What Sotheby’s called “the Schellinger-Hendrickson Very Fine and Rare Clock,” a tall-case beauty made by the East Hampton craftsman Nathaniel Dominy IV in 1780, was sold Saturday afternoon at the auction house’s Manhattan headquarters for $24,000 to an unknown buyer bidding by telephone.

Two astute collectors of Dominy furniture and clocks, Glenn Purcell and Charles Keller of East Hampton, sat in the room for hours waiting for the clock, which had a presale estimate of $30,000 to $50,000, to come up. It was knocked down in less than a minute, Mr. Purcell said.

“It opened at $19K,” he texted afterward. “I didn’t even raise my paddle as it jumped to $22K, then in a second to $24K. With Sotheby’s premium fees of 25 percent [the surcharge an auction house attaches to sales], plus New York State tax, it exceeded what we were willing to spend.”

According to the provenance provided by Sotheby’s, the walnut clock descended through the Schellinger family to Hattie Woodhull Schellinger, who sold it on May 29, 1939, to a Lumber Lane, Bridgehampton, neighbor, Howard F. Hendrickson, “for a sum of $150, plus $50 to be paid in milk and eggs.” Saturday’s successful bidder received, along with his or her purchase, a letter written by the late Mr. Hendrickson, describing the clock’s history as told to him by Hattie — and therein, as will be seen, lies a complication. 

Mr. Hendrickson’s letter reads as follows:

The history of my Telltale Alarm repeater clock made in East Hampton by Nathaniel Dominy in 1780 is as follows. This was told to me by Miss Hattie Schellinger from whom I bought the timepiece. Miss Schellinger was in her 91st year when this was related, on October 13, 1939.

Sylvester Schellinger is a native of Amagansett, the grandfather of Miss Hattie. He moved to Setauket, L.I. and taught school there for years. The journey no doubt was mostly by boat. This clock included. Sylvester died in Setauket 1839 and of his family there was but a 14 year old son, George Woodhull Schellinger, who was sent back to Amagansett to live with relatives. The teacher’s belongings and clock were shipped from Port Jefferson to Greenport by railroad, and because the crated clock had some appearance of a coffin the railroad demanded the crate to be opened. From Greenport the things were shipped by boat back to Amagansett.

George married in 1847 and became the father of Miss Hattie Schellinger. George left for the gold fields of California in 1849, later returned home poor and died of a fever contracted when in California. (“When [George’s] wife opened the door, he said, ‘Juliette, I’ve come home to die,’ “ according to Jeannette Edwards Rattray’s book of East Hampton genealogy.)

George’s widow (Miss Hattie’s mother) married Jacob Strong [in] 1855 and with clock and household moved by boat from Amagansett to East Marion. Later this family and clock moved again by boat from East Marion to North Sea, Southampton. At the close of the Civil War [in] 1864 Jacob Strong and family, Miss Hattie Schellinger, moved by wagon to Bridgehampton and lived out their lives at the corner of Lumber Lane. After Miss Hattie’s death, I had the case and works repaired and brought to my home. Miss Hattie retained the clock during her life. Jacob Strong had no children.

Howard F. Hendrickson.

P.S. Before radio, Miss Hattie Schellinger in order to tell time, because she was blind, would stand on stool, open glass door of clock, and, feeling hands, get the time of day. H.F.H.

Why did this rare Dominy clock, described by Charles Hummel in his definitive book “With Hammer in Hand: The Dominy Craftsmen of East Hampton, Long Island” as “probably the first example of the clockmaker’s elaborate work to survive,” though “unfortunately not recorded in Dominy manuscripts,” attract so few bidders and sell for so much less than its low estimate — especially since the last auction of a Dominy long-case, at Sotheby’s in January 2012, fetched, surcharge included, $110,500? 

Because Mr. Hummel denies that Saturday’s clock is the clock referred to in the Hendrickson letter.

“It is definitely not the same clock,” he said a  few hours before the sale began. “The letter refers to a simple one-stroke clock later made for Isaac Schellinger in 1787,” while “this clock auctioned was the first complex mechanism Nathaniel Dominy made.”

“ ‘Old Hattie’ was 91 when she talked to Howard Hendrickson about the clock,” Mr. Hummel noted, suggesting that her account ought not be taken for gospel. “She confused her family genealogy,” he said flatly. “This clock is not what she’s describing.” Instead, he said, “There is an excellent chance” it was made for one Elnathan Parsons of Fireplace and did not come into possession of the Schellinger family until 1867, when a grandson of Elnathan married a Schellinger. 

In Amagansett in 1954 or ’55, Mr. Hummel said, he had seen the very clock that Mr. Hendrickson was said to have bought in 1939. “I talked with a much younger Hattie Schellinger in her Amagansett home . . . she said the clock was always in the Schellinger family.” Not long after that conversation, Mr. Hummel wrote about the clock in “Hammer in Hand”: “Walnut, a more expensive wood than that found in most of the other Dominy clocks, was chosen for the case. . . . All of the pewter dials used for the best clocks have engraved Roman numerals to mark the hours and Arabic numerals to denote minutes.”

Mr. Hummel believes that “young Hattie” sold the clock she showed him later on, to Howard Hendrickson. Is it possible that as the years passed Mr. Hendrickson acquired not one but two Dominy clocks — one made in 1780, the other in 1787 — each of them from a Hattie Schellinger, and confused the two in his letter?

Whatever the case, it seems clear that the uncertainty as to provenance, compounded by the clock at auction having been refinished and its original weights replaced, alarmed prospective purchasers. 

“We always want to know for sure,” Mr. Purcell said. “We would have gone gangbusters for this if we had known for sure who it was made for. With a clean-cut provenance and condition, the sky’s the limit.” 

Mr. Purcell and Mr. Keller, who own two listed Dominy clocks, have worked closely with Mr. Hummel in the past, and the expert’s opinion “played a heavy role” in their decision not to raise the bid, Mr. Keller said. “He’s the boss,” he said. “He’s on a pedestal for us. What he says goes.”

“I am hoping someone in the Schellinger family bought it, but we know some of them and they were not in the room,” said Mr. Purcell. “I hope it’s at least somewhere on the East End.”

New at Malia Mills

The Winter Salon Series at Malia Mills, a pop-up gallery in the clothing purveyor’s Main Street, East Hampton, space, will open a new group exhibition with a reception Saturday from 6 to 8 p.m. Organized by Folioeast’s Coco Myers and Kay Gibson, the show will run through Feb. 12.

Mary Ellen Bartley will show works from her folded series of book edges, and Carolyn Conrad will be represented by large-format house pieces. Roisin Bateman’s recent paintings continue her exploration of subtle bands of color and line, while Dan Welden’s large prints shimmer with vibrant bursts of color. 

Gallery hours are Saturday and Sunday, 11 a.m. to 5 p.m., and by appointment by calling 917-592-8033.

Abstraction at Halsey Mckay

“Flat Fix,” an exhibition of work by 18 artists organized by Ryan Steadman, is on view, by appointment only, at the Halsey McKay Gallery in East Hampton through Feb. 21.

The works in the show reflect the development of abstract painting to the point at which industrial and household materials — among them plastic, rubber, vinyl, and printing ink — are incorporated into artworks. The title reflects the way in which such materials finish, enhance, or improve the flat painted surfaces.

African-American Artists

The Grenning Gallery in Sag Harbor will open “Expanding Tradition: The Journey of the African-American Artist” with a reception Saturday from 5:30 to 7 p.m. The show, which celebrates Black History Month, will run through March 5.

Organized with Andreé MiChelle,  a writer from Sag Harbor, the exhibition features the work of seven emerging and midcareer artists who have mastered the classical techniques championed by the gallery over the past 20 years.

The show will include work by Mario Robinson, George Morton, Philip Smallwood, Jas Knight, Roger Beckles, James Hoston, and Irvin Rodriguez. The gallery will host a book signing on Feb. 18 for Ms. MiChelle’s new book, “Escape Under Cover: The Ola Mae Story,” a young-adult novel set during the time of the Underground Railroad.

Victoria Munroe Opens

In Manhattan

Victoria Munroe, an art dealer who opened galleries in New York City and Boston before launching the Drawing Room in East Hampton with Emily Goldstein in 2004, has opened Victoria Munroe Fine Art on Manhattan’s Upper East Side. 

The gallery will present exhibitions of modern and contemporary art, often juxtaposed with historical works on paper. The next show, which will open Wednesday and continue through April 1, will feature sculpture by Costantino Nivola and paintings on paper by Antonio Asis. 

Works by both artists have been exhibited at the Drawing Room, which is open by appointment only through March.

Jeff Muhs in Chelsea

“Supernature,” an exhibition of paintings by Jeff Muhs, will open today at the Lyons Wier Gallery in Chelsea and continue through Feb. 25. A reception will be held tonight from 6 to 8.

Mr. Muhs, a painter, sculptor, and designer who lives in Southampton, will show layered works that begin with the application of black oil paint over a prepared surface. He then applies opaque areas of color to the canvas, creating a push and pull between background and foreground and a dialogue between dense areas of color and churning areas of black and white.

Stacked Images in Sag

The John Jermain Memorial Library in Sag Harbor will present “Transasia Stacks,” a show of photographs by Gerald Pryor, from Tuesday through Feb. 28, with a reception set for Feb. 11 from 3 to 5 p.m. 

According to the photographer, who has owned a house in Sag Harbor since 1986 and has visited China annually since then, “Stacks are two to three still photographic images placed on top of each other. At times they are distinct, at times they blur and merge.” The stacked photographs from Sag Harbor and China result in images that transcend both locations.

“50 Shades of White”

The Art Gallery at the Quogue Library is presenting “50 Shades of White,” a juried photography show that celebrates the beauty of white in all its permutations. On view through Feb. 26, the photographs, by 23 East End photographers, will be judged by Neil Watson, director of the Long Island Museum and formerly director of the Katonah Museum of Art in Westchester County. Prizewinners will be announced at a reception on Saturday from 3 to 4:30 p.m.

The Met: Live in HD will present an encore screening of Verdi’s “Nabucco,” with Placido Domingo in the title role, at Guild Hall on Saturday at 1 p.m. 

Mr. Domingo, who brings another new baritone role to the Met under the baton of his longtime collaborator, James Levine, is joined by Liudmyla Mona­styrska as Abigaille, Jamie Barton as Fenena, and Dmitri Belosselskiy as the stentorian voice of the Hebrew people.

Tickets are $22, $20 for members, $15 for students. The screening has been rescheduled from Jan. 7, when it was cancelled due to a snowstorm, and tickets for that screening will be honored on Saturday. Those unable to attend the encore can request a refund at [email protected].

Bay Street Theater in Sag Harbor will hold tribute concerts at 8 p.m. tomorrow and Saturday to mark the 50th anniversary of the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band” album.

The entire album will be performed each night from start to finish by a stellar group of local musicians, including Joe Lauro and Michael Schiano (HooDoo Loungers), Dan Koontz (Mama Lee Rose and Friends, Nancy Atlas, HooDoo Loungers), Howard Silverman (NYRMA), Fred Gilde (Mama Lee Rose), Jeff Levitt (White Collar Crime), and Mick Hargreaves (Joe Delia and Thieves). Horn and string players will join them.

Tickets are $30 in advance, $40 the day of the show.

A number of South Fork cultural and arts organizations are among 1,230 recipients of some $41 million in state support for visual, performing, literary, and media arts, according to an announcement from Assemblyman Fred W. Thiele Jr. of Sag Harbor.

South Fork recipients are Bay Street Theater, the Bridgehampton Chamber Music Association, the Children’s Museum of the East End, Friends of the Cultural Center in Southampton, Guild Hall, the Hamptons International Film Festival, the Montauk Chamber Music Society, and the Parrish Art Museum

A shot of rhythm and blues — and rock ’n’ roll, and maybe some folk and jazz to boot — may be the cure for cabin fever as South Fork residents settle into winter. Tomorrow at 8 p.m., the first of three “Legends of Rock” films, assembled by Joe Lauro of Historic Films Archive, will be screened at Bay Street Theater in Sag Harbor. 

Historic Films Archive, which is based in Greenport, owns some 50,000 clips and acquires more all the time, said Mr. Lauro, who will host each screening. Armed with such a collection and an equally expansive passion for music, he is preparing a film showcasing rare footage of familiar artists, such as a clip of Joni Mitchell in a solo performance that aired on television exactly once, in 1969. 

“We always have familiar people that everyone really likes,” Mr. Lauro said. “The thing is, there’s so much, and usually people only get to see things that are presented in documentaries, and you get only part of the song. Then, there are films made through the years that don’t get seen often. When you pick and choose to put together a program, some of it might be familiar, and some might not.” 

Tomorrow, music fans can also expect to see and hear artists including the Doors, the Grateful Dead, Janis Joplin, the Rolling Stones, the Ike and Tina Turner Revue, and the Staples Singers. The film, which as he spoke he hadn’t finished editing, may also feature Dick Dale, “who people love out here, being one of the first and most influential surf guitarists.” 

Last year saw the death of an inordinate number of musicians and singers, and tomorrow’s film will include a tribute to some of them, such as Leon Russell, Paul Kantner in a Jefferson Airplane performance shot by D.A. Pennebaker, and Glenn Fry, shown in performance with the Eagles on “Don Kirshner’s Rock Concert” in the early 1970s. 

“I have some great, rare Leonard Cohen material,” Mr. Lauro said. “If it isn’t in this show, I’m sure I’ll get it into the next one.” 

The second and third editions of this winter’s “Legends of Rock” series will be screened on Feb. 10 and March 10. “There’s a surprise in every one,” Mr. Lauro said. “And we go a little beyond rock ‘n’ roll: There will be some folk, some jazz, some rhythm and blues. It’s just great music, man.” 

And just the jolt of energy to awaken a sleepy January night. 

Tickets to “Legends of Rock,” tomorrow at 8 p.m. at Bay Street Theater, are $15 and available at baystreet.org or by calling the box office at 631-725-9500.

It has become trite and almost insulting to revel in the quality of the Hampton Theatre Company’s productions, which are clearly some of the finest community theater around, here or anywhere. After years of well-received presentations and full houses, it would be better to take it as a given that whatever the group tackles will be handled with deftness and polish.

The company’s latest play, “4000 Miles,” matches Amy Herzog’s Pulitzer-nominated and Obie-winning text with the versatile acting chops of some of the company’s regulars and with Samantha Herrera’s first HTC appearance.

It is Sarah Hunnewell’s direction and the acting of the four principals, in a well-designed set that never changes, which creates the chemistry that brings this dramatic comedy alive and draws us in. It is the award-winning writing that stays with us on the drive home.

The play opens with the 3 a.m. arrival of Leo at his grandmother Vera’s Greenwich Village apartment. She is hard of hearing and doesn’t have her teeth in yet. It’s clear he hasn’t called ahead to announce his arrival after a cross-country bicycle trip.

She is startled, but warm nonetheless. Not quite doting, and not quite encouraging to him to stay, she still seems fine with the possibilities this situation presents. After commanding him to take a shower, she sets him up in the guest bedroom, and it’s immediately apparent that he will stay, at least long enough to let his and her story unfold.

It is quickly revealed that Leo has been out of touch with his friends and family, a significant anomaly in the setting of 2007, the year Apple released its first smartphone. Vera tells him his mother is looking for him. We also learn that his girlfriend, Bec, who attends college in the city, was not happy to see him when he visited her earlier that night.

We gradually discover that Leo has experienced a great tragedy as he made his way across the country, one that left him determined to finish the journey but aimless now that it is over. He needs to regain some measure of routine and purpose in his life, which becomes the leitmotif of the play, along with the significance of family. There is also a vague Marxist subtext.

Ben Schnickel and Diana Marbury, who play Leo and Vera, telegraph a prickly but sympathetic relationship. They turn out not to be relatives in the strict sense, but family members in the best sense. Amanda Griemsmann, who plays Bec, has a small and somewhat thankless role, but manages to make her performance memorable and critical in the mix of relationships and events that push Leo forward. Ms. Herrera seems to be having the most fun of all with her portrayal of Amanda, a mercurial and quirky art student whom Leo brings to the apartment for a fling.

Sean Marbury’s set delivers exactly what one would expect in a nonagenarian’s rent-controlled West Village flat. Painted a faded bilious green, it has the well-tended but worn look of grandmas’ houses everywhere. The rotary wall phone is a brilliant touch, particularly when Vera dials a number. Clearly, we have stepped into an environment that technology has ignored or left behind.

The lighting design, by Sebastian Paczynski, not only helps set the emotional tone of the play but functions almost as another character, and Teresa Lebrun’s costume designs are adroit in rounding out the actors’ identities. The fancy black ensembles Vera dons for funerals speak to the stylishness that never leaves some city women, even if they are 90, widows of Marxists, or old lefties themselves. Bec immediately reads as both student and outdoorsy, and Amanda looks pulled straight from the nightclub where Leo obviously found her.

It’s always unnerving to be told before a play begins that there will be no intermission, particularly when it runs close to two hours. As a friend of mine likes to say, it’s because the presenters are afraid they will lose everyone at the break. That is not the case here. Although there is an obvious break in the text, the play builds on the emotional intimacy and understanding between grandmother and grandson, and an interruption might sever the emerging threads that connect them to each other. That would be unfortunate in such a layered and poignant story.

“4000 Miles” will continue at the Quogue Community Hall through Jan. 29, with performances Thursdays through Sundays. Tickets are $30 with discounts for students, adults 65 and older, and those under 35, and are available through the Hampton Theatre Company website.

The sculptor Paul Pavia grew up surrounded by art. His father, Philip Pavia, was a sculptor, and his mother, Natalie Edgar, is a painter. Starting in 1986 when he was 15 years old, their son spent 12 summers in Pietrasanta, Italy, a Tuscan town that has drawn artists for centuries to its marble studios and foundries. He learned figurative sculpture and helped his father, who taught carving there. He also earned a three-month internship at the Peggy Guggenheim Collection in Venice, after which he enrolled in the State University at Binghamton.

“By the time I went to college I didn’t want to study art anymore,” Mr. Pavia said during a recent visit to his Springs studio. “I had had too much of it, and I didn’t want to waste the tuition studying something I already knew. I wanted to try something different, so I majored in philosophy.”

While he didn’t opt for a B.F.A., he did become a teaching assistant in a sculpture class and spent a lot of time in the studio. “They had a great facility. They even had a foundry, which is pretty serious hardware. I learned how to weld there. I didn’t like mold-making and casting because there are too many processes, but I liked welding because it was immediate, and if I messed up, I could fix it.”

The two strains — the assembly of pieces of material into objects and philosophy, especially existentialism — have informed his work ever since. On the material side, he abandoned steel for bronze early on. “Steel rusts,” he said. “You have to use a blowtorch to cut it, and eventually it’s going to decay. I liked bronze because you could patina it. The change was around 2000. I had a job in the city so I could afford to buy bronze, which was cheap then.”

He would cut up the bronze plates, which came in 3-by-4-foot or 3-by-8-foot sheets, put the pieces together, and treat the surface with acid to create different patinas. “I never met anybody who actually cut it up and used it as a collage element,” he said. 

As bronze became more expensive, Mr. Pavia began to explore other materials, including wood.

“I used to make fun of woodworkers, but I had a whole surplus of Honduras mahogany, so I figured I might as well use it. Eventually it brought something else to my work, and I began to mix some metal with the wood.” The body of his work shows a feel for materials — in addition to wood, he works mostly with marble, stainless steel, and bronze — and for putting them together.

Most of his pieces are small in size. “My dad believed in big stuff. That’s the difference between him and me. Actually, I like large work too, but I just can’t afford it.” However, his pieces have an intrinsic scale that belies their size. 

“I pattern my work on the enormous sculptures and symbols of the past —Stonehenge, Olmec heads, Easter Island,” and other monoliths. “But because I can’t always work in large size, I use space, volume, and scale to compensate. I want to establish a vast, enigmatic landscape that expands from the sculpture. The simple, geometric monoliths have the illusion of being solitary and alive.” He also feels a connection to the static piazzas in some of de Chirico’s paintings, “where time is sort of halted.”

As for the role of existentialism in his work, “I became fascinated with the mind’s sense of self and its relationship to the fleeting, material world. Philosophical writings often describe this state of mind as isolating amid a daunting world. I personally have dealt with these feelings at one time or another, and my sculpture has reflected them, from college to the present. I want it to express mystery and uncertainty.”

Mr. Pavia’s house sits on a wooded lot on Squaw Road in Springs, but it didn’t always. It was originally built in Southold as a summer residence for the Pavia family. “Then they bought the land here,” he said, “and instead of building a house on this property, they moved it over by barge from the North Fork. It says something about our family. We’re a little bit eccentric.”

In 1979, when Paul was 8, he, his brother, Luigi, and his mother moved from New York City to the Springs house, where his father joined them on weekends. “It was around the time that Etan Patz was kidnapped. He wasn’t at my elementary school but at the one next to it, so my mom got scared about our safety.”

Mr. Pavia, who attended the Springs School and East Hampton High School, liked growing up in East Hampton. “I rode my BMX bike and my motocross through the woods, made some friends, and didn’t mind living here. Now I feel like such a foreigner in the city. It’s all coffee shops and Chase banks and condos shooting up all over the place.”

He lives alone, shuttling between the house and the former garage that serves as his equipment-filled studio and a storage space for his work. “January and February can be a little difficult here. But I’m not really a social person. I just want to be in my studio, where I can weld and do the things I do. It’s a little bit like ‘Notes From the Underground’ here.”

Below, “Number Five,” 2013, welded bronze. 

New at Roman Fine Art

“Deconstructing Borders: The Flux of Dissent,” a solo exhibition of work by Elektra KB, will open at Roman Fine Art in East Hampton with a reception tomorrow evening from 6 to 8, and remain on view through Feb. 19. Born in Odessa, Ukraine, Elektra KB is a Colombian artist living in Berlin and New York who works in video, photography, sound, performance, and textiles. 

Informed by the current experience of migrant women from postcolonial societies, “Deconstructing Borders” addresses issues of migration, mobility, transculturality, and sense of place. To that end, the artist has created the “Theocratic Republic of Gaia,” a utopian-dystopian allegorical homeland populated only by women. 

As the child of a Russian mother and Colombian father who lives in neither country, she has said, “I don’t believe in nations or borders. I believe we should unite with what we have in common and what makes us communities.”

Large Works at Lehr

Janet Lehr Fine Arts in East Hampton will open “The Big Picture Group Show” with a reception on Saturday from 6 to 8 p.m. The exhibition, which will feature large works of art by modern and contemporary masters, will continue through Feb. 22.

Highlights include Bert Stern’s iconic double cross close-up of Marilyn Monroe, 12-foot canvases by Christopher Deeton, and a 78-foot oil by Wolf Kahn, as well as works by Gilbert and George, Larry Rivers, Robert Dash, and Man Ray, among others.

Award for Audrey Flack

Audrey Flack, a longtime resident of East Hampton, will receive the 2017 Lifetime Achievement Award from the Women’s Caucus for Art on Feb. 18 at the New York Institute of Technology in Manhattan.

The W.C.A., funded in 1972, is committed to recognizing women’s contribution to the arts, providing women with leadership opportunities and professional development, expanding their networking and exhibition opportunities, supporting local, national, and global art activism, and advocating for equity in the arts for all. 

The W.C.A. Lifetime Achievement Awards were first presented in 1979 in President Carter’s Oval Office. The other recipients of this year’s award are Mary Schmidt Campbell, Martha Rosler, and Charlene Teters.

The evening will begin with a ticketed cocktail reception from 6 to 7:30. The awards ceremony, which is free and open to the public, will take place from 8 to 9:30. Reception tickets are available from nationalwca.org.

Call to Artists

Karyn Mannix Contemporary and the White Room Gallery in Bridgehampton have put out a call for submissions to the 12th annual “Love and Passion” exhibition, which will be on view at the White Room from Feb. 10 through Feb. 12, with a reception set for Feb. 11 from 5 to 8 p.m.

All mediums, including performance and video, and all sizes are acceptable. The public will determine best in show, most thought-provoking, and most original. Artists may submit one to three works that address the theme of love and passion. The deadline for submissions is Tuesday. 

More information, including fees and specifications, can be found at karynmannixcontemporary.com.

The United States Consulate in Hong Kong is currently exhibiting two paintings by Eric Dever, who has a house in Bridgehampton. “NSIBTW-40” is an oil on canvas measuring 72 inches square; “NSIBTW-22” is an oil on linen of the same dimensions. 

Both paintings are from 2014. They are part of a decade-long series in which the artist has confined his palette to black, red, and white. “Over time, I have come to associate this palette with shifting qualities of weight, energy, and lightness,” Mr. Dever has said.

The works were chosen as part of the U.S. Department of State’s Art in Embassies cultural exchange program. Other East End artists who have been selected for the program include Eric Fischl, Julian Schnabel, Cindy Sherman, Paton Miller, and Hope Sandrow.