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Click here to subscribeROBERT CLATWORTHY, R.A. [1928-2015]. Dog 111, 1968-9. Bronze sculpture, edition of 8 [the first cast, 1/8]. Signed RC, 87.5 cm long. Provenance: private collection, UK – acquired directly from the artist. Literature: ‘Robert Clatworthy’, Chapman, Sansom, 2012, p.116, pl.RC86 [this cast illustrated]. The largest of Clatworthy’s ‘Dog’ sculptures. [good condition].
FRED KORMIS [1897-1986]. Seated Girl, c. 1958. Terracotta, unique sculpture. Signed, 17 cm high. An interesting sculptor best known for his amazing prisoner of war memorials, he was captured by the Russians in WW1 and imprisoned in Siberia, eventually escaping in 1921 – he came to London in the 1930s to escape the Nazis. [Good condition].
CHINESE – CHINA. Animal with Baby Dragon on its back. Bronze – cast c. 16th-17th century [possibly earlier?]. 265 mm long. Provenance: private collection, UK [acquired from a deceased estate]. A wine vessel [Shang Dynasty type sculpture / artefact], but there are signs of an iron rod structure inside the vessel [rusted away long ago], which suggest it may have been adapted for another use during its lifetime. [generally good condition – some deposits as expected and slight damage to inside lip of lid, which you can only see when you lift the lid off]. End of Art and Artefacts.
WILLI SOUKOP, R.A. [1907-95]. Thrower, c.1949. Wood-carving, unique sculpture. Signed [underneath], 30 cm high. Provenance: private collection, UK – acquired directly from the artist. Another very underrated sculptor, a carver and modeller, who taught Frink and Clatworthy at Chelsea School of Art. The Tate Gallery collection includes his work. [good condition generally].
KENNETH ARMITAGE, R.A. [1916-2002]. Arm, 1967. Bronze sculpture, edition of 6. Signed KA, 29 cm long. Provenance: private collection, Germany [acquired directly from the artist]; private collection, UK. Literature: ‘Kenneth Armitage’, T. Woollcombe, 1997, Lund Humphries, p.146, KA162 – Armitage chose the large fibreglass version of ‘Arm’ for the front cover photo of the book as it was one of his favourite sculptures. [good condition].
LEON UNDERWOOD [1890-1975]. Light Industries & Secretariat, 1953. Lead, unique [similar versions exist]. 38 cm high, signed LU. Final maquette for large lead public sculpture in Old Street, London. Underwood invented this technique for casting sculpture in lead. Provenance: private collection, London – acquired directly from the artist, c.1954. Literature: ‘The Sculpture of Leon Underwood’, B. Whitworth, Lund Humphries, 2000, p.71, pl.10 [this cast illustrated in colour], also see p.136, no.156. [good condition].
ROBERT CLATWORTHY, R.A. [1928-2015]. Standing Figure, 1977. Bronze sculpture, edition 8 [cast 1977-8]. 51.5 cm high [64 cm high including base]. Provenance: Royal Academy Summer Exhibition, 1978, no.875; private collection, UK. Literature: ‘Robert Clatworthy’, Chapman, Sansom, 2012, p.121, RC 106. [Generally good condition, a little dirty in places and slightly loose on slate base [bolt needs tightening] and base needs a clean – base slightly marked in places].
FRED KORMIS [1897-1986]. The CAIRD art medal [Sir James Caird]. 1984. bronze relief. Signed, 14 cm high. The Caird medal sculpture is presented once a year [from 1984 onwards] to the distinguished person giving the Caird lecture at the National Maritime Museum in Greenwich and as such are extremely rare. Sir James Caird was one of the most important patrons of the museum and the library is named after him. Kormis sculpted many portraits, several of which are in the National Portrait Gallery and British Museum – he was also a fine figurative sculptor, particularly his prisoner of war memorials. EXTREMELY RARE. [good condition].
GEOFFREY CLARKE, R.A. [1924-2014] - Symbol for Man 1X, 1954. Welded iron, unique. Signed under aluminium base, 26 cm high. Provenance: private collection, UK – acquired directly from the artist. Exhibited: one-man exhibitions - Gimpel Fils Gallery, 1955; Redfern Gallery, 1965; Yorkshire Sculpture Park, 1994; Fine Art Society, 2000; Pangolin London, 2012. Clarke’s early welded iron sculptures are rare and highly sought after – they were first seen at the ‘Geometry of Fear’ exhibition at the Venice Biennale in 1952, alongside sculpture by Armitage, Chadwick, Butler, etc. [good condition].
LEON UNDERWOOD [1890-1975]. Bird [Skylark], 1930/34. Bronze, artist’s cast [cast 1934], probably a unique variant [a similar version exists, cast in an edition of 7]. Signed, 16.5 cm high including base [bronze 13.5 cm high]. Provenance: private collection, UK – acquired directly from the artist. Literature: ‘The Sculpture of Leon Underwood’, B. Whitworth, Lund Humphries, 2000, p.125, no.39. [good condition].
The next 50 lots are by featured artist Leon Underwood [1890-1975]: Underwood is a major UK artist, best known for his innovative sculpture – he was a carver and modeller and taught Henry Moore and Barbara Hepworth. He was also a great print-maker especially in the 1920s and a painter. The Tate Gallery collection includes 8 of his sculptures and paintings. There are currently 2 books on his work. LEON UNDERWOOD [1890-1975]. The Tulip Girl, 1921. Etching, artist’s proof – early state without tulips, only a few were printed [final state prints produced in an edition of 8 in 1922]. Signed, 19 x 14 cm. Literature: ‘Leon Underwood’, C. Neve, Thames & Hudson, 1974, p.60. [good condition – unexamined out of frame].
FRED KORMIS [1897-1986]. GOLDA MEIR [former Prime Minister of Israel], 1973. Bronze relief sculpture, edition of 8 [7/8]. Signed, 14.5 cm high. Kormis sculpted many portraits of famous people, including royalty, and his reliefs are included in the National Portrait Gallery and British Museum collections. He was also a fine figurative sculptor, particularly well known for his superb prisoner of war memorials. EXTREMELY RARE [only 8 cast]. [good condition].
FRED KORMIS [1897-1986]. Duke of Edinburgh, 1984. Bronze relief sculpture, signed, 13 cm high. The Duke of Edinburgh was a trustee of the National Maritime Museum and this relief was sculpted to celebrate his tenure. There is another cast in the Queen’s Royal collection. VERY RARE. [good condition].
Sir EDUARDO PAOLOZZI, R.A. [1924-2005]. Head Looking Up, 1980. Bronze, edition of 6. Signed, 11 cm long [excluding base]. Provenance: private collection, UK – acquired directly from the artist. Literature: ‘Eduardo Paolozzi’, W. Konnertz, 1984, Dumont, p.242, pl.441. Study for the large sculpture ‘Piscator’ in front of Euston Station, London. [Good condition].
LEON UNDERWOOD [1890-1975]. Restraint, 1963. Bronze, unique. Signed and dated, 16.5 cm high. Provenance: private collection, UK – acquired directly from the artist. Exhibited: major retrospective one-man exhibition, Minories Gallery, 1969, no.107. Literature: ‘The Sculpture of Leon Underwood’, B. Whitworth, Lund Humphries, 2000, p.143, no.23. [good condition].
9th-8th century BC. A square stone plaque pierced for suspension with billetted border enclosing a reserved figure of a regardant winged sphinx with tail raised and beaded hair. 138 grams, 94mm (3 3/4"). Fair condition; repaired. Property of a London gentleman; aquired in the late 1970s and 1980s. The sphinx is first found in ancient Egypt where it is commonly seen with the head of a man, but also sometimes with that of an animal such as a hawk. The imagery later passed into Greek art where it is more often seen with the head of a woman. It is also present in the art and sculpture of the Mycenaean, Assyrian, Persian and Phoenician civilisations. In Egypt the sphinx is closely associated with the power of the Pharaoh, whereas in Greece it is seen more as a monster. In the Near East it has more of a guardian role and is found flanking the doorways to palaces and temples and decorating furniture. This piece shows a mixture of Egyptian and early Greek styles and was possibly a decorative wall fitting for an important building.
2nd-4th century AD. A carved schist figure of Buddha seated cross-legged on a dais with nimbus to the rear of the head, right hand raised in mudra of reassurance; mounted on a custom-made stand. 2 kg, 25.5cm including stand (10"). From an important London collection, acquired in the 1990s. See Behrendt, K. The Art of Gandhara in the Metropolitan Museum of Art, New York, 2007. The depiction of the Buddha seated and holding a corner of his robes is one of the oldest to come from Gandharan art. The principal episodes in the life of the Buddha are evoked by gestures of the hands which later became codified in Buddhist art and literature. The image of the Buddha seated and with hand raised in Abhaya Mudra or the dispelling of fear gesture, and with the other hand grasping the corners of his robes, relates to the episode in the life of the Buddha immediately after he had gained enlightenment. After he had gained enlightenment underneath the Bodhi tree at Bodh Gaya, it is said that the gods descended to Earth to beg the Buddha to spread his teachings. After listening to the gods, the Buddha raised his hand to gesture to the gods not to fear and that he was ready, and also held the corners of his robe so that he could rise from his position of meditation. In this sculpture his enlightenment is indicated by the serene look upon his face and the halo behind his head. Fine condition.
3rd-5th century AD. A statuette of Buddha seated cross-legged with hands folded in the lap; coral pink pigment remaining; mounted on a custom-made stand. 2 kg, 27cm including stand (10 1/2"). Property of a North London gentleman; formerly with a Mayfair gallery in the 1980s. Cf. Behrendt, K. The Art of Gandhara in the Metropolitan Museum of Art, New York, 2007, pp. 64-68 for a discussion on stucco sculpture. The use of stucco, clay and terracotta for the production of images at Gandharan Buddhist sites was particularly popular due to the fact that it was easier and cheaper to work than the usual schist stone. because stucco is susceptible to water damage such sculpture often does not survive. With the rapid expansion of Buddhism in the area and the need for monastic and other religious sites to cater for the needs of the faithful, stucco proved to be a favourite material in decorating these sites; the images range in size from small devotional pieces to monumental sculptures, such as those found at Takht-i-bahi in Pakistan. Fine condition; neck repaired.
2nd century BC-2nd century AD. The top of a rectangular alabaster stele with stylised human face carved in the half-round with lentoid sockets for separate inlaid eyes, keeled triangular nose, D-shaped bilinear ears; incised inscription below the chin. 9.4 kg, 37cm (14 1/2"). Fine condition. From an important English collection; acquired in the 1990s. South Arabian sculpture associated with palaces and domestic settings often reflects a strong Graeco-Roman influence. In contrast, ancestral images, funerary portraits and votive dedications exhibit a distinct style that is characteristically local. The flat surfaces to the rear of these stele suggest that they were installed against walls and were most likely memorial plaques in honour of the dead. Relief plaques such as these are known from the upland areas of the Marib, the ancient centre of the Sabaean Empire. This area contains numerous stone ruins dating from between the first millennium BC into the early first millennium AD, and which was a period when the region was enriched by the burgeoning Roman demand for spices that linked southern Arabia to Ethiopia and the cultures of the Indian Ocean in a complex trade network.
1360-1400 AD. A gold hoop, oval-shaped to the finger, with raised lateral edge bead; a four-claw collet cell holding a large polished irregular sapphire cabochon to the bezel, with reserved floral and foliage engraving to the shoulders; ornate blackletter 'alas for fayte' inscription to the inner face of the bezel. 5.11 grams, 21mm overall,16.30x14.86mm internal diameters (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10) (3/4"). Extremely fine condition. Extremely rare. Property of a Cambridgeshire, UK gentleman; offered at Sotheby's sale 8 July 2011, lot 34; formerly with Trevor Scott; by descent from Elisabeth Feather, wife of Henry Spinx, in late 19th century via Grace Messeter, Ernest Messeter, Grace Messeter, Ernest Messeter and Edwin Messeter (from around 1865); by family descent, reputedly the property of Katherine Swynford, Duchess of Lancaster, nee de Roet, circa 1400, the gift of John of Gaunt, circa 1400 AD. Supplied with a positive X-Ray Fluorescence metal analysis certificate. See Sotheby's sale catalogue L11231, lot 34 (this ring; catalogue accompanies this lot, with an email printout from Sotheby's to vendor discussing the ring); featured on the BBC TV programme Antiques Roadshow, broadcast 14th September 2008 (with documents relating to the broadcast); for a very similar sapphire-set and inscribed ring, but showing considerable wear, see http://topazi.us/period/medieval/late-medieval-gold-ring-hexagonal-sapphire/, and the The Warrington Guardian, 26 April 2008, sold in an Old Master Sculpture and Works of Art auction, London, 9 July 2009, realised £70,850.00. Accompanied by an Art Loss Register certificate. John of Gaunt (6 March 1340 - 3 February 1399) was the third son of King Edward III, named 'of Gaunt' due to his birthplace of Ghent, Belgium. He was made a Knight of the Garter and 1st Duke of Lancaster. He married Blanche of Lancaster, who died in 1369, and Infanta Constance of Castile, who died in 1394. His third wife, previously his mistress, was Katherine Swynford; she was the daughter of Paon de Roet, a herald and minor official who was later knighted and made Guyon King of Armes. She had two sisters, Philippa (the wife of Geoffrey Chaucer) and Isabel (also called Elizabeth) de Roet, who became Canoness of the convent of St. Waudru's, Mons, Belgium in 1366. They also had a brother named Walter; Katherine and Philippa may have been born to Paon's second wife. Katherine was born in Hainaut, Belgium, in 1349-50 probably on 25th November, the feast day of her patron, St. Catherine of Alexandria. The family returned to England in 1351 and, aged about seventeen, she married Sir Ottes Swynford of Kettlethorpe, Lincolnshire, and had three children by him: Blanche, Thomas and Margaret. Katherine was appointed governess to the children of John of Gaunt and his wife, Blanche, by then in failing health; with a pedigree of the descendants of Katherine Swynford produced for the Dean and Chapter of Lincoln Cathedral, including the relationship to United States Presidents George Washington, James Monroe and John Quincy Adams. John and Katherine began a love affair which resulted in four more children: John Beaufort, 1st Earl of Somerset (1373-1410), who had a distinguished military career in crusades in North Africa and eastern Europe. Henry Beaufort (died 11 April 1447), bishop of Winchester, later a Cardinal and an attending churchman at the trial and execution of Joan of Arc during the Hundred Years' War. Thomas Beaufort, 1st Duke of Exeter (died 31 December 1426) was a military commander and for a short period, Chancellor of England; Joan Beaufort, Countess of Westmorland (died 13 November 1440), wife of Robert Ferrers. All these children were born out of wedlock, but subsequently legitimised by their parents' marriage in Lincoln Cathedral in 1396. Katherine and her daughter, Joan, are interred in that same building, although their tombs were damaged during the English Civil War. The sapphire appears to have originated in Kashmir, and is likely to have travelled to Europe across the Silk Road.
NIKOLAY BOGDANOV-BELSKY (RUSSIAN 1868-1945)Portrait of A. T. Goncharov, 1935oil on canvas80 x 101 cm (31 x 40 in.)inscribed, signed and dated lower leftLOT NOTES Nikolay Bogdanov-Belsky was a Russian genre painter, known for his many Realist portraits and landscape studies. He studied painting over the course of a decade, first at the Moscow School of Painting, Sculpture and Architecture, followed by the Imperial Academy of Arts in St. Petersburg. He spent a few years in the late 1890s studying and working in private studios in Paris, before settling in Riga, Latvia in 1921. There, his focus transitioned from portraiture to painting rural landscapes and peasant children studying in the classroom. This portrait of a gentleman, inscribed by the artist A. T. Goncharov, was painted towards the end of the artist`s career.THIS LOT IS BEING SOLD WITHOUT RESERVE.
NIKOLAI PETROVICH KRYMOV (RUSSIAN 1884-1958)In the Forest, oil on canvas46 x 33 cm (18 1/8 x 13 in.)signed lower leftEXPERTISEAccompanied by an expertise from the State Tretyakov Gallery, 2001. A copy is available upon request. LOT NOTESBorn into an artistic family, Nikolai Krymov studied at the Moscow School of Painting, Sculpture, and Architecture under Abram Arkhipov, Nikolai Kasatkin, Leonid Pasternak, and at the studios of Valentin Serov and Konstantin Korovin. Known for his landscape paintings, Krymov`s works were imbued with a sense of emotion and a human resonance with nature. The present lot, In the Forest, demonstrates this mastery of the combination of nature and humanity.
ARTUR FONVIZIN (RUSSIAN 1883-1973)Self Portrait, 1926charcoal on paper27.5 x 19 cm (10 3/4 x 7 1/2 in.)PROVENANCECollection of Nikolay Khardjiev LOT NOTESArtur Fonvizin studied at the Moscow School of Painting, Sculpture, and Architecture, from which he was prophetically expelled together with Mikhail Larionov and Sergei Soudeikine for staging an unauthorized exhibition. In the years leading up to WWI, Fonvizin actively showed his works with the leading avant-garde associations, including the Blue Rose, Stephanos, Union of Youth, and the Jack of Diamonds, among others. Later, in 1937, his art was publicly condemned by the Soviet government for its formalist qualities alongside that of Robert Falk and Vladimir Favorsky, as one of the Three Fs.THIS LOT IS BEING SOLD WITHOUT RESERVE.
ISAAC FRIEDLANDER (AMERICAN 1890-1968)Still Life with a Jug, oil on canvas45.7 x 50.8 cm (18 x 20 in. )signed lower right PROVENANCECollection of Joseph Herman Hirshhorn (with collection label on verso)LOT NOTESJoseph Herman Hirshhorn, one of AmericaÕs most famous art collectors and the former owner of this painting, is famous for saying regarding the purchase of art, ÒIf youÕve got to look at a picture a dozen times before you make up your mind, thereÕs something wrong with you or the picture.Ó He later donated the majority of his collection to the United States government, which opened the Joseph H Hirshhorm Museum and Joseph H. Hirshhorn Museum and Sculpture Garden in Washington, D.C. in 1974.THIS LOT IS BEING SOLD WITHOUT RESERVE.
A PAIR OF PAINTINGS BY IGOR YERSHOV (RUSSIAN 1916-1985)Scenes of the Eastern Russia, 1939oil on canvasapproximately 46 x 70 cm (18 x 27 1/2 in.) eachsigned, titled and dated on verso LOT NOTES Igor Yershov was a Russian painter and graphic designer. He was born into an artistic family; his father Ivan Yershov was an opera singer with the Imperial Marinskiy Theatre and his mother was both a singer and a professor at the St. Petersburg Conservatory. In 1932, Yershov began his studies at the academy of Painting, Sculpture and Architecture. Amongst his professors were I. Brodsky and I. Bilibin. His studies were interrupted by the Second World War when he was evacuated to Tashkent. Yershov graduated from the Academy in 1947, presenting lithographs for A. Pushkin`s Bronze Horseman. In 1949, a jubilee edition of Pushkin`s works was published with illustrations by the artist. From the 1950s onwards, he worked mainly as an illustrator of children`s books. At least two generations of Russian children grew up reading Khorovod with Yershov`s illustrations. His illustrations for the Russian folk tales by Charles Perrault and Aleksandr Pushkin were very popular: The tale of the Golden Cockerel (1957-1960), A tale of the Fisherman and his wife (1956-57), Russian fairy-tales (1957-1960). Yershov`s works can be found in the collections of a number of Russian museums including the State Russian Museum and Museum of A.S. Pushkin and in museums and private collections in both France and England.THIS LOT IS BEING SOLD WITHOUT RESERVE.
ERTE (RUSSIAN/FRENCH, 1892-1990), BRONZE SCULPTURE, H 19", "FEDORA", #167/500Standing model holding a disc form flower fan. The dominant patina is white gold leaf. Signed and numbered. Dated "1989". Cast by Seven Arts Limited London. Purchased at Dyansen Gallery in Maui, Hawaii. H 19 1/3". Certificate of authenticity.Good condition jw- For High Resolution Photos visit Dumouchelles website.
EMMANUEL DE SANTA COLOMA (FRENCH, 1829-1886), BRONZE SCULPTURE, H 14", EQUESTRIAN FIGURESigned Emmanuel de Santa Coloma, circa 1850. Royal insignia on trappings. Renaissance brown patina. L 12".Good condition. Nicely rubbed patina. Very good detail. Jw- For High Resolution Photos visit Dumouchelles website.
ERTE (RUSSIAN/FRENCH, 1892-1990), BRONZE SCULPTURE, H 18", "JULIETTA", #378/500Standing model on a plinth with a panther relief. She is wearing a panther designed gown. Cast in 1987 by Seven Arts Limited London. H 18 1/4". Certificate of authenticity.Good condition jw- For High Resolution Photos visit Dumouchelles website.
ELSA MARTINUS (AMERICAN/DUTCH), BRONZE SCULPTURE, #8/8, H 19", W 21", D 11", YOUNG GIRL & TEDDY BEARGreen patina of girl seated with legs outstretched to the right. Signed and numbered on right side of figure. From the estate of Barbara K. Wrigley of Grosse Pointe Farms.Good condition. Jw- For High Resolution Photos visit Dumouchelles website.
AFTER MICHELANGELO, ALABASTER SCULPTURE 19TH.C. H 22" MOSES WITH TABLETS An antique hand carved sculpture of Moses with two tablets, taken from the tomb of Julius II.Repaired at base. One horn missing. High quality carving. CATALOG CORRECTION: ALABASTER RATHER THAN MARBLE. - For High Resolution Photos visit Dumouchelles website.
ERTE (RUSSIAN/FRENCH, 1892-1990), DOUBLE BRONZE SCULPTURE GROUP, H 18", "DREAM BIRDS", #166/500Figure of a model in a silvered gown and a second figure with birds holding the draped costume. Cast by Joel Meisner Foundry. Stamped "Seven Arts Limited London". Purchased from Dyansen Gallery in Maui, Hawaii.Good condition jw- For High Resolution Photos visit Dumouchelles website.
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![CHINESE – CHINA. Animal with Baby Dragon on its back. Bronze – cast c. 16th-17th century [possibly earlier?]. 265 mm long. Pr](https://cdn.globalauctionplatform.com/ea9f6203-91c2-46f1-b978-a5ec00ab8d88/8472b85b-969a-4b21-c4d3-e04e886b08a9/468x382.jpg)
![KENNETH ARMITAGE, R.A. [1916-2002]. Arm, 1967. Bronze sculpture, edition of 6. Signed KA, 29 cm long. Provenance: private col](https://cdn.globalauctionplatform.com/ea9f6203-91c2-46f1-b978-a5ec00ab8d88/aa184f66-b209-4908-ebc7-9df2b1bff79e/468x382.jpg)
![LEON UNDERWOOD [1890-1975]. Light Industries & Secretariat, 1953. Lead, unique [similar versions exist]. 38 cm high, signed L](https://cdn.globalauctionplatform.com/ea9f6203-91c2-46f1-b978-a5ec00ab8d88/f3fd4c1e-0ec7-4cca-f9b0-0c99b1120081/468x382.jpg)
![FRED KORMIS [1897-1986]. The CAIRD art medal [Sir James Caird]. 1984. bronze relief. Signed, 14 cm high. The Caird medal scul](https://cdn.globalauctionplatform.com/ea9f6203-91c2-46f1-b978-a5ec00ab8d88/7123fb42-060e-47ad-b47a-53491ba226bb/468x382.jpg)
![FRED KORMIS [1897-1986]. GOLDA MEIR [former Prime Minister of Israel], 1973. Bronze relief sculpture, edition of 8 [7/8]. Sig](https://cdn.globalauctionplatform.com/ea9f6203-91c2-46f1-b978-a5ec00ab8d88/0f7aa341-b13e-4d26-8ba5-b5c3c54327b3/468x382.jpg)
![MAURICE JADOT [1893-1983]. Form, 1964. Bronze resin sculpture, edition of 6 [3/6]. Signed and dated, 13 cm high. Provenance:](https://cdn.globalauctionplatform.com/ea9f6203-91c2-46f1-b978-a5ec00ab8d88/78ac8846-aba6-4545-88b3-e1822ad80fae/468x382.jpg)
![FRED KORMIS [1897-1986]. Duke of Edinburgh, 1984. Bronze relief sculpture, signed, 13 cm high. The Duke of Edinburgh was a tr](https://cdn.globalauctionplatform.com/ea9f6203-91c2-46f1-b978-a5ec00ab8d88/4adeb140-5b95-44c1-e42f-b92c2939a980/468x382.jpg)
![J. J. PRADIER BRONZE SCULPTURE, H 11", L 14" "SAPPHO"Jean Jacques Pradier [French, 1790-1852]. A bonze of the seated poet Sa](https://cdn.globalauctionplatform.com/58b0ece8-8c12-4e5d-85cc-a5f00172602c/9c21a195-19c6-4d18-a730-d62c094d7aff/468x382.jpg)
