davidaulloa/AmericanStories huggingface dataset:
Evening star., 1960-03-20

have little affinity to Bee
thoven, and there are some
historical examples Of musi-
clans who did not fall under
his spell. Interest in Bee
thoven, as in all other musi-
clans, wakes and waneS. But
Schoenberg and Bartok both
had a deep-seated devotion
to Beethoven; so did the
romantics Berlioz and Schu-
mann; so also did his contem-
poraries Haydn and Schubert.
There has lived no other
musician so genuinely univer-
sal as Beethoven.
Errors in Groupings
To say that Beethoven's
quartetS fall into three groups,
early, middle, and late, is mis-
leading-an error caused by
the opus numbers. In reality,
there are no early Beethoven
quartets. II the Opus 18 quar-
tets were numbered in the
manner that Mozart's works
are, they would be at least
Opus 1l8, for Beethoven did
not give his works opus num-
bers until he was a COM
pletely experienced composer,
Is years old. He was 80
when he wrote the six quar-
tets of Opus 10, and had
already written In every
form, oratorio, operatic. SYM
phonic, and solo instrument
tai. Opus 18 is often called
Haydnesque or Mozartian;
for me 1t has neither the
fantastic Imagination OF the
one, nor the perfect tech
nique Of the other. They
sound quite like Beethoven.
the best Beethoven Of their
years.
The Opus 50, Opus "a, and
Opus 95 quartets, written be-
tween the ages of SO and 40,
are all fine examples Of the
great Beethoven Of the last
four concertos, the fifth and
sixth symphonies and the A
major cello sonata. (Opus
95 is an earlier work than
its number indicates. dating
from 1900 That they were
for years held to be the pin
nacle Of Beethoven's quartet
writing, followed by the later
works which were the abera-
tions Of q deaf and half
crazy old man, seems to us
today hard to believe. Not
that these quartets are in
ferior to the late ones-they
are simply entirely different.
Late Resemblances
After the Diabelli Varia-
tions, the Mass in D and the
ninth symphony, Beethoven
devoted the rest of his Gre
Evening star., 1960-03-20

ative life exclusively to the
string quartet. It was not a
conscious final dedication,
for he planned works in other
forms which were not COM
pleted, but it turned out that
during his last three years
the five quartets he wrote
ended his career. Although
each has a decided individ-
ual character, there is a great
deal Of thematic resemblance
between them. These BROTH
ers and sisters were consid-
cred by some to be unusually
difficult to listen to, even as
recently as 80 years ago. To
hear everything in these
scores is perhaps not an oc-
cupation for somebody in q
hurry, but there are no music
lovers Of the present gener-
alton TO whom these works
do not communicate directly,
simply and powerfully.
The quartet in B fiat, Opus
1870. has two last movements,
q fugue and q piece in SON.
alta form which is the very
last music Beethoven COM
posed. The fugue, one Of that
series which Is an earmark
Of Beethoven's last period
the two in the Mass in D and
those in the D major and B
fiat major sonatas and the
Diabelli Variation+was
found so difficult to play that
the publishers induced Bee
thoven to write an alternate
ending. 1t is the custom Of
present-day quartets to play
either one or the other. In
its cycle. the Budapest Quar-
tet will play both. 1t will also
include Beethoven's own ar
rangement Of his piano SON.
alta in E. Opus II.
Evening star., 1960-03-20
NEWS OF MUSIC
Beethoven Quortets
Raise SpecuIotions

ensemble, phrasing-iS the
old tradition that is said to
prevail concerning these
things valid? I wonder.
How fast is allegro assai?"
1t Is true that Beethoven
gave metronome markings
to some Of his works. but
many good musicians think
them impossible, that Bee
thoven relied on a faulty me-
chanical device. It is certain
that Beethoven marked his
music with extreme precision,
but for us today with a GER
tain amount Of ambiguity.
What is the difference be-
tween "teneramente" and
dolce" when the two marks
are used simultaneously for
the melodic lines Of violin
and viola, for example?
What does ''molto POGO
adagio" mean2 Is it simply
an oversight that the finale
Of Opus 1877 has no tempo
indication whatever?
Highly Standardized
While we have no way Of
knowing how Beethoven was
interpreted by his contem-
poraries, our present musical
tradition makes the interpre-
tation Of Beethoven highly
standardized. We feel strong
assumptions about the music
and the markings, and there
will be no violent discrep.
ancies between the perform.
ances Of the Budapest Quar-
tet and those Of any other
really flrst-rate group. 1t is,
Of course, the insensible more
or less that counts-that
brands art inferior or supe-
rior.
That Beethoven's violin,
cello and piano sonatas, his
symphonies and his quartets,
make such good material for
performance in cycles. is the
result Of the variety Of their
even spacing throughout his
whole creative life, the vir-
tual absence Of any weak or
unworthy individual works,
the fortunate limitation of
their number, and Of course,
the nearly catholic appeal of
the music. 1t is admired by
the connoisseur as it is loved
by the layman. I myself
know a few individuals who
Evening star., 1960-03-20
TURNTABLE TALK
By JAMES G. DEANE
Star Record Critic

New York opera enthusi-
asts tomorrow night will have
an opportunity to hear a per-
formance Of Berlioz' Beatrice
and Benedict, until now ap-
parently unperformed in this
country.
Why is Beatrice and Bene-
dict also still unrecorded?
The answer is doubtless q
conglomerate Of considera-
tions, practical and esotoric.
The fact is, Of course, that a
great deal, both Of opera
and non-opera, is still un-
recorded; and it is reasonable
to assume that q fair share
Of 1t deserves somewhat bet
ter treatment. Aida and
Carmen and La Boheme are
fine operas and fine to hear,
but there is no real reason,
especially on records, for
them and q few other ia
miliar works to monopolize
attention.
Sir Thomas Beecham's re-
cent performance here Of
Berlioz' Trojans proved how
much Of a gap there has
been-and is still-with re-
spect to one segment Of un-
recorded Berlioz. Beatrice
and Benedict, as one might
Judge from its excellent over
ture, given suitable oppor-
tunity. would quite probably
disclose another. There are
dozens Of similar probabili-
ties or at least possibilities
among the dusty works OF
other operatic composers
dating back at least as far
as Handel. whose endeavors
in the stage realm are still
all but unknown.
Schubert's Operas
1t is apt to be a revelation
to the average man to dis
cover that Schubert was an
opera composer, and an
earnest one even though
commercially speaking not
successful. Aside from a
single act of the uncom-
completed oratorio Lazarus
and the Rosamunde music,
none of his dramatic efforts
have so far been made ac-
cessible to the myriad follow
ing recruited by the Unfin-
ished Symphony.
Mozart, of course, has
Jared better. OF the mature
operas all but La Clemenza
di Tito are available on discs
in at least fairly satisfactory
form, some even in stereo,
and there has been some
welcome venturing into the
earlier repertoire as well. But
La Clemenza di Tito is miss
ing, which Is hardly justi-
fable, whatever the works
relative merits or demerits
Evening star., 1960-03-20
By DAY THORPE
star Music Critic

The Budapest Quartet is
engaged in its latest odyssey
through the eighteen Beetho-
ven string qus-tets. Many
people consider these works
for two violins, viola and
cello the finest creations Of
the composer; there is little
question that they are the
only ones that may be heard
essentially as Beethoven
himself thought of them.
Today's piano is a different
instrument from that for
which Beethoven wrote his
latest sonatas. today's SYM
phony orchestras are in sew
eral important aspects quite
unlike those for which Beetho-
ven wrote his symphonies
and overtures, and today's
wind instruments have
evolved considerably since
the early 18th century.
Beethoven's vocal canons
haven't changed since 1927.
but nobody sings them any
more, so only the string
quartets remain to recreate
today the sounds that Bee
thoven may have imagined.
UnresOIved Factors
To what extent the other
factors Of music of the late
18th and early 18th centuries
have remained constant, / do
not know. I have never seen
the matter discussed with
what impressed me as au-
thority. Tempt. dynamics,
Evening star., 1960-03-20
CuIfee's Latest

William Calfee has never
lacked imagination and orig
inality, which qualities are
obvious in the variety Of
statements or more accur-
rately, suggestions. in his
one-man show of IS new
sculptures at the jefferson
Place Gallery, 1915 Connecti-
cut avenue NV. through
next Saturday. (Open Tues
day through Saturday, IL
to So
Since his first solo at this
gallery two years ago, he
has had two shows in New
York City galleries. These
latest pieces carry on from
experiments in the earlier
show. His interest in in
closed sculptures, for ex-
ample, continues with the
welded metal plate abstrac-
ton in a wood and steel box.
Two large plaster Shells"
Evening star., 1960-03-20

cluded in several national
print exhibitions at the Lii
brary of Congress. and in
other local group shows.
Sixty oil paintings. block
paintings, wood engravings
and other prints compose
one of the major exhibitions
George Washington has had
in several seasons. Mr..
Smith works in both repre-
Sensational and abstract
idioms with equal facility and
success. The University's ex-
hibition has many Of the
paintings and prints repro
duced in the definitive mono
graph on Mr.. Smith, pub
lished in 1858 by The Uni
versity Of Virginia Press,
Charlottesville, Va. ($6.50.
The foreword by Frederick
Doveton Nichols. architect,
extols Prof. Smiths repre-
Sensational paintings and
prints for their richness Of
reality" but has greater
praise for his later abstrac-
tions. in which the "Sensi-
bility of the artist is
freed from any restrictions"
This is a questionable ap-
praiSal. Prof. Smiths works
Of both types are admirably
composed and executed with
economy Of means, clean,
sure technique. and rich, re-
strained color schemes, with
predominant use Of yellows
and browns. But it seems to
me that the works which
vouchsafe a hint of reality
have an extra dimension Of
enjoyment.
The block paintings are
Prof. Smiths development of
the color relief block print.
They are single, unique i'm
pressionS made with NOV
able blocks and multiple (as
many as 100) printings,
which gives them exceptional
subtlety.
Evening star., 1960-03-20
Maryland Artists

Dorothy Leef and Mary
Elizabeth Snyder have a joint
exhibition OF 40 paintings at
the Gallery Coffee House,
32l3 o street, Georgetown,
through next Saturday.
(Open every day, noon to
midnight.) Mrs. Leef's COL
lection includes some excel
lent new water colors, rep
resentational but broadly
handled, fresh and colorful.
Among her best are Red
Roofs" in q landscape of
rolling hills; her deep-toned
woodland Greek" Potomac
Boats" and Stone House" !"
Mrs. Snyder shows mostly
oils, nonobjective compost
tons Of triangles, rhomboids
and other geometrical fig-
ures; a few heavily distorted
paintings such as Third
Avenue" and others (e.g.
"Stalactites") in which the
subjects are abstract in
effect.
Evening star., 1960-03-20
Waiter at Colony

William F. Walter, a WASH
ington artist by birth and
residence, has an excellent
one-man show at the Colony,
1887 DeSales street NV,
through March 81. His 18
paintings, mostly oils, DEM
onstrate his fair for colors,
tonal values, and beauty or
interest of subject. and have
an even level of quality,
based on his thorough educa-
ton in art, which started at
the Corcoran School.
During World War II, he
left the art department Of
The Evening Star to join the
staff Of the Camouflage Re-
search and Design Section Of
the Bureau of Ships and was
later sent to the Arctic to
paint that area. with special
attention to light conditions.
One of his Greenland paint
ings is in the Colony show.
Landscape and harbor
scenes in New England, to
which region Mr.. Walter be-
came attached during his
student days at famous art
schools in Rockport and
Cape Cod; Tidewater Vir-
ginia, where he has a sum-
mer home, and Washington
street scenes, complete a va
ried and satisfying show. 1t
is not surprising to learn
that he has received five first
awards in landscape, and
many seconds in both oil and
MO fornnINy
Evening star., 1960-03-20
Indoors and Out

Ruth Perkins Safford's
4Oth solo exhibition. which
will open this afternoon at
The Arts Club, 20l7 I street
NV, to remain through
April 8. impresses me as her
best to date. But such is the
level Of quality in her in
teriors, it is probably an il
lusion. with regard to this
latest collection Of Portraits
Without People" as The Star
Magazine called them in a
feature article about her
work in 1856. Her new in
teriors fill the club gallery's
walls.
Twenty or more land and
waterscapes which she calls
New England in Mist and
Sunshine" occupying the re-
ception rooms, are responsible
for this feeling that they are
her best yet" They capture
not only the appearance, but
also the mood and atmos-
phere. chiefly of Maine, where
Mrs. Stafford has long had a
summer home on Blue Hill
Bay. She has painted many
aspects of this beauty spot,
at different hours. Her water
is truly wet with convincing
reflections. her boats seem
like ghosts in the fog and
mist. or buoyant in bright
weather, and her colors range
from the muted tones Of
gray days to the full spectrum
CT sunny. She also has
painted Pumpkin Isle
Light" deep woods, small
farms and old houses. All of
these are done with trans
parent water color.
Gouache gives her interior
portraits" the richness of
oils. Many beautiful old
period rooms are included.
some still in the original
buildings, private homes and
house museums (such as the
Black House, Ellsworth,
Maine). Others, now in
corporated in art galleries,
include several in our Nat
ural History Museum (illus-
trated above). Other famous
rooms in these gouaches in
clude several of the Isabella
Stewart Gardiner Museum,
Boston; the dining room in
the Hammond Harwood
House, Annapolis. and the
stair hall of our Decatur
House. COpen II to 5 daily.l
Evening star., 1960-03-20
Schwartz Third

Bella Schwartz third solo
exhibition at The Studio
Gallery, 814 Prince street.
Alexandria, continues through
next Saturday. (Open today,
2 to 6; tomorrow on, 2 to 81
Miss Schwartz is a nom
objective painter who studied
at American University. In
a comprehensive statement
about her works, she said in
part that they are con-
cerned primarily with subtle
nuances of color" and that
she prefers Ito explore in
tensity rather than surface
movement"
Evening star., 1960-03-20
First Smith Solo

Charles Smith. one Of the
United States outstanding
innovators in the graphic
arts and chairman of the
art department at the Uni
versity of Virginia, is having
his first Washington one-man
show at George Washington
University Library, 2023 G
street NV. through next
Wednesday. He has been in
Evening star., 1960-03-20

are actually a mould and its
negative, the concave and
convex areas being the oppo-
site in each shell. One is
painted alternately orange
and blue. Sea Pod" and
several kindred cylindrical
footed sculptures with relief
patterns suggest the inf1u-
ence of ancient Chinese rit.
ual vessels. This collection
will be sent on a national
circuit next autumn.
Evening star., 1960-03-20
Notice to Artists

The second annual art ex-
hibition will be held at st.
Louis School, Groveton, Alex
andria, March 26 and 81. Art
with religious themes, by
professional artists, will be
shown under sponsorship of
the st. Louis Council Of
Catholic Women. Further in
formation can be obtained
by calling Mrs. Coon, so. s.
6768, or Mrs. OStrowSki,
so. 8-9038.
Evening star., 1960-03-20
FRIDAY

FRIDAY MORNING MUSIC CLUB. John
Wesley Powell Auditorium, 1880
am. Patricia Cochran, violin: Mimi
Nichols. violin: Sara BOstWick,
Ann StabiIe, soprano: Michael Cor
doyana, piano Sonata No. 4 for
Two Viollns. Handel: Ballade in F
minor, Chopin: Mephisto Waltz,
LisZt: Nuts d'Ete, BerlioZ.
STRING QUARTET. L.
brAry OF Congress, $50 pm. Re-
peating Thursday evenings program.
LOUIS POTTER. JR.. cello; Louis Pet
S:ib pm. ProrraIn inciudinR Sonata
In q. Bach: Sonata in p. Opus 90.
Brahms.
Evening star., 1960-03-20
ART NEWS OF THE D. c. AREA
Important Exhibition
At ObeIisk Gallery
By FLORENCE 8. BERGMAN
Star Art Critic

Sculptures paintings and drawings by masters Of the
past century and contemporary artists at the Obesk
Gallery 3241 street NV, through next Sunday. The
sculptures the shows major part Among
appealing little bronze head by Degas bronze figures
Of cardinals by Giacomo Manu- nearly years apart
Evening star., 1960-03-20
MUSIC
PROGRAMS
TODAY

4ODA4
VIENNA ON PARADE. Constitution
AMERICAN MUSIC FESTIVAL. Music
Auditorium, Catholic University, 8
PM
AMERICAN UNIVERSITY oRcHEs-
IRA. George Steiner, conductor.
1.Tts nEs S.1 assr' ;oSrs5a Dm sSSlss MAJ
Boyet; Legend for Flute. Clarinet
Tubby Hook fof Voice and Chamber
Orchestra, Emery: Mountain Lake
spier; For Pour. Woodwinds and
French Horn, Howe; sinfonietta.
1859, Victor.
WASHINGTON MUSICAL INSTITUTE.
Graduate School and college Recital,
pm.
MARGARET PENNEKAMP, mezzo-
SOPRANO; Gordon Barnes, baritone:
Rhea Winters, piano. Barker Hall,
YWcA, 4 pm. Music of Verdi.
Brahms, Strauss, Ives, Barber, Duke,
Borodin.
FRIDAY MORNING MUSIC CLUB
STUDENT RECITAL. John Wesley
Powell Auditorium, pm.
JOANN FREEMAN, piano. National
asiS HiHOr, o. searlasti; AIt H4 Sonata s0a IN B.
latti; DaVidsbundlertanze,6 6chumann:
Sonata for Piano, No. /, Gould; So
nata No. 3, Opus 40, Kabalevsky.
TOMORROW
RUTH MECKLER, piano. Phillips CAL
% Minor siSS pn Bach rFSlIGs PfsGs. 1HS sSd sS:
In I, Bach; Sonata No. rs, Opus
Mutt. Ravel; Sonata Opus 26, Barber.
TUESDAY
NATIONAL SYMPHONY ORCHESTRA.
Howard Mitchell, conductor. Con:
stitution Hal; $3.50 Pm; AoTSLd
GaSfshlt'r Gabrishi T. iSSir bsam. k0dsis: chOfo:
No. 10, Villa-Lobos; symphony No. y
in z nat. Beethoven.
ELFRIEDE BANZHAF, sopranos; Der
othy Radde Emery, piano. Parker
Hall: SIP PIP sSngs BY n.oHs!t Mo5sst'
man. Mcdowell. Ives. Crimes, RoDyn.
WEDNESDAY
NATIONAL SYMPHONY ORCHESTRA,
Howard Mitchell, conductor. Con.
stitution Hall, $3.50 pm: Howard
University Choir. Repeating Tues
day evenings program.
THURSDAY
MARIO MIRANDA. piano. Pan Ameri-
can Union' $3.50 pm. AndAnte con
sonsta soihals0hS i3 C1 nat. seauSeft: S s sohsti
Opus /, Berg; Rusties, Salas: Isle
Chopin; Baliade in r minor Opus
BUDAPEST STRING QUARTET: joseph
| ROiSman and Alexander Schneider,
violins; Boris KrOyt,, viola: Miseha
Sress. $50 pm. Ail-Bsethoven pro
eSsR eSpHs ls ust' sU l. auaitss uas's' n mInoF Il
Opus 1872.
UNIVERSITY. ORCHESTRA, joel Bsr.
Auditorium, UniverSlty. Of MARYLAND.
8 pm. Works By Gabrieli. Nivaldi.
Mozart. schumann' BeEgsma' kooalS'
UNITED STATES MARINE BAND, Ii.
Col. Albert sehoepper, eondueting
Department OF Commerce Auoitorium,
SIS pm. soloiSts: David Gilbert,
nute: William Jones, baritons. Fan
fare for the Common Man, COPELAND;
lie Maschere, MaScagni: AndaluciA.
Lecuona; Coneerttno. ChAminaoe;
Cole Porter Medley, Jolly; FaekeltanE
No. !, Meyerbeer: Pageant, Persi-
Vonic Rhapsody No. /. Friedemann.
NATIONAL SYMPHONY ORCHESTRA,
Howard Mitchell, conductor: George
town Glee Club, Paul Hume, director.
McDonough Gymnasium, GeorsetoWn
University, 500 pm; Roman Car
No 4. Dyorak: Let Us Now Praise
Famous Men. Williams: Magnifieat,
Charpentier: Landsighting. Grieg:
son; Hallelujah Amen, Handel.
Evening star., 1960-03-20
DISCAPSULES
Current offerings:

Current offerings:
BEETHOVEN sonatas in c
and F minor and rondos in c
and G.; Andor Foldes, piano
(DeutSche Gram m o p h On
DGM t2O2D. Capable play
ing and flrst-clasS sound. The
two rondos have more novelty
value than either sonata
(W aldstein and Appas-
sionata).
BEETHOVEN symphonies
in C and D; Paray. Detroit
Symphony Mercury MIG
50205. Vigorous readings of
the first two of the Bonn
masters nine. Monophoni-
cally, at least, M. Paray has
formidable petition,
though (e.g., Tosconini, Wal
ter, Klemperer).
Evening star., 1960-03-20
TURNTABLE TALK
Opportunity Beckons
Toward Dusty Operas

or lack Of professional pop
ularity.
The Cetra catalog, aug
menting others, has served
Verdi with a lavish hand.
But there are scores-doubt-
less hundreds -ef Italian
operas by other composers
known to non-Italians, at
any rate, by isolated ariaS
or duets or overtures, If at
all. This goes for the great
bulk by even such we'll
known figures as Rossini and
Donizetti. Who hereabouts
knows Rossini's Otello, for
instance. or Donizetti's
Faust?
Gallo Offerings
Bizet's Fair Maid of Perth
would make an interesting
foil to Carmen. And it also
would be Of interest to make
the full acquaintance of Am
broise Thomas Hamlet, and
Meyerbeer's L'Africaine and
Les Huguenots, and Halevy's
La Juive, and Charpentier's
Medee, among the Gallo
items now represented in the
disc catalogues only by ex-
tracts. not to mention others
not represented at all.
Gluck's Armide and Iphi-
genie en- Tauride ought to be
given some aural substance,
as should certainly Weber's
Euryanthe, perhaps as COM
panion to a flrst-class Oberon.
Wagner's Rienzi also could be
elevated from the overture
class. And how come the cat
alogue contains no complete
Elektra, or Strauss phono-
graphically ignored Feuer-
snot. Die aegytische Helena,
Die schweigsame Frau and
the 1888 Daphne?
All this is simply meant
to suggest that, quite apart
from meeting the substantial
needs Of stereo. there is plenty
of opportunity beckoning to
keep the recorded opera
makers busy.
a
Evening star., 1960-03-20

which have great dignity, the
earlier more lifelike, the later
more monumental in concep-
ton: and Marcello Masche-
rini's Man and Dog" styl-
lied. pleasing naturalism.
Rodin and Matisse are rep
resented with sculptures,
paintings and drawings. Ro-
din's water color of a high
kicking nude dancer is lively.
Matisses' little oil Port de
Marseille." is naturalistic in
form and color, whereas his
small bronze Tortured"
made is years earlier, is more
experimental, a rough i'm
pressionistic sketch.
Two of the shows gems are
Renoir's lovely little oil Re
clining Nude" and his pastel
monotype "Bathers," obvi-
ously a study for the WELL
known painting, but complete
in itself.
Onyx Pigeon
The outstanding abstract
sculpture (to mel is the beau
tiful curved white onyx form
pigeon" Saul Baizerman's
small head and torso. both Of
hammered copper, are beauti-
full in conception, the forms
half emerged from the ma
terial.
Three bronzes by Bernard
Reder suggest semiabstract
Rogers groups. They make
one wonder why he received
q $4,000 Ford Foundation
grant last month to devote
k{ySa eaIf 20 hic rx,nNL
Evening star., 1960-03-20
WEDNESDAY

SYMPHONY ORCHESTRA,
Howard Mitchell, conductor. Con;
University Choir. Repeating Tues
day evenings program.
Arizona tribune., 1960-06-17
Candidate

CHARLES N. Roman, Scots
dale attorney announced his
candidacy for Maricopa Coun-
ty Attorney in the forthcoming
Democratic primary.
Romans platform will en-
phasize two planks:
1. A speed-up in the ad-
ministration of justice;
2. A showdown in the high
way accident death toll.
"Justice delayed is justice
denied" Roman, a former
deputy county attorney 1885,
56), said in noting "the
county prosecutors office
consumes considerable of the
courts trial time.
"Needed is all-out cooper
alton with judges. attorneys.
bar associations and other
sources concerned with expe-
diting administration OF JUS
tice. If elected, l pledge
myself to that end"
Arizona tribune., 1960-06-17
EIks Corner

CharleSetta McClammy is
enrolled at business college
this spring. Don't forget to
congratulate our executive
secretary Kermit eagle for
winning the top western post
in Elkdom as the president
of the Pacific States Assn.
Arizona tribune., 1960-06-17
Want
ADS
OPEN TO PUBLIC
DAMAGED FREIGHT
WAT pEAOIICE

Must sell this group regardless
Of loss. This incl. furniture plus
appliances, stove, refrie., wosh-
er-dryer comb, TV, stereo hi-fi,
9 pc. living room, II pc. bedrm.
dinette set. bunk beds. ictures,
lomps, rugs, radio, dishes-other
misc. items. Full price $263.75
Terms are available VI small
down. Will extend credit to
out Of stote folks.
CAN BE SEEN AT
DAMAGED FRT. WAREHOUSE
1850 W. JACKSON