Previous Archives of Art Conservation News

September 9, 2007

Modifying John Chamberlain's 14 Foot Tall Sculpture

The General Services Administration (GSA) Great Lakes Region, Chicago, contracted with McKay Lodge Art Conservation Laboratory, Inc. to remove a sculpture by John Chamberlain from Detroit to Oberlin for conservation and preparations for installation in a new location. The controversial fourteen foot tall sculpture titled Detroit Deliquescence is made from crushed automobile and van parts and stood in front of the Patrick V. McNamara Federal Building on Michigan Avenue in Detroit since 1987. It was a GSA Art-in-Architecture commission for the building and the largest sculpture of this type by the artist. McKay Lodge, Inc. art conservation staff worked on the sculpture in 1997, 1999 and 2000 and since 1997 has recommended that the steel artwork be relocated to an indoor location because of corrosion. The first action on the recommendation has been taken in relocating it to the large sculpture facility of McKay Lodge Art Conservation, Inc. Even after some disassembly, which was necessary to clear overpasses on the highways, the large sculpture required wide load trucking on a double drop trailer. It was recognized that finding a new location for the sculpture inside a building for protection from weather would be prohibited by the height and width of the construction. The sculpture is simply too large to pass through common doors. After consultations with the artist's studio and several experts on Chamberlain it was agreed that the recommendation of McKay Lodge Art Conservation, Inc. be accepted and ordered - the conversion of the welded construction of crushed automotive body parts and frames, without any visual change in its appearance, to a construction of parts fastened with hidden bolts so that the sculpture can be disassembled, relocated, passed through commonly found doors, and reassembled any number of times. This modification was accomplished in the large sculpture facility of the McKay Lodge art conservation company during September, 2007. The sculpture, composed of over 30 principally van body parts, and accompanied by an illustrated reassembly manual and digital DVD record of the disassembly process, was delivered to the GSA art storage warehouse outside Washington DC to await a new home.

September 9, 2007

Restoration Of Louise Bourgeois Facets To The Sun

McKay Lodge, Inc. jointly with Oberlin Conservation Associates, LLC was awarded an indefinite quantity contract for the conservation of sculptures, historic fountains and architectural metals in the National Capitol Region of the General Services Administration (GSA) commencing August 11, 2003. The contract is renewable at the option of GSA for up to five years with a maximum order limitation of $7,500,000.00 per year. The National Capitol Region encompasses the District of Columbia, parts of Virginia and Maryland. This contract has been renewed at the option of GSA for a third year.

August 2005

Mosaic by Southern Artist Saved from Destruction in Mobile, Alabama

Mobile County Commissioners moved quickly to save a mosaic by noted southern artist Conrad Albrizio installed in 1959 in the old Mobile County Courthouse. The work of safely removing the mosaic was just weeks ahead of its building?s planned demolition. Those exiting the courthouse building's doors at its S. Royal Street side during the past 45 years saw the artist's creation overhead in the ancient medium of glass mosaic. After removal and restoration, the county plans to have the mosaic installed in another public location with even greater visibility. The mosaic is by Conrad Albrizio (1894-1973) who became the South's leading creator of wall paintings, frescos, and mosaics. Another of his artworks in Mobile, titled The History of Medicine, is an enormous marble mosaic located in the lobby of the University of South Alabama Medical Center. Other works by Albrizio are located in Mobile and other Alabama cities, Detroit, New York City, and especially in Louisiana where he taught art at Louisiana State University. Louisiana Governor Huey Long commissioned Conrad Albrizio in 1929 to paint murals inside the state?s capitol building. An art conservation company in Oberlin, Ohio, McKay Lodge Art Conservation Laboratory, Inc., specializing in the preservation of historic and artistic materials, was contracted to remove the mosaic from the courthouse interior wall and remount it on a portable substrate so that it can be installed in any future location. Art conservation experts from the company, Stefan Dedecek and Robert Lodge, worked at the removal task on S. Royal Street from July 25 to August 1, 2005 and transported it to their facility in Oberlin for reassembly and mounting. It is anticipated that the mosaic will be back in Mobile in the fall of 2005. This is the second Alabama preservation project for the Ohio company, says company president Robert Lodge. Several years ago the company was hired to provide a Historic Structure Report on the Confederate Monument at the capitol in Montgomery. This report detailed the history of the monument, its materials and construction, its current condition, and specified the methods and materials for its repair and preservation. The theme of Mobile's mosaic, says Lodge, "is the judgment of good from evil, right from wrong and, though originally intended for a courthouse for obvious reasons, it's a theme relevant for contemplation in any environment." Dominating the center of the mosaic is a depiction of the Archangel Michael wielding a mighty sword and casting Satan into the abyss of Hell. "This," says Lodge, "is the fundamental first judgment, the first division of the Good from the Evil and though not specifically described in this manner anywhere in the Bible and with the Archangel mentioned by name there only twice, both in the Book of Daniel, the image developed over time just as we see it in this mosaic." He continues, "the theme reminds me very much of the contrast evoked by Milton in his poem Paradise Lost and the image of the angel and devil in a painting by Guido Reni in Rome which the artist may have seen during his studies there" (Capuchin Church of Sta. Maria della Concezione). Viewer's may need a little help in understanding its "iconography" (the development and meanings of the images depicted) says Lodge and he himself is still working at a better understanding. At the left it is clear that a judge, traditionally depicted as a seated figure, is listening to the arguments of two standing lawyers, one of whom holds a book of law while the other points to a higher authority depicted as a judicial scale in the sky over an ancient city. "What I pondered for months after first seeing the mosaic was the meaning of the old city and the nearby grapes," relates Lodge. "But it was not until I was in Mobile working on the mosaic that a plausible explanation came to me and it came through the help of a 19th century Mobile authoress. I was reading published letters of Augusta Evans Wilson (Augusta Jane Evans) in my hotel room one evening, an author noted for her heavy use of obscure classical, biblical and literary references in her novels, and I came across her reference to the "Apples of Sodom" as a payment to authors that at first seems to them valuable but later becomes punishment. The initial value being notoriety and the punishment: the inevitable criticisms. Following footnote clues, I found in my bedside Gideon in one of the Books of Moses, in Deuteronomy chapter 32, verse 32, Moses remarking that the "Grapes of Sodom" are the just punishment for Israel gone astray. These grapes are sweet on the outside but contain a deadly powder on the inside." Further to the right of what Lodge believes is Sodom (and its grapes), the city which received the fatal judgment of God, is a depiction of a mother and an unclothed, rather wise-appearing child, both set in a hollow, womb-like structure. One immediately thinks of this mother and child as possibly a depiction of Mary and Jesus. Supporting this identification is a comparison with the traditional depictions of the baby Jesus as unclothed, the sometime depiction of the cave of his birth, and the common countenance of wisdom in the Child. Further, with Jesus sent by his Father to lead the righteous to an everlasting life and made free from the coming, damning judgment of God, the motif would fit the overall theme. Finally, at the right-hand side of the mosaic, there is a clear depiction of women weeping outside a prison where their men, inside the walls, are suffering the punishment of hard labor for their transgressions of earthly law. Less clear is the meaning of a prostrate young boy near these women. Conservator Stefan Dedecek describes the process of removing the 7 foot tall, 34 foot wide mosaic made of thousands of tiny pieces of thin, brittle glass as dirty, physically brutal, and requiring a very delicate touch in the use of pneumatic demolition hammers as the primary tools for the job. Techniques for relocating mosaics, say both Dedecek and Lodge, have been well developed in dealing with the many Roman archaeological finds and in the relocation of threatened ancient Roman mosaics. For the Mobile mosaic, Mr. Dedecek says "its just a matter of applying the methods appropriate to the circumstances we face in this instance." And in this 'instance' there is a mosaic that the artist said is permanent to the building and not something you can peel off. Conrad Albrizio probably feared future willful destruction of his creation as tastes changed and would have been aware of many instances of the destruction of artworks, especially wall paintings, in this country. "We hope," says Dedecek, "that he would approve of us peeling it off for preservation and relocation."

July 2005

Contract for the Conservation of Sculpture at Government Properties throughout the United States

The U.S General Services Administration (GSA) has selected McKay Lodge Art Conservation Laboratory for a five-year contract to provide conservation services for sculpture in all federal properties in all GSA regions in the United States, including Alaska, Hawaii and the Virgin Islands. McKay Lodge Conservation Laboratory is a joint venture of McKay Lodge Fine Arts Conservation Laboratory, Inc. and Oberlin Conservation Associates, LLC. Both companies are owned and operated by Robert Lodge and Gina McKay Lodge of Oberlin, Ohio. Our federal government has patronized the arts from the mid 1850's. Most of the art placed on federal properties throughout the United States dates from the early 1900's, with many commissions made through the WPA period and then, starting in 1972, through the highly successful Art-in-Architecture program, the successor of the 1960's Fine Arts in New Federal Buildings program. This contract follows a few years after the successful completion of a similar contract by the single entity McKay Lodge Fine Arts Conservation Laboratory, Inc. for the conservation of sculpture in federal buildings throughout the United States and for the conservation of paintings and murals in seventeen Midwestern states.

June 2005

Two German WWII Torpedoes Restored

The Chicago Museum of Science and Industry contracted with McKay Lodge Art Conservation Laboratory, Inc. to undertake historic paint research, corrosion control, and the rebuilding of two torpedoes from the museum?s U-505 submarine. The torpedoes, each measuring 23 feet long and weighing 3,000 lbs., were onboard the U-505 when it was captured by the U.S. Navy off the West coast of Africa on June 4, 1944. While mechanically the torpedoes were in excellent condition, corrosion and repaintings damaged their historic appearance. In the possession of our Navy they were disassembled and tested, possibly receiving various coats of paint. In addition, long storage allowed corrosion to form and they were repainted for past exhibitions, further obscuring their original appearances. Working closely with the museum's U-505 and transportation curator Keith Gill, who had accomplished substantial research on these weapons here and in Germany, disassembly, sampling and analytical testing eventually led to an understanding of their original finish, markings and paint scheme. In addition, original stenciling and paint still on the bodies of the torpedoes under layers of repaint were carefully uncovered, exposed and preserved. The facilities of McKay Lodge Conservation Laboratory, Inc. handles heavy, large, industrial and military artifacts for conservation as well as large-scale sculpture. Here, conservation of macro-artifacts, such as the German 1943 PAK 43/41 88mm antitank gun for the U.S. Army Heritage Museum, is performed. Metals conservator Thomas Podnar disassembled and rebuilt the torpedoes and performed the metal cleaning. Paintings conservator Stefan Dedecek performed the paint studies and preservation of original painted surfaces and stenciled markings. Industrial coatings specialist Robert Lodge performed the microscopy, outsourcing FTIR instrumental analyses to Orion Analytical, LLC. The torpedoes now join the newly created exhibit of the German submarine at the Museum of Science and Industry. For more information on the U-505 and its exhibit, go to http://www.msichicago.org/exhibits/U505/ .

June 2005

Iron Gall Ink Research and Presentations

McKay Lodge, Inc. paper conservator Valeria Orlandini presented a paper on her research in iron gall ink at the 2005 annual meeting of the American Institute for Conservation of Historic and Artistic Works in Minneapolis, MN. This talk covered a technical study of brown inks (iron gall ink, bistre, sepia, and carbon black) used in various Italian Master drawings carried out during 2002-2004 at the National Gallery of Canada, in Ottawa. During May-July 2002, Orlandini carried out the Part 1 of an iron-gall ink research project at the Library and Archives Canada in Gatineau, Canada with Maria Bedynski, Senior Paper Conservator in partnership with Season Tse, Senior Conservation Scientist/ Chemist from the Canadian Conservation Institute (CCI), in Ottawa. This project was possible due to the financial support of the Henry Francis du Pont Winterthur Museum/ University of Delaware Program in Art Conservation. This research concentrated on testing various aqueous treatment options presently used by paper conservators to care for ink-corroded objects. The purpose of this research was to use various conservation treatments and compare the results obtained with one of the most promising procedures that involve the use of the antioxidant: calcium phytate. Part 2 of the project was coordinated by Tse from the Canadian Conservation Institute and focused on the changes occurring in the 19th century documents used in Part 1 treatment tests after artificial aging with heat, light and high humidity. During 2004-2005, the research team met to discuss the final data after aging and analyzed all the results obtained. Changes in the visual appearance of the aged treated samples were evaluated by a group of paper conservators during an advanced professional development workshop on February 2005. The final results from this two-part research will be presented at the 2nd International Iron Gall Ink Meeting that will be held in Newcastle upon Tyne (UK) next year. This conference is also the successor to the 1st Iron Gall Ink Meeting organized by the University of Northumbria in 2000.

July 2004

Historic Murals Returning to Cleveland's Federal Courthouse

Packed away and out of sight for nearly 50 years, a series of canvas murals completed in 1911 by American artist Francis Davis Millet (1846-1912) will soon return to the Howard M. Metzenbaum U.S. Courthouse as part of an extensive renovation of that Cleveland landmark. The murals have been under continual treatment all this year at McKay Lodge Conservation Laboratory, Inc. in Oberlin, Ohio. The $44.6 million renovation by the U.S. General Services Administration began in 2002 and is expected to be completed by summer 2005. Preserving the Millet murals and the building's other historic heirlooms is only a small part of the total project, but one that figures prominently in GSA's strategy for renovating the 100-year-old courthouse, says GSA Project Manager Pam Wilczynski. "GSA's objective," Wilczynski said, "is to modernize the building and make it fully functional and equipped to serve well into its second century. At the same time, we want to preserve its remarkable art and architecture for future generations to enjoy." The Millet murals were removed years ago, and inadvertently damaged in the process. "We're very fortunate to have recovered the Millet murals," said Alicia Weber, director of GSA's Fine Arts Program. "During all the time they were lost from view, a special part of the building's past was missing." Historically the murals preserve a less remembered link to the building?s origin as Cleveland's main post office in 1910. Though the building also housed the federal courts and customs collector, the post office was listed first billing among the names carved above the front entrance. As a hub of downtown commerce, the post office was proudly considered an icon of local progress. The Millet murals, 35 panels entitled ?Mail Delivery, were commissioned for the postmaster?s office on the second floor. The chamber occupied 950 square feet of prime corner-office space and was said to be "the finest private office of its kind in Ohio." In realistic detail the murals depicted a global array of modes used in the vital job of delivering the mail - by Pony Express in the American West, by dogboat in Kamaschatka, sail and iceboat in the Baltic provinces, aeroplanes in the U.S. and France, by camel in Arabia and on and on around the world. The murals also conveyed some personal footnotes about Millet, said Weber. He was, among other things, a world traveler, a man of many interests and an artist widely respected by his peers. He was a drummer boy in the Civil War, a graduate of Harvard, a newspaper reporter and editor, a student at the Royal Academy of Art in Antwerp, Belgium, and a founder of the Boston Museum of Fine Arts School, along with William Morris Hunt and John LaFarge. He was also a war correspondent for American and British publications during the Russo-Turkish and Spanish-American wars, a genre painter known for his meticulous researching of costuming and historic details, a muralist at the federal custom house in Baltimore and the state capitol in St. Paul, Minn., and a close friend of celebrities of his day, including Mark Twain, Daniel Burnham, John Singer Sargent, Stanford White and Henry James. His paintings are in the collections of New York's Metropolitan Museum of Art, London's Tate Gallery, the Detroit Institute of Art, Atlanta?s High Museum of Art, and Harvard University Art Museum. Millet was chosen to do the murals for the postmaster's office by Arnold W. Brunner, the architect of the Beaux Arts edifice on Cleveland's Public Square. Previously Millet had worked with other notable architects, including Burnham who hired Millet as director of decorations and to organize special events to draw attendance to Chicago's 1893 Columbian Exposition. In Cleveland, Brunner also gave Millet responsibility for deciding the interior color scheme for the new post office-federal courthouse, the first building erected under the Cleveland Group Plan that set the style and scale of later civic buildings in downtown Cleveland. Millet's murals and the postmaster's elegant office remained intact even after the post office moved to a larger location in 1934. The Collector of U.S. Customs became the new tenant of the corner office on the second floor and remained there until 1955, when more space had to be found for the federal courts. The canvas murals were peeled from the walls and soon all traces of the postmaster?s office vanished, making way for a courtroom. The murals - stacked and crated - moved from storage room to storage room, always on federal premises but nearly forgotten for 25 years. In the 1980s, alerted to their fragile condition, GSA began a long search for funds and ways to conserve and care for them. Initially, loose bits of a lead-based adhesive and pieces of plaster were removed from the back of the canvases so the murals could be safely handled and properly stored. Afterward they were then moved to a newly acquired GSA fine arts storage facility outside the District of Columbia. By 1997 the murals were part of a national program by GSA to conserve its collection of more than 17,000 paintings, sculptures and other works of art commissioned by the federal government since the 1850s. Over the last eight years the conservation program has funded $197,000 to conserve the Millet murals and other historic artwork at the Metzenbaum courthouse. The work of restoring and preserving the murals is being done at McKay Lodge Conservation Laboratory Inc. The final phase of the restoration work, underway since January this year, will probably exceed 1,200 hours. More than half that time will be devoted to inpainting areas where paint was lost. In many cases the losses are along stretch marks caused when workers tugged on the canvases to peel them loose from walls in the postmaster?s office. The treatment of the murals will be complete in August 2004. The firm will then begin preparing for the next step: reinstalling the Millet murals in the courthouse after an absence of 50 years. When the building reopens in 2005, the murals will have more public prominence than they were originally given. Instead of decorating a second-floor private office, they will be displayed in a first-floor public area just inside the main entrance of the courthouse. It took McKay Lodge, Inc., GSA and Westlake Reed Leskosky, architect for the Metzenbaum renovation, several months to determine the best location for the murals - a space easily accessible to the public and large enough to properly show all 35 scenes. Paul E. Westlake Jr., managing principal and lead designer of the architectural firm, said selecting the location involved an -exhaustive technical analysis- of light levels, models of the space and arrangement of the murals. "The space that?s been chosen, along with its lighting, palette of colors and materials, will present the murals to best advantage while preserving the historic integrity of the courthouse," he said. The care and concern now being given the Millets is only appropriate for what they represent, said Weber. "The original works of art in GSA's Fine Arts Collection represent the history, culture and ideals of our country. It is the goal of the Fine Arts Program to conserve these commissioned civic works of art and make them available to the American people," she said. After finishing his murals for the new federal building in Cleveland, Millet completed one more mural for a courthouse in New Jersey in 1911. He then went to Europe to attend to business affairs as secretary of the American Academy in Rome. After returning to the United States in January 1912, he returned briefly to Europe and then hurriedly booked passage back home to arrange an important series of decorative paintings in Madison, Wis. He sailed on the Royal Mail Ship Titanic. At age 65 he was among the 1,500 persons who died when the Titanic sunk on its maiden voyage across the Atlantic. GSA Contact: David Wilkinson (312) 353-5663

June 2004

Save America's Treasures Conservation Work for the Kentucky Historical Society.

McKay Lodge Conservation Laboratory, Inc. has been selected to be the conservation contractor for work on the historic portraits and other paintings in the Old Capitol in Frankfort, Kentucky under the direction of the Kentucky Historical Society. The $100,000.00 project has received funding from Save America?s Treasures. Large portraits of Isaac Shelby, Wm. Henry Harrison, Henry Clay, Zachary Taylor, George Washington, Marquis de Lafayette, and Daniel Boone are among the historic paintings to be conserved. Many will be treated on-site in the Old Capitol with the work performed in view of visitors. The on-site work will commence September 2004.

May 2004

Contract Award: John Harvey Kellogg?s Battle Creek Michigan Sanitarium Material Conservation Analysis

McKay Lodge Conservation Laboratory, Inc. has been selected to provide a "Materials Conservation Analysis" under subcontract to the architectural firm SmithGroup, Inc. in partial fulfillment of the requirements of their contract with the General Services Administration. McKay Lodge, Inc. is a GSA Certified Historic Preservation Specialist Firm. The subject of the study will be the 1928 painted wall and ceiling decorations in the Main Dining Room or Ballroom and a small dining room of the famous sanitarium founded and directed by Dr. John Harvey Kellogg. Dr. Kellogg, in addition to operating the large health sanitarium in Battle Creek, Michigan, was the inventor of eighty different cereal foods as well as inventing peanut butter. But it was his brother and business manager, W.K. Kellogg who patented the process for the production of toasted corn flakes. Today the sanitarium building is the Hart-Dole-Inouye Federal Center and is occupied by the Defense Logistics Information Service. The building?s new name honors Senators Philip Hart (D-Michigan), Robert Dole (R-Kansas) and Daniel K. Inouye (D-Hawaii).

September 2003

Kentucky Historical Society Long Range Strategic Plan for Conservation

The Kentucky Historical Society in Frankfort, KY (http://web.archive.org/web/20070630222105/http://www.kyhistory.org/) has selected McKay Lodge Conservation Laboratory, Inc. and its team of consultants to conduct a comprehensive reassessment of the museum collections? state of preservation and to work with museum departments and staff in developing a long-range strategic plan for conservation to assure the preservation of its large and varied collections. This project pulls together past assessments and recent or current conservation activities into a unifying plan.

September 2003

Thomas Merton Center Collections Preservation Assessment

McKay Lodge, Inc. has been selected to conduct the first comprehensive assessment of condition and preservation priorities for the diverse collections of the Thomas Merton Center located at Bellarmine University, Louisville, KY (http://web.archive.org/web/20070630222105/http://www.merton.org/). Thomas Merton (1915-1968), was the Trappist Monk (Father Louis) of the Cistercian Abbey of Gethsemani in Kentucky widely known for his writings, especially his 1948 autobiography The Seven Storey Mountain. The large and diverse collection consists of manuscripts, letters, journals, tapes, film, photographs and memorabilia. Thomas Merton was also an artist and the collection contains approximately 900 of his drawings.

September 2003

Military History Museum Audio Visual Archives Preservation Assessment

The vast holdings of historic audio and visual media at the Military History Institute in Carlisle, Pennsylvania will be surveyed for preservation under a contract with McKay Lodge Conservation Laboratory, Inc. McKay Lodge, Inc. has teamed with William Murphy, president of AVArchives, Great Falls, Virginia to conduct this survey. McKay Lodge, Inc. is a corporate member of the Association of Moving Image Archivists (AMIA). William Murphy was the Founding President of AMIA. He served in several capacities as the managing official of the National Archives and Records Administration?s (NARA) vast audiovisual holdings for more than thirty years. Now retired from NARA, he continues work with diverse audiovisual collections of other institutions. The survey will be conducted by Robert Lodge and William Murphy in October, 2003. This preservation assessment is part of the larger work of preparing the collection of the Military History Institute for a new home in the Army Heritage Museum and Education Center now under construction in Carlisle, Pennsylvania. McKay Lodge Conservation Laboratory, Inc. joins several other conservation organizations in a five year contract for the conservation of the collections in the Military History Institute in Carlisle, PA. The Military History Institute is the largest repository of materials related to the U.S. Army and includes 1.2 million photographs. This diverse collection of paintings, photographs, textiles, documents, books, films, and objects will eventually be moved to and become part of a new Army Heritage Museum and Education Center now under construction on 58 acres in Carlisle which is located near Harrisburg, PA. Congress appropriated 10.5 million dollars for the construction of a new Military History Institute with an additional 7 million dollars from the Army to outfit the building. McKay Lodge, Inc. has assembled a team of conservators and organizations for this project covering a wide range of conservation specialties to augment its own staff and that of Oberlin Conservation Associates, LLC. These additional project team members include: AVArchives, Inc. (William T. Murphy) of Great Falls, VA; Berrett Conservation Studio (Kory Berrett) of Oxford, PA; B.R. Howard & Associates, Inc. (Brian Howard) of Carlisle, PA; Conservation Center for Art and Historic Artifacts of Philadelphia, PA; Textile Conservation Workshop of South Salem, NY; and textile conservators Margaret Fikioris of Kennett Square, PA and Suzanne Thomassen-Krauss of Vienna, VA. Employees of Oberlin Conservation Associates, LLC that are a part of this team include objects and metals conservators Malcolm Collum, Thomas Podnar, Nancy Rattenbury and Constance Stromberg; paper conservator Valeria Orlandini; and paintings conservator Stefan Dedecek. Oberlin Conservation Associates, LLC is a human resources company for the provision of expertise for projects such as this. All aspects of conservation work are demanded in this contract including the assessments and treatments of paintings, paper, textiles, books, photographs, films, frames, small objects and large artifacts such as weapons and vehicles.

August 2003

GSA National Capitol Region Conservation Contract

McKay Lodge, Inc. jointly with Oberlin Conservation Associates, LLC has been awarded an indefinite quantity contract for the conservation of sculptures and architectural metals in the National Capitol Region of the General Services Administration (GSA) commencing August 11, 2003. The contract is renewable at the option of GSA for up to five years with a maximum order limitation of $7,500,000.00 per year. The National Capitol Region encompasses the District of Columbia, parts of Virginia and Maryland.

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