Stefek’s auction Oct. 23 features fine art, modern design

Enrico Donati (American, 1909-2008), 'Atlantis II,' mixed media on canvas. Stefek's image

Enrico Donati (American, 1909-2008), 'Atlantis II,' mixed media on canvas. Stefek's image

Enrico Donati (American, 1909-2008), ‘Atlantis II,’ mixed media on canvas. Stefek’s image

GROSSE POINTE FARMS, Mich. – Stefek’s Auctioneers and Appraisers will conduct its Fine Art and Modern Design Auction on Thursday, Oct. 23, at 6 p.m. Eastern and will feature numerous noteworthy items across all categories.

Internet bidding will be provided by Auction Central News.

The 300-lot sale is anchored in its diverse array of fine art, and notable pieces from this category include two paintings by British artist Montague Dawson (1890-1973). Dawson was born in Chiswick, London, and although he did not attended art school, he developed an interest in painting at a young age. The artist joined the Royal Navy at the beginning of World War I, during which time he befriended British marine painter Charles Napier Hemy (1841-1917), an important artistic mentor to Dawson. Dawson served as an official artist for the navy during the war, and many of his depictions of naval battles were published to provide readers with a better understanding of such encounters. Dawson combined his penchant for technical accuracy with his knowledge of the ships themselves, and became one of the most highly regarded marine painters of his time.

Another standout item is a painting by Italian-born American artist Enrico Donati (1909-2008). Donati was born in Milan, and later studied economics at the Università degli Studi di Pavia. The artist left Europe for New York City with the onset of hostilities surrounding World War II, and later joined the ranks of the European Surrealist painters working in New York. Donati befriended artists such as André Breton and Marcel Duchamp, and helped to organize the 1947 Exposition Internationale du Surréalisme in Paris. His work has been exhibited in numerous institutions around the world, such as the Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art.

Stefek’s is confident that the important art featured in its October auction will garner significant interest from local and international buyers alike.

Stefek’s continues to move toward a specialization in modern design, and the upcoming October auction will feature several mid-century pieces of note. One such piece is a pair of interlocking tables designed by Edward Wormley for Dunbar (model 5404). Other featured Edward Wormley designs include a pair of upholstered ottomans from Dunbar’s Janus collection, an armchair (model 5700-A), and a wood occasional table (model 6326). A pair of Bruno Mathsson “Eva” chairs, a pair of George Nelson for Herman Miller steel frame dressers, and an Achille & Pierre Castiglioni Arco floor lamp for Flos complement each other well in the mid-century category.

The auction will also feature a wide variety of items such as lighting, sculpture, silver, jewelry, rugs and other decorative objects.

For more information about the Oct. 23 auction, call Stefek’s Auctioneers & Appraisers at 313-881-1800 or email info@stefeksltd.com.

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.


ADDITIONAL LOTS OF NOTE


Enrico Donati (American, 1909-2008), 'Atlantis II,' mixed media on canvas. Stefek's image

Enrico Donati (American, 1909-2008), ‘Atlantis II,’ mixed media on canvas. Stefek’s image

Edward Wormley interlocking tables. Stefek's image

Edward Wormley interlocking tables. Stefek’s image

Montague Dawson (British, 1890-1973), 'Summer Skies: Six Metres Rounding the East Lepe Buoy in the Solent,' oil on canvas. Stefek's image

Montague Dawson (British, 1890-1973), ‘Summer Skies: Six Metres Rounding the East Lepe Buoy in the Solent,’ oil on canvas. Stefek’s image

Montague Dawson's 'West Solents: Yachtsman's Wind,' oil on canvas. Stefek's image

Montague Dawson’s ‘West Solents: Yachtsman’s Wind,’ oil on canvas. Stefek’s image

Carlo Alfano (Italian, 1932-1990), 'Ripresenza 3,' oil on canvas. Stefek's image

Carlo Alfano (Italian, 1932-1990), ‘Ripresenza 3,’ oil on canvas. Stefek’s image

Francis (Ferenc) De Erdelyi (Hungarian, 1904-1959), 'Man with Violin,' oil on Masonite. Stefek's image

Francis (Ferenc) De Erdelyi (Hungarian, 1904-1959), ‘Man with Violin,’ oil on Masonite. Stefek’s image

Patrick Hughes (British, born 1939), 'Venezia 2006,' hand-painted 3D multiple with lithography. Stefek's image

Patrick Hughes (British, born 1939), ‘Venezia 2006,’ hand-painted 3D multiple with lithography. Stefek’s image

Thalia N. Schunk (American, 20th century), abstract bronze sculpture, 60 1/2in overall. Stefek's image

Thalia N. Schunk (American, 20th century), abstract bronze sculpture, 60 1/2in overall. Stefek’s image

’55 Porsche Speedster leads pack at Morphy’s auto auction debut

Dan Morphy, president of Morphy Auctions, with the top-finishing lot of the Oct. 11, 2014 Automobile Auction. The 1955 Porsche Speedster sold for $198,000. Morphy Auctions image
Dan Morphy, president of Morphy Auctions, with the top-finishing lot of the Oct. 11, 2014 Automobile Auction. The 1955 Porsche Speedster sold for $198,000. Morphy Auctions image

Dan Morphy, president of Morphy Auctions, with the top-finishing lot of the Oct. 11, 2014 Automobile Auction. The 1955 Porsche Speedster sold for $198,000. Morphy Auctions image

DENVER, Pa. – Morphy’s Oct. 11 Automobile Auction, which introduced the company’s newest specialty division, was a roaring success, grossing $1.42 million (all prices inclusive of 10 percent buyer’s premium). More than 300 people attended the event in person, while hundreds more participated by phone and via the Internet.

LiveAuctioneers.com facilitated Internet live bidding.

Of the 40 select vintage and antique cars offered, 35 found new owners, resulting in an 87.5 percent sell-through rate (by lot). The auction’s top lot was a sleek 1955 Porsche Speedster, one of around 1,200 Pre-A models manufactured. Finished in triple black and with only 49,000 miles recorded on its odometer, the coveted German classic sold for $198,000 against a presale estimate of $150,000-$250,000.

Another connoisseur’s Porsche, a 1963 356B T-6 finished in Smyrna Green, had been an AACA first place winner. Offered with photos of its professional restoration, it swept past its $80,000-$90,000 estimate to settle at $121,000.

A stylish Brit – a 1952 Jaguar X120, silver with English red leather interior and black rag top – was an eye-catching presence in the palatial white tent where all cars were displayed prior to sale. “This particular Jaguar model was the finest production car of its year,” said Dan Morphy, president of Morphy Auctions. “Straight from the factory, these cars could hit speeds in excess of 120 miles per hour.” The jaunty convertible sold within its estimate range at $88,000. Another classy Jag, a one-owner 1972 XKE convertible with many desirable options, including air conditioning, was offered without reserve but still handily surpassed its $45,000-$60,000 estimate to reach $74,800.

Following closely behind was a red 1987 Ferrari Testarossa, whose aerodynamic lines made it look like it was in top gear even when it was standing still. Built for speed, it boasted a 12-cylinder, 4.9-liter engine that might have tempted far more road use, but it had not even clocked 20,000 miles. Against an estimate of $40,000-$60,000, it crossed the auction finish line at $85,800.

An all-American favorite, a 1966 Chevrolet Corvette convertible with a 427-cubic-inch, 390-horsepower engine retained its rare factory Laguna Blue paint, which was available for one year only. Showing off sporty knock-off wheels and GM sidepipes, the beautifully restored sports car headed for a new garage after securing a winning bid of $71,500.

An exotic little number in red and white with gold interior trim and grille, a 1954 Sunbeam Alpine Supreme boasted a wealth of quality accessories. Offered with paperwork and prior-ownership history, it breezed past its $25,000-$35,000 estimate to secure a top bid of $50,600.

Other big winners included the auction’s opening lot, a super-clean 1967 Ford Mustang GTA 2+2 in red with white trim, $46,200; and a low-mileage, nearly all-original 1939 Ford Deluxe Coupe, $41,800.

“It was very exciting for us to see the level of interest our first-ever Automobile Auction generated,” said Morphy. “From the very beginning, we felt there was a niche in the marketplace for boutique events in which the emphasis was on quality, not quantity. The prices we were able to achieve and the outstanding bidder participation confirmed that we are on the right track with our approach. We will continue to offer fresh to the market collectible cars in an honest and transparent environment that serves both buyer and seller.”

Morphy Auctions will hold its spring 2015 Automobile Auctions on April 25 at Morphy’s Victorian Casino gallery in Las Vegas, Nevada; and May 9 at the company’s flagship gallery in Denver, Pa.

For information on how to consign an automobile to a future auction at Morphy’s, call 717-335-3435 or email info@morphyauctions.com.

Click here to view the fully illustrated catalog for this sale, complete with prices realized.


ADDITIONAL LOTS OF NOTE


Dan Morphy, president of Morphy Auctions, with the top-finishing lot of the Oct. 11, 2014 Automobile Auction. The 1955 Porsche Speedster sold for $198,000. Morphy Auctions image

Dan Morphy, president of Morphy Auctions, with the top-finishing lot of the Oct. 11, 2014 Automobile Auction. The 1955 Porsche Speedster sold for $198,000. Morphy Auctions image

1967 Ford Mustang GTA 2+2, $46,200. Morphy Auctions image

1967 Ford Mustang GTA 2+2, $46,200. Morphy Auctions image

1963 Porsche 356B T-6, $121,000. Morphy Auctions image

1963 Porsche 356B T-6, $121,000. Morphy Auctions image

1972 Jaguar XKE convertible in Sable/Biscuit color scheme, $74,800. Morphy Auctions image

1972 Jaguar XKE convertible in Sable/Biscuit color scheme, $74,800. Morphy Auctions image

1987 Ferrari Testarossa, $85,800. Morphy Auctions image

1987 Ferrari Testarossa, $85,800. Morphy Auctions image

1966 Chevrolet Corvette convertible, $71,500. Morphy Auctions image

1966 Chevrolet Corvette convertible, $71,500. Morphy Auctions image

1952 Jaguar XK120, $88,000. Morphy Auctions image

1952 Jaguar XK120, $88,000. Morphy Auctions image

1954 Sunbeam Alpine Supreme, $50,600. Morphy Auctions image

1954 Sunbeam Alpine Supreme, $50,600. Morphy Auctions image

 

 

 

 

Groundbreaking set for Underground Railroad visitor center

The 1839 Levi Coffin House in Fountain City, Ind., is designated at National Historic Landmark. Image courtesy of Wikimedia Commons.

The 1839 Levi Coffin House in Fountain City, Ind., is designated at National Historic Landmark. Image courtesy of Wikimedia Commons.
The 1839 Levi Coffin House in Fountain City, Ind., is designated at National Historic Landmark. Image courtesy of Wikimedia Commons.
FOUNTAIN CITY, Ind. (AP) – The Indiana State Museum says it will break ground later this month on a $3.2 million visitor center at a key eastern Indiana stop on the Underground Railroad for escaped slaves.

The scheduled Oct. 29 groundbreaking for the new Levi Coffin House Interpretive Center in Fountain City will coincide with the 175th anniversary of the home.

Museum officials say the visitor center will tell the story of Indiana’s connection with the Underground Railroad in the years before the Civil War.

Levi and Catherine Coffin were 19th-century anti-slavery activists. The museum says more than 1,000 escaped slaves passed through their home about 60 miles east of Indianapolis on their way to freedom.

The museum says it has commitments for 70 percent of the center’s cost. It’s due to open in 2016.

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-10-15-14 1054GMT


ADDITIONAL IMAGE OF NOTE


The 1839 Levi Coffin House in Fountain City, Ind., is designated at National Historic Landmark. Image courtesy of Wikimedia Commons.
The 1839 Levi Coffin House in Fountain City, Ind., is designated at National Historic Landmark. Image courtesy of Wikimedia Commons.

Egyptian mummy getting a closer look in St. Louis

CT scan of the mummy Amen-Nestawy-Nakht, who died at age 36. Image courtesy of Washington University School of Medicine.

CT scan of the mummy Amen-Nestawy-Nakht, who died at age 36. Image courtesy of Washington University School of Medicine.
CT scan of the mummy Amen-Nestawy-Nakht, who died at age 36. Image courtesy of Washington University School of Medicine.
ST. LOUIS — A team of experts in St. Louis is examining an Egyptian mummy to determine what killed him 3,000 years ago.

The mummy of Egyptian priest Amen-Nestawy-Nakht is getting another CAT scan, and researchers hope to learn not only how he died but more about his health. His last scan was several decades ago, when technology wasn’t at the level it is now, the St. Louis-Dispatch reported.

On Sunday, art movers hired by the St. Louis Art Museum picked up three mummies, including Amen-Nestawy’s. The wrapped corpses were taken to the Alvin J. Siteman Cancer Center at Barnes-Jewish Hospital and the Washington University School of Medicine, where a team of professors, doctors and radiologists examined the bodies.

Michelle Miller-Thomas, a radiologist who specializes in head, neck and brain imagery, said that 3-D X-ray scanners are the best way to look at the mummies.

“There’s no other way without unwrapping them and permanently damaging their remains,” she said.

The scan of Amen-Nestawy’s mummy showed that the priest’s body was shorter than his wrappings and that his spinal fracture was so severe that it couldn’t have happened before his death, according to doctors.

They say the fracture could have been the result of an early grave robbery. Doctors also found a circular object in the middle of his chest that appeared to be a two-centimeter-wide amulet.

Experts will study the results for a few months.

Video and images taken during the CT scans will be a part of the exhibit at the St. Louis Art Museum.

The museum owns Amen-Nestawy’s mummy and two others belong to the Washington University’s Mildred Lane Kemper Art Museum. The mummies of Pet-Menekh, a priest from the 3rd or 4th century B.C., and Henut Wedjebu, a 13th-century B.C. woman, are on loan to the St. Louis Art Museum.

Information from: St. Louis Post-Dispatch, http://www.stltoday.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


ADDITIONAL IMAGE OF NOTE


CT scan of the mummy Amen-Nestawy-Nakht, who died at age 36. Image courtesy of Washington University School of Medicine.
CT scan of the mummy Amen-Nestawy-Nakht, who died at age 36. Image courtesy of Washington University School of Medicine.

Illinois dig seeks clues about European, Indian interaction

Col. George Rogers Clark's conference with Native Americans at Cahokia, unknown artist, from the National Archives and Records Administration. Image courtesy of Wikimedia Commons.

Col. George Rogers Clark's conference with Native Americans at Cahokia, unknown artist, from the National Archives and Records Administration. Image courtesy of Wikimedia Commons.
Col. George Rogers Clark’s conference with Native Americans at Cahokia, unknown artist, from the National Archives and Records Administration. Image courtesy of Wikimedia Commons.
CAHOKIA, Ill. (AP) – Archaeologists are hoping to turn up detailed clues about the interaction between Native Americans and European settlers in Cahokia at a site in southwest Illinois.

The researchers have been excavating an area around the old Holy Family log church. European missionaries established a base there in the early 1700s in the middle of a village home to the Tamaroa and Cahokia tribes.

Researchers want to learn more about the generation of interaction that took place between the different cultures, the Belleville News-Democrat reported. There are relatively few places to find good evidence of such early interaction, archaeologists said.

They used a 1735 map of the village drawn by one of the missionaries as a guide to know where to dig.

Last week the dig team turned up evidence of the European settlement, including part of a British teacup, a fragment of an ale bottle, a clay pipe stem and a British-made flintlock for a rifle.

“Right now we’re in the 1820s to 1830s,” said Robert Mazrim, a historical resources specialist with the Illinois State Archaeological Survey’s Colonial Heritage Program. “There are pieces of pottery, and the Indian presence is just starting to show up.”

Clues that they were getting closer to the earlier time periods included a small flake left behind by a stone tool-making process and a piece of faience, or imitation porcelain from the late 1600s.

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Information from: Belleville News-Democrat, http://www.bnd.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-10-11-14 2122GMT


ADDITIONAL IMAGE OF NOTE


Col. George Rogers Clark's conference with Native Americans at Cahokia, unknown artist, from the National Archives and Records Administration. Image courtesy of Wikimedia Commons.
Col. George Rogers Clark’s conference with Native Americans at Cahokia, unknown artist, from the National Archives and Records Administration. Image courtesy of Wikimedia Commons.

China’s leader calls for end to ‘weird architecture’

China Central TV's headquarters by Dutch architect Rem Koolhaas. Image by Cmglee. This file is licensed under the Creative Commons Attribution 2.0 Generic license.

China Central TV's headquarters by Dutch architect Rem Koolhaas. Image by Cmglee. This file is licensed under the Creative Commons Attribution 2.0 Generic license.
China Central TV’s headquarters by Dutch architect Rem Koolhaas. Image by Cmglee. This file is licensed under the Creative Commons Attribution 2.0 Generic license.
BEIJING (AFP) – Chinese Internet users were divided Thursday after leader Xi Jinping reportedly called for an end to “weird architecture” in a country that has seen a huge construction boom.

Much of China’s older building stock is made up of Soviet-style concrete blocks, but in recent years property development has played a huge economic role.

The phenomenon has drawn architects from around the world, from big names such as Zaha Hadid to younger unknowns who see opportunities to design towers long before their careers could reach such heights in the West.

But some unconventional and costly buildings, often owned by state-controlled institutions, have been controversial, sparking criticisms of wasted public funds.

The futuristic new Beijing headquarters of state broadcaster China Central Television were designed by renowned Dutch architect Rem Koolhaas but popularly nicknamed “The Big Underpants.”

There have meanwhile been complaints that a pair of bridges over the Yangtze and Jialing rivers in the southwestern metropolis of Chongqing are remarkably reminiscent of female genitalia.

Xi, who took over as Communist leader nearly two years ago, told a group of artists on Wednesday that China should build “no more weird architecture,” reported the website of the People’s Daily, the ruling party’s mouthpiece.

The newspaper’s own new home – an unmistakably phallic tower – was so widely mocked by Internet users last year that China’s censors blocked th discussions.

Many web users welcomed Xi’s call.

“My understanding is that ‘no weird architecture’ targets the property owners rather than the architects. Some unscrupulous owners should indeed be reined in now,” said one user on China’s Twitter-like Sina Weibo.

“China is not foreigners’ test field,” added another.

Xi is not the first senior figure to express doubts over modern design – Britain’s Prince Charles once described a proposed extension to the National Gallery in London as a “monstrous carbuncle on the face of a much-loved and elegant friend.”

But some Weibo users questioned whether Xi’s comments were appropriate, voicing concerns over their potential impact on creative freedom.

“The ‘weird architecture’ is voluntarily chosen by the owners and the designers,” said one, asking: “Do you want to replace millions of others’ aesthetic sense with your own?”

 

 

Town clocks have civic function beyond timekeeping

The Gap, Pa., town clock. Image by MikeParker. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.

The Gap, Pa., town clock. Image by MikeParker. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.
The Gap, Pa., town clock. Image by MikeParker. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.
MANHEIM, Pa. (AP) – She glanced at the clock. She didn’t really notice the time.

It was a few minutes shy of 11:30 a.m., and Erin Neiderhiser is walking briskly down Main Street in Manheim.

She looks up at the massive Market Square clock more out of habit than necessity; she – like most everyone these days – carries a smart phone in her hand.

“I’m not sure if I looked at it for the time, or just because it’s pretty,” Neiderhiser says.

“I’m just used to it, I guess. I like it there. I’m Manheim born and raised, and I grew up with it.”

The 131-year-old Manheim town clock was first erected in Lancaster in 1883, then purchased for the former Flinchbaugh Jewelry Store in Manheim in 1926. The Manheim Historical Society moved it in 1994 to the corner of East High and Main streets; it was last renovated in 2009.

Before wristwatches and cell phones, people depended on town clocks to sound the hour. Most clock towers were found at churches and municipal buildings.

“Town clocks are monuments to democracy,” Larry Laird, of Global Time Wizard in Columbia, says.

“Clocks particularly came of age after the Civil War. They probably peaked around 1920 – after the crash of ’29, they fell into disrepair, they fell into decline.”

The Manheim clock is neither the oldest nor the best known in Lancaster County, but it continues to remind passers-by of the hour.

Here are a few of the other, highly visible clocks in the county.

The 142-year-old Gap Town Clock moved 75 feet to its current location in 1953 and was last renovated in 2002.

Ten public clocks at Clock Towers, the former Hamilton Watch factory on Columbia Avenue, were made in 1874, although Laird notes all were replaced by “really cheap reproductions.”

One of the original Hamilton clocks now stands at Stevens Trade, he says, “but it does not run.”

Most of the older clocks that are still working have had their innards replaced once or twice, Laird explains. Some have even been converted to electricity and are satellite-driven to maintain perfect time.

Mountville in 2013 repaired two town clocks: a two-sided clock in front of borough hall and a four-sided clock on the VFW building.

Of course, not all town clocks are old. The 11-foot-tall Towne Centre Clock, at the northeast corner of East Main Street and North Roberts Avenue in New Holland, was raised in 2013 to replace the town’s old clock, which was built in the 1870s; it was removed in 1998, repaired and installed at Garden Spot High School.

Lititz put up its town clock in 2006 to celebrate its 250th anniversary. The clock standing in the square in Elizabethtown may have a classic Victorian design, but it was erected in 2002 to mark the borough’s 175th anniversary. Mount Joy added its four-sided, 16-foot-tall street clock on East Main Street in 2001, also to celebrate a sesquicentennial.

Akron added a 9-foot-tall clock at the Broad Street playground in 1998.

But the purpose of these clocks, new or old, is – well, timeless.

“These clocks were originally and traditionally used to tell local time – they gave a community a sense of its own personality and its place in the world,” says Noel Poirier, director of the National Watch & Clock Museum in Columbia.

In the days before portable timepieces, he says, “it was a point of pride” for a community to have its own clock.

“Today, public clocks are attractive because they’re a shared experience, particularly those that chime the hours,” Poirier says. “If you happen to notice the clock, you are going to look at the time. It’s a shared experience with your neighbors.”

Clocks were first incorporated into public architecture in the Middle Ages. The Chinese built the first clock tower in 1100, while the earliest European clock tower, in Salisbury, England, dates to 1300.

“I admire a municipality that will take the time and effort to get (a town clock) repaired and put it back into circulation,” says Lititz clock- and watchmaker Bob Desrochers.

“It was very important in society to have one of these in your community,” he says. “It’s a piece of history that is fast disappearing.”

By the early 1900s, town clocks were mostly advertising gimmicks, installed outside businesses to draw customers’ eyes.

“Bottom line, people like to look up at a town clock. They’re beautiful pieces,” Desrochers says.

“But it’s not so much about being able to see the time, it’s about being able to hear the time,” he adds. “That’s what people really like, hearing that clock go off at 12 o’clock.”

For Laird, a historian and former civics teacher, town clocks symbolize community spirit.

“They represent democracy in its heyday,” he says. “We don’t have uniform goals any more. We don’t place much importance on public timepieces any more. We don’t need to.”

Cell phones, he says, “allow individualism to trump the common good.”

Columbia, once dotted with streetside clocks, now has four: outside the museum at 514 Poplar St., on Borough Hall at 308 Locust St., at Global Time Wizard at 515 Locust St. and, the newest, erected in 2006, at 5th & Chestnut streets.

“We’ve noticed that, if our clock is off, we get comments right away,” says Mayor Leo Lutz. “People pay attention to it.”

He likens it to the old Grinnell whistle, which would sound twice daily to signal shift changes. The whistle, like the chiming or ringing of a town clock, was an audible reminder of the time.

“It’s probably a nostalgia thing. Most of these clocks are antiques,” Lutz says. “People would truly miss them if they weren’t there.”

East Hempfield Township residents in 2007 raised more than $150,000 to have two clocks – one in the heart of Landisville, the other near the Landisville/Salunga line – refurbished.

The nearly identical clocks were installed in 1946 to honor World War II veterans. Both stopped working years ago.

Now, says township manager Robert Krimmel, the clocks are functioning sources of pride.

“People don’t really use them to check the time,” he says. “It’s a reminder of the history of the area, and of the veterans who served.”

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Online:

http://bit.ly/1D6WtTa

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Information from: Intelligencer Journal/Lancaster New Era, http://lancasteronline.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-10-14-14 1558GMT


ADDITIONAL IMAGE OF NOTE


The Gap, Pa., town clock. Image by MikeParker. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.
The Gap, Pa., town clock. Image by MikeParker. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.