September 2000 Volume 22 Number 3
Laura Gorman has completed treatment of George Segal's Chance Meeting, a three-figure bronze group, and Shige Yamada's Gift of Water, a 12.5' tall bronze, along with several smaller pieces on Kauai and Maui for the Hawaii State Foundation on Culture and the Arts. She presented her recent work on outdoor sculpture as part of a local Historic Preservation lecture series. She is supervising the summer work project of a first-year Winterthur student, Alysa Vignalo, at Shangri-la, the Hawaii estate of the late Doris Duke.
Greg Thomas has completed the conservation treatments of oil on canvas paintings by Marian Pope, A.R. Gurrey and D. Howard Hitchcock, for an art collector and the Kauai Museum. Greg and Larry Pace had the opportunity to survey 17 frescoes on Kauai by artists Jean Charlot, Tseng Yuho, and Juliette May Fraser. One of the paintings currently undergoing treatment in the Art Care Conservation studio is a 19th-century pastel/gouache on a preprimed canvas. The painting by Jules Tavernier from Hawaii Volcanoes National Park was water damaged and is being consolidated and lined.
In addition to surveying another collection of oil paintings, Greg has recently treated several civil war documents and an oil painting by D. Howard Hitchcock of a river of lava from the Hawaii Volcanoes National Park. Greg has also treated on site a mural painted by David Asherman with acrylic paint on tapa cloth for the Hawaii State Foundation on Culture and the Arts. The latter painting is not only unusual for its support, but also for its infestation by cigarette beetles.
Linda Hee, Diana Dicus, and Tracy Powers treated a variety of objects for the new galleries in Iolani Palace. Linda treated a collection of Kahilis and leis, Tracey the royal hawaiian crown jewels and royal orders, and Diana the Kiwala'o cloak.
Linda Hee, Downey Manoukian, and Larry Pace gave talks and demonstrations for the annual Hawaii Museums Assoc. in May on the subject of disaster preparedness and response.
In April Larry Pace treated two murals on the Big Island for the Hawaii State Foundation on Culture and the Arts. The first, River Wall, by Hiroki Morinoue in Pahoa, and the second, Harbors, by John Wisnosky in Hilo.
Larry has two new assistants now working in the studio: Alan Miller and Simonette Dela Torre. Both are interested in pursuing a career in conservation.
Larry attended the annual AIC meeting in June held this year in Philadelphia. He has also begun a survey of a local collection of contemporary art which includes works by Frank Stella, Richard Diebenkorn, Sam Francis, and Helen Frankenthaler. Larry recently treated and reinstalled a multipaneled mural by John Young belonging to a local collector. Works by Sexton, Walden, Tavernier, Doi, Hitchcock, and Torrey are currently being treated in the studio.
1645 Haku Street
Honolulu, HI 96819-1648
Nancy Odegaard has been awarded a one-year sabbatical from the University of Arizona until July 2001. Her projects during the year include a lecture and consultation program in the Dominican Republic and a lecture program in Peru, both for the US State Department. Over the year she will teach spot testing, complete some writing projects, and travel. She is best reached via email at email@example.com. While Nancy is away, Gretchen Voeks will take over her duties as the WAAC Regional News Reporter for Arizona.
Marilen Pool has completed work on the NAGPRA pesticide project at the Arizona State Museum (ASM) and has started a private practice. After some summer travelling she can be reached at Sonoran Conservation Services in Tucson.
Nanette Skov is conducting a textiles workshop this summer in Peru.
Laura Downey has accepted a part-time temporary position as assistant conservator at the ASM. She will begin in September and will offer preventive conservation advice while Nancy Odegaard is on sabbatical. She will provide special conservation expertise to a newly acquired collection of works of art on paper made by American Indian artists and to the photographic collection which is being impacted by a major construction project over the next year.
Martha Grimm has been treating Navajo textiles for the Heard Museum for an exhibition which will open mid-July. She's also been working on costumes for an exhibition entitled "Haught West" for the Phoenix Art Museum's Fashion Department.
Gretchen Voeks and pre-program intern Audrey Harrison have been conducting collection condition surveys for national parks in Colorado, Arizona, and California. They are also continuing their treatment of concha belts from the Hubbell Trading Post National Historic Site. University of Arizona student Maria Lee has been assisting in the lab by flattening blueprints and maps for Zion National Park.
Western Archeological and Conservation Center
National Park Service
1415 N. 6th Ave.
Tucson, AZ 85711
(520)670-6501 x 251
Richard Moll, paper conservator at the Autry Museum of Western Heritage, joins the Newsletter as Editor of the Technical Exchange column in this issue. He welcomes contributions from all.
Bud Goldstone, conservation engineer, will address the 13th Annual Conference of the Folk Art Society of America, October 13, in San Diego, CA. The theme of the conference is "Latin American and Native American Folk Art" and Bud's talk is on the conservation of "Las Pozas, Edward James' Surrealistic Monument in Mexico".
He is heading an AIC sponsored session, "Conservation Problems at Endangered American Folk Art Environments" November 3 at the National Trust annual meeting in Los Angeles. The session is to be followed by an AIC reception.
Bud has just finished his 14th year under contract for work as conservation engineer on Simon Rodia's Watts Towers for Los Angeles' Cultural Affairs Department and is preparing a book on his experiences as a contract consultant for the City. His Watts Towers article, "Simon Rodia, Master Builder: The Garden Spire Sculpture" was recently published in The Folk Art Messenger, Folk Art Society of America, Vol 13, No. 2.
In June, Victoria Blyth-Hill of the Los Angeles County Museum of Art (LACMA) attended a five day seminar on Analytical Techniques in Conservation at Winterthur/University of Delaware, Program in Art Conservation. The intensive program, which included Energy Dispersive X-Ray Fluorescence Spectrometry, SEM, XR-PD, FTIRS and GC-MS, was taught by the Winterthur staff, Jan Carlson and Kate Duffy. She spent one day at the Philadelphia Museum of Art with Andrew Lins and Beth Price. Richard Newman from Boston MFA was also an instructor. It was a very worthwhile introduction into the analytical aspects of conservation science.
The Conservation Center at LACMA is extremely happy to announce the appointment of Dr. Marco Leona as Senior Conservation Scientist. Dr. Leona received his PhD in Crystallography and Minerology from the University of Pavia, Italy in 1995 and a Masters in Chemistry in 1991. He was a visiting scholar in the Department of Chemistry at the University of Michigan from 1995-96 and an NEA/Mellon Conservation Research Fellow at LACMA (1996-97). He has recently been conducting research on Edo period prussian blue pigments at the Freer/Sackler Gallery, Washington, DC in the East Asian Paintings Department. Dr. Leona began at LACMA in August.
Dr. Terry Schaeffer assumed the new LACMA Conservation Center staff position of Chemical Hygiene Officer in July. She is working with all of the LACMA Conservation staff to upgrade chemical inventory record keeping and storage and to streamline ordering and disposal procedures. She will also oversee other safety and licensing issues, and continue to collaborate with conservators on research projects as time permits.
The Paper and Objects Conservation Sections at LACMA were pleased to have their first Camilla Chandler Frost summer Interns, Meghan Goldman in the paper lab and Lucian "Hugh" Shockey in objects for eight weeks. Meghan came to LACMA from the NYU Graduate Conservation program where she will be starting her third year in September. During her stay, Meghan performed analysis and treatment on a series of Hans Bohler drawings recently acquired by the Rifkind Center, working with Margot Healey. Hugh is in the Winterthur/University of Delaware Program in Art Conservation and worked with John Hirx on a survey of objects made from plastic, cleaned outdoor bronze sculpture with Maureen Russell and cleaned furniture with Don Menveg for the Made in California show.
Margot Healey attended the week-long Mellon Collaborative Workshop on Contemporary Color Photographic processes held in Chicago in June. After a brief hiatus from school for the summer, Chail Norton continues with her evening courses in chemistry.
Objects conservation at LACMA is preparing for the next large exhibition, Made in California, which opens in the fall. The show is divided into six sections. John Hirx, Don Menveg, Maureen Russell, Sabrina Carli, and Vanessa Muros each have a different section of the show for which they are responsible.
In addition to preparing for the next exhibition, permanent collection activities continue. LACMA's Hello Girls by Alexander Calder is currently being renovated by Watermark Design under the supervision of John Hirx, as part of a larger project to treat a group of outdoor sculptures. Vanessa Muros is working with John on the treatment of outdoor sculpture as well as removing old coatings from a hot rolled steel sculpture by Anthony Caro. Vanessa has also been working on the treatment of ancient Chinese bronzes as well as some modern art. Maureen Russell is currently treating a Renaissance wax relief.
Karen Barbosa has completed a number of projects in the Painting Conservation Section at LACMA since her arrival in March, including the conservation of a painting by William Sonntag, and continues treatment on an Eastman Johnson. Karen will finish her Lampadia Foundation/Getty Grant Program internship in December and will return to her position as Paintings Conservator at the Museu de Arte de São Paulo Assis Chateaubriand in Brazil.
In October, Wendy Partridge joins the Paintings Conservation Section at the Los Angeles County Museum of Art for a year long Ahmanson Fellowship.
In June, Roz Westmoreland completed a project at LACMA, working on several paintings by Rufino Tamayo from the Bernard and Edith Lewin Collection of Mexican Art.
Meg Abraham of LACMA participated in "Lasers in Art Conservation," a pre-session of this year's AIC 28th Annual Meeting in Philadelphia. This was the first large-scale, organized presentation of laser technology for art conservation in the United States. The widely attended event was a day-long educational opportunity for interested conservators to learn about advances in the area.
Talks included a description of the new laser conservation research facility at LACMA and the first research projects being conducted by Meg Abraham was also discussed. The talks also included a history of the treatment by John Asmus and a technical overview of laser technology by John Miller of Oakridge National Laboratory. Laser treatments of stone, paintings, paper and daguerreotypes were described and laser-based analysis during treatment was presented.
The Sculpture Conservation Studio had two conservators in Philadelphia for the summer conserving four outdoor bronze monumental sculptures in Fairmont Park for the City of Philadelphia. They are also busy in Los Angeles conserving the terra cotta tiles on the 1930's post moderne building on 7th and Grand, downtown. The studio also just completed restoration of the cast concrete WPA sculpture Vanishing Race for SOS at Thomas S. King Middle School.
The conservation labs at the UCLA Fowler Museum of Cultural History welcome Suza Szewiola and Dave Gallagher, working part-time in their career-discernment internships. Welcome also to Beth Szuhay in Fall, 2000 as she devotes half of her Winterthur/University of Delaware third year of practical training to six specific permanent collection projects (treatment of several Pre-Columbian Peruvian textiles, survey of Maori textiles, etc.).
The Paintings Conservation Department of the J.Paul Getty Museum thanks Wendy Partridge, their present Graduate intern from the Institute of Fine Art, NYU for her fine work and presence in the studio for the past year. They welcome Annelies van Loon from the Limburg Conservation Institute, the Netherlands who will take her place in October. Anne Ruggles, Conservator of Fine Art, National Gallery of Canada joined the department for the summer to work on her museum's Montagna, St. Jerome in Penitence in collaboration with the department.
Carolyn Tallent, after a ten day vacation in New England that had nothing to do with conservation, attended the Tear Repair Seminar and Workshop held at the Art Institute of Chicago Sept. 7-9. (See conference review and technical exchange.) Ironically, the paintings she is currently working on are two 16th c. panels from the Hearst Collection at San Simeon, a small Rockwell Kent panel, and a Robert Rauschenberg silkscreen on aluminum. In October, Carolyn will work with Antoinette Dwan on the removal and storage of 13 panels of hand-painted 18th c. Chinese wallpaper from a home in Bel-Air. They will later collaborate with the architects on the mounting and reinstallation of the paper in the owner's new home.
On April 24 and May 18 ConservArt Associates, Inc. installed a mural by Terry Schoonhoven, entitled A History of Catholic Medicine at the Saint Francis Medical Center in Lynwood, CA. The interior oil on cotton mural was installed in two pieces (11.5' x 24' each for a total of 552 square feet) by marouflaging and custom cutting the component pieces. The mural flanks the lobby of the New Patient Tower.
ConservArt Associates, Inc. has returned to Huntington Beach, CA to finish the deinstallation of the last two ceramic tile murals associated with the Seacliff Village shopping complex. The two 25' x 4' murals were removed by taking out the entire supporting wall and they are being reinstalled on structural pylons of Huntington Beach City Hall. ConservArt Associates, Inc. would like to welcome back Melissa Santala. Melissa spent the last 2 1/2 years in Austria working on mural paintings for Heinz Leitner Co. They are very happy to have her back for her excellent skills both as a conservator and a sushi chef.
Los Angeles County Museum of Art
5905 Wilshire Blvd.
Los Angeles, CA 90036
The Gilcrease Museum Department of Conservation hosted an undergraduate pre-program student, Kate Moomaw, through the University of Virginia's Externship Program. Kate worked for one week on Phase II of the rehousing of 247 oil painting studies done by William R. Leigh.
The Gilcrease Museum Department of Conservation was a participant in the American Diabetes Association's "Kiss a Pig" fundraiser in June. Two concrete pigs were painted, one like a giraffe and one like a zebra. The volunteers and the Conservator were the "Pigassos" (artists). The pigs were sold in the Swine Soiree where proceeds benefited the American Diabetes Association. Heritage Preservation will feature an article in its Fall issue of SOS! Update that will highlight the children's acid rain activity kit "Protecting Monuments, Statues, and Buildings from the Harmful Effects of Acid Rain." The kit will be available for distribution this fall.
Gayle S. Clements
Department of Conservation
Alice Bear has been joined by two assistants, Mellissa Parr on loan from the Washintgton State Historical Society, and Mary Chase.
Cynthia Cripps moved to Christchurch, New Zealand at the end of March to take up the position of Objects Conservator at the Canterbury Museum. She is happily settling into life in the southern hemisphere and enjoying being able to explore a bit of the world she hasn't seen before.
J. Claire Dean curated a section on the proposed conservation and restoration of the Lovejoy Art Columns, Portland, Oregon, as part of an exhibit on the history and future plans for the columns. The exhibit is being held at Pacific Northwest College of Art, Portland, from July 13th - August 18th. In September she will be in Arkansas to carry out a major vandalism clean up project for Arkansas State Parks with the help of John Griswold, Griswold Conservation Associates.
Elizabeth Darrow finished her dissertation at the University of Washington in May on the restorer, Pietro Edwards. The title is Pietro Edwards and the Restoration of the Public Pictures of Venice 1778-1819: Necessity Introduced These Arts. And she is currently looking for a publisher. Elizabeth gave a paper on Edwards at the College Art Association in New York in February and another in Florence at the Renaissance Society of America Conference in March. She recently took the position of Assistant Professor of Italian Renaissance art history at Trinity University in San Antonio, Texas and looks forward to exploring the historic Spanish Colonial Missions and the Alamo in San Antonio and eating great food!
Jack Thompson reports that progress is being made on his millsite. The pond for Mill of Dunnydeer is holding water and the footings have been poured for the first hovel, which will be erected during July. In August Jack will work up the clay/sand/straw mixture for the wattle & daub walls.
Jack also did a CAP survey for the Arts Chateau, in Butte, Montana, produced a short videotape for Wei T'o about the use of spray cans in deacidification of paper, and reprinted three titles under his Caber Press imprint: Food Products of the North American Indians by Dr. Edward Palmer, (originally published in the 1870 Report of the Commissioner of Agriculture), Iron & Steel: Forging - Hardening -- Tempering by Charles Holtzapffel, (originally published in London, in 1843), and Hemp Culture by Chas. Richard Dodge (originally published in 1895, in the Yearbook of the United States Dept. of Agriculture).
Jack's lab work has included the first airmail to the state of Alaska (including the envelope and stamps), a 1905 lithograph of the Lewis & Clark Exposition for the Alaska State Museum, a hand-colored photomural of Crater Lake, Oregon for Multnomah Falls Lodge, and a group of items from a 70 year-old time capsule belonging to a Portland area church.
Phone (206) 378-1051
The Rocky Mountain Conservation Center has changed its name to The Art Conservation Center at the University of Denver (ACC@DU), effective July 1, 2000. The center is adopting the new name to help clients and the public better understand its mission. Board President Mary Ebrahimi noted, "many people associate the word 'conservation' with nature and ecology," she said, "and we want everyone to know that our mission is the care and preservation of art and cultural heritage objects."
The Art Conservation Center at the University of Denver is a regional conservation facility dedicated to preserving our shared cultural heritage. ACC@DU has served museums, historical societies, and the public for 23 years. The center offers professional conservation care and educational programs related to paintings, photographs, works of art on paper, documents, maps, textiles, and archaeological, ethnographic, historical, and fine art objects.
The Art Conservation Center is pleased to welcome Objects Conservator David Harvey to its staff. David was previously at Colonial Williamsburg.
Judy Greenfield, of Art Objects Conservation, recently completed a three-year contract with the Denver Art Museum to reorganize and rehouse the native arts collection into new storage systems.
Rocky Mountain Reg. Con. Center
2420 South University Blvd.
Denver, CO 80208
Monica Jaworski visited Asia in February and March. She had a delightful time visiting conservators and labs in Hong Kong where she discovered a stationary shop with a remarkable collection of brushes, paper, and supplies for making scrolls and screens. Contact Monica (619)231-4019 for details about the shop.
5235 35th Street
San Diego, CA 92116
The Textile Conservation Lab at the Fine Arts Museum of San Francisco has three new members: pre-program conservation intern Sarah Freeman who currently works at the SF Arts Commission; summer intern Rachel Foorman, a first year undergraduate at NYU in theatre arts; and pre-program intern Yadin Larochette, who is now working for five days a week. All will be helping with the intensive planning required for the upcoming closure and move to their interim 5-year space along with their digital imaging project.
Part of this project is the construction of several "sets" of fake period undergarments (corsets, petticoats, etc) ranging from the mid-1850s through the 1950s to use when dressing FAM permanent collection costumes for imaging. Many of these will be copied from originals in the FAM collection.
The Objects Conservation laboratory at the FAMSF is working on the design of their new interim conservation space where they will move next May. They are also organizing the de-installation and packing of the collection, which will start once the M. H. de Young building closes in December 2000. Lesley Bone recently installed the Aboriginal show in Washington, DC. Elisabeth Cornu will travel to Peru in late August to teach a preventive conservation course organized by Connie Stromberg through the American Embassy in Lima, Peru. Natasa Morovic is very busy working on gilded frames for various local collections.
The Conservation Department at the San Francisco Museum of Modern Art is finishing up a three year project of preparing modern and contemporary works from the Anderson Collection in Atherton, California, for exhibition at SFMOMA from fall 2000 through early winter 2001. More than 300 works slated for exhibition have been surveyed for condition and housing. Some of these works have received treatment during the course of the past year.
The project has involved all members of the SFMOMA Conservation Department and the exhibition will take up almost the entire Museum. This is the first time that such a large number of works from the Anderson residence and office complex ("Quadrus") have been publicly exhibited together, and the exhibition promises to be memorable and will include works of art on paper, sculpture, and paintings.
The conservation department of the Asian Art Museum held an IMLS and NEA funded workshop in January with eight lacquer experts from Japan, China, Europe, and North America. The purpose of the workshop was to devise appropriate treatment strategies for twenty-two of the most fragile lacquer objects in preparation for the museum's move to the San Francisco Civic Center in 2002. Jane Williams has been hired on a grant from IMLS to treat the lacquers over the next two years.
Conservators at the Asian worked with colleagues from the National Gallery of Art to install the Golden Age of Chinese Archaeology exhibit, which runs until September 10, 2000. Mark Fenn designed special high humidity cases for fragile lacquers in the show.
Pre-program intern Jennifer DiJoseph is assisting Debra Fox, Meg Geiss-Mooney, and Jane Williams on various projects on a part-time basis. As Head Conservator for the excavation of Troy, Turkey, Donna Strahan worked at the site during the month of July.
Lucasfilm Ltd. Archives
P.O. Box 2009
San Rafael 94912
Fax: 415-662 1553
Csilla Felker Dennis has been working as Conservator of Objects for the Trammell and Margaret Crow Collection of Asian Art in downtown Dallas since May 1999 on a part time basis, in order to have time for her three school age children. She has been working on the permanent collection and temporary exhibits, as well as the storage facilities.
She is known as the "Art Doctor" and gives gallery talks with hands-on presentations on conservation and the museum environment year-round to school groups from elementary to high school level.
During the summer she has been working with art history student interns on various conservation issues at the museum. Csilla also continues her private conservation business with her husband John Dennis who is the Senior Sculpture Conservator at the Dallas Museum of Art and has been since since 1991. Recently, she carried out a Conservation Assessment Program (CAP) project at the Southern Jewish Experience Museum Site in Jackson, Mississippi.
Barbara Brown reports from the Harry Ransom Humanities Research Center (HRHRC) at the University of Texas at Austin that the heliograph View from the Window at Gras, made by Nicephore Niepce in 1827 (also known as The World's First Photograph) was recently the subject for a photography shoot by National Geographic photographer Joe McNally for an article on the subject of "Light" that will appear in that publication later in 2001. Barbara was the heliograph handler during the project, which took place during July 10 -12. She also assisted HRHRC staff photographer Pete Smith and webmaster Steve Wilson in capturing a 360 degree digital image of the 1st Photograph, to be included in the center's website.
In other news from the HRHRC, an article by Stephanie Watkins, "Developing Statewide Emergency And Disaster Preparedness Expertise," outlining the usefulness of a training program developed by the Federal Emergency Management Agency (FEMA), was published in the JAIC, Vol. 39, No. 1, Spring issue.
Ken Grant gave a paper entitled "Materials, Techniques, and Visual Perception in the Graphite Portrait Drawings of J.-A.-D. Ingres" during the Book and Paper Group Session of the AIC Annual Meeting in Philadelphia in June.
Mark Van Gelder has relocated his paintings conservation studio to 6408 Nasco Drive, Austin, TX 78757-2718. His phone number remains the same, (512)458-9809 (and he still hates to type, so call, don't email).
News from the Preservation and Conservation Studies Program (PCS) in the Graduate School of Library and Information Studies at the University of Texas at Austin: Dr. David B. Gracy, Interim Director, and two PCS students, Jean Baldwin and Anne Marigza, gave papers at The Texas State Historical Association 104th Annual Meeting in Austin on March 2; Karen Pavelka, Senior Lecturer and Paper Conservator at PCS was a commentator at the event.
Dr. Gracey's paper was entitled "They Don't Save Themselves: Recovering the Use of Documents of Texas History." Jean spoke on "Setting the Ships Free: Recovering a Historical Ledger Book of the Galveston Customs House 1837-1842" and Anne spoke on "Unsticking The Old Alcalde: Recovering Letters and Documents of Oran M. Roberts, 1879-1895."
Anne has been invited to spend her third-year internship (in paper conservation) at the National Archives in Washington. Third-year PCS conservator student Kazuko Hioki received the Carolyn Horton Award of the American Institute for Conservation to attend the AIC conference in June.
Harry Ransom Humanities Research Center
P.O. Box 7219
Austin, TX 78713
512/471-9117, fax 512/471-9646
Claire Munzenrider, director of Museum of New Mexico (MNM) Conservation Lab, gave a lecture for the Southwest Seminars Summer Lecture Series on conservation treatment of the Arroyo Seco Altar Screen in July. Larry Humetewa worked on-site with the University of Pennsylvania Field School at Bandelier National Monument.
Brin Bender (Buffalo Intern) and Caroline Finch (Postgraduate Fellow) spent a month during the summer with the University of Pennsylvania Field School stabilizing wall plasters in situ at Mesa Verde. Caroline has been accepted to a two-year post at the Brooklyn Museum Objects Laboratory which will begin in October. Brin will assume the post-graduate fellowship in the MNM Conservation Lab.
Work-Study Student Conservation Assistant Erika Carlson graduated from St. John's College in May and accepted a post as Conservation Technician at Winterthur Museum. Dagny Cicone-Stangl, Work-Study Student Conservation Assistant from St. John's College, will return to work with the MNM Conservation Lab in the fall. He is working for the San Bernardino (California) Museum during the summer. Michael Davenport is a summer intern from the Institute of American Indian Art. The Conservation Lab will soon have on-line the Musis 2007 Multiple Spectral Viewing System.
M. Susan Barger made a presentation about conservation and museum scientists for a teacher training session on careers in museums held at the Georgia O'Keeffe Museum.
This summer, Christine Young of Nashville is again supervising a conservation intern at the University of New Mexico Museum of Fine Arts. The intern is Tram Vo from the Wintethur/University of Delaware Program.
John Kjelland is doing contract work for the Charles M. Russell Museum which includes on site treatment of the Russell Horse Drawn Hearse. Other contract work includes the stabilization of the back bar from the old Mint Bar, Great Falls, Montana. In the winter he will arrive in Santa Fe in a 24' van/studio/shop.
Dr. Susan Barger
3 Moya Lane
Santa Fe, NM 87505
Timestamp: Tuesday, 25-Aug-2009 13:20:09 PDT
Retrieved: Tuesday, 22-May-2018 21:23:52 GMT