March 2008 - California Aiseki Kai

C ALIFORNIA A ISEKI K AI
Volume 26, Issue 3
March Program
Bonnie McGinnis made a short CD from Bruce’s
photographs of our show at the Huntington and it is set
to music! This is a must see. Come on March 26th and
enjoy! We can discuss the show, the stones and our
displays and talk about ways to improve for next year.
We are always on the lookout for new program ideas
and presenters. Please let us hear from you!
Note to our long distance members: we would love to
hear from you as well. Participation is just an email
away.
Stone of the Month
Yuha Mania: This is a given….Bring in your finds from
our March 22-23 collecting trip to the Yuha. Those of
you who missed the trip can bring in your Yuha stones
from a previous time. Larry found this stone on his first
club trip several years ago. It is nearly flat on the bottom
and the right side is only 1/2” thick.
Thank you, Al Nelson, for researching and taking orders
for the rockhounders treasure scoop. They arrived
quickly and most have been delivered. We are all set for
our trip with a lot less bending. You saved our backs.
Thank you all for renewing your membership.
Aiseki Kai wishes to thank the following donors
who, in addition to their dues, generously contributed
$50 or more: Kay Komai, Leila Kusumi, May McNey
and Ralph Johnson. Aiseki Kai thrives because of you!
March 2008
The Lost Ei Chart
I have to admit I was surprised when I read Tom
Elias and Hiromi Nakaoji’s last article in Vol. 26-1,
on the translation of Murata - Ei’s classifications from
a later book by Ei on viewing stones where monyo seki
(pattern stones) were positioned as a suiseki group.
That was quickly corrected in Vol.26-2 and now
compares with their first chart seen in Vol. 25-7. This
inspired me to congratulate Tom and Hiromi and
salute Horace Hinds, a bonsai and stone collector from
the San Francisco Bay who passed away several years
ago.
I received the chart seen on page 11 of this newsletter
in 1981 from Hinds who had heard we were planning a
club and offered help. The notation on the left, dated
1973, and signed H.H.H, admits the translation may be
“clumsy” and it ends with a request for corrections and
input. Since Hinds also indicated (in a letter) that it
might not be accurate, I put both in a file and forgot
about them.
If you take the time to compare the photo to the first
chart (Vol. 25-7) translated 35 years later, you will note
that the content is basically identical down to the dotted
lines. [Note that Hinds even identified the second
author as Naga (Ei). In earlier programs I had referred
to it as the Murata- Naga Chart]. The Hinds chart
was lost in my files for years.
When Aiseki Kai was formed in 1983, Toy Sato,
whom I consider a pioneer in introducing America to
the proper definition of suiseki, was first to let us know,
under no uncertain terms, that all those rocks we were
offering up as suiseki, were not. In the same year,
Hideko Metaxas and Nancy Eaton published,
Introducing Suiseki, in Golden Statements, Oct.1983.
These authors used the same definitions as Ei and Sato
for classifications and shapes of suiseki and added, “In
addition to stones resembling landscapes features,
there are several other divisions of interesting stones
that one may see at suiseki exhibitions. Such stones
are usually displayed in a separate area”. They
described these other stones in many of the same
Japanese terms as Ei. This sounds too simple.
[see chart on page 11]
Next Month- Trouble looms ahead.
Larry Ragle
PAGE 2
February Meeting Notes
VOLUME 26, ISSUE 3
CALIFORNIA AISEKI KAI
by Linda Gill
ANNOUNCEMENTS:
The Guide to Suiseki and Other
Viewing Stones pamphlet is still available for $2. The
Melba Tucker Educational Fund paid for the printing.
Members attending for the first time were Harry Trieu
and Hedy Merganthaler. Hedy is Jon Reuschel's
stepmother. Welcome and please come again!
STONE OF THE MONTH
Jean Horton
Barry Josephson
Janet Shimizu
Hanne Povlsen
Linda Gill
Hanne Povlsen back
Don Mullaly
Hanne Povlsen front
Larry Ragle
The 1 inch wide inner margins are designed for use with a 3 hole punch.
- Color Stones
Alice Greaves brought a jasper with a pattern of
dancing Aztecs or Chinese characters (longevity &
plum) from the Eel River. Jim had a red figure stone
and a black jasper with red & blue in it. Don Mullally
had a 'sorta' mountain from the Eel with yellow, gray,
brown & red. Joe Gaytan's blanket stone had yellow &
red stripes. Cliff's pinkish-gray stone was wall rubble
from China. Don Kruger's dry waterfall was a split in a
cliff. Bruce McGinnis had a dark red 'frog' that he received as a gift. Joe James had 3 stones- one red, one
maroon and one purple. Harry Trieu's Chinese stone
from Guilin was a monk with the top and bottom of
different stone. Hanne's Eel River stone was red and
round and her dark red near mountain came from 'out
there'. Sharon Sommerfeld brought an Eel River stone
that had dark red and green in it. Linda found her
yellow & red Chicken Blood Stone near a road in
China and she had a dark red distant mountain from the
Yuha. Jean's Yellow wax stone from China was
translucent and his $5 stone, Chinese, was a warped
gourd in greens, golds, reds & yellows. Barry's 'heart'
came from N. CA. Manny Martinez showed a green
dry waterfall. Al Nelson's 4 stones were from the
Yuha: a shelter stone, a water pool, a mesa and a cave
stone. He also gave Barry a red 'potato'. Janet
obtained her malachite in China and had pink stones
from the Eel. Phil Chang had a 5 color stone with
green, red, brown, white and tan. Jack showed several
Yuha stones: an armadillo, a mountain range, an island,
a cliff, a slope stone and a bridge or a boat stone.
VOLUME 26, ISSUE 3
February Program Notes
PAGE 3
CALIFORNIA AISEKI KAI
by Linda Gill
Jack Dennis talked about the field trip to the Yuha
Desert that he will lead on March 22-23. [Details in the
last newsletter].
You must call /email Barry
Josephson if you plan to come and especially if you
plan to meet the group at any location other than
Alpine. 714-544-8399 or [email protected].
Safety in the Desert
1. Stay oriented to the vehicles by checking their location regularly. Leaving a marker or noting a landscape
feature to mark the top of a ridge that hides the cars is
also a good idea.
2. Animal pests can include the rare snake. Rattlers
have triangular heads that are wider than their body and
usually have rattles. Ants are to be stepped over and
only the fire ants can bite you painfully. If you don't
know the difference avoid them all. Scorpions are usually only out at night and can be in a hole in the sand or
under a stone that is in a pile. Turn over piled stones
carefully. Ground squirrels can trip you up - Really!
Where you see holes in the sand - walk carefully.
Desert iguanas (lizards) are harmless.
3. Take plenty of water.
4. Equipment, recommended but not required: 'the
claw' and/or a crowbar to dig a large stone, or both;
flags for your pile, bucket or the top of a ridge.
PLEASE pick them up when you leave! 2 way radios
or even your cell phone which will often work in the
Yuha; hat and sunscreen; newspaper to wrap stones and
a container for them; toilet paper for.... you know.
5. Develop a visual propensity.
Know the categories of stones or the characteristics of
the type of stones you seek. Think about what it may
look like in the desert. Don't hesitate to turn over ANY
interesting/promising stone.
a. Don't reject a 'good' stone because it isn't perfect.
b. If the stone interests you, take it home for further
consideration. It should have good shape, appropriate
hardness, color &/or texture, good balance and/or scale,
(the golden ratio is 8/3/5) and lastly it must evoke an
emotional response.
c. Cracks are a flaw, even the appearance of a crack is a
flaw!
The scholarship of suiseki
Learn what makes a good, bad or indifferent stone.
Quality counts; size doesn't.
1. Read everything you can find.
2. Attend exhibitions and conferences.
3. Prepare stones to enter shows. You will learn even if
they are rejected.
4. It's all about display even with a good stone.
5. Participate in the club.
For each stone answer these questions:
1.What do you see in it?
2.Why do you like it?
1&2 are almost the same question.
3.What story does the stone tell you?
The value of understanding how the stones are
described in a classification system cannot be overstated. A classification system is:
> merely a way of describing the suggestion that the
stone speaks to you,
> a method of organizing & cataloging a collection of
stones,
> a method of defining the mental image that the stone
speaks to a collector.
Stones can be catalogued by: geology; origin; shape,
surface pattern or color; title - the poetic name or
emotion; provenance and any combination/all of the
above. Colored or textured stones should exhibit
another feature to be collectible.
Jack said that all the classification systems we have
studied have similarities and differences-especially in
the Japanese terms used- and are incomplete. There is
no universally recognized, standard system. Jack and
Sachiko's guide is designed as an educational tool that
will help increase a collector's knowledge of what to
look for and will assist him/her to recognize a good
stone when he/she sees it in the field and will tend to
smooth the progress of attaining a methodical understanding of the art as their collection grows and
matures. A working knowledge of a classification
system will spark a collector's imagination and will
assist that person to see what they seek.
Jack's hunting strategies:
Walk a line, mark what you like and collect on the way
back.
Circle an area or wobble side to side in a rectangular
area.
Visual awareness is 60% effort, 30% attention and 10%
luck.
The watch words are shibui, yugen, wabi-sabi, wabi and
sabi. Shibui is elegance beyond beauty.
Commonly found stones in the Yuha
dankyu-seki - tableland
toyama-ishi - distant mountain
doha-ishi - slope stone
chusho katachi-ishi - abstract stone
chusho mo'yo-ishi - abstract pattern stone
shimagata-ishi - island stone
continued on page 11
PAGE 4
CALIFORNIA AISEKI KAI
VOLUME 26, ISSUE 3
Ask GuyJim
Dear GuyJim,
In the club’s new brochure (A Guide to Suiseki and Other Viewing Stones), Stone #8, labeled as an Isogataishi, is displayed with figurines of waterfowl. On the page dedicated to “Displaying Stones,” the stone at the
bottom of the page is displayed with the figurine of a boat. In the August 2004 issue of the Aiseki Kai
Newsletter you were quoted as saying “… even though you may find them in magazines and pictures of stones,
the traditional Japanese do not use props such as small boats … pagodas, bridges, animal or human figures
that may be found in a scene to enhance a stone’s suggestiveness.” John Naka, bless his soul, would be having
us all for lunch if he learned that we may be advocating this. Are we now going to include props with our
table top displays during exhibitions?
Jack, Alpine
Dear Jack,
As my disclaimer states, I am not an official spokesperson for California Aiseki Kai, but I will give you
my thoughts on accessory figures. My earlier statement
that accessory figures do not seem to be commonly
encountered in the more formal practice of Japanese
stone display would still seem to hold true. However,
such usage is not unknown as evidenced by examples
seen in large exhibitions and even by Uhaku Sudo in
his Keido displays.
Students of Mr. Sudo refer to what I have long
called accessory figures or figurines as tenkei, the word
being translated as “small scenic things”. This usage
seemingly derives from tenkei as it more commonly
refers to the little items of human interest that are to be
found in most landscape painting: small huts, boats,
etc. that indicate man’s humble presence in nature.
Tenkei are very small, often under an inch. We have
seen Keido examples of tenkei being intimately placed
directly on the stone, in suiban, on jiita (a thin board of
any shape or material, i.e. what we have been calling a
jiban), and on shoku (display tables).
We also see figurines displayed apart from the
stone as distinct complementary, subordinate elements
in a manner comparable to the use of an accent plant.
In such cases, the figurines are usually a bit larger and
may more accurately be called okimono. Okimono
were originally ornamental items that were shown,
even featured, in an alcove or tokonoma. Often today,
the term simply indicates figurines of a wide subject
range in contrast to the very limited subject matter of
tenkei. As your question is phrased, I will assume your
present concern is over the smallest figurines -– those
that I have often referred to as accessory figures as
distinguished from accent figures – that are placed
directly upon a stone or within a suiban.
The examples you cite of Nina and Larry Ragles’
use of the two birds and the boat as seen in A Guide…
are based directly upon Sudo’s own published
examples. In the display of the shore stone (see below)
the presence of the birds is particularly successful in
explaining what might otherwise be an ambiguous
stone. It is to make such connections for the public that
I have occasionally used figurines at the Huntington
Show and elsewhere during the years. Publicly, I first
addressed the issue of accessory figures in the audiovisual lecture I created for the Huntington Show in
1991. In that series of slides I illustrated how the
introduction of accessory figures, in that case a series
of boats of increasingly larger size and crabs, can
affect, even control, how a viewer sees a stone – and in
so doing, explained why we normally do not include
them in our displays. Without doubt and pretty much
without exception, figurines do affect scale and do limit
the viewer’s freedom of interpretation … and they do
connect with the first time visitor! At the Huntington
VOLUME 26, ISSUE 3
CALIFORNIA AISEKI KAI
show there has always been an unwritten policy that the
use of accessory figures be restricted, but occasionally
tolerated for their magical effect. Without question, I
have been most culpable for their use, most often when
placing the small fisherman under my coastal shelter
stone [page 4, figure 2]. That said, I have not
personally employed an accessory figure at the
Huntington for several years and, off hand, cannot
remember any being used recently. I suspect the future
will hold more of the same, a general prohibition with
occasional exceptions for didactic purposes.
If figures are to be considered, the quality of the
figurine is important. The ubiquitous mud men figures
would seldom be acceptable because, quite frankly,
their mass- produced ‘cheapness’ is far too evident –
their presence demeans a stone. Metal figurines vary
from crude pot metal castings to elegant miniature
works of craftsmanship in bronze or precious metals.
As with suiseki, the most appropriate figurines are
usually those most subtle. In Keido, only the highest
quality antiques are deemed acceptable. Finely cast
bronze miniatures with natural finishes or patinas (see
below) are the closest equivalent. Note that silver and
inlaid figurines are sometimes encountered, but I find
them ‘wanting to have it both ways’ – they are too eyecatching to be subtle and too abstract and arty to be
simply accepted as a natural part of a composition.
Subdued is subtle, while bright has an inherently
obvious, decorative component. But, being nominally
restrained, yet invitingly obvious, is disconcerting!
Even the finest figurines should be carefully
subordinated to the stone. With experience you will see
that this is easily said, yet nearly impossible to achieve.
Even in Keido displays, a simple figure usually
dominates one’s first impression of the stone. The
shore stone (pg 4, figure 1) presents a well balanced
natural setting. However, to the casual viewer, the fine
figurine could easily become the focal point. I find that
a similar problem almost inevitably occurs when a
pagoda figurine is added. Although the stone is
physically much larger, I defy anyone to look at the
next figure and tell me they did not ‘see’ the pagoda
before looking at the stone itself! Regardless of stone
PAGE 5
quality or symbolic significance, the figure is a visual
magnet.
Among the few subjects where a figure can
complement a stone without overwhelming it is with
island and coastal stones. Here, we can consider the
use of the boat in the lower example of tabletop display
under the topic of Displaying Stones in A Guide …
(see below). While our first impression is that of the
balanced display, this is an instance where the choice
of a figurine of a given scale may be lending confusion
as to the intended image of the stone, rather than
clarifying the classification. Observe that the form of
this stone is somewhat ambiguous: such a smooth
contour would normally suggest a distant island, while
the pronounced verticality and the apparent deep
indentation in the stone are more suggestive of a
nearby coastal rock or sea stack. If an island image is
intended, to me, the size of the boat feels a bit
incongruous. If a coastal rock or islet was intended,
then the choice of a larger boat could have removed
any doubt by definitely establishing the scale for a
closer ‘rocky’ vision. As is, the chosen boat seems to
be a bit too small – although those of you familiar with
Morro Rock may beg to differ! Regardless of how you
or I perceive this display, one must remember that
stone appreciation is not entirely about naturalness;
there is room for ambiguity, a bit of romantic
imagination, and mystery!
Painted figurines are not used in Keido display of
stones (page 6, figure 1). However, for our purposes
subtly colored figurines that are placed so as not to be
PAGE 6
CALIFORNIA AISEKI KAI
seen at first glance in the photo below may serve to
invite closer scrutiny by the public while, at the same
time, not disrupting the traditional restrained nature of
our overall show. The red crab is obvious, but do you
see the other two? As noted an occasional bright spot
of “impossible” color, such as with a small fisherman
figure (page 4, figure 2) may encourage the visitor to
better comprehend the “correctly” presented stones
throughout the exhibit. Here, I must confess to a
proclivity for torii-gates. At home, I often delight in
adding a bright vermilion gate near a coastal rock – the
boldness just brings on a smile! I have yet to test the
torii – and the tolerance of others – in show waters!
However, within the context of an overall exhibition
design, I have observed that one such minute spot of
color can serve as accent and visual relief for a table or
even an entire row of subdued stones.
Touching on another somewhat related subject, note
that objects, including tenkei or okimono, that are used
as independent, complementary accents must be of a
scale appropriate to the overall composition and in
proportion to the mass of the entire stone display unit
(prepared stone plus shoku or jiita). Such accent
figures need not be of the same scale as the stone,
itself. Similarly, when using a multi-level stand, one
tries to maintain a proportional relationship between all
elements. Remember when using multi-level stands,
that while a tenkei may be perceived as a legitimate
thematic accent, it may also be as readily seen as an
VOLUME 26, ISSUE 3
Tenkei on a jiita used as an accent
interesting, even dominant, objet d’art in its own right,
such as occurs with a display of mame bonsai pots.
Miniature tokonoma presentations may create a further
challenge. Tenkei are by definition ‘small things,’
therefore, an actual tenkei cannot represent a tenkei
when used in a miniature display. However, a carefully
chosen tenkei might be used to represent a larger,
discrete okimono or even a sculpture in the biwa doko
(the side niche with raised platform that is adjacent to
the main part of the tokonoma, the hon doko).
[see pg 9] Remember that a tenkei of less than an inch
may represent several inches within the scale of your
miniature display – so be cautious.
In conclusion, no matter the quality of the figure or
the concern with placement, the mere presence of the
figure moves one a step away from suiseki – you are
moving in the direction of bonkei, penjing, and
diorama. Keep that in mind and use them sparingly and
judiciously.
GuyJim
More of GuyJim ’s suibanics...
Shimagata-ishi - An island stone
Shigottadi-ishi - The woman has some good stones.
Shigatada-gawa - She has a lot of good stones and
may be worth a marriage proposal.
Shigottami-ishi - My ex-wife left me the kids and car,
but she took my best stones!
The views expressed in this column are personal, perhaps irreverent,
irrelevant or just plain wrong and do not reflect the consensual view of
California Aiseki Kai. Send your viewing stone questions (or comments)
for GuyJim to [email protected] or 1018 Pacific Street,
Unit D, Santa Monica, CA 90405 (310) 452-3680
VOLUME 26, ISSUE 3
CALIFORNIA AISEKI KAI
PAGE 7
Bonsai-a-thon 2008
There was a mini-exhibit of viewing stones found at the Kern River between the late 1950’s and early 1980’s by
four early Los Angeles area collectors: Shiro Iwahashi, Kazuo Handa, Elmer Uchida and Hiroshi Miyazono.
The stones selected were necessarily of larger size because of the experimental use of the individual pedestals in
an insecure area. It is believed that Mr. Iwahashi made his own daiza and you might note their distinctive design
using a beaded lip. Neither Mr. Iwahashi nor Mr. Handa owned Japanese suiban for the display of suiseki. All
three suiban used in the Huntington display are examples of wooden “suiban” that Bruce Hisayasu believes were
made by Mr. Iwahashi. One example was shown without sand so that visitors could appreciate the workmanship
and beautiful grain of the wood.
continued next page
Elmer Uchida, 1970’s
Shiro Iwahashi, 1950 -60’s
Shiro Iwahashi: 1950-60’s (cut)
Elmer Uchida: 1970 - early 1980’s (cut), daiza by Cliff Johnson
PAGE 8
CALIFORNIA AISEKI KAI
VOLUME 26, ISSUE 3
Shiro Iwahashi: 1950 - 60’s (cut)
Kazuo Handa:1960’s (Korean doban was not used in exhibit)
Hiroshi Miyazono: 1973, wooden 'suiban' made by Shiro Iwahashi
Elmer Uchida Collection: 1980’s, found by Cliff Johnson (cut)
This historical exhibit was prepared by Jim and Alice Greaves within the context of their proposed concept for an
American Viewing Stone Resource Center (AVSRC). They continue to seek stones to compliment and augment
this window into the birth of stone appreciation in America.
More Bonsai-a-thon 2008
The mini tokonoma displays were securely set inside a glass case. Each tokonoma, expertly built by Marge
Blasingame, is just 40” across! Nina Ragle created each display. The scrolls were made by Susanne Barrymore.
Al Nelson represented Aiseki Kai at the show with a display that included a moss accent piece.
Close up of mountain stone seen in tokonoma on page 9
Al Nelson’s coastal stone has a cavity in front that held water.
VOLUME 26, ISSUE 3
CALIFORNIA AISEKI KAI
PAGE 9
Each biwa doko contains a tenkei used as an okimono. Using precious high quality pieces honors the viewer.
PAGE 10
VOLUME 26, ISSUE 3
CALIFORNIA AISEKI KAI
Photo Gallery from the Collection of Chiara Padrini
Chiara’s viewing stones are from the Ligurian
Alps except #3
[Nebrodi
mountains] and
#12 [south
coast of Italy
near the sea
side]. Daiza
were made by
Chiara except
#2 and #4.
2
3
4
12
CALIFORNIA AISEKI KAI
VOLUME 26, ISSUE 3
PAGE 11
continued from page 1
February Program notes
continued from pg 3
At the Mingei Museum in San Diego, Jack met Mrs.
Audrey Gessel (Mrs. Dr. Seuss) while at the stone
exhibition. She enjoyed the show but did not grasp the
'classification' or meaning of each of the stones. After
Jack explained some of the concepts of suiseki to her
she understood the exhibit better. Even Jack felt more
enlightened by Jim Greaves' title for one of his stones.
An atypical boat stone that was wider and had higher
prows; it was puzzling until you realized that it was a
treasure boat and needed the greater bulk.
This chart was translated 35 years ago. Note that it
includes as a biseki, ikko no ishi or piece of stone. Does
a piece of stone refer to a cut stone?
Refreshments
Thank you Linda Gill, Harry Hirao,
Kyra Haussler, Jim & Alice Greaves
and Hanne Povlsen for the fabulous food in February.
March munchies will be hosted by Akio Okumoto, Bill
& Lois Hutchinson, Joe James and Emma Janza.
California Aiseki Kai meets on the 4th Wednesday of each month at 7:30 pm at the Nakaoka Community Center located at
1700 162nd St, Gardena, CA. Second floor. We do not meet in Nov-Dec.
Contact People
Programs: Larry Ragle
Treasury/Membership: Nina Ragle
Annual Exhibit: Jim Greaves
Exhibit Set Up: Marge Blasingame
Refreshments: Lois Hutchinson
Historian: Ray Yeager
Webmaster: Bill Hutchinson
Newsletter: Larry and Nina Ragle
Newsletter Committee
949.497.5626
[email protected]
949.497.5626
[email protected]
310.452.3680 [email protected]
626.579.0420
[email protected]
714.964.6973
[email protected]
760.365.7897
[email protected]
714.964.6973
[email protected]
949.497.5626
[email protected]
March Contributors: Linda Gill, Jim Greaves
and Larry Ragle.
Mailing: Flash Partch
Editor: Nina Ragle
We hope you will participate. Please send any
submissions to [email protected] no more than 10
days following our monthly meeting. Thank you!
Ragle
P.O. Box 4975
Laguna Beach CA 92652
ADDRESS CORRECTION REQUESTED
Leaves no stone unturned
aisekikai.com
Coming Events
AMERICAN VIEWING STONE RESOURCE CENTER
Exhibition: American Viewing Stones – Natural Art in an
Asian Tradition (Selections from the Jim & Alice Greaves
Collection), Mingei International Museum, Balboa Park, San
Diego. Tues - Sun, Hours: 10 - 4; Go to: mingei.org. The site
says “continuing”…. Please check with the museum before
your visit to confirm the status of the exhibit. 619-239-0003
Sept 24-28 Saint Vincent,
Italy ~ Bonsai and Suiseki
Exhibition. For more info
see the event web site:
bci-ibs2008.it/home-en.asp
SAN DIEGO BONSAI CLUB
43rd Annual Spring Show, April 26-27, Balboa Park, Casa Del
Prado Room 101, San Diego. 10-5. Sales. Demos 11 and 2. Free.
For more info: Joanie Berkwitz 760-431-1014
BONSAI CLUB OF SANTA BARBARA
Annual Bonsai Exhibition, May 17-18, Santa Barbara Botanic
Garden, 1212 Mission Canyon Road. Sat 11-4, Sun 10-4. Demos
at 1:00 both days. Sales. More info: Ann Erb 905-929-4972 or
[email protected] or see website: santabarbarabonsai.org
INTERNATIONAL STONE APPRECIATION SYMPOSIUM
October 2-5 at the Harrisburg-Hershey Holiday Inn,
Grantville, PA. Exhibits, workshops, critiques, vendors,
auction. For more info: Glenn Reusch at 540.672.5699 or
email [email protected]
Happy Birthday, Harry Hirao. 91 years on March 12 and still hunting !