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29 March 2017

Did you know about the Museum of French Art in New York?

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The “Museum of French Art” in New York, founded as a society in 1911, was a subsection of the French Institute in the United States dedicated to arts. It was housed with the French Institute in the United States on 599 Fifth Avenue, New York City, had a Gallery with permanent French art collections, a library and a reading room. It held temporary exhibitions of French art loaned by private collectors. The Museum of French Art was most active until the 1930s, at a time when the opening of museums and art galleries was booming in New York.

French Museum plan

Plans for the building of the French Art Museum in the United States, 1919 from Répertoire de l'art français aux Etats-Unis dans des collections particulières et au Musée d'art français. ([New York], 1919) British Library RB.31.C.836.

When the Museum of French Art was created, Fifth Avenue was already home to the Metropolitan Museum of Art which opened in 1872, and for the Henry Clay Frick House, built in 1912-1914, whose collections were opened to the public in 1935. The Museum of Modern Art also opened on Fifth Avenue on 7 November, 1929, nine days after the Wall Street Crash. The Museum of French Art was inspired not only by fine arts museums but also by institutions like the “South Kensington Museum” (founded after the 1851 Great Exhibition, now the Victoria and Albert Museum) and the more recent Musée des arts décoratifs de Paris created in 1905. It was never built as a distinct monument, though its trustees tried to raise funds for this purpose: in 1919, plans for such a construction were published at the end of the catalogue of its first official exhibition.

French Museum Jusserand

French Ambassador Jules Jusserand with Mme Jusserand, 1918 (Image from the Library of Congress)

The idea for the creation of a French Institute in the United States emerged at a council of the Alliance Française of New York. The institute had three subsections: the “Museum of French Art”, whose aim was to promote French Fine Arts and to be a window for French arts and crafts, past and present; the “Entente France-America”, focused on commerce, industry and science; and the “French Union”, a society dedicated to Belles Lettres: Literature, History and philosophy. The French Institute and its art section offered French language courses, technical courses on French arts and crafts, it awarded French language prizes to high school students and organised concerts and lectures for the public and for its members. The British Library holds the programme of a Gala Concert held in 1913 by the Museum of French Art in honour of the French Ambassador in Washington and his American wife, Mr et Mme Jusserand.

French Museum Concert Programme

Programme for a Gala Concert offered by the Museum of French Art to the French Ambassador at the Ritz-Carlton Hotel, December 14th, 1913. (New York, [1913]) d.488.l.(10.)

 

The suna

Advertisement for an exhibition of the Museum of French Art, The Sun, 25 January 1920.  NEWS12364

The first official exhibitions held at the Museum of French Art in 1918, 1919 and 1920, were organised chronologically (“From the Gothic Period to the Regence”, “Periods of Louis XV and Louis XVI”, “The Directoire and Empire Periods”). In 1920, the chairman of the Exhibitions department of the French Art Museum, Mrs Henry Mottet, donated to the British Museum (along with 20 major European and American museums and libraries) a copy of the catalogues for the first two exhibitions, which were published in large format limited editions of 100 copies.

French Museum interior 1

French Museum interior 2

Images from The First Official Loan Exhibition of the Museum of French Art, held in 1918, from Répertoire de l'art français aux Etats-Unis dans des collections particulières et au Musée d'art français.

 

Later exhibitions focused on specific French artists: Henri de Toulouse-Lautrec (1922), Odilon Redon (1922), Picasso, Braque, Léger (1931), Degas (1931), Renoir (1931), Derain and Vlaminck (1932) and historical characters: “Napoléon and l'Aiglon” (1927), the Marquis de Lafayette (1930). Other exhibitions had a particular thematical, historical or geographical focus: “Fans and handiwork of court and home life, XVIth to XIXth centuries” (1926-1927), “The art and customs of the Basque country of southwestern France” (1927), “Silken textiles of France: Louis XIII to Louis Philippe” (1928), “Ecclesiastical arts of France” (1928), “French prints from the XVth century to the XXth century” (1932).

The Director of the Museum of French Art was Emile McDougall Hawkes, founder and first president of the Institut Français in the United States, a lawyer and engineer from New York who had studied in France and Germany, was active in several Franco-American cultural associations based in New York, including the Alliance Française, focusing on French language teaching outside of France, and he received the French distinction of Commandeur de la Légion d’honneur. He was a trustee of the Foundation of another Francophile and patrons of the arts, John Sanford Saltus.

86295_0
 McDougall Hawkes, by John Bow?, 1910

 

A portrait of McDougall Hawkes, dated from 1910, and signed l.l., possibly John Bow, was sold in 2015 by Cowan’s Auctions. It bears a plaque inscribed “McDougall Hawkes, First Chairman of the Board of Trustees, 1911-1929, Museum of French Art, French Institute in the United States”.

McDougall Hawkes was also involved in other trade and science organisations, including the French-American Chamber Commerce, “Entente France-America”, a society which aimed “to develop commercial, industrial, economic and scientific relations between the American and French peoples” (New York Times, 11 Aug 1916), and the French-American Medical, Chemical and Physics Society.

Biscuit de Sèvres tp

Title-page, with McDougall Hawkes’ inscription, from Le Biscuit de Sèvres. Recueil des modèles de la manufacture de Sèvres au XVIIIe siècle ([Paris, 1921]) 7808.s.7.

When McDougall Hawkes visited the British Museum in 1922, he donated to the library a signed copy of Le Biscuit de Sèvres by Émile Bourgeois and Georges Lechevallier-Chevignard, illustrated by many plates.

Biscuit de Sèvres ill

Plate from Le Biscuit de Sèvres.

 

Irène Fabry-Tehranchi, Curator, Romance languages

References:

Museum of French Art, French Institute in the United States. Répertoire de l'art français aux Etats-Unis dans des collections particulières et au Musée d'art français. Tome I: l’Art gothique. First annual official loan exhibition of French art, January 29th to February 12th, 1918.  Catalogue: Gothic period to the Régence. Tome II, Le dix-huitième siècle. Catalogue of the second annual official loan exhibition of French art: periods of Louis XV & XVI, held at the gallery of the Museum in the city of New York, January 14 to January 29, 1919. ([New York?]: Privately printed, 1919). RB.31.C.836 and RB.31.C.837.

 “The French Institute and Museum of French Art in the United States”, The Lotus Magazine, Vol. 3, No. 9 (Jun., 1912), pp. 267-280. [JSTOR]

“To Develop French Trade: Prominent New Yorkers Incorporate Entente France-America”, New York Times, 11 Aug 1916, p. 11.  MFM.MA3

 

08 March 2017

Marking International Women’s Day: The Lowell Offering

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To celebrate International Women’s Day we’re showcasing The Lowell Offering (1840-45), an extraordinary periodical that students from Royal Holloway asked to see when they attended a research training session here last week: and with good reason! In its short life this monthly periodical provided female textile workers in Lowell, Massachusetts – where women comprised 75% of the workforce – with a unique opportunity to see their poetry, ballads, songs, historical and religious essays or works of fiction in print.

Lowell first 12 

The Lowell Offering, Vol. 1, 1840; shelfmark P.P.6242

Perhaps surprisingly – given the ‘dark satanic mills’ of Victorian Britain – many women in New England initially regarded factory work as a well-paid alternative to teaching. The literacy rate amongst the operatives was high, and the creation of self-improvement societies was widespread; indeed, the Offering sprang from one such group. Writing about its origins, Harriet Farley – the Offering’s second editor – recalled that her group met fortnightly to read and listen to the written contributions of its members. Gradually the membership declined, yet the quality of the contributions kept improving and someone suggested compiling the contributions into ‘a little book’. This idea ‘was talked about in whispers’ but was soon supplanted by something even more audacious: a plan to publish a monthly periodical. Farley recalls:

We shall never forget our throb of pleasure when first we saw The Lowell Offering in a tangible form, with its bright yellow cover; nor our flutterings of delight as we perused its pages. True – we had seen or heard the articles before; but they seemed so much better in print. They appeared, to us, as good as any body’s writings. They sounded as if by people who never worked at all. The din and clatter of the mills had not confused the brains of the writers, and no cotton fuzz had obscured the brightness of their ideas… (The Lowell Offering, November 1842: shelfmark P.P.6242)

The Lowell Offering was funded through subscription and undoubtedly proved more successful than its contributors could ever have anticipated. In time, however, it was criticised both by mill-owners, who resented the way in which the women reflected (both directly and indirectly) upon life in the mills, as well as by reformers who believed it should take a far tougher stand against factory conditions. In 1845 it was discontinued, but two years later, Farley started The New England Offering – ‘Written by Females Who Are or Have Been Factory Operatives’ – which ran until 1850.

New england offering 12

The New England Offering, 1849; shelfmark P.P.6242

For nearly a decade, the Lowell and New England Offerings gave these women a singular creative outlet; for readers today, they provide a unique insight into the women’s inner and professional lives during a period of rapid industrialisation and social change.

References: The Lowell Offering, Lowell. Mass., 1840-45. Shelfmark: P.P.6242; The New England Offering. Lowell, Mass., 1847-1850. Shelfmark: P.P.6242

15 February 2017

The Tale of Josefa

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Hannah Kohler is one of this year’s Eccles British Library Writer’s Award winners. She is researching her novel, Catspaw, which follows two women during the California Gold Rush. In researching female criminals and vigilante justice in California, she came across the tale of Josefa.

Josefa Segovia—also known as Juanita and Josefa Loaiza—was the first and only woman to be hanged in California. A Mexican woman living in the mining town of Downieville, she was accused of murdering Frederick Cannon, a miner, on 5 July 1841, and was summarily hanged from a bridge over the Yuba River.

Hanging of the Mexican Woman

William Downie, Hunting for Gold. San Francisco: California Publishing Company, 1893. Shelfmark: X.809/2834

Contemporary accounts are conflicting, but suggest Cannon entered Josefa’s house on 4 July, possibly assaulting her.  The following day, Josefa and José Loaiza, with whom she lived, confronted Cannon. Cannon called Josefa a whore; she challenged him to insult her inside her own home; he followed her inside, whereupon Josefa fatally stabbed him. An impromptu judge and jury were assembled, but the man defending Josefa was rolled down the hill in a barrel. Within hours, Josefa was executed.

The story first appeared in the Daily Alta California four days later. Referring to Josefa only as ‘the Spanish woman’, it noted her extreme anger, stating that when Cannon came to her door to ‘apologize,’ she met him with a ‘large bowie knife, which she instantly drove into his heart’. Subsequent accounts called her by the generic Mexican name ‘Juanita’; most dwelled on her beauty; many implied she was a prostitute. Underlying these narratives was an assumption of Josefa’s culpability, implicitly or explicitly linked to her ethnicity and sexuality. In his memoir, Hunting for Gold (San Francisco, 1893; shelfmark X.809/2834), William Downie lamented the incident in a chapter named ‘Lynching a Beauty’, calling it ‘one of those blots that stained the early history of California’.

Lynching a Beauty

William Downie, Hunting for Gold. San Francisco: California Publishing Company, 1893. Shelfmark: X.809/2834

Josefa’s treatment – both her lynching and the way in which her identity and version of events were obscured – reflects the oppression of and violence towards Mexicans in mid-nineteenth-century America. However, in recent years, Chicano scholarship has sought to restore Josefa’s identity and reputation. In 1976, Martha Cotera demonstrated that Josefa’s last name was Segovia. Further scholarship contested the notion that she was a prostitute, and established that she was likely married to Loaiza, who appears to have filed a claim in 1868 against the United States for the murder of his wife (he lost).  The remaining details of Josefa’s experience are likely lost to history. She is consigned to Gold Rush lore, and on websites dedicated to the Old West, she has become a ghost story, her specter drifting along the Yuba River, haunting the old gold country.

Gold Region of California

 C. D. Gibbes, A New Map of the Gold Region of California. Stockton, CA. & New York, 1851. (Shelfmark: Maps 71865 (3)) 

Hannah Kohler

Sources: Irene I. Blea, U.S. Chicanas and Latinas Within a Global Context: Women of Color at the Fourth World Women’s Conference. Westport, Conn; London: Praeger, 1997 (Shelfmark: Document Supply 98/02749); William Downie, Hunting For Gold. San Francisco: California Publishing Company, 1893 (Shelfmark: X.809/2834); Ken Gonzales-Day, Lynching in the West, 1850-1935. Durham, NC: Duke University Press, 2006 (Shelfmark: Document Supply m06/42195); F. Arturo Rosales, Chicano! The History of the Mexican American Civil Rights Movement. Houston, TX: Arte Publico Press, 1996 (Shelfmark: YA.1997.b.3535); Maythee Rojas, 'Re-Membering Josefa: Reading the Mexican Female Body in California Gold Rush Chronicles', Women’s Studies Quarterly, 35: 1/2  The Sexual Body (Spring/Summer 2007) pp. 126-148 (Shelfmark: Document Supply 9343.705700); Kerry Segrave, Lynchings of Women in the United States, The Recorded Cases, 1851-1946. Jefferson, NC: McFarland & Company, 2010 (Shelfmark: YC.2011.a.9418).

Eccles British Library Writer’s Award: For more information, please see www.bl.uk/ecclescentre

11 February 2017

The Flint Sit-down Strike, 1936-37

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Eighty years ago today – following a 44-day sit-down strike at their plant in Flint, Michigan – General Motors (GM) formally recognised the United Automobile Workers (UAW) as the sole bargaining authority for the striking workers.

Flint Wikimedia
Wikimedia Commons, provided by Farm Security Administration. LC-USF34-040028-D.

It is almost impossible to over-estimate the impact this recognition had upon both the unionisation of the American automobile industry and the labour movement across the United States.

In the early years of the Great Depression, increased workloads and cuts in pay were commonplace across the auto industry. In 1935, the average auto worker’s income was barely half that deemed by the government to be a minimum for a family of four. The following summer, hundreds of workers died in Michigan auto plants due to the heat wave and on-going poor working conditions. Theoretically, such conditions made these plants ripe for union organisation. However, strikes in 1930 and 1934 had been viciously broken up by the Flint police, aided by company informers; indeed, GM paid $839,000 for detective work in 1934 alone (1).

In 1935, the passage of the National Labor Relations Act – which legalised strikes – invigorated the Congress of Industrial Organizations' efforts to unionize industrial plants across the US. The following summer, UAW officials unaffiliated with existing (GM-infiltrated) locals began organising in Flint – an audacious plan, given it was essentially a company town; yet, they recognised the pay-off could be enormous. To avoid detection, they met with workers in their own homes and encouraged them to join; many did so. General Motors’ reaction was swift. On 29 December union leaders learned that over the New Year’s holiday the company planned to remove the huge and vital ‘dies’ used to make car bodies. If this happened, cars could be made elsewhere, thereby weakening the union’s strategic position. Recognising what was at stake, the workers refused to leave the plant.

The next 44 days were unprecedented in the history of American labour. Inside the plant, the workers organised themselves into committees for cleaning, defence, entertainment and exercise, while supporters outside brought them food and supplies.

  Flint wikimedia meal

Wikimedia Commons, provided by Farm Security Administration (LC-USF34-040031-D).

Finally, on 11 February 1937, GM signed an agreement recognising the UAW, and agreeing not to discriminate against those workers who had struck. The following year, nearly one-hundred sit-down strikes took place in auto plants across the country; UAW membership rose from 50,000 to 300,000; and auto worker wages rose by as much as 300%. This historic sit-down strike presaged a decade of intense union activity across American industry, and an extraordinary improvement in the lives of ordinary workers.

The British Library holds a wide variety of materials documenting the labour movement within the United States, including: reports, newspapers and recruiting pamphlets by individual unions, the CIO and the American Federation of Labor (AFL); Congressional hearings, reports, and federal legislation; publications by political parties, including the Socialist Party and the Communist Party of America; and reports by civil rights organisations. Additionally, the rise and activity of the unions may also be documented through our extensive collection of American newspapers, secondary sources, and electronic databases.

 Witch hunt CIO

George E. Novack, Witch-hunt in Minnesota: the federal prosecution of the Socialist Workers Party and Local 544, CIO. New York: Civil Defense Committee, [1941?]. Shelfmark: YD.2005.a.6863; The CIO: what it is and how it came to be. Washington, DC: Committee for Industrial Organization, 1937. Shelfmark: YD.2009.a.1501

AFL Communist party

Communist Party of the United States. For a Powerful, United A.F. of L. New York: Workers Library, 1936. Shelfmark: YD.2007.a.1654; Communist Party of the United States. Greetings to the American Working People on the Occasion of the First Anniversary of the Great Labor Merger, AFL-CIO! New York: Labor Committee, Communist Party, USA, [195?]. Shelfmark: YD.2009.a.1322

  UAW local

John G. Kruchko, The Birth of a Union Local: the history of UAW Local 674, Norwood, Ohio, 1933 to 1940. Ithaca, NY: New York State School of Industrial and Labor Relations, Cornell University, 1972. Shelfmark: q72/20497

1. "The 1936 - 37 Flint, Michigan Sit-Down Strike," BBC, Retrieved May 18, 2012, from http://www.bbc.co.uk/dna/place-london/A672310 

Jean Petrovic

03 February 2017

Have you tried the Electroburger? A 1962 menu for the North Shore Line’s Electroliner dining car

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Restaurant cars in trains are disappearing fast and with them a lot of the charm of travelling by train, including the possibility of encounters of the kind depicted in films from North by Northwest to, more recently, Almodóvar's Julieta . For train lovers who daydream of dining on board the Orient Express but are more likely to find themselves eating a sandwich squeezed in the seat of a budget airline, our collection of menu cards can provide some inspiration. 

The Chicago North Shore and Milwaukee Railroad, also known as the North Shore Line, was an interurban railway line that covered the route between Chicago and Milwaukee.  This striking menu card [YD.2016.b.444], printed in 1962, shows the dishes on offer at the Electroliner’s Tavern-Lounge car, where passengers could sit down and enjoy a full service diner-style meal or a snack.

  Electro1

The star item in the menu is the Electroburger, served on a roll with potato chips and relish for the price of $1, including coffee.  The menu also contains a wide selection of sandwiches, including ‘flavor-rich’ sardines’, ‘young, tender, selected tongue’, and ‘Milwaukee-style liver sausage’. Passengers had an ample choice of drinks available, from sherry to a dry martini, and could even purchase playing cards for entertainment.

Image2

Those travelling in the morning could also enjoy a cooked breakfast, as shown in this earlier Electroliner menu from c.1955 [YD.2016.b.443]

Electro3

The British Library holds a rich collection of menus, including a collection of menu cards spanning the years 1890–1904 which were donated by the American collector Miss Frank E. Buttolph – for more information please see this blog post. All of them are available from our Explore catalogue.

 

10 January 2017

Buffalo Bill, 1846-1917

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Today - 10 January 2017 - marks 100 years since the death of William Frederick ‘Buffalo Bill’ Cody, who perhaps more than any other figure shaped British perceptions of the American West.

Born in Scott County, Iowa, in 1846, Cody apparently got his first frontier job at 10 years of age, riding a mule and carrying messages between wagons for a party travelling to Utah. He later rode for the Pony Express, hunted buffalo, fought for the Union (in 1854 his father had been stabbed while speaking out against slavery), and worked as a civilian scout for the US Army.

On 22 May 1872 Congress awarded Cody the Medal of Honor for gallantry as an Army scout in the Indian Wars. Later that same year – following endless hectoring by publicist Ned Buntline – he agreed to play himself on stage. Arriving in Chicago on 12 December, he learned that with less than a week before opening the play had not been written and the cast has not been chosen. Nevertheless, six days later Scouts of the Prairie opened at Nixon’s amphitheatre. As Cody froze in front of two thousand punters, Buntline (who was also on stage), apparently asked Cody: ‘Where have you been, Bill? What has kept you so long?’ (1). Cody took the cue, wowed the audience with his (sometimes tall) tales of life in the Wild West, and his stage persona was born.

In 1883, after a decade combining scouting and performing, Cody founded Buffalo Bill’s Wild West. Four years later this extravaganza crossed the Atlantic for its first tour of Great Britain.

Buffalobillprogramme

John M. Burke. Buffalo Bill's Wild West: America's National Entertainment. [1887]. Shelfmark 10408.g.25

For Cody, the show was always about entertainment and education. It celebrated the skills of hunters, horseback riders and sharp shooters (including Annie Oakley) through demonstrations and sometimes hair-raising re-enactments. Yet for many the highlight was the inclusion of nearly 100 Lakota Sioux men, women and children. Inevitably, they starred in scenes such as ‘Attack on a Settler’s Cabin’ or ‘Attack on an Emigrant Train’. Yet in ‘Phases of Indian Life’ they showcased aspects of their own culture. Indeed, some later shows highlighted them being ejected from their homeland, and apparently Cody always insisted they were the first group to enter the stadium after him. Astonishingly, more than 2.5 million people are believed to have attended the show’s first run at Earl’s Court, including Queen Victoria who was celebrating her Golden Jubilee and was given two command performances.

The British Library holds a wide variety of contemporary items detailing the show’s British and American tours, including national and local newspaper reports, posters, programmes and sheet music. It also holds Cody’s autobiography, scores of biographies (including one by Buntline), and dime novels either written under Cody’s name or inspired by his exploits.

Buffalobillnovel

Buffalo Bill. The Redskin Detective: or, the gold buzzards of Colorado. London: J. Henderson & Sons, 1903. Shelfmark 12604.i.

   Buffalobillpolka

May Ostlere. Buffalo Bill Polka. London: Metzler & Co., [1887]. Shelfmark: Music collections h.3645.(3.)

For more images relating to the American West, see the Eccles Centre’s The American West through British Eyes, 1865-1900.

1. Ronald A. Reis, Buffalo Bill Cody. New York: Chelsea House Publishers, 2010, p. 53.

16 November 2016

American Studies Training Day in Boston Spa

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Have you visited the British Library in Boston Spa yet? Did you know that you can access millions of books, journals and newspapers from the Boston Spa Reading Room? If you live in the north of England, the British Library at Boston Spa may be the most convenient way to view our collections.

Last Friday the Americas Team and the Eccles Centre for American Studies joined forces for a special training session on resources for American Studies at the British Library at Boston Spa.

50 students from the universities of Leeds, Chester, Birmingham, York, Northumbria, Sunderland, Central Lancashire, Sheffield and Dundee, among others, joined us on a misty autumnal morning in North Yorkshire to explore the British Library’s North American holdings.

Aerial shot of Boston Spa site

The British Library at Boston Spa from the sky (we went by train)

The day began with an introduction to the British Library holdings and the history of the American collections within the Library. We had a look at the different catalogues for printed items, manuscripts, and the sound archive, as well as our collection of e-resources. This was followed by a virtual show and tell of highlights in our American collections (take a look at our American Revolution and American Literature in Europe sites to see a few of the items we discussed).

Our day continued with a fascinating presentation about the Boston Spa site and the UK newspaper collections by our colleagues Joanne Cox and David Clayforth, where we heard about how the Library’s different sites and collections have been reconfigured over time. The Eccles Centre’s Fran Fuentes illustrated how the newspaper collections holds vast potential for researchers working in the Americas, and guided students through a case study focussing on holdings of regional US newspapers. This was followed by two parallel sessions: one on resources for the study of American literature, where we looked at the research potential of comparing UK and US editions as well as our wonderful collection of fine press books, and one on US official publications, where Jennie Grimshaw helped students navigate our immense and sometimes challenging collection.

We are hoping to organise a similar training day in 2017 and we will advertise it widely on the blog and our twitter accounts @_Americas and @BL_EcclesCentre. Do let us know if there are any areas in the collections about which you would like to learn more!

28 October 2016

American Pamphlets 1920-1945: Call for academic partners

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The British Library is currently looking for academic partners for our AHRC Collaborative Doctoral Partnerships programme to work on a project which will focus on the Library’s collection of American political pamphlets published between 1920 and 1945. The application deadline is 25 November 2016.

AHRC CDPs provide funding for PhD research drawing on our collections, resources and expertise that is co-supervised by the Library and a selected academic partner at a UK university or Higher Education Institute (HEI).

Pamphlets2

The project will draw on the Library’s extensive holdings of American political pamphlets to study and contextualise the writing, printing, distribution and dissemination of pamphlets in the years preceding and during the Second World War.

The Library’s collection of American pamphlets from the interwar period contains publications by different anti-fascist, anti-capitalist and pacifist societies. These include the Socialist Party of America, the Young People’s Socialist League, the American League Against War and Fascism, the Jewish People's Committee, the War Resisters League, the World Peace Foundation, as well as anti-imperialist societies such as the United Aid for Peoples of African Descent, among many others. The researcher will also benefit from access to the extensive collection of US political pamphlets at the Marx Memorial Library, who is a partner in the project. 

Please find more information on how to apply here, and do not hesitate to email us at Americas@bl.uk with any questions.