Archives Directory for the History of Collecting in America
Archives related to: Emmerich, André
| title | André Emmerich Gallery records, circa 1929-2009 | repository | Archives of American Art |
| description | Publications; publicity files; financial records; inventory cards and inventories; administrative records; photographs, slides, negatives and transparencies; correspondence; guestbooks; artists' files (Zurich); and video and audio recordings. Among the artists represented throught the collection are Pierre Alechinsky, Arman, William Bailey, Stanley Boxer, Jack Bush, Anthony Caro, Chuck Close, Chyrssa, Richard Diebenkorn, Burgoyne Diller, Friedel Piero Dorazio, Dzubas, Paul Feeley, Herbert Ferber, Helen Frankenthaler, Sam Francis, Robert Goodnough, Adolph Gottlieb, Nancy Graves, Al Held, David Hockney, Howard Hodgkin, Hans Hofmann, Jasper Johns, Frederick Kiesler, Alexander Liberman, Roy Lichtenstein, Morris Louis, Ed Moses, Ben Nicholson, Kenneth Noland, Jules Olitski, Beverly Pepper, Larry Poons, Katherine Porter, Tony Rosenthal, Miriam Schapiro, George Segal, Alan Shields, Hassel Smith, Michael Steiner, Bernar Venet, Esteban Vicente, and Larry Zox. Publications include Andre Emmerich Gallery catalogs, announcements, catalogs produced by other galleries and museums, magazines, books, and other materials. Inventory cards document every object that passed through the gallery. The cards are alphabetically arranged and sorted thereunder into "Sold" and "Returned to Artist" categories. Cards include the artists' name; title of work; medium; dimensions; exhibition venues; cost (net, retail, and commission); buyer name; and final price. Also Included are 3 ft. of cards pertaining to Emmerich's last inventory, sales, sales of Emmerich's personal collection, and sales of Top Gallant sculpture. Correspondence, ca. 1962-1968, is with artists, galleries, museums, universities, customs, and many others, arranged in alphabetical and subject arrangements. Included are files from André Emmerich Gallery, Zurich. Also included are Emmerich's personal correspondence, and correspondence relating to Top Gallant Farm. Photographic materials include prints, slides, transparencies, the bulk arranged alphabetically by artist, including photos of works of art, some of the artists, their studios, or at work; photos of exhibition installations at the gallery and elsewhere; and photos of Pre-Columbian art handled by the gallery. Also found are photos of Top Gallant Farm, including Hockney painting Andre Emmerich's swimming pool; Emmerich's collection at the Century Club; and Emmerich's seventieth birthday party, 1994. There is also correspondence regarding photographs and reproduction rights. Artists' files are of artists represented or whose works were handled by the Zurich branch of the Andre Emmerich Gallery. Files contain correspondence; price lists and other business records; reproductions and color transparencies; and printed matter including clippings and catalogues. Videotapes and audio tapes are mainly of art documentaries and appearances of Andre Emmerich, and artists on televison and radio interviews. One item of note is an etching that was owned by Emmerich and inscribed "to Andre with continuing Esteem and fondness, Esther, 1/18/75" of portraits of artists done by one another on one etching plate. Reading the print from left to right, the portraits are: Top row: Lucille Corcos by Dorothy Dehner, David Smith by Lucille Corcos, Adolph Gottlieb by Edgar Levy. Bottom row: Edgar Levy by Esther Gottlieb, Dorothy Dehner by Adolph Gottlieb, Esther Gottlieb by David Smith. A cat and an alligator was drawn by Edgar Levy in the middle border. The etching is 96/100 and was printed by Micheal Kirk on the Charles Brand Press in the Parsons School of Design Studios. [AAA also has print 91/100 that was donated separately by Dorothy Dehner in 1978]. Bio / His Notes: Art gallery; New York, N.Y. and Zurich, Switzerland Born in Germany in 1924 and raised in Holland, André Emmerich emigrated to the United States in 1940. After graduating from Oberlin College and working as a writer, he opened his gallery at 18 E. 77th St. in 1954, moving in 1956 to accommodate bigger works of art to 17 E. 64th St. During its early years, the firm specialized in classical antiquities and Pre-Columbian art, but by the 1960s Emmerich began concentrating on the artists who defined Color-Field painting. Emmerich opened a branch in Zurich and in 1971 took space in 420 W. Broadway. A strong advocate of abstract sculpture, Emmerich featured it in his gallery and at Top Gallant Farm, his 140-acre estate in upstate New York where he installed monumentally scaled works. André Emmerich died September 25, 2007. |
| extent | ca. 300 linear ft. |
| formats | Administrative Records Financial Records Inventories Photographs Correspondence |
| access | Use requires an appointment . COLLECTION IS CLOSED TO RESEARCHERS FOR ARCHIVAL PROCESSING AND PRESERVATION. Entire: Authorization to quote or reproduce for the purposes of publishing requires written permission from Andre Emmerich estate. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.andremmg.pdf |
| record source | https://www.aaa.si.edu/collections/andr-emmerich-gallery-records-6275 |
| acquisition information | The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, executive director (1990-1999), in 2009 and 2014. |
| updated | 06/09/2023 15:39:49 |
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| title | Hassel Smith papers, circa 1900-2004, bulk 1930-1995 | repository | Archives of American Art |
| description | Biographical material; correspondence; exhibition materials; photographs; sound cassettes; and printed materials. REELS 2008-2009: Biographical material, including an interview of Smith conducted by Jan Butterfield and concerning in part the California School of Fine Arts; correspondence with museums, galleries, artists, family, and friends; among the correspondents are Paule Anglim, Elmer Bischoff, André Emmerich, Clyfford Still, David Stuart, Wayne Thiebaud, Robert Wollard, and others; exhibition catalogs, announcements, checklists, and guest lists; clippings and articles; teaching files, consisting mostly of syllabi from classes Smith taught at Bristol; engagement calendars; expense records; a file of printed mail art from Robert Wollard; and miscellaneous printed materials. REEL 2062: Photographs of Smith, his studios, his family and friends, including Mary and Robert McChesney, his exhibition installations, and his works of art. REEL 3472: Material relating to Smith's 1981 exhibition at the Oakland Museum, including an annotated catalog, a review by Allan Temko, and a copy of a letter from Smith to Temko. UNMICROFILMED: Biographical sketches, 1980-1981; correspondence with museums, art organizations, former students, Paule Anglim, John Berggruen, Richard Diebenkorn, Lawrence Ferlinghetti, Henri Lenoir, Allan Temko, Robert Wollard, and others, 1979-1988; exhibition announcements, invitations, and catalogs, 1975-1985; painting inventories, 1980-1981; printed materials on Gallery Paule Anglim, the Palm Springs Desert Museum, the San Francisco Art Institute, and others, 1952-1988; clippings, 1974-1987; 10 photographs of Smith with his friends and his paintings, and of his former students and their paintings, 1965-1982; 2 negatives of Smith's self-portrait nude, undated; 14 slides of drawings by students in Smith's beginning drawing class, 1980-1981; 9 cassette tapes of lectures delivered by Smith for an MFA seminar at the San Francisco Art Institute, 1980; a 7" sound recording of a review of Smith's work by John Fitzgibbon, 1965; and ephemera. ADDITION: Personal and business correspondence, 1986-1994; exhibition announcements and catalogs; clippings; and other printed material, photographs and personal writings by Smith. Bio / His Notes: Painter, lecturer; San Francisco Bay Area and Bristol and Bath, England. Additional forms: 35mm microfilm reels 2008-2009, 2062, 3472 available for use at Archives of American Art offices and through interlibrary loan. |
| extent | 4.0 linear ft. (partially microfilmed on 4 reels) reels 2008-2009, 2062, 3472 |
| formats | Correspondence Exhibition Catalogs Photographs Sound Recording Printed Materials |
| access | Open for Research. Use Requires an Appointment |
| record link | https://sirismm.si.edu/EADpdfs/AAA.smithass.pdf |
| record source | https://www.aaa.si.edu/collections/hassel-smith-papers-5714 |
| acquisition information | All material except cassette tapes donated by Hassel Smith 1980-1998 and by Donna Smith, wife of Hassel Smith, in 2004. Cassette tapes donated 1980 by Joseph Smith, Hassel Smith's son. Additions are expected. |
| updated | 07/10/2023 10:05:35 |
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| title | Morris Louis and Morris Louis Estate papers, circa 1910s-2007, bulk 1965-2000 | repository | Archives of American Art |
| description | Series 2.6.8, boxes 17 & 18: Interviews of twenty-six individuals associated with the painter Morris Louis conducted by Anita Faatz. Many of the interviewees were Louis' students and friends. They speak of their relationships with Louis, his personality, work habits, and views on art. Interview tapes are available for all interviewees except for Kenneth Noland, who asked not to have his interview recorded. Only Faatz's notes, made immediately following the interview, are available. In addition, written commentary about Morris Louis exists for three of the interviewees: Pauline Shereshefsky, Sybil Meyersburg, and Helen Jacobson. Bio / His Notes: Social worker and educator, died 1999. At the time of the interview project, she was Director of the Otto Rank Association, Doylestown, Pennsylvania. General Note: Part of Clement Greenberg interview is on the Leonard Bocour tape. Betty Schach interview is on the Betty Carter tape. William Rubin interview is on the Lawrence Rubin tape. Annie Siegel interview is on the Jeannette Kear tape. |
| extent | Phy. Description: 23 sound cassettes. K.Noland: 1 transcript (no tape exists) |
| formats | Sound Recording |
| access | ACCESS RESTRICTED; written permission required of the person interviewed AND of Marcella Brenner. In cases in which the interviewee is deceased, only Marcella Brenner's permission is needed. Untranscribed interviews; use requires an appointment and is limited to Washington, D.C. office. |
| record link | n/a |
| record source | https://www.aaa.si.edu/collections/morris-louis-and-morris-louis-estate-papers-7040 |
| acquisition information | Donated 1976 by Marcella Brenner. |
| updated | 06/08/2023 16:42:18 |
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| title | Morris Louis and Morris Louis Estate papers, circa 1910s-2007, bulk 1965-2000 | repository | Archives of American Art |
| description | Biographical material, correspondence, receipts, banking and tax records, notes, writings, printed material, photographs, and a sample of canvas reflect the career of Morris Louis. The remaining half, documenting the administration of his estate, includes general correspondence, notes, writings, clippings, photographs, interview transcripts, and business records. In the personal papers, biographical accounts, 1964-1966, outline the life histories of Morris and Marcella Louis. General correspondence, 1941- 1962, is primarily from colleagues, including Helen Frankenthaler and Clement Greenberg. There is a postcard from David Smith, 1962, and a letter from the André Emmerich Gallery enclosing pages from a guest book signed by Leonard Bocour, Donald Judd, Kenneth Noland, Jules Olitsky, David Smith, and Frank Stella, among others. Business records consist of receipts, 1951-1963, for household expenses, studio rent, travel, shipment of art work, and Louis' art supplies, banking records, 1945-1964, such as deposit slips, bank statements, and cancelled checks, and tax records, 1951-1962. Seven notebooks, 1956-1962, record the payments, attendence, and addresses of Washington Workshop Center for the Arts students, studio rent, travel expenses, and brief annotations on Louis' art work. Notes also include lists of art work, 1960-1962, and a recipe card written by Louis. Writings consist of typescripts "Morris Louis" by Dan Robbins, and a dialogue with Dr. Ira Lewis. Printed material consists of clippings, 1950-1962, exhibition announcements and catalogs, 1937-1962, and brochures, 1950-1960, including one for the Washington Workshop Center for the Arts. There are also 5 photographs of the Rome-New York Art Foundation exhibition, 1960, and a sample of canvas labelled "No. 26 Dawn". Related to the estate are letters, 1962-1986, from Leonard Bocour, Helen Frankenthaler, Clement Greenberg, a family friend who relates an account of Louis' death, and others. In addition, correspondence is included in files on art historian Diane Upright (Headley) and attorney I.S. Weissbrodt, along with business records, notes, and printed material, and several letters from Louis and one from Frankenthaler in a file on the Bernstein family. The bulk of the estate records consist of files on 30 galleries and museums, among them the Andre Emmerich Gallery, Baltimore Museum of Art, Bezalel Academy of Arts and Design, the Hirshhorn Museum, the Israel Museum, and the Museum of Modern Art in Shiga, Japan, containing mostly correspondence, business records, printed material, notes, and a few photographs documenting exhibitions of works of art. Also found are transcripts of interviews about Louis, 1966-1979, with Leonard Bocour, Marcella Brenner, James Collins, John Elderfield, André Emmerich, Helen Frankenthaler, Michael Fried, Diane Headley, Joe Helman, Helen Jacobson, James Lebron, Kenworth Moffett, Gifford and Joann Phillips, Lawrence Rubin, Charles Schucker, Anne Truitt, and Nicholas Wilder, and one from an interview for National Educational Television with Brenner, Frankenthaler, Clement Greenberg, Helen Jacobson, and Kenneth Noland. Remaining estate records include files on the Morris Louis Film Project, 1979-1985, and the National Symposium of Art Museum Docents, 1983; miscellaneous notes, essays "As I Remember Morris Louis", by an unidentified author, and "Morris Louis: A Painter 'Recollected in Tranquility'" by Doris Margaret Thornton, 1972, clippings, 1966-1988, and an undated photograph of Louis. Other photographs are of the Brenners, Diane Upright Headley, James Lebron looking at Louis' work, 1980, and one of Roy Lichtenstein's variation on a Louis "Unfurled", 1973. Biographical and Historical Note Painter; Washington, D.C. Born 1912. Died 1962. Born Morris Louis Bernstein in Baltimore, Md. Attended the Maryland Institute from 1929 to 1933. He lived in NYC from 1936 to 1945, where he participated in the WPA Easel Painting Project, and adopted the name Morris Louis. In 1947, two years after returning to Baltimore, he married Marcella Siegel, an educator, and they moved to Washington, D.C. in 1952. Louis was influenced by the work of Helen Frankenthaler and he began creating his color-stained unprimed canvases categorized as Veils (1954- 1959), Florals (1959-1960), Unfurleds (1960), and Stripes (1961-1962). Through his colleague, Kenneth Noland, Louis met Clement Greenberg who was influential in popularizing Louis' work, which only began to gain notoriety at the time of his death from lung cancer in 1962. Marcella Louis became administrator of his estate of paintings, as a result of an agreement with his family, the Bernsteins. In 1964 she married scientist Abner Brener. |
| extent | 6.3 linear ft. (on 7 microfilm reels) reels 4988-4994 |
| formats | Microfilm Correspondence Financial Records Legal Papers Writings |
| access | Patrons must use microfilm copy. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.louimorr.pdf |
| record source | https://www.aaa.si.edu/collections/morris-louis-and-morris-louis-estate-papers-7040 |
| finding aid | Finding aid available at AAA offices. |
| acquisition information | The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner. |
| updated | 06/09/2023 15:39:52 |
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| title | The New Arts records, 1952-1977. | repository | Archives of American Art |
| description | Files on artists and people associated with the gallery, including: Forrest Bess, James Boynton, Lawrence Calcagno, Joseph Cornell, André Emmerich, Max Ernst, Walter Kuhlman, Peter Plagens, Hassel Smith, Richard Steinberg, Jean Varda, and others. The files usually contain correspondence, exhibition catalogs and announcements, clippings, and photographs. Also included are exhibition files, material on the Contemporary Arts Association in Houston, and miscellaneous catalogs and announcements. |
| extent | 1.4 linear ft. (on 3 microfilm reels). reels 2242-2244 |
| formats | Correspondence Exhibition Catalogs Clippings Photographs |
| access | Patrons must use microfilm copy. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.newarts.pdf |
| record source | https://www.aaa.si.edu/collections/new-arts-records-8083 |
| acquisition information | The donor, Kathryn Swenson, was the owner and director of the gallery. |
| updated | 06/09/2023 15:39:53 |
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| title | Letters concerning Lee Hall's book, Elaine and Bill: Portrait of a Marriage, 1993. | repository | Archives of American Art |
| description | Letters solicited by dealer Joan Washburn in response to the publication of Lee Hall's controversial biography of painters Willem and Elaine De Kooning. Included are a copy of a letter from dealer André Emmerich to Lee Hall, commenting on and correcting her book; letters to Washburn from sculptor Ibram Lassaw and his wife Ernestine, and from Patia Rosenberg, the daughter of critic Harold Rosenberg; a statement by Washburn; and a letter of transmittal to Steve Polcari commenting on the letters. Bio / His Notes: Gallery owner; New York, New York. |
| extent | 7 items. |
| formats | Correspondence |
| access | Unmicrofilmed; use requires an appointment and is limited to the Washington, D.C. storage facility. |
| record link | n/a |
| record source | https://www.aaa.si.edu/collections/letters-relating-to-lee-halls-book-elaine-and-bill-portrait-marriage-6447 |
| acquisition information | Donated 1994 by Joan T. Washburn, who solicited corrections and comments about Lee Hall's book from people who knew the de Koonings. |
| updated | 07/10/2023 10:06:20 |
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| title | Oral history interview with André Emmerich, 1993 Jan. 18. | repository | Archives of American Art |
| description | An interview of André Emmerich conducted by Mona Hadler for the Archives of American Art. Bio / His Notes: Art dealer. Owner of Andre Emmerich Gallery, New York, N.Y. and Galerie Andre Emmerich, Zurich, Switzerland. |
| extent | 2 sound cassettes (90 min.) : analog. |
| formats | Interview Sound Recording |
| access | Untranscribed; use requires an appointment. Authorization to quote or publish must be obtained from: André Emmerich, 41 East 57th Street, New York, New York, 10022 |
| record link | https://www.aaa.si.edu/download_pdf_transcript/ajax?record_id=edanmdm-AAADCD_oh_215266 |
| record source | https://www.aaa.si.edu/collections/interviews/oral-history-interview-andr-emmerich-12571 |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Art Dealers Association of America. |
| updated | 06/09/2023 15:39:52 |
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| title | Morris Louis and Morris Louis Estate papers, circa 1910s-2007, bulk 1965-2000 | repository | Archives of American Art |
| description | Biographical material, correspondence, photographs,receipts, banking and tax records, notes, writings, printed material, and a sample of canvas reflect the career of Morris Louis. The remaining half, documenting the administration of his estate, includes general correspondence, notes, writings, clippings, photographs, interview transcripts, and business records. In the personal papers, biographical accounts, 1964-1966, outline the life histories of Morris and Marcella Louis. General correspondence, 1941- 1962, is primarily from colleagues, including Helen Frankenthaler and Clement Greenberg. There is a postcard from David Smith, 1962, and a letter from the André Emmerich Gallery enclosing pages from a guest book signed by Leonard Bocour, Donald Judd, Kenneth Noland, Jules Olitsky, David Smith, and Frank Stella, among others. Business records consist of receipts, 1951-1963, for household expenses, studio rent, travel, shipment of art work, and Louis' art supplies, banking records, 1945-1964, such as deposit slips, bank statements, and cancelled checks, and tax records, 1951-1962. Seven notebooks, 1956-1962, record the payments, attendence, and addresses of Washington Workshop Center for the Arts students, studio rent, travel expenses, and brief annotations on Louis' art work. Notes also include lists of art work, 1960-1962, and a recipe card written by Louis. Writings consist of typescripts "Morris Louis" by Dan Robbins, and a dialogue with Dr. Ira Lewis. Printed material consists of clippings, 1950-1962, exhibition announcements and catalogs, 1937-1962, and brochures, 1950-1960, including one for the Washington Workshop Center for the Arts. There are also 5 photographs of the Rome-New York Art Foundation exhibition, 1960, and a sample of canvas labelled "No. 26 Dawn". Related to the estate are letters, 1962-1986, from Leonard Bocour, Helen Frankenthaler, Clement Greenberg, a family friend who relates an account of Louis' death, and others. In addition, correspondence is included in files on art historian Diane Upright (Headley) and attorney I.S. Weissbrodt, along with business records, notes, and printed material, and several letters from Louis and one from Frankenthaler in a file on the Bernstein family. The bulk of the estate records consist of files on 30 galleries and museums, among them the Andre Emmerich Gallery, Baltimore Museum of Art, Bezalel Academy of Arts and Design, the Hirshhorn Museum, the Israel Museum, and the Museum of Modern Art in Shiga, Japan, containing mostly correspondence, business records, printed material, notes, and a few photographs documenting exhibitions of works of art. Also found are transcripts of interviews about Louis, 1966-1979, with Leonard Bocour, Marcella Brenner, James Collins, John Elderfield, André Emmerich, Helen Frankenthaler, Michael Fried, Diane Headley, Joe Helman, Helen Jacobson, James Lebron, Kenworth Moffett, Gifford and Joann Phillips, Lawrence Rubin, Charles Schucker, Anne Truitt, and Nicholas Wilder, and one from an interview for National Educational Television with Brenner, Frankenthaler, Clement Greenberg, Helen Jacobson, and Kenneth Noland. Remaining estate records include files on the Morris Louis Film Project, 1979-1985, and the National Symposium of Art Museum Docents, 1983; miscellaneous notes, essays "As I Remember Morris Louis", by an unidentified author, and "Morris Louis: A Painter 'Recollected in Tranquility'" by Doris Margaret Thornton, 1972, clippings, 1966-1988, and an undated photograph of Louis. Other photographs are of the Brenners, Diane Upright Headley, James Lebron looking at Louis' work, 1980, and one of Roy Lichtenstein's variation on a Louis "Unfurled", 1973. ADDITION: The bulk of the addition consists of printed material including newspaper clippings, magazine articles, catalogs, and miscellaneous press material compiled from exhibitions and projects organized after the death of Louis. Correspondence concerns Louis's estate and is with Marcella Louis Brenner and the Andre Emmerich Gallery, the Morris Louis estate lawyer I.S. Weissbrodt, and various museums that organized Louis exhibitions after his death. Photographs are of Louis' exhibitions. Other files include transcripts of interviews with Anita Faatz, Jeff Doring, WETA, and Pierce Prods. Bio / His Notes: Morris Louis (1912-1962) was a painter in Washington, D.C. Born Morris Louis Bernstein in Baltimore, Md. Attended the Maryland Institute from 1929 to 1933. He lived in NYC from 1936 to 1945, where he participated in the WPA Easel Painting Project, and adopted the name Morris Louis. In 1947, two years after returning to Baltimore, he married Marcella Siegel, an educator, and they moved to Washington, D.C. in 1952. Louis was influenced by the work of Helen Frankenthaler and he began creating his color-stained unprimed canvases categorized as Veils (1954- 1959), Florals (1959-1960), Unfurleds (1960), and Stripes (1961-1962). Through his colleague, Kenneth Noland, Louis met Clement Greenberg who was influential in popularizing Louis' work, which only began to gain notoriety at the time of his death from lung cancer in 1962. Marcella Louis became administrator of his estate of paintings, as a result of an agreement with his family, the Bernsteins. In 1964 she married scientist Abner Brener. Additional forms: 35mm microfilm reels 4988-4994 available for use at Archives of American Art offices and through interlibrary loan. Reproduction: All but 10 letters by Louis are photocopies. All correspondence with Bernstein family is photocopies. Location of Original: Letters of Morris Louis to and from the Bernstein family: originals are in the possession of I. S. Weissbrodt. |
| extent | 6.3 linear ft. (on 7 microfilm reels) ADDITION: 5.7 linear feet |
| formats | Business Papers Personal Papers Correspondence Interview Photographs |
| access | Use of original material requires an appointment. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.louimorr.pdf |
| record source | https://www.aaa.si.edu/collections/morris-louis-and-morris-louis-estate-papers-7040 |
| finding aid | Finding aid available at AAA offices. |
| acquisition information | The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner. |
| updated | 06/09/2023 15:39:52 |
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