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Portrait of Mrs. Walford c.1710; Attributed to Charles Jervas.
Oil on canvas in a good quality 18th c. carved and giltwood frame.

The sitter is painted within the then fashionable device of a feigned oval, looking calmly at the viewer.

She is thought to be Miss Adams, later the wife of a Walford of Sibford, who lived in Sibford Ferris Manor House, Oxfordshire.
The house was built by Thomas Walford in 1666 and refronted in the 18th century. Bought by Quakers in the early 19th century it became a school and has now been converted to apartments. (Image 5).

CHARLES JERVAS (c. 1675 – 1739) was an Irish portrait painter, translator, and art collector.
Born in County Offaly, Ireland around 1675, Jervas studied in London, England as an assistant under Sir Godfrey Kneller between 1694 and 1695.
Painting portraits of the city's intellectuals, among them such personal friends as Jonathan Swift and the poet Alexander Pope (both now in the National Portrait Gallery, London), Charles Jervas became a popular artist often referred to in the works of literary figures of the period.

Jervas gave painting lessons to Pope at his house in Cleveland Court, St James's, which Pope mentions in his poem, 'To Belinda on the Rape of the Lock', written 1713, published 1717 in 'Poems on Several Occasions'.
With his growing reputation, Jervas succeeded Kneller as Principal Portrait Painter to King George I in 1723, and continued to live in London until his death in 1739.

SIZE: 36 x 31.5 inches inc. frame.
PROVENANCE:
* Presumably at Sibford Manor House, then by descent.
*Christie's, London (early 20th c. Christie's stencil verso).
*Private Collection, Sussex.
VERSO: two old handwritten labels, one damaged:- "Bride of ..... Walford of Sibford" and "A daughter of Mr. Adams and half sister of Mrs. Lock. Cleaned and relined 1895."
Old Christie's stencil.
Ref: 8683
This item has been sold





Portrait of Nicholas Lechmere Pateshall c.1815; Studio or Circle of Domenico Pellegrini.
Oil on canvas in giltwood frame.
The young officer, Captain Lechmere Pateshall R.N., looks out proudly; his hair in the latest style, he wears the dress uniform of a post captain, with twin epaulettes and much gold lace, holding his sword and with his bicorne hat tucked beneath his right arm.
(An officer was 'made post' when he was first commissioned to command a rated vessel...that is, a ship too important to be commanded by a mere commander. Being 'made post' was the most crucial event in an officer's career.
A commander wore a single epaulette on the left shoulder; a post captain with less than three years seniority wore a single epaulette on the right shoulder, and a post captain with three years or more seniority wore an epaulette on each shoulder.)

NICHOLAS LECHMERE PATESHALL (1782 - 1854) was a member an old gentry family that traced its origins back to the Middle Ages. He was the fourth son of Edmund Lechmere Pateshall and his wife, Ann, daughter of William Burnam and was born at Allensmore, Herefordshire.

He was made a Royal Navy lieutenant in 1801 at the age of 19,and was appointed Master and Commander of HMS Reindeer in 1811.( Reindeer was an 18 gun brig-sloop, launched in 1804, captured and burnt in 1814 after a gallant and bloody fight with the USS Wasp, an American warship.)
In 1815 Pateshall was made Captain of HMS Polyphemus, a ship of the line of 64 guns that had been one of Nelson's fleet at the Battle of Trafalgar.
In this year the Napoleonic War that had ravaged Europe since 1799 finally came to an end with the French defeat at Waterloo.
Pateshall was posted in the London Gazette as 'Retired Captain of the Fleet' 1 September 1846, and in 1850 received notice from the Admiralty that, due to age and seniority, he needs no commission to become Retired Rear Admiral.
Pateshall died in 1854.

DOMENICO PELLIGRINI (1759 - 1840) was an Italian painter.
He completed his early studies in Venice and then Rome, where he was a pupil of Domenico Corvi. In 1792 he left for London, where he began attending the Royal Academy of Arts, encouraged by his friend and mentor Francesco Bartolozzi, to whom he dedicated a portrait.

He lived for a long time in the British capital where he worked and exhibited until 1812, during which time he exhibited 35 portraits at the Royal Academy.
In 1812 he moved to Lisbon, again on the advice of Bartolozzi, who already lived there.
After some time he returned to Italy, where he worked mainly in Rome and Milan.
He painted many British military officers including Admiral Jervis and the Duke of Wellington.
He died in Rome in 1840.

SIZE:37 x 32 inches inc. frame.
PROVENANCE: Estate of William T. Martin.
VERSO:two old inscriptions referring to the estate of William T. Martin as the donor of the portrait, plus an early 20th c. label for W. Freeman and Sons, Picture Restorers of Albemarle Place, London.
Ref: 8668
This item has been sold





Portrait of Prince Virginio Orsini; Follower of Jacob Ferdinand Voet
Oil on canvas; Prince VIRGINIO ORSINI, Knight of Malta,of the ducal family of Bracciano, born 1615; died 21 August, 1676. He renounced his birthright in his youth, entered the military order of the Knights of Malta, (in the portrait he wears their symbol, the Maltese Cross), and more than once distinguished himself in the war against the Turks by his reckless bravery.
In December, 1641, Pope Urban VIII raised him to the dignity of Cardinal, and appointed him Protector of the Polish as well as of the Portuguese Orient. He was commissioned to direct the building of the new fortifications with which Urban VIII enclosed the Leonine City and a quarter of Trastevere, and which are still in existence. In 1675 he became Cardinal Bishop of Frascati, but died the following year.

The ORSINIS were one of the most ancient and distinguished families of the Roman nobility, whose members often played an important rôle in the history of Italy, particularly in that of Rome and of the Papal States.
They had large possessions in Italy and were the rulers of numerous and important dominions, fortified towns, and strongholds. In Rome, the Orsini were the hereditary enemies of the equally distinguished Colonna: in the great medieval conflict between papacy and empire, the latter were for the most part on the side of the emperor and the leaders of the Ghibelline party, while the Orsini were ordinarily champions of the papacy and leaders of the Guelph party. The Orsini gave three popes to the Church -- Celestine III, Nicholas III, and Benedict XIII -- as well as many cardinals and numerous bishops and prelates. Other members of the family distinguished themselves in political history as warriors or statesmen, and others won renown in the fields of art and science. They influenced in a very prominent manner the general historical development of that time.

JACOB FERDINAND VOET (1639 - c.1700) was a Flemish painter who made his career in Rome in the second half of the 17th century.
He was an expert portrait painter who combined solid Flemish professionalism with stylistic features from French and Italian Baroque portraiture.
Little is known of Voet's early life in Antwerp. He arrived in Rome in 1663, probably via France. Voet became a much sought-after portrait painter to the Papal court and the Roman aristocracy. Certain Englishmen who visited Rome on their Grand Tour, also commissioned Voet to paint their portraits. Voet specialized in half-length portraits, in which all attention is concentrated on the subject, who emerges from a neutral, dark background. He was a sophisticated master of his medium, painting with an effortless accuracy and a fluid ease. Voet's subjects tend to have a reflective expression. Usually they have very striking, memorable eyes, always large and evocative.
SIZE: canvas 25.75 x 21.25 inches
PROVENANCE: Italian Private Collection
Ref: 8481
This item has been sold





Portrait of Princess Henriette Adelaide of Savoy c.1665; Continental School.
Oil on canvas in a 19th c. frame.

PRINCESS HENRIETTE ADELAIDE OF SAVOY (Enrichetta Adelaide Maria; 6 November 1636 – 13 June 1676), was the wife of the Ferdinand Maria, Elector of Bavaria. She had much political influence in her adopted country and with her husband did much to improve the welfare of the Electorate of Bavaria.

Born at the Castello del Valentino in Turin, she was the older of twin girls; her sister Princess Catherine Beatrice of Savoy died in Turin 26 August 1637. On 7 October 1637 she lost her father Victor Amadeus I, Duke of Savoy, when she was just one year old. Her mother, Christine of France, was the daughter of Henry IV of France and Marie de' Medici. After the death of her father, her mother served as Regent of Savoy on behalf of two of Henriette Adelaide's brothers: Francis Hyacinth (1632–1638), then Charles Emmanuel II (1634–1675) after the older brother died. Her uncles Prince Maurice of Savoy and Thomas Francis, Prince of Carignano, intrigued against their sister-in-law and her French entourage.

When the first heir Francis Hyacinth died in 1638, the brothers Maurice and Thomas started the Piedmontese Civil War with Spanish support. The two parties in the war were known as the "principisti" (supporters of the princes) and "madamisti" (supporters of "Madama Reale," the Regent Christine ). With the support of her brother, King Louis XIII of France, Marie Christine was able to defeat the challenge to her rule.

On 8 December 1650 Henriette married Ferdinand Maria, heir to the Electorate of Bavaria future. The next year he became Elector upon the death of his father Maximilian.

Henriette Adelaide had a strong influence on Bavarian foreign affairs in favor of France, whose royal family counted her mother as a member. This led to an alliance between France and Bavaria against Austria. One of the results of the alliance was the marriage of Henriette's eldest daughter Maria Anna and her cousin Louis, Dauphin of France (le Grand Dauphin), in 1680.

She had a leading role in the building of Nymphenburg Palace and the Theatine Church in Munich. Many Italian artists were invited to Munich, and she also introduced Italian opera to the court of Bavaria.

Henriette died in Munich and was buried in the Theatine Church - the church she and her husband built as a gesture of thanks for the birth of the long-awaited heir to the Bavarian crown, Prince Maximilan II Emanuel, in 1662.

This is a sensitive and pleasing image by an artist as yet unidentified; the drapery is depicted in a confident painterly manner, with a real enjoyment in the handling of the medium.
Our thanks to Eduardo Puerto Mendoza for the identification.

SIZE: 23.5 x 20.25 inches inc. frame.
PROVENANCE: Private Collection, Oxfordshire.
Ref: 8778
This item has been sold





Portrait of Princess Mary of York as Diana, Goddess of the Hunt, after Sir Peter Lely.
Oil on canvas in a 17th or 18th century frame.

This lovely portrait is a period copy of the original painted by Sir Peter Lely. There is also a copy in Lytes Cary Manor, Somerset.

Princess Mary, later Queen Mary, is depicted as Diana the Huntress, goddess of the hunt, moon and birthing.
The celestial character of Diana is reflected in her connection with light, inaccessibility, purity and virginity; all desirable attributes for a girl who was on the marriage market.
Artists often depicted Diana wearing a classic tunic & sandals. Some painted her holding a hunting spear or a hunting horn with a bow & a quiver on her shoulder. Many Dianas were accompanied by deer or hunting dogs. Like Venus, she was portrayed as beautiful & youthful. Early artists sometimes depicted Diana wearing a crescent moon as a hair decoration & sometimes wearing an animal-skin wrap...in this case the princess wears costly silks and satins decorated with pearls.

PRINCESS MARY OF YORK, later QUEEN MARY II (1662-1794).
The eldest daughter of James, Duke of York, later James II, and Anne Hyde. Mary married the Dutch prince William of Orange at Whitehall in 1677, and returned with him to The Netherlands. In the dilemma of the 1688 Revolution she supported her husband and Protestantism rather than her Catholic father, and was invited to return to England in 1689 to share the monarchy with William. She proved a wise and effective ruler, especially during William's absences at war, and her many charitable schemes included the William and Mary Missionary College, Williamsburg, Virginia.

SIZE:37.75 x 32.5 inches inc. frame.
PROVENANCE: Old Collection, Worcestershire.
Verso: old Christie's stencilled number.
Ref: 8862
This item has been sold





Portrait of Queen Mary I, Manner of Guillim Scrots.
Oil on oak panel in an elaborate carved and giltwood frame.
Created c.1800 this is a superb portrait convincingly painted in the Tudor manner.
Verso, an old handwritten label "Anne Boleyn, (after) Holbein".
In fact this is a portrait of Mary Tudor, later Queen Mary I, as a young woman.
Mary was noted for her fierce Catholic faith, and in this portrait can be clearly seen symbols of that faith; a bible, a jewelled cross and a jewel showing St. Veronica holding the cloth with the image of Christ upon it.
The unknown artist of this lovely painting has been directly influenced by Guillim Scrot's portrait of the young Elizabeth I in the Royal Collection at Windsor castle. Also the placement and composition of the hands in the portrait of Catherine Parr in the Melton Constable portrait (formerly mistakenly called Lady Jane Grey) seem to have been utilised in reverse.

MARY TUDOR was the first Queen Regnant (that is, a queen reigning in her own right rather than a queen through marriage to a king). Courageous and stubborn, her character was moulded by her early years.

In his political and marital manoeuvrings her father Henry VIII instituted an Act of Parliament in 1533 which declared her illegitimate and removed her from the succession to the throne (she was reinstated in 1544, but her half-brother Edward removed her from the succession once more shortly before his death), whilst she was pressurised to give up the Mass and acknowledge the English Protestant Church.

On her succession Mary restored papal supremacy in England, abandoned the title of Supreme Head of the Church, reintroduced Roman Catholic bishops and began the slow reintroduction of monastic orders.

Mary also revived the old heresy laws to secure the religious conversion of the country; heresy was regarded as a religious and civil offence amounting to treason.
As a result, around 300 Protestant heretics were burnt in three years.

Apart from making Mary deeply unpopular, such treatment demonstrated that people were prepared to die for the Protestant settlement established in Henry's reign.

The progress of Mary's conversion of the country was also limited by the vested interests of the aristocracy and gentry who had bought the monastic lands sold off after the Dissolution of the Monasteries, and who refused to return these possessions voluntarily as Mary invited them to do.

Aged 37 at her accession, Mary wished to marry and have children, thus leaving a Catholic heir to consolidate her religious reforms, and removing her half-sister Elizabeth (a focus for Protestant opposition) from direct succession.

Mary's decision to marry Philip, King of Spain in 1554 was very unpopular.
The marriage was childless, Philip spent most of it on the continent, England obtained no share in the Spanish monopolies in New World trade and the alliance with Spain dragged England into a war with France.
Popular discontent grew when Calais, the last vestige of England's possessions in France dating from William the Conqueror's time, was captured by the French in 1558.

Dogged by ill health, Mary died later that year, possibly from cancer, leaving the crown to her half-sister Elizabeth.

GUILLIM SCROTS (Guillim Stretes or William Scrots) (active 1537-1553).
Nothing is known of his early life, training or parentage, but in 1537 William Scrots was appointed painter to Mary of Hungary, Regent of the Netherlands. In 1545, he went to England to take up a position as a painter at the court of Henry VIII, where he was the highest paid artist of the time.

SIZE: Panel 25.25 x 19 inches.
Frame 44.25 x 28.5 inches.
PROVENANCE:From the old collection of an ancient noble Scottish family.
Ref: 8896
This item has been sold





Portrait of Radcliffe Pearle Todd c.1780; Circle of John Francis Rigaud.
Oil on canvas in period giltwood frame.

This charming late Georgian portrait, of intimate size, shows Radcliffe Pearle Todd (1762-1813) of Sturmer Hall, Haverhill, Suffolk. (See Image 4). This estate had been in the family since c. 1595.

He was the son of Radcliffe Pearle Todd and his wife Elizabeth Strutt. (portrait also on this website).
This young Radcliffe married, firstly, Sarah Elizabeth Massingberd of Gunby and, secondly, Sarah Ingle.
His son by Sarah Elizabeth was also, confusingly, called Radcliffe Pearle Todd.

JOHN FRANCIS RIGAUD (1742-1810) was a painter of portraits, history and decorative pieces. Born in Italy of French descent, he was mainly active in England. He trained in his native Turin as well as Florence and Bologna and moved to London in 1771. Rigaud's major patron was Heneage Finch, 4th Earl of Aylesford, for whom he decorated the Pompeian Gallery at Packington Hall, Warwickshire, in 1787. He was a member of the art academies in Bologna and London.

SIZE: 21 x 19 inches inc. frame.
PROVENANCE: by direct descent in the family.
Ref: 8708
This item has been sold





Portrait of Sir John Percival, Bart. (1629-86) Circle of Sir Peter Lely
The sitter is Sir John Percival, Bart. of Lohort Castle, Cork. Son of Sir Phillip Percival and Catherine Usher, he was born in 1629 into a wealthy English family who settled in Ireland during the reign of Elizabeth I. The Percivals had been richly rewarded by Elizabeth with estates in Ireland as a result of the work of Sir John's grandfather, Richard Percival, who had played a pivotal role in decoding documents captured from the Spanish which subsequently proved to be the invasion plans for the Armada.


Sir John Percival inherited Lohort Castle on his father,s death in 1653, but also built another magnificent house Burton Park, at Churchtown, in 1676. He married Katherine Dering, sister to Mary, Lady Knatchbull, an ancestor of the Brabourne family of Kent.


Sir John Percival died in 1686. Tragically his great work Burton Park was plundered and ruinated in 1694 by repparees, retreating from their defeat by William of Orange at the Battle of Boyle. The house stood a ruin until it was rebuilt by one of Percivals decendents, now the Earls of Egmont, in 1790.


Records show that Percival was painted by both Sir Peter Lely and Sir Godfrey Kneller, the most eminent royal portraitists of the time. This picture, painted circa 1680, reveals a close knowledge of the work of Lely. The depiction of the costume is typical of Lely and the Restoration in its flamboyance, but the handling of the paint and softer modelling suggest the hand of Henry Tilson, a pupil and later assistant of Lely's, and a painter of great charm in his own right.

SIZE:Oil on canvas 50 x 40 ins
In carved and gilded frame 57 x 47 ins
Inscribed, upper right,
'Sir John Percivele Bart.'

PROVENANCE:
By direct descent from the Brabourne family, descendants of Lord Mountbatten
This portrait of Sir John Percival hung in the collection of Patricia, Countess of Burma, Lady Brabourne, wife of Sir John Brabourne and daughter of Lord Mountbatten.
An old label on the reverse records the location: 'Lady Brabourne, 1st Landing, 66' where it hung next to the portrait of his wife Katherine, at the family seat of Mersham Le Hatch, Kent.

Latterly in a private collection in an Elizabethan country house in East Anglia.




Ref: nfrk1
This item has been sold





Portrait of the Hon. William Feilding c.1705; by Michael Dahl.
Oil on canvas in fine carved and giltwood period frame.

FEILDING, Hon. William (1669-1723), of Ashtead, Surrey and Duke Street, Westminster

Born 1669, 2nd son of William Feilding, 3rd Earl of Denbigh. Educated Eton c.1680–6; Queen’s, Oxford 1686.

Feilding, who in 1704 had bought an office with a salary of £500 p.a., made a highly advantageous marriage the following year to a wealthy widow, Lady Diana, daughter of Francis Newport, 1st Earl of Bradford, with a parliamentary seat at her disposal. She had title during her lifetime to the estates of her first husband (with no surviving children to complicate matters) and thereby enjoyed the nomination of one Member at Castle Rising. Feilding obtained the seat in 1705 when a family friend chose to sit elsewhere. It was gossiped before the wedding that ‘this old lady, for she is near fifty if not quite, is fallen in love with this young Feilding, and says she only begs he will be civil to her; she fears he cannot love her, though she does him so much’. Although himself the younger brother of a Tory peer, Feilding was now connected with various Court Whigs among his wife’s kinsmen and her first husband’s friends. He also came into contact with Robert Walpole II, who controlled the other seat at Castle Rising, but this association was not particularly friendly, as the Howard and Walpole interests co-existed in the borough uneasily and in a constant atmosphere of mutual distrust.

In Parliament Feilding was a Whig, with leanings towards the Court. On 18 Feb. 1706 he voted with the ministry over the regency bill. He was marked as a Whig in two lists of 1708. In the same year he resigned his office of lieutenant of the yeomen of the guard. Having supported the naturalization of the Palatines in 1709, the following year he voted for the impeachment of Dr Sacheverell, and on 7 Dec. 1711 he voted for the ‘No Peace without Spain’ motion. He opposed the French commerce bill on 18 June 1713 and voted against the expulsion of Richard Steele on 18 Mar. 1714. In the Worsley list he was classified as a Whig.

Feilding was appointed to the Board of Green Cloth in 1716, most probably through the interest of his wife’s family, the Newports, both at Court and with the clerk of the Green Cloth, their Shropshire ally Sir William Forester. Feilding died at Epsom on 21 Sept. 1723 and was buried at Ashtead. ‘I regret him prodigiously’, wrote his niece, Lady Mary Wortley Montagu, on hearing of his death. His wife outlived him.
{Published in The History of Parliament: the House of Commons 1690-1715, ed. D. Hayton, E. Cruickshanks, S. Handley, 2002. Available from Boydell and Brewer}

IMAGE 6 shows a studio portrait of Feilding, inscribed with his name and further information. We owned and sold this portrait in 2007.

Our thanks to James Mulraine, art dealer and historian, who saved this gentleman from anonymity. www.jamesmulraine.com.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact; his works are of a real distinction.
This painting is typical of Dahl's sensitive portraiture and is of considerable charm.

SIZE:37 x 31.5 inches inc. frame.
PROVENANCE: Collection of Mrs. Pauline Willes, Cypress Cottage, Isle of Wight (image 5).
Ref: 8651
This item has been sold





Portrait of the Orbach and des Salles Children by Joseph Oppenheimer R.P.
Oil on canvas, in a fine 17th century carved and gitwood leaf and berry frame with a rope twist sight.

Portrait of the Orbach and des Salles children - Gaston and Heloise des Salles, Donald and John Orbach
signed upper left "Joseph Oppenheimer".


JOSEPH OPPENHEIMER (German, 1876-1966) was born in Wurzburg, Germany in 1876. He studied at Munich Academy before travelling to Rome, Naples, London and the USA. By 1896 he had settled in London with a studio at the Pheasantry on the Kings Road, Chelsea. He taught at the London School of Arts.

In 1908 he moved to Berlin with his wife although they returned to England each year. Here he was influenced by the development of Expressionism and the Berlin Secession, an art association founded in 1898 by Berlin artists including Max Liebermann, Kathe Kollwitz and the Vienna Secession with Gustav Klimt.

By this time Oppenheimer was becoming increasingly well-known for his portraits, painting Einstein in 1931. He exhibited at the Royal Academy of Arts and Royal Society of Portrait Painters (later becoming a member).

Both in England and in Germany Joseph Oppenheimer became more and more renowned for his paintings and especially his portraits, Famous men and women, and especially beautiful ladies from High Society throughout Europe, but especially in Germany and England, lined up to be painted. Many of his most successful works graced the covers of the ladies' magazines in both countries. He exhibited at the Royal Academy and at the Royal Society of Portrait Painters, becoming a member of the latter, allowing him to use R.P. after his name (he was offered Doctorates many times and even a Professorship, but refused them all).

Much of Oppenheimer’s portraiture fame came from his unique style of combining close observation and faithful reproduction of a sitter’s features with a looser, more impressionistic approach to the treatment of the model’s clothing and of the background in an exciting and vigorous impasto.

In 1933, with the rise of Hitler, the Oppenheimers moved back to England and by obtaining British Citizenship he managed to bring his mother and brother to England in 1936. They became British citizens in that year, having been sponsored by the equerry of King George VI, Sir Louis Greig, and a famous British artist, Sir John Lavery. Here he continued as a portrait artist with notable commissions from Yehudi Menuhin, Deborrah Kerr and James Mason. From 1949 he divided his time between London and Canada where his daughter, the artist Eva Prager, lived.

The expressionistic handling of his work can be seen in this family portrait, and similarly in the portrait of "Susanne and Ilse Gottschalk" on display at the Victoria and Albert Museum of Childhood, London. HIs work is also in the National Portrait Gallery and the Oppenheimer-Prager Museum in New Brunswick, Canada is dedicated to his work and that of his daughter.

The Orbach family were close friends of Oppenheimer who painted them on several occasions. There is a portrait of Vera Orbach, painted in 1923, in the Oppenheimer-Prager Museum in Canada. The sitters in this charming portrait are Vera Orbach's two children from her first marriage, Gaston and Heloise des Salles, Donald Orbach, the son of George Orbach from his first marriage and John Orbach, only son of Vera and George Orbach. John, the tallest boy in the portrait, would not stand still for long enough and had to be painted from memory and sketches.

SIZE: 64.5 x54.5 inches inc. frame.
PROVENANCE: Commissioned by the children's parents, George and Vera Orbach, thence by descent
Ref: 8933
This item has been sold



 
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