heyers 1916: Disgraced 1916: Aware of the guilt 1917: Escaped the Knout 1917: The Memoirs of the Tragedy Tamar 1917: Princess Wolkowska's lace handkerchief 1917: When the Dead Speak 1917: On the edge 1917: Extinct Eyes. Tragedy of a blind child 1917: Ahasuerus (3 parts) 1918: Richard Wagner's baton 1918: Way of Redemption 1918: The Light of Life 1918: The Man in the Moon 1918: Avenging Love 1918: The Great Sacrifice 1918: The Lord of the World 1918: False Paths of Love 1918: Be faithful unto death 1918: Treasurer revision 1919: Opium 1919: Nerves 1920: Through All Hells 1921/22: Children of Darkness (2 parts) 1922: You and the Three 1922: Dying Nations (2 parts) 1922: The Fake Dimitry 1923: Inge Larsen 1924: The Wax Museum 1924: The Wig 1926: The Adventures of a Ten Mark Note 1926: The Holy Mountain 1926: Dagfin 1927: Die Czardasfürstin (special recordings) 1929: demolition excavator 1010 1935: Hebrew Melody ( Hebrew Melody ) 1935: Avodah 1941: Labor Palestine? 1947: Baalam's Story 1948: Adamah (Earth) ****** Helmar Lerski (ur. 18 lutego 1871 w Straßburgu, Austria, zm. 29 września 1956 w Zurychu, Szwajcaria) – szwajcarski fotograf, operator i reżyser pochodzenia żydowskiego. Spis treści 1 Życiorys 2 Wybrana filmografia 3 Bibliografia 4 Linki zewnętrzne Życiorys Urodził się jako Israel Schmuklerski, syn Lei i Getzela Schmuklerskich, polskich Żydów ze Zgierza, którzy osiedlili się w zuryskiej dzielnicy Aussersihl. 28 sierpnia 1887 razem z rodziną otrzymał obywatelstwo szwajcarskie. 3 stycznia 1893 wyjechał do Stanów Zjednoczonych, gdzie został aktorem w niemieckojęzycznych filmach nagrywanych w Chicago, Milwaukee i Nowym Jorku. Przyjął pseudonim Helmar Lerski, który od 30 kwietnia 1897 stał się jego oficjalnym imieniem i nazwiskiem. W 1910 wraz z żoną Emilie założył studio fotograficzne w Milwaukee, jego fotografie ukazały się drukiem w 1911. Dzięki publikacjom i wystawom szybko zasłynął jako innowacyjny fotograf portretowy. W latach 1914/15 wykładał gościnnie jako wykładowca języka niemieckiego i literatury na Uniwersytecie Teksańskim w Austin. W 1915 wrócił do Europy, został operatorem i fotografem w Berlinie. W 1921 zmarła jego żona Emilie, w 1922 poślubił Anneliese Margarete Wolfkamp. Pracował w różnych firmach producenckich, a ze względu na wybitne umiejętności powierzano mu wymagające technicznie zadania, takie jak zdjęcia do filmu Gabinet figur woskowych Paula Leniego z 1924. W latach 1925–1927 był kierownikiem technicznym ds. fotografii trikowej w Deutsche Spiegeltechnik GmbH & Co, z której korzystał Fritz Lang przy realizacji filmu Metropolis. Od 1929 roku ponownie pracował jako fotograf portretowy. W 1931 po raz pierwszy wyjechał do Palestyny, aby zrobić zdjęcia osadnikom żydowskim. Na jesieni 1932 ponownie wyjechał, a po dojściu do władzy nazistów w 1933 postanowił pozostać tam na stałe. W 1936 powstała seria zdjęć Metamorphosen, którą opublikowano dopiero w 1982. Oprócz zdjęć Lerski nakręcił w tym czasie kilka krótkich filmów dokumentalnych, które wyreżyserował. W latach 1937/38 wyjechał do Francji i Wielkiej Brytanii, aby zaprezentować swoje prace. W latach 1939–1941 kierował działem filmowym związku żydowskiego Histadrut. Oprócz filmów dokumentalnych w latach 1945–1947 stworzył film kukiełkowy Baalam’s Story. Ostatni film Helmara Lerskiego Adamah (Erde) z 1948 roku opowiada o przybyciu i osiedleniu się młodego ocalałego z Holokaustu Benjamina w Ben Szemen. 22 marca 1948 Helmar Lerski razem z żoną opuścił Palestynę i powrócił do Zurychu. Wybrana filmografia When the Dead Speak (1917) Maria Pavlowna (1919) Children of Darkness (1921) The False Dimitri (1922) A Dying Nation (1922) Inge Larsen (1923) The New Land (1924) The Wig (1925) The Holy Mountain (1926) Adamah (1948). Bibliografia Lerski, H.: Köpfe des Alltags, Berlin: Verlag Hermann Rockendorf, 1931. Ebner, F.: Metamorphosen des Gesichts. Die „Verwandlungen durch Licht” von Helmar Lerski. Steidl Verlag, Göttingen 2002. ISBN 3-88243-808-8. Eskildsen, U. (ed.); Lerski, H.: Verwandlungen durch Licht. Metamorphosis through Light, Freren: Luca, 1982. Eskildsen, U.; Horak, J.-C.: Helma Lerski, Lichtbildner. Fotografien und Filme 1910-1947, Folkwang Essen 1982. **** Helmar Lerski (18 February 1871, in Strasbourg – 19 September 1956, in Zürich) was a photographer who laid some of the important foundations of modern photography. His works are on display in the USA, Germany, Israel and Switzerland. He focused mainly on portraits and the technique of photography with mirrors. His real name was Israel Schmuklerski. In 1876, the family moved to Zürich, Switzerland, where the family was naturalized. In 1888, Lerski emigrated to the United States, where he worked as an actor. Around 1910, he began to photograph. In 1915, he returned to Europe and worked as a cameraman and expert for special effects for many films, including Fritz Lang's Metropolis. At the end of the 1920s, he made a name as an avant-garde portrait photographer. In 1932, he emigrated with his second wife to Mandate Palestine, where he continued to work as a photographer, cameraman, and film director. On 22 March 1948, they left what was by then Israel and settled again in Zürich. Photographic work Series Köpfe des Alltags: 1928 - 1930, published 1931 Series Metamorphosen: 1936, published 1982 Selected filmography When the Dead Speak (1917) Maria Pavlowna (1919) Children of Darkness (1921) The False Dimitri (1922) A Dying Nation (1922) Inge Larsen (1923) The New Land (1924) The Wig (1925) The Holy Mountain (1926) Adamah (1948) See also Fred Dunkel Publications Lerski, H.: Köpfe des Alltags, Berlin: Verlag Hermann Rockendorf, 1931. Ebner, F.: Metamorphosen des Gesichts. Die "Verwandlungen durch Licht" von Helmar Lerski. Steidl Verlag, Göttingen 2002. ISBN 3-88243-808-8. Eskildsen, U. (ed.); Lerski, H.: Verwandlungen durch Licht. Metamorphosis through Light,, Freren: Luca, 1982. Eskildsen, U.; Horak, J.-C.: Helma Lerski, Lichtbildner. Fotografien und Filme 1910-1947, Folkwang Essen 1982. **** Helmar Lerski, a French-born Jewish photographer and cinematographer, 18 February 1871 – 19 September 1956, Zürich . He was one of the most important photographers of the 1930s and 1940s and the most important photographer in the Land of Israel during the period before the founding of the state. Helmar Lerski was born in Strasbourg, France, under the name Israel Schmuklerski. He grew up in Zurich, Switzerland. In 1893 he emigrated to the United States, where he joined a German-speaking theater group in Chicago as one of the actors. In 1909 he left the theater, and in 1910 opened a photography studio in Milwaukee. In 1915 he emigrated to Berlin, where in addition to his work as a photographer, he worked as a cameraman and lighting technician at the UFA Studio for films such as "Opium" (1918) and "Metropolis" (1926). In 1928 Lerski returned to portrait photography in the expressionist style, which was expressed in close up photographs of his subjects, and in his use of lighting and dramatic contrasts. In 1931 he immigrated to the Land of Israel. In his Tel Aviv home he opened a photography studio, and there he taught students the techniques of photography and artistic photography. In 1940 he was elected honorary president of the Palestine Professional Photographers Association (PPPA), and even taught photography courses within the framework of this association. In addition to his work as a photographer, he also produced eight documentary films, including "Work" (1935), "Children of the Sun" (1939), and "The Land" (1947). In 1948 Lerski emigrated to Switzerland, where he died in 1956. **** Helmar Lerski, a French-born Jewish photographer and cinematographer, 18 February 1871 – 19 September 1956, Zürich . He was one of the most important photographers of the 1930s and 1940s and the most important photographer in the Land of Israel during the period before the founding of the state. Helmar Lerski was born in Strasbourg, France, under the name Israel Schmuklerski. He grew up in Zurich, Switzerland. In 1893 he emigrated to the United States, where he joined a German-speaking theater group in Chicago as one of the actors. In 1909 he left the theater, and in 1910 opened a photography studio in Milwaukee. In 1915 he emigrated to Berlin, where in addition to his work as a photographer, he worked as a cameraman and lighting technician at the UFA Studio for films such as "Opium" (1918) and "Metropolis" (1926). In 1928 Lerski returned to portrait photography in the expressionist style, which was expressed in close up photographs of his subjects, and in his use of lighting and dramatic contrasts. In 1931 he immigrated to the Land of Israel. In his Tel Aviv home he opened a photography studio, and there he taught students the techniques of photography and artistic photography. In 1940 he was elected honorary president of the Palestine Professional Photographers Association (PPPA), and even taught photography courses within the framework of this association. In addition to his work as a photographer, he also produced eight documentary films, including "Work" (1935), "Children of the Sun" (1939), and "The Land" (1947). In 1948 Lerski emigrated to Switzerland, where he died in 1956. Helmar Lerski, a French-born Jewish photographer and cinematographer, 18 February 1871 – 19 September 1956, Zürich . He was one of the most important photographers of the 1930s and 1940s and the most important photographer in the Land of Israel during the period before the founding of the state. Helmar Lerski was born in Strasbourg, France, under the name Israel Schmuklerski. He grew up in Zurich, Switzerland. In 1893 he emigrated to the United States, where he joined a German-speaking theater group in Chicago as one of the actors. In 1909 he left the theater, and in 1910 opened a photography studio in Milwaukee. In 1915 he emigrated to Berlin, where in addition to his work as a photographer, he worked as a cameraman and lighting technician at the UFA Studio for films such as "Opium" (1918) and "Metropolis" (1926). In 1928 Lerski returned to portrait photography in the expressionist style, which was expressed in close up photographs of his subjects, and in his use of lighting and dramatic contrasts. In 1931 he immigrated to the Land of Israel. In his Tel Aviv home he opened a photography studio, and there he taught students the techniques of photography and artistic photography. In 1940 he was elected honorary president of the Palestine Professional Photographers Association (PPPA), and even taught photography courses within the framework of this association. In addition to his work as a photographer, he also produced eight documentary films, including "Work" (1935), "Children of the Sun" (1939), and "The Land" (1947). In 1948 Lerski emigrated to Switzerland, where he died in 1956. ***** Helmar Lerski: Metamorphosis March 12 to May 22, 2005 Hardly any other work in the international history of photography has been so frequently misunderstood and so controversially judged as that of Helmar Lerski (1871-1956). "Everyone has everything; the only question is what the light falls on" - following this conviction, Lerski created portraits that did not primarily strive for resemblance, but above all offered scope for the viewer's fantasies. In doing so, Lerski exposed himself for a long time to the accusation of betraying the truth of the photographic image. Today, Lerski (actually Israel Schmuklerski), born in Strasbourg in 1871 and whose hometown was Zurich, is one of the international classics in the history of photography. In 1876 the Schmuklerski family settled in Zurich-Aussersihl. Helmar's father, a small textile entrepreneur, was "the first Polish Jew" to receive Zurich citizenship. In 1888 Lerski broke out of the banking career that had been planned for him. He emigrated to the USA and made a living as an actor. Around 1910, at the age of 39, he came to photography through his wife - an actress who came from a family of photographers. His unusual portraits, which work with light effects, soon attracted a great deal of attention in the USA. In 1915 Lerski returned to Europe and turned to film. For more than ten years he worked in Berlin as a cameraman, lighting technician and expert for special effects on numerous expressionist silent films, including Fritz Lang's "Metropolis" (1925/26). At the end of the 1920s he turned his attention to portrait photography again and immediately made contact with the avant-garde that was to radically renew the photographic imagery. At the legendary Werkbund exhibition "Film und Foto" (1929), with which new photography celebrated its first major appearance, first in Stuttgart and then also in Zurich, Lerski - meanwhile one of the best-known portrait photographers of his time - was very well represented with 15 pictures. However, Lerski's photographs only followed the maxims of new photography to a limited extent and questioned pure objectivity. One of the special features of his portraits is a theatrical-expressionistic, sometimes pathetic lighting style that was inspired by silent films. His close-ups captured the essentials of a face - eyes, nose, mouth. But he was not concerned with the individual appearance, not with the superficial resemblance, but with the deeper, inner potential: he emphasized the changeability, the different faces of an individual. In doing so, Lerski, who sympathized with the political left, undermined the type photography practiced by some contemporaries (and often misused for racial ideology). In the book Heads of Everyday Life (1931), a milestone in the history of photography books, Lerski clearly expressed his conviction: in it he showed anonymous people from the lower classes of Berlin society, but staged them like stage characters, so that job titles such as "parlour maid", "beggar" or "textile worker" appear as randomly placed roles. So his pictures are also to be understood as an important contrast to the photography of August Sander, who was working on his project "People of the 20th Century" at the same time - that large-scale attempt at a social positioning of various representatives of Weimar society. However, Helmar Lerski represented his attitude most radically in the work "Metamorphosis". It was created within a few months at the beginning of 1936 in Palestine, where Lerski had emigrated with his second wife Anneliese in 1933. In "Transformations through Light" (the second title of the work), Lerski took his art of staging to the extreme. With up to 16 mirrors and screens, he directed the natural light of the sun in ever new variations and refractions onto his model, Leo Uschatz, a Bernese draftsman and athlete who was unemployed at the time. In a series of more than 140 close-ups, he succeeded in capturing a single "original face" with a hundred different faces, including that of a hero, a prophet, a farmer, a dying soldier, an old woman,we only really realize it today. After the war, Helmar Lerski returned to Zurich with his wife Anneliese and worked on film projects again. Various attempts to publish his main work "Metamorphosis" failed - even though well-known art historians such as Konrad Farner advocated it: Farner compared Lerski's importance with that of Alfred Stieglitz, Edward Steichen or Paul Strand. Today, experts agree that Helmar Lerski is one of the most important innovators in 20th-century photography. In Switzerland, Lerski's homeland, his name is hardly known to a wider audience. With the exhibition taken over from the Photographic Collection in the Museum Folkwang, Essen, the Fotostiftung Schweiz is commemorating a classic that was wrongly suppressed and forgotten. ebay1396/28
  • Condition: Used
  • Condition: Very good used condition. Very good condition of the spiral bound leaves. Tiny imperfections in upper margins of 15-20 leaves were nicely mended. The black wrappers are nicely restored and a reproduction of the original DJ is pasted on the front weapper. ( Pls look at scan for accurate AS IS images )
  • Religion: Judaism
  • Country/Region of Manufacture: Germany

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