Domestic Furnishings

Washboards, armchairs, lamps, and pots and pans may not seem to be museum pieces. But they are invaluable evidence of how most people lived day to day, last week or three centuries ago. The Museum's collections of domestic furnishings comprise more than 40,000 artifacts from American households. Large and small, they include four houses, roughly 800 pieces of furniture, fireplace equipment, spinning wheels, ceramics and glass, family portraits, and much more.

The Arthur and Edna Greenwood Collection contains more than 2,000 objects from New England households from colonial times to mid-1800s. From kitchens of the past, the collections hold some 3,300 artifacts, ranging from refrigerators to spatulas. The lighting devices alone number roughly 3,000 lamps, candleholders, and lanterns.

Before becoming an international phenomenon, the Arts and Crafts movement began with the ideas of British artisan William Morris (1834-1896) and writer John Ruskin (1819-1900).
Description
Before becoming an international phenomenon, the Arts and Crafts movement began with the ideas of British artisan William Morris (1834-1896) and writer John Ruskin (1819-1900). Morris and Ruskin believed that the growth of cities isolated urban workers and that mass production negatively affected artisan crafts. They proposed to solve these issues by returning to a medieval-inspired village model where everybody participated in a community lifestyle. In the United States, artisans adapted these ideas into the studio art pottery movement. Unlike their British counterparts, who often focused predominantly on social issues and therefore made objects that incorporated Gothic and Renaissance motifs, American craftsmen developed a cohesive and novel aesthetic.
Rookwood developed a matte glaze around 1900 to compete with the forest-green hues of the popular Grueby Faience Company. Unlike Grueby’s glaze, which appears waxy and leafy, Rookwood’s interpretation often uses pastel tones with a vellum-like finish. The transition from Rookwood’s earlier “standard glaze” (a deep mahogany brown color gradating into yellow) showcases how competitive ceramics companies were able to preserve their art pottery production while keeping up with changing trends. Rookwood’s vellum glaze in particular helped the company win a Grand Prize at a 1904 international competition and was the company’s last internationally-recognized glaze.
Collectors often refer to vases decorated in this fashion as “Scenic Vellums” because of their glaze and depiction of romanticized landscapes. Decorator Edward George Diers painted this vase with a delicate birch pattern, alluding to the American art deco preference for linear decoration and stylized natural motifs. Records show that Diers began working for Rookwood as a decorator and designer in 1894. He left the company in 1931 – the same year he decorated this vase.
Rookwood developed a matte glaze around 1900 to compete with the forest-green hues of the popular Grueby Faience Company. Unlike Grueby’s glaze, which appears waxy and leafy, Rookwood’s interpretation often uses pastel tones with a vellum-like finish. The transition from Rookwood’s earlier “standard glaze” (a deep mahogany brown color gradating into yellow) showcases how competitive ceramics companies were able to preserve their art pottery production while keeping up with changing trends. Rookwood’s vellum glaze in particular helped the company win a Grand Prize at a 1904 international competition and was the company’s last internationally-recognized glaze.
Collectors often refer to vases decorated in this fashion as “Scenic Vellums” because of their glaze and depiction of romanticized landscapes. Decorator Edward George Diers painted this vase with a delicate birch pattern, alluding to the American art deco preference for linear decoration and stylized natural motifs. Records show that Diers began working for Rookwood as a decorator and designer in 1894. He left the company in 1931 – the same year he decorated this vase.
Location
Currently not on view
date made
1931
maker
Rookwood Pottery
ID Number
CE.393622
catalog number
393622
accession number
208838
Colored print of a view of Boston with Boston Common in the foreground and the bay in the background. Houses, churches, warehouses and industrial buildings are depicted. The bay is filled with sailing ships.
Description (Brief)
Colored print of a view of Boston with Boston Common in the foreground and the bay in the background. Houses, churches, warehouses and industrial buildings are depicted. The bay is filled with sailing ships.
Date made
1850
maker
Bachmann, John
Sarony & Major
ID Number
DL.60.3745
catalog number
60.3745
Black and white print; half length portrait of a man (R. Walsh Jr.) with his head resting on his hand and his elbow resting on an open book.Currently not on view
Description (Brief)
Black and white print; half length portrait of a man (R. Walsh Jr.) with his head resting on his hand and his elbow resting on an open book.
Location
Currently not on view
Date made
n.d.
maker
Sully, Thomas
Childs, Cephas Grier
ID Number
DL.60.3135
catalog number
60.3135
accession number
228146
TITLE: Meissen: Part of a tea service (Hausmalerin)MAKER: Meissen ManufactoryPHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)MEASUREMENTS: Tea bowls: H. 1¾" 4.5 cmChocolate cup: 3⅛" 8 cmSaucer: D. 5⅛" 13.1 cmTeapot: H.
Description
TITLE: Meissen: Part of a tea service (Hausmalerin)
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)
MEASUREMENTS: Tea bowls: H. 1¾" 4.5 cm
Chocolate cup: 3⅛" 8 cm
Saucer: D. 5⅛" 13.1 cm
Teapot: H. 5" 12.8 cm
OBJECT NAME: Part of a tea service
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1730
SUBJECT: The Hans Syz Collection
Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1987.0896. 34 A,B; 36 a,b; 37 a,b
COLLECTOR/ DONOR: 227 A,B; 228 a,b; 229 a,b
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue, except chocolate cup, which is unmarked.
PURCHASED FROM: Minerva Antiques, New York, 1943.
Thw teapot is from parts from a tea service in the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychiatry and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in Germany, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
The parts of this tea service were made in the Meissen manufactory but painted outside by independent artists. Hausmalerei is a German word that means in literal translation ‘home painting’, and it refers to the practice of painting enamels and gold onto the surface of blank ceramics and glass in workshops outside the manufactory of origin. Beginning in the seventeenth century the work of the Hausmaler varied in quality from the outstanding workshops of Nuremberg, Augsburg, and Breslau (now Wroclaw in Poland), to the less skilled efforts of amateur artists. Early Meissen porcelain was sought after for this purpose, and wealthy patrons of local enameling and gilding workshops purchased undecorated porcelain, often of out-moded or inferior quality, which was then enameled with subjects of their choice. Hausmalerei was at first acceptable to the early porcelain manufactories like Meissen and Vienna, and Meissen sent blank porcelain to Augsburg workshops for decoration, but as the market became more competitive they tried to eradicate the practice. It was a temptation for Meissen porcelain painters to take on extra work as Hausmaler to augment their low pay, and the manufactory cautioned or even imprisoned them if Hausmalerei activity was suspected or discovered.
The tea service was painted in Augsburg in the 1720s.Two hundred years earlier Augsburg was the center of international merchant banking, and it is no coincidence that it was also a center for goldsmithing work of exceptional quality. Although no longer a powerful city in the eighteenth century, Augsburg was still renowned for its high quality artisan trades in precious metals, book production, and textiles. Hausmalerei was one among many subsidiary trades that met demands from other workshops, individual clients, and new manufactories like that of Meissen.
This Meissen tea service was probably painted by Anna Elizabeth Wald (b. 1696), and perhaps by her sister Sabina Hosennestel (1706-1782) as well. The two women were the daughters of the gold worker and Hausmaler Johann Aufenwerth (d.1728) but it is difficult to distinguish their styles one from the other. Another sister, Johanna Warmberger (1693-1772), also worked in the family business. The sisters specialized in decorative gilding and enamel painting of chinoiseries like the images seen here of two gentlemen smoking and taking tea in a garden.
Sabina Hosennestel married the tradesman and coffee-house owner, Isaac Hosennestel in 1731. It is thought that some of the porcelain vessels painted by the Aufenwerth sisters were intended for use in the coffee-house alongside Chinese and Japanese imported porcelain, especially the tea bowls. There were five other coffee-houses in Augsburg in the first half of the eighteenth century.
Other pieces from this service are in the Forsythe Wickes Collection, Museum of Fine Arts, Boston (inv. Numbers 65.2076-65.2080).
Ducret, S., 1971, Meissner Porzellan bemalt in Augsburg, 1718 bis um 1750, Band 1 Goldmalereien und bunte Chinoiserien.
On Hausmaler see Ulrich Pietsch, 2011, Early Meissen Porcelain: The Wark Collection from The Cummer Museum of Art and Gardens, pp. 43-46.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 506-507.
Location
Currently on loan
date made
ca 1720-1725
1720-1725
maker
Meissen Manufactory
ID Number
1987.0896.37ab
catalog number
1987.0896.37ab
accession number
1987.0896
collector/donor number
229
TITLE: Meissen: Part of a tea service (Hausmalerin)MAKER: Meissen ManufactoryPHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)MEASUREMENTS: Tea bowls: H. 1¾" 4.5 cmChocolate cup: 3⅛" 8 cmSaucer: D. 5⅛" 13.1 cmTeapot: H.
Description
TITLE: Meissen: Part of a tea service (Hausmalerin)
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)
MEASUREMENTS: Tea bowls: H. 1¾" 4.5 cm
Chocolate cup: 3⅛" 8 cm
Saucer: D. 5⅛" 13.1 cm
Teapot: H. 5" 12.8 cm
OBJECT NAME: Part of a tea service
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1730
SUBJECT: The Hans Syz Collection
Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1987.0896. 34 A,B; 36 a,b; 37 a,b
COLLECTOR/ DONOR: 227 A,B; 228 a,b; 229 a,b
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue, except chocolate cup, which is unmarked.
PURCHASED FROM: Minerva Antiques, New York, 1943.
These tea bowlsare from parts of a tea service in the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychiatry and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in Germany, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
The parts of this tea service were made in the Meissen manufactory but painted outside by an independent artist. Hausmalerei is a German word that means in literal translation ‘home painting’, and it refers to the practice of painting enamels and gold onto the surface of blank ceramics and glass in workshops outside the manufactory of origin. Beginning in the seventeenth century the work of the Hausmaler varied in quality from the outstanding workshops of Nuremberg, Augsburg, and Breslau (now Wroclaw in Poland), to the less skilled efforts of amateur artists. Early Meissen porcelain was sought after for this purpose, and wealthy patrons of local enameling and gilding workshops purchased undecorated porcelain, often of out-moded or inferior quality, which was then enameled with subjects of their choice. Hausmalerei was at first acceptable to the early porcelain manufactories like Meissen and Vienna, and Meissen sent blank porcelain to Augsburg workshops for decoration, but as the market became more competitive they tried to eradicate the practice. It was a temptation for Meissen porcelain painters to take on extra work as Hausmaler to augment their low pay, and the manufactory cautioned or even imprisoned them if Hausmalerei activity was suspected or discovered.
The tea service was painted in Augsburg in the 1720s.Two hundred years earlier Augsburg was the center of international merchant banking, and it is no coincidence that it was also a center for goldsmithing work of exceptional quality. Although no longer a powerful city in the eighteenth century, Augsburg was still renowned for its high quality artisan trades in precious metals, book production, and textiles. Hausmalerei was one among many subsidiary trades that met demands from other workshops, individual clients, and new manufactories like that of Meissen.
This Meissen tea service was probably painted by Anna Elizabeth Wald (b. 1696), and perhaps by her sister Sabina Hosennestel (1706-1782) as well. The two women were the daughters of the gold worker and Hausmaler Johann Aufenwerth (d.1728) but it is difficult to distinguish their styles one from the other. Another sister, Johanna Warmberger (1693-1772), also worked in the family business. The sisters specialized in decorative gilding and enamel painting of chinoiseries like the images seen here of two gentlemen smoking and taking tea in a garden.
Sabina Hosennestel married the tradesman and coffee-house owner, Isaac Hosennestel in 1731. It is thought that some of the porcelain vessels painted by the Aufenwerth sisters were intended for use in the coffee-house alongside Chinese and Japanese imported porcelain, especially the tea bowls. There were five other coffee-houses in Augsburg in the first half of the eighteenth century.
Other pieces from this service are in the Forsythe Wickes Collection, Museum of Fine Arts, Boston (inv. Numbers 65.2076-65.2080).
Ducret, S., 1971, Meissner Porzellan bemalt in Augsburg, 1718 bis um 1750, Band 1 Goldmalereien und bunte Chinoiserien.
On Hausmaler see Ulrich Pietsch, 2011, Early Meissen Porcelain: The Wark Collection from The Cummer Museum of Art and Gardens, pp. 43-46.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 506-507.
Location
Currently on loan
date made
ca 1720-1725
1720-1725
maker
Meissen Manufactory
ID Number
1987.0896.34
catalog number
1987.0896.34
accession number
1987.0896
collector/donor number
227A
Black and white print; bust portrait of a man (Henry Inman). Facsimile of sitter's signature is below the image.Currently not on view
Description (Brief)
Black and white print; bust portrait of a man (Henry Inman). Facsimile of sitter's signature is below the image.
Location
Currently not on view
Date made
n.d.
depicted
Inman, Henry
maker
Prevost, Victor
Nagel, Louis
original artist
Lazarus
ID Number
DL.60.3127
catalog number
60.3127
accession number
228146
Black and white print; oval bust portrait of a man (Alois Senefelder).Currently not on view
Description (Brief)
Black and white print; oval bust portrait of a man (Alois Senefelder).
Location
Currently not on view
Date made
n.d.
depicted
Senefelder, Alois
maker
Waldeck, Franz
ID Number
DL.60.3124
catalog number
60.3124
accession number
228146
Black and white print of a small town in hilly wooded area.
Description (Brief)
Black and white print of a small town in hilly wooded area.
Date made
1853
associated date
1853
maker
Britton & Rey
artist
Goddard, George Henry
ID Number
DL.60.3817
catalog number
60.3817
Color print of two steamboats (the "Diana" and the "Baltic") travelling at full speed with smoke pouring from their double stacks. Other steamboats are in the background and a flatboat with several men is in the right foreground.
Description (Brief)
Color print of two steamboats (the "Diana" and the "Baltic") travelling at full speed with smoke pouring from their double stacks. Other steamboats are in the background and a flatboat with several men is in the right foreground.
Date made
1859
maker
Fuller, George F.
Weingartner, Adam
ID Number
DL.60.3292
catalog number
60.3292
Color print of a whaling scene. Huge whale in the foreground is being harpooned by a whaler while five others steady the boat. In the background is a whale boat that is being capsized by a whale and three whaling vessels.Currently not on view
Description (Brief)
Color print of a whaling scene. Huge whale in the foreground is being harpooned by a whaler while five others steady the boat. In the background is a whale boat that is being capsized by a whale and three whaling vessels.
Location
Currently not on view
Date made
1862
copyright holder; publisher
Charles Taber & Co.
maker
Endicott and Company
original artist
Gifford, Robert Swain
Beest, Albert Van
Russell, Benjamin
ID Number
DL.60.3249
catalog number
60.3249
Black and white print of whaling ships and small whaling boats. The whaling ships are receiving the captains, officiers and crews of the abandoned whalers. The seven whaling ship names are listed below the image and above the title.Currently not on view
Description (Brief)
Black and white print of whaling ships and small whaling boats. The whaling ships are receiving the captains, officiers and crews of the abandoned whalers. The seven whaling ship names are listed below the image and above the title.
Location
Currently not on view
Date made
1872
maker
Bufford, John Henry
Newell, J.P.
original artist
Russell, Benjamin
ID Number
DL.60.3260
catalog number
60.3260
Color print of a whaling scene. Two whale boats, each with four oarsman, a steersman, and a spearman, chase a whale in the foreground. Other chases take place in the background. Three whaling vessels in full sail are in the distance.Currently not on view
Description (Brief)
Color print of a whaling scene. Two whale boats, each with four oarsman, a steersman, and a spearman, chase a whale in the foreground. Other chases take place in the background. Three whaling vessels in full sail are in the distance.
Location
Currently not on view
Date made
1859
publisher; copyright holder
Charles Taber & Co.
maker
Endicott and Company
original artist
Beest, Albert Van
Gifford, Robert Swain
Russell, Benjamin
ID Number
DL.60.3248
catalog number
60.3248
Black and white print of whaling ships; three whaling vessels are anchored in the ice while one, the bark Roman, is trapped and sinking. Men are escaping to the other ships. All the ships names are listed below the image and above the title.Currently not on view
Description (Brief)
Black and white print of whaling ships; three whaling vessels are anchored in the ice while one, the bark Roman, is trapped and sinking. Men are escaping to the other ships. All the ships names are listed below the image and above the title.
Location
Currently not on view
Date made
1872
maker
Bufford, John Henry
original artist
Russell, Benjamin
maker
Newell, J.P.
ID Number
DL.60.3256
catalog number
60.3256
Color print of a whaling scene; one large whaling vessel in foreground and one in the background are anchored awaiting men in smaller boats who are attacking whales.Currently not on view
Description (Brief)
Color print of a whaling scene; one large whaling vessel in foreground and one in the background are anchored awaiting men in smaller boats who are attacking whales.
Location
Currently not on view
Date made
n.d.
maker
Baillie, James S.
ID Number
DL.60.3255
catalog number
60.3255
Color print depicting a river with several small sailboats and a large steamship labeled "Walk in the Water" in the foreground. Far shore contains a small settlement.
Description (Brief)
Color print depicting a river with several small sailboats and a large steamship labeled "Walk in the Water" in the foreground. Far shore contains a small settlement.
Date made
n.d.
maker
Calvert Lithographing and Engraving Company
ID Number
DL.60.3796
catalog number
60.3796
Black and white print of a frigate (Mississippi) almost totally swamped by high seas on her passage from Simoda, Japan to the Sandwich Islands on the 7th of October 1854.
Description (Brief)
Black and white print of a frigate (Mississippi) almost totally swamped by high seas on her passage from Simoda, Japan to the Sandwich Islands on the 7th of October 1854.
Date made
1854
maker
Brown, Eliphalet Jr.
Britton & Rey
original artist
Heine, W
ID Number
DL.60.3287
catalog number
60.3287
Color print depicting a varied group of individuals along the banks of a river performing tasks related to gold mining; digging, sifting, washing, etc.
Description (Brief)
Color print depicting a varied group of individuals along the banks of a river performing tasks related to gold mining; digging, sifting, washing, etc.
Date made
n.d.
distributor
Ensign, Thayer and Company
maker
Kelloggs & Comstock
ID Number
DL.60.3829
catalog number
60.3829
Color print of a whaling scene; five rigged whaling vessels wait while men in two smaller vessels engage in a variety of activities. Captions below the image identify the activities. Walrus on ice on left and right foreground.Currently not on view
Description (Brief)
Color print of a whaling scene; five rigged whaling vessels wait while men in two smaller vessels engage in a variety of activities. Captions below the image identify the activities. Walrus on ice on left and right foreground.
Location
Currently not on view
Date made
1871
maker
Bufford, John Henry
original artist
Russell, Benjamin
ID Number
DL.60.3252
catalog number
60.3252
Black and white print of whaling ships; nine whaling vessels are on the edge of an ice field while one, the Awashonks, is trapped. All the ships names are listed below the image and above the title.Currently not on view
Description (Brief)
Black and white print of whaling ships; nine whaling vessels are on the edge of an ice field while one, the Awashonks, is trapped. All the ships names are listed below the image and above the title.
Location
Currently not on view
Date made
1872
maker
Bufford, John Henry
Newell, J.P.
original artist
Russell, Benjamin
ID Number
DL.60.3257
catalog number
60.3257
Black and white print of six small whaling boats in open water between the ice and shore. Numerous canoes are pulled up on shore and people, campfires, and tents are visible in the background.Currently not on view
Description (Brief)
Black and white print of six small whaling boats in open water between the ice and shore. Numerous canoes are pulled up on shore and people, campfires, and tents are visible in the background.
Location
Currently not on view
Date made
1872
maker
Bufford, John Henry
Newell, J.P.
original artist
Russell, Benjamin
ID Number
DL.60.3259
catalog number
60.3259
Color print of a whaling scene; four rigged whaling vessels wait while men in smaller vessels engage in a variety of activities. Captions below the image identify the activities.Currently not on view
Description (Brief)
Color print of a whaling scene; four rigged whaling vessels wait while men in smaller vessels engage in a variety of activities. Captions below the image identify the activities.
Location
Currently not on view
Date made
1870
maker
Bufford, John Henry
original artist
Russell, Benjamin
ID Number
DL.60.3251
catalog number
60.3251
Color print of a country estate with a river and sailboats in the background. Two gardeners are working on the lawn and in the left foreground is a man sitting on a bench with a dog at his feet.
Description (Brief)
Color print of a country estate with a river and sailboats in the background. Two gardeners are working on the lawn and in the left foreground is a man sitting on a bench with a dog at his feet. Sunnyside, waspurchased and renovated by Washington Irving.in 1835 and was his residence until his death in 1859. The home was purchased in 1947 by John D. Rocefeller and opened to the public. It is a National Historic Landmark.
Location
Currently not on view
Date made
n.d.
maker
Currier & Ives
ID Number
DL.60.3235
catalog number
60.3235
Black and white print; bust portrait of a man (James Fenimore Cooper).Currently not on view
Description (Brief)
Black and white print; bust portrait of a man (James Fenimore Cooper).
Location
Currently not on view
Date made
n.d.
depicted
Cooper, James Fenimore
publisher
Peabody & Co.
Childs & Inman
maker
Pendleton's Lithography
ID Number
DL.60.3130
catalog number
60.3130
accession number
228146
Color print of a whaling scene; two large whalers are anchored amid floating ice. Men are attacking whales from smaller boats and ice. Seals?, walrus, narwhal, are on the ice.Currently not on view
Description (Brief)
Color print of a whaling scene; two large whalers are anchored amid floating ice. Men are attacking whales from smaller boats and ice. Seals?, walrus, narwhal, are on the ice.
Location
Currently not on view
Date made
n.d.
maker
Baillie, James S.
Clay, Edward Williams
ID Number
DL.60.3254
catalog number
60.3254

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