input question: Given the following context: On March 19, 2003, Iraqi General Mohammed Al-Rawi flees his residence amid the bombardment of Baghdad. Before leaving the compound, he passes a notebook to his aide Seyyed, instructing him to warn his officers to get to their safehouses and wait for his signal. Four weeks later, U.S. Army Chief Warrant Officer Roy Miller and his platoon check a warehouse for Iraqi weapons of mass destruction. To Miller's surprise, the warehouse has not been secured, with looters making their way in and out, as soldiers from the 101st Airborne Division are too few to do much. After a firefight with a sniper, Miller finds that the warehouse is empty, the third consecutive time an official mission has led to a dead end. Later, at a debriefing, Miller brings up the point that the majority of the intel given to him is inaccurate and anonymous. High-ranking officials quickly dismiss his concerns. Afterward, CIA agent Martin Brown tells him that the next place he is to search was inspected by a UN team two months prior and that it too has been confirmed empty. Meanwhile, U.S. Department of Defense official Clark Poundstone welcomes returning Iraqi exile politician Ahmed Zubaidi at the airport. There Poundstone is questioned by Wall Street Journal reporter Lawrie Dayne. She says she needs to speak directly to "Magellan", but Poundstone brushes her off. answer the following question: What is the rank of the person who passes a notebook to Seyyed????
output answer: General

Given the following context: Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Felix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Theophile Silvestre's description of Ingres;... answer the following question: What were the full names of the people who bequeathed the painting to Cecile Bapst?
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Answer: Jules Bapst

Problem: Given the question: Given the following context: The Boydells focused all their attention on the Shakespeare edition and other large projects, such as The History of the River Thames and The Complete Works of John Milton, rather than on lesser, more profitable ventures. When both the Shakespeare enterprise and the Thames book failed, the firm had no capital to fall back upon. Beginning in 1789, with the onset of the French revolution, John Boydell's export business to Europe was cut off. By the late 1790s and early 19th century, the two-thirds of his business that depended upon the export trade was in serious financial difficulty.In 1804, John Boydell decided to appeal to Parliament for a private bill to authorise a lottery to dispose of everything in his business. The bill received royal assent on 23 March, and by November the Boydells were ready to sell tickets. John Boydell died before the lottery was drawn on 28 January 1805, but lived long enough to see each of the 22,000 tickets purchased at three guineas apiece (270 each in modern terms). To encourage ticket sales and reduce unsold inventory, every purchaser was guaranteed to receive a print worth one guinea from the Boydell company's stock. There were 64 winning tickets for major prizes, the highest being the Gallery itself and its collection of paintings. This went to William Tassie, a gem engraver and cameo modeller, of Leicester Fields (now Leicester Square). Josiah offered to buy the gallery and its paintings back from Tassie for 10,000 (worth about 800,000 now), but Tassie refused and auctioned the paintings at Christie's. The painting collection and two reliefs by Anne Damer fetched a total of 6,181 18s. 6d. The Banks sculpture group from the facade was initially intended to be kept as a monument for Boydell's tomb. Instead, it remained part of the facade of the building in its new guise as the British Institution until the building was torn down in 186869. The Banks sculpture was then moved to Stratford-upon-Avon and re-erected in New Place Garden between June and November 1870.... answer the following question: What is the first name of the person who auctioned the paintings at Christie's?
++++++++++++++++++++++++++++++++
The answer is:
William