$<74-. to 2- H253W

CATALOGUE

OF ORIGINAL OIL PAINTINGS,

BOTH

ANCIENT AND MODERN,

The entire Collection of J, G, Batterson, Esq,,

COMPRISING GENUINE WORKS OF

-A_ndrea Gel Sarto, Grnido, Sassoferrato, Caravag- gio, Cignani, Salvator Rosa, Carlo Bolci, Guercino, Pannini, Spagnoletto, Rem- brant, Gerard Row, Tan Steen, Hondekoeter, Weenix, .Al­ bert Cuyp, IB. C. Koelk; Koek, Ommeganck, Ver- boeckhoven, Tschaggeny, "Verschner, Tenkate, A.ohenbach, Tenters, Dearmann, Hayes, "Williams, Cbarles Reslie, Bierstadt, and many- other Mlasters of great celebrity,

NOW ON EXHIBITION

AT TIIE i* XV ADS WORTH ATHENEUM.

790 tec

CATALOGUE

OF A RARE AND VALUABLE COLLECTION OF

OIL PAINTINGS,

BY THE

MOST CELEBRATED ANCIENT AND MODERN MASTERS j

COMPRISING

ORIGINAL WORKS OF THE ITALIAN, DUTCH, FLEMISH, FRENCH, GERMAN, DUSSELDORF, BELGIAN AND ENGLISH SCHOOLS,

MANY OF WHICH HAVE HAD PLACES

IN EUROPEAN GALLERIES

Of Great Celebrity, and are authenticated by

CERTIFICATES OF THE HIGHEST AUTHORITY.

HARTFORD: PRESS OF CASE, LOCKWOOD AND COMPANY. 1864.

ITALIAN SCHOOL.

ANDREA DEL SARTO, Born at Florence, 1488. Died, 1530. No. 1. HOLY FAMILY. THIS beautiful and well preserved painting on panel, exhibits the grace­ fulness of composition, the sweetness, transparency, and harmony of color for which this great master was justly celebrated. The unequaled quality of his carnation tints, the peculiar cast of his draperies, and the truthful manner in which he represented the indistinctness of objects in shadow, have led the highest art critics, to give him a place among the very few who could vie with RAPHAEL. This picture was purchased in Florence during the early part of the resent century, by MENCHETTI, of Rome, since which time it has never Eeen out of his family until sold by his son to the present owner in 1863. Originality verified by certificates from PROF. ALLESANDRO CAPALTI, PROF. ALFONZO CHIEVICI, Councellors Academy St. Lake, Rome. V. SCHMITZ, Director of the French Academy in Rome. Prof. SANGUINETTI, Director of the Academy of Fine Arts, Rome.

BARTOLOMEO SCHIDONI, Born at Modena, 1560. Died, 1G15. No. 2. VIRGIN AND CHILD WITH JOSEPH AND JOHN THE BAPTIST. Of SCHIDONI, Pilkington says, "His genius was noble and elevated,his style exceedingly elegant, his touch light, delicate and admirable. His heads are remarkably graceful, and his pictures exquisitely finished. His paintings are exceedingly scarce, and frequently mistaken for those of CORREGGIO, whose manner no other artist ever emulated with equal suc­ cess." This valuable painting formerly belonged fo the gallery of CARDINAL FESCH, and its originality is confirmed by the highest authority. 4 ITALIAN SCHOOL.

GUIDO RECTI, Born at Bologna, 1574. Died, 1642. No. 3. LOVE SLEEPING. This highly esteemed picture was purchased by Signor MENCHETTJ from the ERCOLANI GALLERY, in Bologna, and is duly authenticated.

CARAVAGGIO, Born, 1569. Died, 1609. No. 4. THE FORTUNE TELLER. The peculiarities of this master can not be mistaken by those who are at all familiar with his works. A picture of the first quality, and guar­ anteed original.

SASSOFERRATO, Bom, 1605. Died, 1685. No. 5. HEAD OF THE VIRGIN MARY. This excellent work is beyond all praise, and combines all the peculiar excellencies of the master. The blending of the flesh tints and the rich qualities of color are beautiful beyond description. Originality confirmed.

SALVATOR ROSA, Born, 1614. Died, 1673. No. 6. TURKISH SOLDIERS. An excellent example of Salvator's brush, and should be carefully stud­ ied. Accompanied by certificates of authenticity.

CARLO DOLCI, Born, 1616. Died, 1686. No. 7. ECCE HOMO. The high finish and expression, the peculiar color and judicious man­ agement of the lights and shadows, are leading characteristics of this master. ITALIAN SCHOOL. 5

GUERCINO, Born, 1690. Died, 1666. No. 8. ERMINIA.

CERQTJOZZI, Born, 1602. Died, 1660. No. 9. VIEW OF CAMPO VACCINO—MALEFACTORS ARRESTED BY BRAVADOES. The resemblance of this painting in point of finish and color to the Dutch schools of the same period, show conclusively why Cerquozzi was nick-named liThe Dutchman of Italy."

ZUCARELLI, Born, 1710. Died, 1788. Nos. 10.—11. VIEWS OF THE CAMPAGNA ROMANA. A Venetian master of great celebrity.

MOMTTANINI, Born, 1619. Died, 1689. Nos. 12—13. MYTHOLOGICAL SUBJECTS. These fine paintings show how successfully this artist emulated the manner of Salvator Rosa, to whose school he belonged.

LTJCATELLI, Born, 1540. Died, 1602. Nos. 14—16. LANDSCAPES WITH FIGURES.

GHERARDO DELLE NOTTI, No. 16. JESUS CONDUCTED TO PRISON. An original work of the school of Gherardo delle Notti. 1* 6 ITALIAN SCHOOL.

GASPER POUSSIN, Born, 1613. Died, 1675. No. 17. FOUNTAIN OF GALLORO. A study from nature, in the golden valley, introducing the fountain! where HORACE stopped and drank on his way from Brundusium. See "Eustace's Classical Tour." Formerly belonged to the PRINCE COLONNA, Rome. A painting of great merit.

CAMUCCINI. No. 13. THE SUPPER IN EMMAUS. "And it came to pass as he sat at meat with them, he took [bread and blessed it, and brake and gave to them. And their eyes were opened, and they knew him."

GIO. B. MOLA, Born, 1620. Died, 1678. No. 19. HAGAR AND ISHMAEL.

FOSCHI. No*. 20—21. LANDSCAPE AND MARINE, By Cavalier Foschi. Formerly in possession of Dr. Riccardi, Rome.

AGOSTINO TASSI. No. 22. LANDSCAPE AND RUIN.

PAULO ANESI, Died, 1750. No. 23. GROTTO FERRATA. ITALIAN SCHOOL. 7

GUIDO CAGNACCI, Born, 1600. Died, 1680. No. 24. MUSIC.

VENUSTI, Born, 1515. Died, 1576. No. 25. THE SCOURGING OF CHRIST. A painting highly esteemed for its close resemblance to the peculiar manner of MICHAEL ANGELO, whose works Yenusti was frequently em­ ployed to copy. Prince BORGHESE has a fine picture by him, painted from a design by Michael Angelo.

ZUCCHERO, Born, 15*29. Died, 1566. No. 26. APOLLO AND THE MUSES.

GUIDO. No. 27. ECCE HOMO. A fine copy by Guido Cagnacci, of the famous paintiug in the Corsini Gallery, Rome, by Guido Reni.

LUIGI GARZI, Born, 1640. Died, 1721. No. 28. HOLY FAMILY.

RAPHAEL MENGS, Born, 1738. Died, 1779. No. 29. MARY MAGDALEN IN THE DESERT. 8 ITALIAN SCHOOL.

VAN BLOEMAN, (Orizzonte,) Born, 1656. Died, 1710. No. 30. LANDSCAPE AND FOUNTAIN. Scene on the ancient road leading from Albano to Lariccia.

School of S. ROSA. No. 31. SEA SCAPE, WITH BOATS IN FOREGROUND.

VIOLA, Born, 1592. Died, 1632. No. 32. ARCHITECTURE. A richly decorated Palace, with small figures in the distance. Former­ ly belonged to the Gallery of CARDINAL FESCH.

DONDUCCI, Born, 1576. Died, 1655. No. 33. MAGDALEN BORNE TO HEAVEN BY ANGELS. This valuable painting, equal in beauty to the finest works of Albano, formerly belonged to the Gallery of CARDINAL FESCH.

ANTONIO GALLI, (Spadarini,) Born, 1700. Died, 1756. Nos. 34—35. FRUIT PIECES. From the Gallery of CARDINAL FESCH.

ANTONIO RICCI, (Barbalunga,) Born, 1600. No. 36. SAINT APOLLONIA. Barbalunga was a pupil of Domenichino. ITALIAN SCHOOL. 9

CARLO CIGNANI, Born, 1628. Died, 1719. No. 37. PASTORAL SCENE. Cignani was a pupil of Correggio, and this picture has been esteemed by good authority as one of his best works. He founded the Clementine Academy at Bologna, and was one of the most celebrated painters of the Lombard School.

SALVATOR ROSA. No. 38. AN OLD MAN IN THE COSTUME OF AN ITALIAN SHEPHERD. A most masterly work, painted with a broad brush, a free hand, and wonderful effect. Its authenticity is undoubted.

FALCONE. No. 39. BRIGANDS SURPRISED BY A COMPANY OF KNIGHTS. A very spirited sketch.

CANTARINI, Born, 1612. Died, 1648. No. 44). BLESSED VIRGIN AND CHILD. Formerly belonged to the Marquis CORTILEPRI, Rome.

CANTARINI. No. 4:1. SLEEPING LOVE. In the style of Guercino.

PANNINI, Born, 1691. Died, 1758. No. 42. ROMAN FORUM WITH THE ARCH OF TITUS AND THE TEMPLE OF PEACE. Pannini delighted in painting the magnificent ruins of Ancient Rome. His works are greatly admired for the clearness of his coloring, the free­ dom of his brush, and his elegant taste. 10 ITALIAN SCHOOL.

GXJIDO. No, 43. MICHAEL AND SATAN. A copy of the school and time of Guido. The original, still considered one of Guido's finest works, is in the church of the Capuchins at Rome. This repetition is so fine that high authorities attribute certain portions of the work to Guido's own hand, especially the head of St. Michael, and for many years has been used as a model by artists in Rome who have been commissioned to copy the original.

AGOSTINO TASSI, Born, 1566. Died, 1642. No. 44. THE JOURNEY TO EMMAUS. Christ in disguise walking with the " two disciples," _ as " He expoun­ ded unto them in all the Scriptures the things concerning himself." A painting of the highest quality and interest. The poetical composition of the landscape, (which is entirely imaginary,) and the warm glow of color in the sky and atmosphere, bear good evidence that it was no mean foun­ tain whence Claude drew his earliest inspirations of poetic art. The figures are by Annibale Carracci, and the genuineness of the whole work is placed beyond question by certificates of the highest living authority.

SPAGNOLETTO, Born in Valencia, 1589. Died, 1656. No. 45. SAINT PAUL. This picture shows great anatomical knowledge, is painted with bold, broad lights and shadows, and has extraordinary force of expression.

SIMONINI, Born in Parma, 1689. Died, in Venice. No. 46. BATTLE PIECE. A superb picture, "designed and executed with great fire and spirit." " Simonini chiefly resided in Venice, where he painted in the Sala Capello a series of battles and warlike achievements, which are highly commend­ ed and greatly admired." FRENCH SCHOOL.

NICHOLAS FOUSSIN, Born in Normandy, 1594. Died, 1665. No. 47. LANDSCAPE WITH FIGURES. This valuable little picture formerly belonged to the princely family of the RUSPOLIS, in Rome.

LACROIX, Nos. 48-49. MARINE VIEWS. These charming pictures were presented to the celebrated Roman arch­ itect VALADIER, by the artist. Highly esteemed by connoiseurs. Signed and dated.

MONPERE. Nos. 50-51. MARINE VIEWS.

/ CLAUDE LORRAINE, Born, 1600. Died, 1682. No. 52. ERMENIA WRITING THE NAME OF TANCRED1 ON THE BARK OF A TREE. "Oft when her flocks from summer's nootide rays, Lay in cool shades o'erarched by gadding vines, She carved on beeches and immortal bays, Her Tancred's name." —Tasso. This highly interesting souvenir of one of the greatest landscape paint­ ers the world has ever seen, was the panel of a window shutter in the Costacuti Palace, Rome, where Claude had his lodgings and atelier. It was evidently a finished study for a large picture, but shows extraordinary force, and tlie peculiar warmth and transparency of color for which he was remarkable. The figure betrays a fault which is noticeable in his best pictures, and Claude is known to have criticised his own works by saving that " he sold his landscapes and gave away his figures." 12 FRENCH SCHOOL.

School of CLAUDE. No. 53. LANDSCAPE WITH FIGURES.

Copy from CLAUDE. Supposed to have been painted in his time and school. No. 54. FETE DE CHAMPETRE.

UNKNOWN. No. 55. BATIISHEBA. An original work of the French school.

WATTEAU. No. 56. 1684 to 1731. " I certif}' that the two small pictures, the head of a young girl, and the head of a young man, purchased by J. G. Batterson, Esq.. are undoubt­ edly original paintings of WATTEAU, and that I bought them from Pro­ fessor Tettelbach of Dresden, who parted with them only on account of his advanced age. Professor Tettelbach is the grandson of the celebrated painter Friedrich, to whom the two paintings were presented by Professor Schenau, historical painter to the court of Saxony, who bought them in Paris, where he resided, between the years 1750—1770." ERNEST ARNOLD. DRESDEN, October 24, 1863.

COUTURIER. No. 57. FARM YARD SKETCH. DUTCH SCHOOL.

GERARD DOW, Born, 1613. Died, 1680. No. 58. SAINT PETER IN PRISON. Of this great master, Waagen says, " notwithstanding the incalculable minuteness of execution, the touch of his brush is free and soft, and his impasto admirable. By the combination of these qualities, his pictures look like nature herself seen through a camera. His works were so highly esteemed in his own time that the President Van Spiring, at the Hague, offered him 1000 florins a year for the pre-emption right of his pictures."

HONDEKOETER, Born, 1636. Died, 1695. No. 59. DEAD GAME. A painting of the highest order. Such power, truthfulness, glow of eoloring, ana excellent impasto are rarely met with.

REMBRANDT, Born, 1606. Died, 1665. No. 60. GIRL READING. A very beautiful sketch by Rembrandt.

WEENIX, Born, 1644. Died, 1719. No. 61. GAME PIECE. Remarkable for its admirable keeping in a cool harmony, the truthful­ ness of the accessories, and high finish. This master is eagerly sought for and occupies the first rank in the most celebrated galleries of Europe. 2 14 DUTCH SCHOOL.

JACOB RUYSDAEL, Born, 1636. Died, 1681. No. 62. LANDSCAPE. His paintings generally represent views in the vicinity of Haerlem, where he resided. Ruysdael is considered the greatest landscape painter that Holland has ever produced. The Same. No. 63. LANDSCAPE.

SCHALKEN, Born, 1643. Died, 1706. No. 64. CANDLE LIGHT.

VAN TOL.—School of Gerard Dow. 1630 to 1680. No. 65. INTERIOR—GIRL KNITTING.

DUSART. 1665 to 1725. No. 66. THE HURDY GURDY.

EGBERT HEMSKERCK, (The Elder.) Nos. 67-68. 1610 to 1680. These cabinet gems are unsurpassed for quality of color, and high finish. Nature is undisguised, and the passions are traced in the lineaments of the face and attitudes of the body with masterly skill.

ADRIAN VAN DE VELDE, Born, 1639. Died, 1672. No. 69. HUNTER AND DOGS. There is no name among the master spirits of the old Dutch school held in higher estimation, or more difficult to obtain. His handling is free and spirited, and gives evidence of a lively genius. His colors transparent, and the effect melting and tender. Name signed in full. DUTCH SCHOOL. 15

WILLIAM VAN DE VELDE, Born, 1633. Died, 1707. No. 70. MARINE. All critics concede that he was the greatest marine painter in the whole Dutch School. His paintings are very rare and valuable. Signed—mon­ ogram.

JAN STEEN, Bom, 1626. Died, 1679. No. 71. INTERIOR OF A CABARET. An excellent example of the inexhaustible humor which pervades all the works of this great master. The figure on the right, looking with dismay at the score being chalked against him, is a portrait of the artist himself. Very valuable. Signed—monogram.

CAMPHUYSEN. No. 72. INTERIOR—WITH FIGURES AND CATTLE. School of Paul Potter.

ADRIAN BROUWER. 1608 to 1641. No. 73. HEAD OF AN OLD MAN. Very rare and valuable. Signed—monogram.

CONRAD DECKER. 1700 to 1750. No. 74. LANDSCAPE.

ARNOLD VAN DER NEER. 1619 to 1683. No. 75. MOONLIGHT. Of this master, Pilkington says, "his touch is extremely light, free, and clear, and his imitation of nature true, particularly in the lustre of his skies about the moon, and its reflected beams on the surface of the water." This picture is especially remarkable for its great depth and transparency. S i gned —monogram. 16 DUTCH SCHOOL.

ALBERT CUYP. 1606 to 1667. No. 76.—A. FOWLS. " He excelled in everything that he attempted to represent, and painted every object in the same free and natural manner. Alwaj's lovely and true in liis coloring, as well as clear and transparent." The Same. No. 76.—B. LANDSCAPE, WITH SHEEP AND CATTLE.

MOLENAER. No. 77. LANDSCAPE WITH FIGURES.

REGEMORTER. No. 78. THE FISH MARKET.

BACKHUIZEN. No. 79. MARINE. Very rare and valuable, from the Van Cleef collection.

M. TENKATE. No. 80. MODEL FOR AN ARTIST. The Same. No. 81. WASHING DAY.

H. F. C. TENKATE. No. 82. CARD PLAYERS. An extraordinary picture, both as to composition, drawing and color. DUTCH SCHOOL. 17

JAN KOBELL. No. 83. LANDSCAPE WITH CATTLE. The Same. No. 84. LANDSCAPE WITII CATTLE. The Same. No. 85. LANDSCAPE WITH CATTLE. The remarkable finish and quality of color in these paintings will com­ mend them to every lover of art.

B. C. KOEK KOEK. Nos. 86-87. SUMMER AND WINTER. Undoubtedly the finest pair of cabinet pictures by this master, in the country. His works command the highest prices in all countries, and are very difficult to obtain.

MOUCHERON, Born, 1633. Died, 1686. No. 88. LANDSCAPE.

NETS CHER. 1636 to 1684. No. 89. PORTRAIT OF A LADY.

LYCHART. No. 90. SCENE IN AMSTERDAM.

HULSWIT. No. 91. LANDSCAPE, WITH FIGURES BY SPRINGER.

2* BELGIAN SCHOOL.

EUGENE VERBOECKOVEN. No. 92. LANDSCAPE WITH SHEEP AND LAMBS. There can be no finer specimen of his brush. The Same. No. 93. INTERIOR—WITH SHEEP, LAMBS AND CHICKENS. Probably the finest and most valuable cabinet picture by this artist the country. The Same. Nos. 94-95. Highly finished cabinet gems. Nos. 96-97. " '•

EDMOND TSCHAGGENY. No. 98. LANDSCAPE, WITH SHEPHERD GIRL AND FLOCK IN FORE­ GROUND. A superb picture, highly esteemed by the Belgian artists. The Same. Nos. 99-100. Two cabinet pictures of high merit.

CHARLES TSCHAGGENY. No. 101. WATERING THE HORSES. A valuable specimen, worthy of careful study.

VAN SCHENDEL. No. 102, MARKET WOMEN.—NIGHT SCENE IN BRUSSELLS. No. 103. CANDLE LIGHT. BY THE SAME. This master has no equal in his peculiar style. BELGIAN SCHOOL.

F. MUSIN. Nos, 104-105. MARINE VIEWS. Greatly admired for their freedom and truthfulness to nature.

GERARD. No. 106. PET LAMBS. No. 107. TUNING THE BOW. No, 108. PEELING POTATOES.

ROBBE, No. 109. LANDSCAPE WITH SHEEP.

HENRIETTE BONNER. No. 110. THE MARKET WAGON. No. 111. WATCHING THE DOVES.

MAROHN. NO. 112. FEEDING THE HORSE. The Same. No. 113. A GREAT ROGUE.

STROEBEL. No. 114. INTERIOR.

PLUMOT, No. 115. TAKING ADVANTAGE OF TIIE SITUATION. 20 BELGIAN SCHOOL.

DAVID COL. No. 116. POPPING THE QUESTION.

WILLEMS. No. 117. THE ATELIER.

TOUSSAINT. NO. 118. RESPECT EOR THE SLEEPER. The Same. No. 119. THE SAVOYARD'S RETURN. The Same. No. 120. THE FAITHFUL FRIEND.

HOPPINBROWER. No. 121. WINTER SCENE. A picture of high merit. The figures by Verboeckoven.

VON SEBEN. No. 122. THE SHEPHERD. The Same. NO. 123. THE WATER CARRIER.

DIELMAN. No. 124. LANDSCAPE WITH SHEEP.

DAVID DE NOTRE. No. 125. FLOWERS, FRUIT AND GAME. HTTSSELDORF SCHOOL.

A. ACHENBACH. No. 126. WATERFALL. SCENE IN NORWAY. The Same. No. 127. THE SHIPWRECK. The Same. No. 128. STORM AT SEA. Achenbach holds the first place among the marine painters of Europe. His pictures are eagerly sought for, and command extravagant prices.

JACOB JACOBS. No. 129. WATERFALL AND MILL.

GERMAN SCHOOL.

BALTHASAR DENNEE, Born, 1685. Died, 1749. No. 130. ST. JOSEPH. Formerly belonged to the Gallery of Cardinal FESCH—very rare.

OLDEN. No. 131. ST. GENEVIEVE. .

KRUSEMAN. No. 132. WINTER SCENE. FLEMISH SCHOOL.

OMMEGAN CK, Born, 1755. Died, 1826. No. 133. LANDSCAPE, WITH SHEEP. This wonderfully transparent and tenderly painted picture formerly be­ longed to the Van Cleef collection at Utrecht, and is guaranteed original. One of his best works.

DAVID TENIERS. 1610 to 1694. No. 134. LANDSCAPE WITH FIGURES- No. 135. Do. Do. Do. Beautiful examples of this celebrated master. Observe the free and delicate pencilling, light, floating skies, transparent color, with a brilliant, silvery tone, which, with the graceful pose of the figures, exhibit the in­ imitable qualities of the younger TENIERS.

AMERICAN SCHOOL.

BIERSTADT. No. 135.-A. MOUNT LANDER, WIND RIVER MOUNTAINS, NEBRASKA. Bierstadt will bear comparison with the landscape painters of any time. ENGLISH SCHOOL.

DEAEMANN. No. 136. LANDSCAPE, WITH CATTLE AND SHEEP.

EDWIN HAYES, A. R. H. A. NO. 137. MARINE. COAST SCENE—BARDOYLE STRAND, DUBLIN BAY.

EDW. C. WILLIAMS. No. 138. TOWN ON THE ENGLISH CHANNEL.

CHARLES LESLIE. No. 139. THE KITCHEN CORNER.

ROGERS. No. 140. MENDING THE NETS. MISCELLANEOUS.

BOMPIANI. (Roman School.) No. 141. SUMMER.

MEYER VON BREMEN. No. 142. PREPARING FOR TIIE BATII.

VANDAEL. No. 143. FLOWER PIECE. Formerly in possession of the Empress JOSEPHINE, and presented by her to her maid of honor.

COPY FROM MURILLO. No. 144. THE DICE PLAYER. Painted on Porcelain.

COPY FBOM RAPHAEL. No. 145. MADONNA DI SAN SISTO. Painted on Porcelain.

DTJPRE . (French School.) No. 146. LANDSCAPE.

ISABEY. (French School.) No. 147. INTERIOR COURT YARD WITH SMITIIEY.

CALAME.

OTTO BRANDT. No. 149. ITALIAN PEASANTS. No. 150. " " No. 151. " "

M. LEON. No. 152. THE ORGAN GRINDERS. MI8CELLAN E0 II S.

TOUSSAINT. No. 153. "WHO IS THAT?"

MATTON. No. 154. THE PHILOSOPHERS.

VERSCHUER. No. 155. THE STORM.

The Same. No. 156. HIGH LIFE. The Same. No. 157. YERY TIRED.

HEMSKERCK, (The Younger.) No. 158. INTERIOR.

DE HASS. No. 159. LANDSCAPE, WITH SHEEP.

LOUIS MEYER. No. 160. MARINE.

LIESTE. No. 161. LANDSCAPE.

HENDRICKS. No. 162. LANDSCAPE. 26 MISCELLANEOUS.

A. R. JONES. No. 163. LANDSCAPE WITH SHEEP.

ISABEY. No. 164. THE RESCUE.

CARRACCI. No. 165. OLD HEAD.

CALABRESI. No. 166. SATYR. < '

O