U.S. soldiers climb the reconstructed stairs of the Ziggurat of Ur in Iraq in 2010. The ancient Mesopotamian temple tower was damaged in the First Gulf War in 1991 by small arms fire and the structure was shaken by explosions.Image courtesy Wikimedia Commons.
BAGHDAD (AFP) – Iraqi architects and historians have decried official neglect of historical buildings nationwide, many of which have fallen into disrepair and disuse, and called for greater attention to be paid to them.
“For many years, we have talked about the importance of maintaining historical centers and buildings spread across Iraqi cities … but unfortunately, the government did not respond to these calls,” Iraqi architect Hisham al-Medfai said at a conference of local historians and architects over the weekend.
“Architectural heritage in urban centers now requires an important step to maintain it,” Medfai said.
He pointed out that only 200 old houses remain in the eastern half of Baghdad, after hundreds were replaced by new shopping centers, which Medfai described as a big loss and a result of the absence of planning.
Medfai called for the government to invest in preserving heritage buildings.
“There are historical centers and a huge heritage culture that Baghdad inherited, and they are now 1,250 years old,” said Iraqi historian Salim al-Alusi.
“And there are historical centers belonging to the pre-Islamic period, especially in Agerguf (west Baghdad), but there is no interest in maintaining them,” he said.
“The best period Baghdad passed through was during the monarchy, but there are no institutions for keeping the heritage like officials did in that era,” Alusi continued.
During the rule of now-executed dictator Saddam Hussein, Iraq enforced laws protecting historical sites.
But since the 2003 U.S.-led invasion that overthrew his regime, such laws have seen lax enforcement and the government has prioritized reconstruction of the war-battered country over preservation of heritage buildings.
More recently, however, Baghdad’s local authority has begun prohibiting locals from renovating their houses or buildings if they are classed as historical sites.
ADDITIONAL IMAGE OF NOTE
U.S. soldiers climb the reconstructed stairs of the Ziggurat of Ur in Iraq in 2010. The ancient Mesopotamian temple tower was damaged in the First Gulf War in 1991 by small arms fire and the structure was shaken by explosions.Image courtesy Wikimedia Commons.
Humberto Calzada, ‘War of Solitude,’ circa 1987, acrylic on canvas. Image courtesy Abell Auction Co.
LOS ANGELES – On Sunday, June 10, Abell Auction Co. will present an important sale offering over 450 lots of fine art, antiques, fine jewelry, silver, and appointments from estates throughout California. The auction will begin at 10 a.m. PDT. LiveAuctioneers.com will provide Internet live bidding.
Highlighting the important sale is a large collection of American and French art glass from the estate of John Swint of Anaheim, Calif. John Swint arrived in Orange County with his family in the late 1940s prior to the postwar building boom that occurred in Southern California. Taking advantage of the surging population with the creation of Disneyland and the surrounding neighborhoods, Swint became one of Orange County’s most prolific architects. From the Swint estate, Abell will be auctioning three Tiffany Studios table lamps, including a Dragonfly lamp (estimated at $20,000-$30,000.00), a twelve-light Lily lamp (est. $25,000-$35,000), and an Acorn lamp (est. $8,000-$12,000). In addition, there is a collection of Tiffany Favrile glass vases, bowls, and table articles, including a Tiffany Cypriote vase (est. $7,000-$10,000); Rene Lalique bowls, vases, and platters; and vases and bowls created by Daum, Galle, Le Verre Francais, and Argy-Rousseau.
From two other Southern California collections, Abell will be offering additional Tiffany Studios table lamps and French art glass. Two significant lamps from a Newport Beach collection include a Tiffany Studios Geranium lamp (est. $60,000-$80,000) and a Grueby glazed ceramic pot with a Bigelow & Kennard shade ($15,000-$20,000). From a San Diego private collector, Abell will offer additional French art glass that includes Argy-Rousseau and Almeric Walter pate-de-verre table articles. Between these three collections, Abell is offering one of the finest auctions of Tiffany lamps and French art glass to come to market in Southern California in years.
Abell will also be auctioning American works of art by Hovsep Pushman, Jack Wilkinson Smith, Millard Sheets, Paul Lauritz, Charles Rollo Peters, William Smedley, David Howard Hitchcock, Harry Roseland, Alfred Reth, Eric Sloane, an Edward Curtis orotone, and drawings by Frederick Remington. Latin American and European artists represented include works by Fernando de Szyszlo, Miguel Padura, Humberto Calzada, Santiago Cardenas, Karl Marko, George Romney, and a Maurice Utrillo watercolor, among other artists.
Other quality items to be offered include a set of Paul Storr silver service plates (est. $10,000-$15,0000); a diamond and platinum engagement ring weighing 3.65 carats ($15,000-$20,000); a collection of gold pocket watches including pieces by Patek Philippe, E. Howard & Co., Cardineaux, and a Jules Jurgensen (est. $12,000-$15,000); as well as hundreds of lots of antique furniture, Chinese porcelains, sterling flatware and hollowware, and other quality appointments.
Previews are from Wednesday, June 6, through Saturday, June 9, from 10 a.m. to 4 p.m. at 2613 Yates Ave. in Los Angeles. A complete fully illustrated catalog may also be viewed at Abell’s website: www.abell.com. For any further information or questions, contact Joe Baratta at 800-404-2235.
Victor Ostrovsky (Canadian/Israeli, b. 1949), ‘Abstract I,’ oil on canvas, signed lower left, 50 inches x 40 inches. Gallery price $40,000. Estimate: $20,000-$30,000. Image courtesy Kaminski Auctions. BEVERLY, Mass. – Kaminski Auctions will conduct their June Estate Sale on Saturday, June 16, beginning at 11 a.m. EDT. Included in the collection are several oil paintings by Canadian-born artist Victor Ostrovsky, as well as a pair of Persian Kashan rugs (estimated $8,000-$12,000), and an impressive selection of antique furniture and silver.
LiveAuctioneers.com will provide Internet live bidding.
As a best-selling author and screenplay writer, Ostrovsky is also an accomplished painter. At a young age, the artist’s family moved from Canada to Israel, where well-known Israeli painter, Gilaldi, taught him to use oil paints. At the age of 18, Ostrovsky was a second lieutenant in the Israeli armed forces, and soon assumed the role of a lieutenant commander in the Israeli Navy. Soon after, he received an invitation to train for his country’s elite foreign intelligence service. Ostrovsky believes that such experience has informed his written works and his screenplays. His time in the Israeli army has also certainly inspired his paintings, which have been described as “enigmatic and cryptic.” Three of his pieces, Monarch Cover, Duets and Abstract I, all estimated between $20,000-$30,000, will be featured.
Other highlights from the sale include a 19th century Herter Brothers occasional table, estimated between $4,000 and $7,000. An ebonized wood piece with gold line trim and an inlaid floral design, the table epitomizes the craftsmanship of the German-born brothers, Gustave and Christian Herter. A New York-based firm, the two are said to be the most prominent decorators and furniture makers of the late 19th century. The brothers boasted clients such as William Henry Vanderbilt and the White House.
Also included in the June sale are several important Asian items, a Steinway baby grand piano (serial number 120462) built in 1906 and estimated between $5,000-$9,000, and a collection of French gilt silver. Totaling an impressive 67 pieces, the set includes flatware, a serving spoon, a tomato server, sugar sifter and tongs, and a tea caddy spoon with square tea strainer. Each piece is hallmarked with Minerva head and monogram. The set is estimated at $4,000-$6,000. Another silver flatware set will also be up for sale. This vermeil wash collection is of 19th century French origin and is estimated between $4,000 and $6,000.
Three noteworthy pieces of mahogany furniture are on offer including a triple pedestal dining table estimated $2,000-$4,000, an antique 19th century Hepplewhite sideboard estimated $2,000-$3,000, an early New England Queen Anne Highboy estimated $4,000-$6,000 and a Boston block-front slant lid desk estimated $2,000-$3,000. An English Stonehouse Leeds tall clock estimated between $2,000 and $3,000 and a 19th century A. Breckenridge & Son Kilmarnock tall clock estimated between $1,500 and $2,500 will also be auctioned. The sale will also offer a man’s stainless steel Rolex Datejust watch from the 1970s with blue color string diamonds and a dial and pave set (model #16014) estimated between $1,500 and $2,500. Another important piece to be included is a 19th century Sheraton chest with bird’s-eye maple drawer fronts estimated $2,000-$2,500.
Many of the pieces in this sale are originally from the estate of Marie B. Dawes of Winchester, Mass.
The auction will take place at Kaminski Auctions gallery at 117 Elliott St., State Route 62, Beverly, Mass.
Victor Ostrovsky (Canadian/Israeli, b. 1949), ‘Abstract I,’ oil on canvas, signed lower left, 50 inches x 40 inches. Gallery price $40,000. Estimate: $20,000-$30,000. Image courtesy Kaminski Auctions.
Victor Ostrovsky (Canadian/Israeli, b. 1949), ‘Monarch Cover,’ oil on canvas, signed lower left, 59 x 35 inches, 73 x 49 inches (frame). Gallery price $64,800. Estimate: $20,000-$30,000. Image courtesy Kaminski Auctions.
Steinway baby grand piano, mahogany, serial number 120462, built 1906, with bench, 71 inches long x 56 inches wide. Estimate: $5,000-$9,000. Image courtesy Kaminski Auctions.
Louis Vuitton steamer trunk with tray. Estimate: $4,000-$6,000. Image courtesy Kaminski Auctions.
Nineteenth century A. Breckenridge & Son Kilmarnock tall clock, walnut, time and strike, with key, 83 inches high, inches wide at base x 10 inches diameter. Image courtesy Kaminski Auctions.
Antique 19th century Hepplewhite sideboard, mahogany, 39 inches high x 64 inches long x 27 inches deep. Estimate: $2,000-$3,000. Image courtesy Kaminski Auctions.
NSAA member artist Ken Knowles’ work is an example of the artwork featured in the NSAA Live Art Auction.
EAST GLOUCESTER, Mass. – Original artwork from the region’s finest artists will be available to all bidders at the North Shore Arts Association (NSAA) 2012 Gala Preview Party and Live Art Auction on Saturday, August 11, 2012. Featuring juried selections from many NSAA artist members whose work can be found in private collections, the NSAA Auction benefits the non-profit cultural organization that has been connecting art and the community for 90 years. The event will take place at NSAA’s historic waterfront gallery at 11 Pirates Lane in East Gloucester, Mass., from 5:30-9 p.m.
By popular demand, NSAA’s Gala Preview Party and Live Art Auction will again be held as a single event on the same evening. NSAA is also pleased to announce that renowned art appraiser Stuart Slavid from Skinner Boston will serve as host and auctioneer that evening.
Based on last year’s success, live online bidding through LiveAuctioneers.com will again be available to those unable to attend in person. The event will begin at 5:30pm with an artwork preview party, featuring an open wine bar, sumptuous hors d’oeuvres from Passports Restaurant, and live music by Jazz in the Air Trio. The live auction will be held from 7-9 p.m.
Selected through a juried process to ensure quality, nearly 100 distinctive works of art representing a wide range of artists, genres, and media will be available for auction. Among the featured artists are David Curtis, Ray Crane, Ronalee Crocker, Paul George, Robert Gruppe, Ken Knowles, Judy Metcalfe, Charles Movalli, Tom Nicholas, Nathalie Nordstrand, Dale Ratcliff, Arlene Richardson, Betty Lou Schlemm, Peter Tysver, and Jeff Weaver as well as other fine painters.
Auction artwork will be on exhibit for previewing in the NSAA Gallery Aug. 6-11 during regular hours (Monday-Saturday 10-5 p.m. and Sunday 12-5 p.m.; the gallery will close at 3 p.m. on Aug. 11), or online at www.nsarts.org. Those who cannot attend the auction in person may follow the proceedings on their home computers or personal electronic devices and make real time bids online during the auction. In late July, those interested in online bidding can view the artwork and register for the Auction at www.LiveAuctioneers.com/browse/seller/NSAA (registrations will be accepted until 7pm on August 11). There is no buyer’s premium, and absentee bids will be accepted.
“Each year, NSAA strives to make the Auction a memorable experience for our patrons, sponsors and artists while raising essential funds to support our work and mission,” says Art Auction Chair Monica Lawton. “This summer we’ll combine the best of the new with the tried-and-true, featuring innovative live online bidding and the expertise of Skinner Auctioneers, as well as the return of a single, combined event where guests and artists can mingle and enjoy a festive preview party before the bidding begins.”
NSAA is pleased to recognize BankGloucester as premium sponsor of this year’s auction, which is also supported in part by Skinner Auctioneers and Passports Restaurant, among others.
About North Shore Arts Association (NSAA):
With its origins inspired by the great landscape and harbor painters of the mid-1800s through the 20th century, NSAA was formed by a group of prominent artists and Cape Ann residents. Its purpose was to bring together comprehensive and representative exhibitions of painting and sculpture, and to persuade other artists to come to the North Shore in an effort to further American art. Incorporated as a non-profit institution in 1922, the NSAA opened its doors to the public on July 14, 1923, with the largest collection of art ever shown at one time in Gloucester. Celebrating its 90th anniversary, today NSAA plays a vital role in supporting and promulgating the work of more than 500 members, while promoting arts education and appreciation in the community.
Open daily May through October, NSAA presents juried and non-juried gallery exhibitions of paintings and sculpture as well as classes and workshops for children, youth and adults, free demonstrations, concerts, and other special events. For more information, please visit www.nsarts.org or call 978-283-1857.
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ADDITIONAL IMAGE OF NOTE
NSAA member artist Ken Knowles’ work is an example of the artwork featured in the NSAA Live Art Auction.
The Jewish Museum of Maryland is flanked by the Lloyd Street Synagogue on the left and the Chizuk Amuno Synagogue on the far right. Image courtesy Wikimedia Commons.
BALTIMORE (AP) – When Marvin D. Pinkert tells friends from the area about his new job as executive director of the Jewish Museum of Maryland, he says they often ask, “When are they building a Jewish Museum in Baltimore?” or sometimes, “There’s a museum by Attman’s Deli?”
The museum’s outgoing director, Avi Decter, said that the site is better known nationally than locally by the Jewish community, but Pinkert aims to create “a major public attraction.”
The Jewish Museum of Maryland grew in programming, staff and collections in recent years, despite the financial challenges it and many other museums have faced. It also completed a $1 million restoration project on the Lloyd Street Synagogue next door, the oldest synagogue in Maryland.
With less government money to go around, grants and other funding sources have been difficult to come by for museums.
Just last month, the Contemporary Museum in Baltimore suspended operations because of economic challenges. When the Edgar Allan Poe House lost its city funding in 2011, it faced the possibility of closing.
“The challenges that Jewish museums face would reflect the challenges that all nonprofit organizations are facing right now,” said Joanne Marks Kauvar, executive director of the Council of American Jewish Museums, saying that most have survived by reducing their budgets, staffs and programming.
That was not the choice of the Jewish Museum of Maryland.
Decter said they nearly exhausted their reserves working to grow the museum in recent years, but had decided that “saving money, keeping it in the bank, wasn’t the most important thing.”
The museum’s most recent acquisition is a large photo collection from the Baltimore Jewish Times.
The president of the Jewish Museum, Larry Caplan, said that the museum board is working on a plan to “chart a course of fiscal stability.”
Part of this plan is reaching more people in the Jewish community and in the art community.
The museum itself gets 10,000 to 12,000 visitors in an average year, said Decter, many of whom come from throughout the U.S. and from Israel.
“Jews travel more than anyone else,” said Decter. “They like to see the oldest synagogue in town.”
Pinkert, who started his new job Friday, said he intends to use the museum’s collection to grow its audience, both national and local, by taking advantage of online outreach. He said he plans to use the museum’s website, which Decter said gets about 45,000 direct visits per year, to “complement the collections and physical museum.”
As the director of the National Archives Experience for the past 11 years, Pinkert worked in developing the archives’ first permanent interactive exhibit hall in 2004 and its digital vaults online exhibition in 2008. Before that, he was the vice president for programs at the Museum of Science and Industry in Chicago for 10 years, until he left in 1999 to be a consultant in the Washington, D.C., area.
This experience, said Caplan, has given Pinkert the knowledge and skills to reach the museum’s goals.
“The challenge now is for (Jewish) museums to remain dynamic and to move forward toward robust visions of what they might do in the future,” said Kauvar.
Pinkert’s vision includes the creation of a family environment at the museum, hoping to catch the interest of younger generations.
“Successful museums, they figure out a way to reach families,” said Pinkert. “Jewish Baltimore literally began here. If people really understood what is on this site, they would be here.”
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Information from: The Daily Record of Baltimore, http://www.mddailyrecord.com
Copyright 2012 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
AP-WF-06-04-12 1424GMT
ADDITIONAL IMAGE OF NOTE
The Jewish Museum of Maryland is flanked by the Lloyd Street Synagogue on the left and the Chizuk Amuno Synagogue on the far right. Image courtesy Wikimedia Commons.
Lee Wybranski’s first U.S. Open poster was the 2008 tournament at Torrey Pines, won by Tiger Woods. Image courtesy United States Golf Association.
FLAGSTAFF, Ariz. (AP) – Flagstaff has its own connection to the U.S. Open golf championship.
For the past five years, Philadelphia native Lee Wybranski has been painting the official posters used by the USGA to promote its signature event.
And now Wybranski, who has been living in Flagstaff for the past couple of years while keeping his Group W Art Works studio in Philadelphia, has made the full-time transition to northern Arizona.
“We came to Flagstaff a couple of years ago for family reasons, and I kept the business studio in Philadelphia for the first few years, and things have gone well so we decided it was time to move the whole shindig out here to be a part of the place,” Wybranski said during an interview at his downtown Flagstaff studio.
Wybranski has just finished the 2012 U.S. Open poster that will be the event’s signature image, and he said the process has been quite a trip.
“I try to incorporate two or three main characters in the poster and limit them to that,” said Wybranski, who added he likes to make his posters bold and simple compositions. “With the U.S. Open posters, the main character is championship golf and usually there’s some sort of local kind of aspect that adds interest. This year, that’s the Cyprus trees.”
Wybranski said that to anyone, especially an East Coast guy like himself, the trees really stand out as a mystical and overpowering image that he couldn’t not include in this year’s poster.
He also added that he likes to incorporate a local landmark, and that this year’s instructions from the USGA said to include San Francisco’s Golden Gate Bridge.
“The painting themselves don’t take terribly long, maybe about a week, but almost all the decisions are made before the painting even begins,” Wybranski said. “The decision-making process takes a long time with me and the client going back and forth with small tweaks and changes until I get final approval.”
Once Wybranski has the green light, he puts his watercolors to the canvas in his own unique style.
He doesn’t like his posters to be very intricate with a lot of detail, and he said his background in painting posters tells him that they should be very bold and visible from a great distance.
Working with watercolors as his medium is also something that helps Wybranski with the poster-making process.
“One of the things I like is it allows for happy accidents to occur,” Wybranski said. “You can put one color next to another and sometimes they’ll run together and make a magical blend that you’d never get otherwise. It’s almost like watching Mother Nature busy at the work of creating.”
For the 2012 U.S. Open poster, Wybranski visited the Olympic Club in San Francisco last September to prepare for the project. He said he likes to spend a day or two taking photos and narrowing down his artistic vision with a camera before he puts paint to canvass.
“I really sketch a lot with the camera,” he said. “I know what’s going to go on the poster eventually in my head, so I shoot a lot of pictures that leave a lot of pace for the typeface knowing how I want it to look.”
This year’s poster is a bit unusual, as the view is from behind one of the greens looking back up at the tee with the Cyprus trees framing the fairway and the Golden Gate Bridge in the background.
Between Wybranski’s love of golf—he gets the opportunity to play the U.S. Open courses once in a while—and his career as a painter, Wybranski has found the perfect niche in life.
“I knew coming out of art school that I wanted to make a career out of the arts,” he said. “Through some deliberate effort and also with some happenstance, I carved a niche out of the world of golf and it’s just blossomed in ways I’d never have anticipated.”
Wybranski’s first U.S. Open poster was for the 2008 event, and though he said it’s difficult to choose, that poster is his favorite.
“Obviously you bring your best to each one, but the 2008 poster is a particular favorite, because of both aesthetic and emotional and business reasons,” he said. “That was my first U.S. Open posters, it’s one of my favorite images I’ve ever made and it also happened to be for a historic event so the posters sold well.”
Wybranski said that as an artist, having such a large amount of people view his work in such a short period of time is one of the best ways to get his art and his name in the limelight.
“My first U.S. Open, the amount of people who saw and purchased my work, it was very gratifying,” Wybranski said. “I have a huge painting that I’ve spent over 135 hours on that would take years for 10,000 people to see. One of these posters, that only takes about a week to paint, gets huge viewership in three days. I knew since that first poster, I wanted to create images for the biggest events.”
Wybranski has now also broken the international art lines, as he was commissioned to paint the 2012 British Open poster as well.
“I have aspirations outside of golf as well, and there are many events that my work and my style would be a good fit, but in golf, I love the lore and history and mythology of the game so to be able to do work in the Old Country where it started was huge,” he said.
Wybranski will be hosting an open studio during Friday’s Art Walk, and said that he’s anticipating Flagstaff’s art-loving crowds coming to see where his work is created.
“I’ll be putting up work that I think will have the broadest appeal to people, and the work that I feel the best about and also the work that I like to see,” Wybranski said. “I don’t like to work with a lot of my own things on the wall, I like to work surrounded by the things that inspire me, so some of that will be up.”
The 2012 posters won’t be available until after the event, but all the previous year’s posters are available on Wybranski’s website, http://groupwartworks.com.
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Information from: Arizona Daily Sun, http://www.azdailysun.com/
Copyright 2012 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
DETROIT – The Detroit Institute of Arts has lifted the curtain on the exhibition “Patti Smith: Camera Solo,” which is composed of more than 60 black-and-white gelatin silver prints taken with her vintage Polaroid camera. The exhibition will be on view through Sept. 2, and is free with museum admission.
Pioneering musician, poet, author and artist Smith has made her mark on the American cultural landscape throughout her 40-year career, from her explorations of artistic expression with friend and vanguard photographer Robert Mapplethorpe in the 1960s and ’70s to her profound influence on the nascent punk rock scene in the late 1970s and ’80s.
“Patti Smith: Camera Solo” explores themes that are significant to Smith: poets and writers; portraiture, including symbolic portraits; travel; and art and architecture. Smith’s photographs highlight the rich relationships between art, architecture, poetry and the everyday. Her titles reference varied muses, such as Roberto Bolaño’s Chair, Herman Hesse’s Typewriter and My Father’s Cup. Such objects are tightly cropped and detached from their surroundings; divorced from their original function, they become devotional images.
“These intimate photographs provide a fascinating look at the world as seen through Patti Smith’s eyes,” said Graham W.J. Beal, DIA director. “Both longtime fans and people newly exposed to her work will be impressed by her truly touching commemoration of the artists, poets, authors, family and friends from whom she draws inspiration.”
Smith began taking 35 mm photographs in 1968 as components for collages and took up the serious use of the Polaroid Land Camera in 1995. Her photos are infused with personal significance and possess the same unfiltered, emotional quality prevalent in her poetry and song lyrics. The allure of her photographs is their often dream-like imagery, and their modest size belies their depth and power.
Smith’s use of a vintage Polaroid Land 250 camera lends intimacy to her images, whether casual, unvarnished portraits of herself and her children, or symbolic portraits such as Mapplethorpe’s slippers. In the era of digital imaging and manipulation, Smith’s works champion the use of photography in its most classical sense: as a tool to document a “found” moment. She finds the poetic qualities of a particular time and place, and captures that beauty on film.
The exhibition is accompanied by a fully illustrated 96-page catalog distributed by Yale University Press. It will be available in the museum shop in softcover for $25.
This exhibition was organized by the Wadsworth Atheneum Museum of Art, Hartford, Conn.
Patti Smith (b. 1946) began as a visual artist and has been drawing and taking photographs since the late 1960s. Her work has been shown at the Contemporary Arts Museum, Houston; the Museum Boijsman Van Beuningen, Rotterdam; Museum of Modern Art, New York; Museum Eki, Kyoto; Haus der Kunst, Munich; Triennale di Milano, Milan; Palais des Beaux Arts, Brussels; and the Pompidou Center in Paris.
Just Kids, a memoir of her remarkable relationship with Robert Mapplethorpe during the epochal days of New York City and the Chelsea Hotel in the late 1960s and ’70s, won her the 2010 National Book Award in the nonfiction category. Her 1975 album, Horses, established Smith as one of the most original and important musical artists of her generation and was followed by nine releases, including Radio Ethiopia, Easter, Dream of Life, Gone Again and Trampin’. She continues to perform throughout the world and in 2007 was inducted into the Rock and Roll Hall of Fame.
