Charles Dickens, Signiert (16 Ergebnisse)

Original Autograph Letter Signed (ÒRichd. H. Dana Jr.Ó) written to DanaÕs English publisher, Edward Moxon describing the amazingly warm response of Americans to Charles Dickens visiting Boston. An absorbing letter showing DanaÕs wonderful narrative abilities of which more than half is devoted to DanaÕs account of DickensÕs stay in Boston during the English authorÕs celebrated first trip to America in 1842. Moxon was the British publisher of DanaÕs Two Years Before the Mast and the recently issued The SeamanÕs Friend. Ò. We have Dickens here with us, & the whole town is crazy [the author and his wife arrived in Boston from England on 22 January]. I doubt if a literary man ever made such a ÔprogressÕ through a country as he is making through ours. Indeed, I am certain it will be an era in literary history . From the moment the steamer was sighted, up to this hour. The whole community has been in a high fever . he is obliged to refuse all visitors except at certain hours, & then he holds a regular levee. The other day, when he went to sit for his portrait, on coming out, he found the ante room, staircase, etc., lined with people, young & old. One old lady asked him to stand still & let the ladies form a ring round, so that all could see him. This was too much for his risibles, & he laughed out, & told her eager ladyship that he was sorry, etc., but was in a hurry Ñ & was going off; when the ladies called out to the artist, ÔDo, Mr. A. stop him! DonÕt let him go!Õ In the meanwhile the standard men of literature & wealth are paying him every attention, & like him exceedingly . I have met him several times & like him very much. How full of life he is! . He told me much, in the way of answering questions, about yourself, Ô our friend,Õ as you call him, Capt. Ives, & others of whom I was curious to inquire . Dickens has told us many anecdotes of [Charles] Lamb, some of which are not yet published, & which interested us very much. You donÕt know what a feeling there is here about Lamb .Ó BostonÕs adulatory reception of the English writer reached its climax the next day (1 February) with a great banquet held in his honor which Dana also attended. DickensÕs visit to the United States (he returned to England in June) resulted in his American Notes for General Circulation (1842). Written in brown ink on a bifolium of gray paper with small embossed stamp of T. Groom, Boston; address panel, postmark, and remnants of red sealing wax. A rare view of Dickens in America through the eyes of a significant American writer.

Hardcover. Zustand: Fine. Thick 8vo., bound in three quarter dark blue levant morocco, raised bands, lettered in gilt; top edge gilt. Early printing of the trade edition, without date in Roman numerals on copyright page. A stunning copy of a classic of American literature, awarded the Pulitzer Prize posthumously ----- Extra illustrated edition -- Inserted within the text are approximately 80 portrait engravings and 50 documents signed by Henry Adams s circle of associates, including: (page i) Henry Adams, 4-page autograph letter signed (ALS) to C.W. Ernst, April 24, 1894, critiquing HA's "History of the United States"; (viii) Henry Cabot Lodge (HA's close friend), affixed signature; (5) James K. Polk, 1-page document signed; August 7, 1845, regarding a land transaction; (10) Louisa Catherine Adams (HA's grandmother), 1-page ALS, July 8, 1845, regarding a fire at the Adams home; (19) Joshua Johnson (HA's great-grandfather), 3-page document signed, July 1, 1799, regarding a dispute between neighbors; (20) William P. Hunt (JQA's pastor), 1-page ALS to N. Hale, May 9, 1842, regarding a possible story publication; (22) John Quincy Adams II (HA's brother), 1-page ALS to President Andrew Johnson, November 2, 1867, requesting assistance for a friend; (26) Charles Francis Adams (HA's father), 1-page ALS to R. B. Clark, July 10, 1856, demanding payment for services rendered; (34) Horace Mann (HA's hero ), 21-page ALS to G. B. Upton, December 20, 1844, regarding a visit to a school; (41) Charles Francis Adams, Jr. (HA's brother), 2-page ALS, no date (nd), declining a speaking engagement; (50) Caleb Cushing (CFA s diplomatic colleague), 1-page ALS, nd, regarding a lecture; (60) Louis Agassiz (HA's Harvard teacher), 1-page ALS to Franklin B. Sanborn, nd, requesting assistance; (72) Charles Dickens (English novelist whom HA admired), 1-page document signed, June 12, 1866, check; (86) Clarence King (HA's close friend), 1-page ALS, nd, defending a friend against slanderous charges; (90) Giuseppe Garibaldi (HA's hero ), 1-page ALS to George N. Sanders, April 11, 1854, regarding the destiny of Italy and his role; (100) Henry Winter Davis (CFA's political colleague), 1 ½ page ALS, nd, regarding his home, along with a sketch of his garden; (104) Richard Hildreth (CFA's colleague), 1 ½ page ALS to his publisher, March 9, 1855, regarding his "History of the United States"; (108) Horace Gray (HA's law mentor), 1-page ALS, nd, accepting a dinner invitation; (124) Richard Monckton Milnes (HA's English political friend), 1-page ALS, nd, regarding poetry; (136) Benjamin F. Butler (Massachusetts politician disliked by the Adams family), 1-page TLS to O. D. Barrett, August 12, 1887, regarding a weekend visit; (148) William M. Evarts, (secretary of state and HA's friend), 2-page ALS, April 11, 1862, discussing a recent court case; (158) Lord Lyons (British minister to US and CFA's colleague), 3-page ALS to J. Carlisle, March 1961, regarding patents and citizenship; (164) Benjamin F. Butler (Massachusetts politician), 1-page ALS to O. D. Barrett, January 24, 1884, regarding litigation of a paving company; (184) James Mason (Confederate Trent commissioner; CFA's adversary), 1-page ALS, August 29, 1848, regarding a financial settlement; (192) George Grote (Classical historian whom HA admired), 1-page ALS, August 6, 1831, regarding life insurance; (200) Samuel Wilberforce (English bishop with whom HA socialized), 2-page ALS, October 25, 1845, regarding sales of his "History of the Protestant Episcopal Church"; (206) George Canning (British statesman included in HA's "History of the United States"), 2-page ALS; January 6, 1853, regarding a misunderstanding; (210) Francis Barlow (Lawyer-politician in HA's circle), 2-page ALS, nd, regarding a book; (214) Thomas Woolner (HA's English sculptor friend), 1-page ALS to William Gladstone, June 4, 1864, regarding a statue at his studio; (244) (Continued at # ABE-12664270773.). Signed by Author(s).

4 x 5 inches laid down to 4 1/4 by 6 1/2 inch printed board. Rare 4.25 x 6.5 cabinet photo of Charles Dickens in a regal full-length pose, published by J. Gurney & Son in 1867, boldly signed on the reverse in blue ink, "Charles Dickens, First May 1868." Reverse is imprinted: "Carte Impériale by J. Gurney & Son, 707 Broadway, N.Y." In very good to fine condition, with scattered light foxing and soiling to the signed side, and mottling to the image itself. After an initial 1842 visit to the USA, Dickens returned in December 1867 for a second tour. Shuttling between Boston and New York, he conducted over 70 readings of his works and netted approximately £19,000 in royalties.

A superb memento of Dickens's theatrical high-water mark, his bravura performance as the "craven and boastful" Captain Bobadil in his own "strictly private" production of Ben Jonson's comedy Every Man in his Humour. The invitation card - in effect a ticket to the performance - carries his characteristic flourished signature on the verso and a holograph entry in his hand, requesting the pleasure of Miss Holskamp's company at the first night, seating her in number 44 in the "Boxes, Second Circle". The success of Dickens's performance is attested by a portrait of him in the role, painted by C. R. Leslie in 1846 and lithographed by Thomas Maguire. The playbill is annotated to give a virtually complete cast list and in this regard may well be unique. "Stimulated after giving a reading of The Chimes to a small audience of friends [at Christmas 1844], [Dickens] resolved to organize some amateur theatricals of his own. Returning from a spell of residence in Italy, 'he flung himself with the passionate fullness of his nature into' gathering a cast and choosing a play. On 20 September 1845, Ben Jonson's Every Man in his Humour was played to a private audience at Miss Kelly's Theatre, 'with a success that out-ran the wildest expectation', as Forster recalled, 'and turned our little enterprise into one of the small sensations of the day'" (V&A Dickens centenary catalogue 1970). The attendee, a Miss Holskamp, was one of four sisters, all born in the Somers Town area of London, near St Pancras. The most likely to have been invited to this performance would be Margaret Holskamp (1827 1908), cited as a correspondent of Kate Dickens by Lillian Nayder in her biography of Dickens's wife: "In May [1846], Catherine's description of their trip [to Italy] was more definitive, particularly in regard to its southern boundary, a line that she herself drew [the Dickenses disagreed about the ultimate destination of their year abroad]. 'We are on the move again,' she wrote Margaret Holskamp, who knew the de la Rues and had discouraged the advances of Augusta [de la Rue]'s brother William" (The Other Dickens: A Life of Catherine Hogarth, 2011, p. 139). The friendship with the de la Rues is a minor but intriguing episode in Dickens's life: "In Genoa [in 1845] and elsewhere he became intensely involved in using, either directly or long-distance, the power of mesmeric healing he discovered in himself to alleviate the condition of Mme de la Rue, an Englishwoman who suffered great distress from hallucinations. This strange intimacy with Mme de la Rue caused Catherine considerable uneasiness, not surprisingly. Dickens's response was righteous indignation (eight years later, when he again met the de la Rues abroad, he wrote home to Catherine admonishing her that he thought it would become her now to write Mme de la Rue a friendly letter, which she obediently did). The Dickens family were back in London in July 1845 and Dickens energetically set about organizing a production of Jonson's Every Man in his Humour to be given by a band of his literary and artistic friends, the Amateur Players. This took place on 21 September [sic] in a private theatre in Dean Street, Dickens's own virtuoso performance as Captain Bobadil winning many plaudits" (ODNB). The playbill is annotated in another hand, listing all performers (bar two minor parts), and this is important as it sheds light on the roles taken by Dickens's siblings and friends: Henry Mayhew as Knowell, Fred Dickens as Edward Knowell, Mark Lemon as Brainworm, Dudley Costello as George Downright, T. J. Thompson as Wellbred, Forster as Kitely, Dickens as Bobadil, Douglas Jerrold as Master Stephen, "Leach" (John Leech) as Master Mathew, Augustus Dickens as Thomas Cash, Percival Leigh as Oliver Cob, Marcus Stone as Justice Clement, Frederick Evans as Roger Formal, "Charles" as William, "Jerrold Jun[io]r" (Blanchard Jerrold) as James, Miss Fortescue as Dame Kitely. "It is important to note that the rest of the cast - Mark Lemon, John Leech, Henry Mayhew, Douglas Jerrold, Gilbert a'Beckett [who appears not to have performed on this first night but is named on the ticket] - came from a specific group, a little band of journalists known as the 'Punch brotherhood' to themselves and as 'those Punch people' to outsiders" (Peter Ackroyd, Dickens, 1990, p. 470). It was an extraordinarily lavish evening at Miss Kelly's Theatre: Jonson's comedy was to be preceded by the overture to Rossini's William Tell and followed by silver-fork novelist Catherine Gore's one-act farce, A Good Night's Rest; or, Two O'Clock in the Morning (a two-hander, the characters being "Mr. Snobbington" and "The Stranger"), which itself was to be preceded by the overture to another Rossini opera, La Gazza Ladra - better known as The Thieving Magpie. Dickens had recently returned from Italy and in Pictures from Italy (published in May 1846) notes several visits to the Carlo Felice theatre in Genoa, where a "second-rate opera company" was performing. It is interesting to speculate that this may have given him the idea of punctuating the theatrical proceedings with Rossini's irresistible music. Both ticket and playbill are from the collection of celebrated bibliophile William E. Self, who formed a fine Dickens library; he recorded that the names of the players was "filled in by Mrs. Charles Dickens" (the items once appearing in the market with a copy of the note, since lost). The fact that Catherine Dickens contributed to the production in some small measure is attested by Lillian Nayder: "Catherine had seen the first performance, at Frances ('Fanny') Kelly's Royalty Theatre, in September, writing many of the invitations herself" (ibid.). In fact, in September 1850 Catherine appeared as Bridget in Jonson's comedy during rehearsals for another performance by Dickens's troupe, scheduled for November at Knebworth House, the home of Edward Bulwer Lytton (an onstage accident prevented her appearance). It is not wholly fanciful.

62 : 102 mm. Nice Carte de visite of Dickens, his head turned to his left. Photograph by John & Charles Watkins, London. Signed and dated by Dickens Charles Dickens | To Dr. Muspratt / January 1865". Signed photographs of Dickens are of the utmost rarity. - Together with a signed carte de visite of the recipient, Dr Muspratt. A remarkable pair of signed photographs. Very rare. Dr James Sheridan Muspratt (1821-1871), Irish born research chemist, lived in Liverpool where his father had an industrial chemical company. He organised a visit to Liverpool by Dickens's amateur theatre company in 1847.

Hardcover. Zustand: Fine. 1st Edition. First Editions, First Printings of this two volume set. A wonderful copy SIGNED by Charles Dickens on a handwritten letter by Dickens laid into the book. The books are bound in the publisher's original green cloth. The bindings are tight with NO cocking or leaning with minor wear to the edges. The pages are clean with NO writing, marks or bookplates in the books. A superb copy SIGNED by the author. We buy Dickens in the original parts. Signed by Author(s).

A fine portrait boldly signed by Dickens at the foot; Edward Goodwyn Lewis's portrait of 1869 was the last major portrait of Dickens, executed a year before his death. The existence of similar examples indicates Dickens signed a small number for presentation. Lewis (1827-1891) was known for his portraits of prominent Victorians, as well as Biblical and Shakespearean subjects, with works in many collections including the British Museum,the National Portrait Gallery and the Folger Shakespeare Library. The original artwork for this portrait is now in Princeton. Hand-finished lithograph, 25.5 x 34 cm, in original mount 58 x 45.5 cm. Overmounted and presented in late 20th-century gilt frame with conservation acrylic glazing. A few spots to front of original mount, lithograph taped into original mount on verso. In good condition.

Half title, plates. With the original green variant cloth casing, bound into full green crushed morocco by Rivière & Son, spine gilt in compartments, triple-ruled borders & dentelles in gilt; spine very sl. faded. A very handsome copy. In cloth slipcase. A beautiful copy of the first one-volume edition, EXTRA ILLUSTRATED with George Cruikshank's original watercolour design of Fagin in the Condemned Cell. This constitutes one of Cruikshank's finest and most recognisable Dickens illustration, portraying the wretched Fagin seated in his cell at Newgate, anxiously awaiting the day of his execution, and contemplating his demise. Bound in opposite the plate at p.304, the watercolour is signed by Cruikshank, and also adorned, in the lower margin, with a small self-portrait in pencil, and three further unidentified sketched portraits.

Hardcover. Zustand: Near Fine. 1st Edition. First Edition, First Printing. This is the TRUE FIRST EDITION with the First issue point with page 213 miss-paginated. The publisher's catalog is present and dated November 1859. This copy is SIGNED by Charles Dickens on a laid in check dated 1859, the same year this book was published. A wonderful UNRESTORED copy bound in the ORIGINAL publisher's Red Cloth. The binding is tight with light wear to the boards. The pages are clean with minor discoloration to the endpapers. There is NO writing, marks or bookplates in the book. Overall, a lovely copy of this First Edition SIGNED by the author. We buy Charles Dickens First Editions. Signed by Author(s).

Soft cover. Zustand: Fine. 1st Edition. First Editions, First Printings in the ORIGINAL MONTHLY PARTS SIGNED by Charles Dickens on a laid in check. A superb set in the publisher's green pictorial wrappers with minor wear to the spines and edges. These ORIGINAL wrappers include 27 additional plates with the rare suppressed plates by R. W. Buss in part 3. A total of 70 plates present, with the 27 additions showing different versions of the original 43, some plates being variants not mentioned in Hatton and Cleaver. "These three artists (Seymour, Buss, "Phiz") etched, in all, 92 plates for the completed work; of which 43 are the "Originals" as they appeared in the first issue of the monthly parts, 4 are "Replacements," 2 are "Substitutes," and 24 are "Duplicates" of the originals: total 73. The remaining 19 are not dealt with in this bibliography" (Hatton and Cleaver pp 17). Fourteen of the front wrappers and twelve of the back wrappers are first issue (the wrappers, like the plates, can be found in a number of variants). The text has issue points in twelve of the nineteen books, in this set two of the parts show first issue text and ten show later issue text. The Pickwick advertiser is present and complete in eleven of the sixteen parts which call for it. The set also retains five of the seven "addresses" that were issued in the course of publication. Back ads present are Parts IX, one ad;, part X, one ad; Part XIII, two ads; Part XIV, one ad; Part XV, seven ads; Part XVII, three ads; Part XVIII, four ads; and Part XIX-XX, four ads. This shows twenty-three of the thirty-four ads called for in Hatton and Cleaver. Not complete as for the advertisements, but still with many more ads here than most copies in recent years. An overall excellent set documenting the progression and development of the illustrated plates and their variations housed in a custom clamshell slipcase for preservation SIGNED by the author. Signed by Author(s).

Hardcover. Zustand: Near Fine. 1st Edition. First Edition, First Printing. This book has the First issue point with the 'Fireside' plate and the author credited as 'Boz' to the title page. This copy is SIGNED by Charles Dickens on a laid in envelope. An attractive copy with light wear to the spine and edges. The bindings in all three books are tight, bound in the ORIGINAL publisher's cloth. The pages are clean with light discoloration. There is NO writing, marks or bookplates in the book. Overall, a lovely copy of this (3) Volume First Edition SIGNED by the author. We buy Charles Dickens First Editions. Signed by Author(s).

Hardcover. Zustand: Near Fine. 'Believe me, my Lord, that I am deeply sensible of this high token, and that I shall ever regard the title with a pride and pleasure much too deep for words.' A letter in which a young Charles Dickens writes from the Royal Hotel, Edinburgh, expressing his gratitude to the Lord Provost of Edinburgh (Sir James Forrest) for the distinguished honour of granting the young novelist the freedom of the city in June 1841. Claire Tomalin writes 'He left an unseasonably cold London to travel north with Catherine, to a warm and enthusiastic welcome. Crowds gathered round their hotel, and over 250 gentlemen attended the public dinner in his honour' ( Charles Dickens, A Life - Viking 2011) 1 page, 7 x 4.5 inches, in excellent, near fine condition, with a main crease through the centre and the remains of a small area of guard to the reverse where it was formerly mounted in a Victorian album. A unique letter displayed in a removable leather frame which is itself housed in a custom full morocco solander box. The box is complete with gilt lettering and a gilt Scottish thistle motif. Signed by Author(s).

3 vols. 8 x 5", violet embossed cloth, 344pp, 351pp; 344pp + 32pp publisher's catalogue, covers rubbed, extremities bumped and worn, spines sunned and cocked, hinges loose, vol. 1 eps spotted, contents a bit worn with some finger soiling, ink marks on ffep of vol. 2, vol. 2 rear fly creased else a nice set in a custom gilt-dec golden crushed morocco; cloth case by Bayntun-Riviere (though not stated as such- from a collection of Bayntun-Riviere signed bindings.) FIRST EDITIONS IN THE ORIGINAL CLOTH; volume 3 is a later state with the apostrophe on p. 173, and with period in heading on p. 238, BUT WITH ALL OTHER POINTS AS GIVEN IN THE WALTER E. SMITH BIBLIOGRAPHY INCLUDING THE MAY 1861 PUBLISHER'S CATALOGUE AT REAR OF VOLUME 3.

Signed "Charles Dickens (with a large flourish) Washington, D.C. Seventh February 1868." Large oval portrait photograph measures 13 inches by 13 inches. Matted in a walnut frame which measures 24Âinches by 27 inches. ÂOn his Washington tour Dickens met President Andrew Johnson and signed this photograph on the date of that meeting, February 7, which also happened to be Dickens' birthday. HeÂdiscussed in a letter to his friend and agent John Foster regarding that day, "This scrambling scribblement is resumed this morning, because I have just seen the President: who had sent to me very courteously asking me to make my own appointment. He is a man with a remarkable face." From the Library of The Cosmos Club in Washington, D.C. Portrait photographs of this size signed by Dickens are exceptionally rare, especially with such noted provenance. Charles Dickens was an English writer and social critic. He created some of the world's best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era. His works enjoyed unprecedented popularity during his lifetime, and by the twentieth century critics and scholars had recognized him as a literary genius.

First edition, first impression of Dickens' rarest novel. Octavo, three volumes bound in full royal blue crushed levant morocco by Bayntun Bindery with gilt titles and tooling to the spine in six compartments within raised gilt bands, gilt ruling to the front and rear panels, gilt turn-ins and wide gilt inner dentelles stamp-signed by Bayntun, all edges gilt. The earliest impression of Dicken's rarest novel. This copy agrees in all points with Margaret Caldwell's extensive analysis of the differing impressions in the Clarendon edition of Great Expectations. As in the Lawrence Drizen copy sold in 2019 at Sothebyâ s and in the Clarendon edition, the third volume here contains the numeral â 3â in the pagination on p. 103, and the initial â iâ in â inflexibleâ on p. 193, which are sometimes missing in copies of the first impression of the third volume, indicating thatÂthe present copy is among the earlier printings of the first impression. Smith comments that â the rarity of the firstÂissue ofÂGreatÂExpectationsÂhas been attributed to the probable small binding-up of copies with theÂfirstÂtitle-page, coupled with the fact (according to C.P. Johnson, â Hints to Collectorsâ ) that â theÂfirstÂedition was almost entirely taken up by the libraries.â Only 1,000 copies of theÂfirstÂissue and 750 copies of the second were printed and that probably most of theÂfirst and more than half of the second (1400 copies in all) were purchased by Mudieâ s Select Library. Eckel, pp. 91-93; Sadleir 688; Smith I:14. In fine condition. An exceptional example of one of Dickens' great masterpieces. Dickens' penultimate novel, Great Expectations, was written in "the afternoon of [his] life and fame" (G.K. Chesterton). The novel contains some of Dickens' most memorable scenes, including its opening, set in a graveyard, when the young orphan Pip is accosted by escaped convict Abel Magwitch. Upon its release, the novel received near universal acclaim. Although Dickens' contemporary Thomas Carlyle referred to it disparagingly as "that Pip nonsense," he nevertheless reacted to each fresh instalment with "roars of laughter." Later, George Bernard Shaw praised the novel, as "all of one piece and consistently truthful." During the serial publication, Dickens was pleased with public response to Great Expectations and its sales; when the plot first formed in his mind, he called it "a very fine, new and grotesque idea.".

First edition, presentation copy, inscribed by the author on the half-title "William Haldimand Esquire With the cordial remembrance and regard of Charles Dickens Twenty ninth March 1849". A former director of the Bank of England and a Member of Parliament for Ipswich, William Haldimand (1784-1862) was the brother-in-law of William de Cerjat, one of Dickens's lifelong friends and correspondents. Dickens met Haldimand during his visit to Switzerland in 1846, where Haldimand had retired in 1828. This was a time of some mental frustration for Dickens, and he gained some relief by reading the first number of Dombey and Son to Haldimand and Cerjat. Haldimand's friendship was evidently of some significance to Dickens - he named his seventh child Sydney Smith Haldimand Dickens. The Haunted Man, published on 19 December 1848, was the fifth and final of Dickens's Christmas books. "As soon as he returned from Broadstairs to London, he started work on the Christmas Book he had for so long been contemplating, a book about lost time. The Haunted Man and the Ghost's Bargain is concerned with the power of memory, with family life which is destroyed and replaced only by the wretched anxieties of a distinguished but solitary man. the theme itself revolves around Dickens's belief that memory is a softening and chastening power, that the recollections of old sufferings and old wrongs can be used to touch the heart and elicit sympathy with the sufferings of others. It has been said that in this autobiographical fragment Dickens is only suppressing his feelings of hurt and jealous rage, but it seems more likely that he was actively involved, after Fanny's death, in the process of transcending them" (Ackroyd, p. 553). Provenance: the Comte Alain de Suzannet, with his bookplate to front pastedown (this copy not recorded in the catalogue for the sale of his collection at Sotheby's, 22 November 1971); the collector Michael Sharpe, morocco book-label to front pastedown; the Lawrence Drizen Collection of Charles Dickens. Eckel p. 124; Smith, II, 9, pp. 68-70. Peter Ackroyd, Dickens, 1990. Octavo. Original red cloth, titles and decoration to spine and front cover in gilt, frame stamped in blind to covers, yellow endpapers, gilt edges. Housed in a custom red half morocco box and chemise. Frontispiece, engraved title page, and 15 illustrations in the text, by Leech, Stanfield, Tenniel and Stone. Neat early ownership signature to front free endpaper. Wear at spine and joint ends, top of backstrip loosening, light soiling and rubbing to cloth, front hinge starting, initial leaves loosening but stitching holding; still a very good copy in the original cloth.