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sosuitglitter · 5 years

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PRICING OF ARTWORKS: AUCTION VERSUS EXHIBITION

Author: Dr. Stephen Achugwo, Ph.D. Painting, Ahmadu Bello University Zaria,

Artistic Splendor, Abuja Nigeria. Email: [email protected]

Abstract

When an artist is trying to sell his work through an exhibition or an auction, the selling price may end up being different from his intended price. In 2013, one of the four versions of Edvard Munch’s The Scream, a pastel on board painting, according to Vogel (2012), fetched $119.9 million at Sotheby’s auction in New York. In 2014, Ben Enwonwu's Princes of Mali, sold for $138,870 at Bonhams in Lagos, and El Anatsui’s Mask, sold for $78,375 at Arthouse (Castellote & Fagbule, 2015). El Anatsui’s works sell for millions of naira, yet works of another artist struggles to sell for thousands of naira. Auction and Exhibition play major roles in the pricing of works. Why does one work sell for ₦70,000, another for ₦500 million, and yet another for ₦17 billion? In establishing selling price for a work, is exhibition more beneficial to the artist than auction? Does the price of a work go higher in auction than exhibition? These inquiries would build and buttress the concentration of this paper. This paper uses a review of reports on marketing structures and operations of art auction and exhibition to discuss their impact on pricing of artworks. It also examines the certain benefits accruing to artists on either channel of distribution and sale of their artworks.

Keywords: Price, Artwork, Exhibition, Auction, Argument

Introduction

This review discusses the advantages and disadvantages of auction over exhibition, in relation to pricing of artworks. According to Wikipedia (2017), “An art auction or fine art auction is the sale of artworks, in most cases in an auction house”. In England this dates back to the latter part of the 17th century. At that moment the names of the auctioneers were mostly repressed. Prior to the date of an art auction, an auction catalogue, that lists the art works to be sold, is written and made available. An art auction is one of the most glamorous way of collecting art for many people. Some of the most famous auction houses are Christie's and Sotheby's, based in London and New York. The oldest auction house, according to Wikipedia (2017) is Stockholm Auction House (Stockholms Auktionsverk), which was established in Sweden in 1674. In Nigeria, the most prominent auction houses include Arthouse Contemporary, Bonhams, Sogol and TK.MG, all based in Lagos. Art auction is a new development in the sale of artworks in Nigeria. Castellote & Fagbule (2015) observes that Nigerian art auction is still at the ‘embryonic stage’. The history of art auction in Nigeria is barely two decades old. Onwuzulike (2015) opines that “The young history of art auction in Nigeria reveals its steady growth and appreciable impact in the visual art sector, locally and internationally.” He discovers that the first art auction in Nigeria, entitled Before the Hammer Falls, held in 1999 was organised by The Nimbus Art Gallery Lagos, run by Chike Nwagbogu. Onwuzulike (2015) narrates that “The auction was historically timed and the result was revolutionary in the history of art and art market in Nigeria. With the record sale of Bruce Onobrakpeya's Palm Wine Women for ₦2 million, the auction brought art to the front pages of the newspapers”. The first auction yielded a total of ₦22 million in sale of artworks.

Another prominent way that artists can market their artworks is through an Art Exhibition, show or fair. Wikipedia (2007) states that “An art exhibition is traditionally the space in which art objects (in the most general sense) meet an audience”. The exhibit of artworks lasts for some temporary period unless, if it is a permanent exhibition, as in the case of Art Museums. Art exhibition may present pictures, drawings, video, sound, installation, performance, interactive art, new media art or sculptures by individual artists, groups of artists or collections of a specific form of art. The works of art might be exhibited in historical centres, museums, art halls, art clubs or private art galleries, or at some place, the chief business of which is not the show or offer of artwork, for example, a cafe. An art exhibition can likewise be organized out on a particular event, including a birthday, commemoration, remembrance, festival, celebration or jubilee. Any of these occasions offers the artists great chance to deal their artworks.

Whether a work of art is going to be exhibited or auctioned, the artists and dealers make so much efforts in establishing a price for a particular work. The efficiency of these basic marketing structures is a key determinant of the cost of creating and distributing works of art. There are artists who are creating works for academic purposes, yet some are producing works as hobby or for emotional, religious or spiritual purposes. But the artist who must earn a living for their creative endeavours, must be vast in their marketing strategies. They should acquaint themselves with exhibiting skills as well as regularly exhibiting their works.

This writing dwells on the benefits accruing to professional artists in selling their artworks through exhibition at galleries, trade fair and show booths, or auction at auction houses. Some of the major art galleries and museums across the world include Christy’s and Sotheby’s auction houses of London, Tate Gallery Britain, Museum of Modern Art (MoMA) of New York and the Louvre of Paris. In Africa, there are the Johannesburg Gallery, University of Johannesburg Commercial Gallery, the Goodman Gallery in Johannesburg, South Africa. ArtHouse and Signature Galleries in Lagos, the National Galleries of Art in Nigeria, among others. The auction system and major exhibitions are central in the determination of the incentives for artistic work.

Price of Artworks

The price of an artwork is the monetary or economic value of the work. For a coherent discourse about the advantages and disadvantages of auction over exhibition, it is very necessary to find out the factors that determine the price of artworks. Sometimes the artist, in collaboration with a gallery, decides on the price of his artwork. Kathleen (2014) observes that “There's no easy method of determining a value for a painting except perhaps going by market value, and still that's not an easy way to calculate”. Various possible reasons that can affect the price of artworks are enumerated as follows:

1. Authentication

The price of an artwork can be affected by authenticity. If the potential buyer is worried about the authenticity, he may place a low asking-price or decide not to buy the work. The process of authentication varies, depending on an art period. Contemporary art is the easiest to authenticate, especially if the artist is alive and working, and if the production of the work is documented. If this is not the case, documentation must be verified, as well as the artistic traits of the work itself. The most challenging cases of authentication involve a laboratory. This entails analysis, investigative research and material dating. The experts face the challenge of meeting a deadline to decide the authenticity of an artwork. Laboratory authentication can take several weeks to be completed. According to Art Expert (n.d.), “Our normal turnaround time for a full authentication report is two to four weeks”. Nowadays, many contemporary artists issue certificates of authenticity for their works, so obtaining it at the beginning is crucial, since forgeries are common.

2. Artist’s Name

Price of artworks of artists with big names may be exorbitant. A Jeff Koons’ work cannot sell for a small amount of money after the auctioning of the legendary Orange Balloon Dog for $58.4 Million at Christy’s in New York (Waxman, 2013). But the work of emerging artist cannot be valued exceptionally high. However, there are new rising artists in art market, who tend to contradict this notion. Oscar Murillo and David Ostrowski are good examples. Prices of their works have risen relatively quickly in the past few years, from widely affordable to exclusive (Kostov, 2017), but completely unexpected surprises don’t come around often in the market.

3. Fashionability of the Artist

Changes in fashion can affect price of artworks. Artists go in and out of fashion, but there are broader shifts in taste that affect the market. Forty years ago the highest prices were achieved by Old Masters. Today a lot of glamour and demand is focused on Modern and Contemporary art. Even ten years ago the highest auction price for Francis Bacon stood at $8.5m, but in November another Bacon’s work sold for $143 million (Vogel, 2014).

4. Importance of the Artist in History of Art

Artworks of ancient artists are highly priced. Some artists are legendary. Hook (2014) observes that “It is hard to imagine art history ever downgrading the importance of Rembrandt or Rubens, Leonardo or Raphael, Picasso or Matisse. They will always be valuable”. However, over the past few years, artists such as the Surrealists and the German Expressionists have become more expensive as their art historical importance has been re-affirmed. Art lovers are now appreciating the beauty of the works of art. Likewise, if an artist has just featured in a major exhibition, like the Tate, then that kind of high-profile exposure can also raise the price of his works.

5. Positive Romantic Baggage

The price of an artwork can be influenced by a back-story to an artist’s life. Such a story affects the appreciation of him and the works he produced. It is a romance made up of the glamour and myth of his artistic creation. Other positives in an artist’s life story include unhappy love-affairs, rebellious behaviour and even spells in jail. Reminiscing such remarkable difficult moments can also add value to the works of the artist.

6. A Desirable Phase in the Artist’s Development

The price of an artwork can be affected by periods of an artist’s career, which was more desirable. Hook (2014) finds that “Late Van Gogh is more expensive than his early work. A Renoir from the 1870s will be worth more than a late one. Any Picasso is desirable, but one from the early 1930s particularly so”.

7. Signature Artwork

The price of an artwork may be affected by unique characteristics of works of a particular artist that market prices highly recognize. For instance, after purchasing a Monet, one would obviously want his visitors to see the painting as Monet’s work. “Thus a painting showing water lilies or Rouen Cathedral will be more expensive than a less typical portrait or still life by the artist.” (Hook, 2014).

8. Condition of a work

The price of an artwork can be determined by the condition of the work. Having a Damien Hirst’s work does not mean that the work can be priced like another Damien Hirst’s work. The condition is important whether it is a painting or a drawing, an original, or an edition. Irrespective of the medium, condition is the first thing that is assessed. The assessment takes cognisance of the effects of retouch, restoration or any damage or change of the physical integrity. Works of art suffer and age over time, some more than others. Like human beings, some are subjected to cosmetic surgery, through restoration. Where this has been too extensive, the price of the painting will be affected.

9. Wall-power

The price of an artwork can be influenced by wall-power. Wall-power include such factors as composition, colour, and emotional power. Thus, blue and red, tend to be good news for most people. Hook (2014) posits that "Surpassing artistic quality (difficult to define, but you know it when you see it) is always reflected positively in the price a work of art realizes, sometimes by an astonishing margin.” A good example of an artist’s work may fetch 400,000; but with such effects as Wall-power, it could make 1,000.000.

10. Subject of the Artwork

The price of an artwork can be determined by the subject. Some subjects are more desirable than others: portraits of pretty women will always sell better than those of gloomy old men. Sunny landscapes are more attractive than dark ones, and calm seas are preferable to rough ones. Animals and birds are generally preferably being depicted alive, because most people regard death in a painting as a bad news. The theme depicted can affect market. Nudes, sell well if the models are beautiful. On the other hand, nudes are not favourably received by most Islamic buyers.

11. Provenance

The price of an artwork can be affected by provenance. The history of the painting itself can make a difference to its value. Provenance refers to whose collection it has been in, where it has been exhibited and which dealers have handled it. (Hook, 2014). A Cezanne from the great Paul Mellon collection is worth more than the same painting with an unspecified provenance. Similarly, an El Anatsui’s work owned by a celebrity will worth more than another Anatsui’s work, which its provenance is unknown.

Advantages of Auction over Exhibition

The auction system and exhibition are essential in determining the incentives for works of art. Their effectiveness is a major determinant of the cost of creating and distributing artworks. However, Ashenfelter and Graddy (2003) finds that “The value of most important works of art is established by public auction, either directly, by an actual sale, or indirectly, by reference to other sales. How the auction system works is thus a critical determinant of how the public’s preferences are translated into the evaluation of artistic work”. The following are among the conditions that can affect the pricing of artworks in auction, which could be of significant benefit to the artists.

1. Seller request estimate

Price of an artwork can be established through seller request estimate. Agarwal, et al (2014) finds that “Estimates are given for all lots and can be based on prices recently paid at auction for comparable property”. Thus the auction house can estimate a price for a particular artwork going for auction based on the price reached on related works sold.

2. Subjective private value

Price of artworks in auction depends more on the subjective private value to the bidders than an objective common value. Sooke (2011) notes that the competition among bidders to acquire a particular artwork leads to increase in the price of the work.

3. Uniqueness, scarcity and genre differences

Price of artworks can be influenced by the uniqueness of each work, the scarcity of the work along with genre differences among the artists. Onuzulike (2015) finds that works of art that are unique and rare are valued higher at auction than those that are easily available.

4. Past value of an artist's work

Price level can be affected at the beginning of the auction by past value of an artist’s work. Ebay (2016) finds that “Artists who have been featured or discussed in various catalogues or books are likely to be well established. Pieces that are high priced usually come from a respected and well-established artist”. Castellote and Fagbule (2016) discovers that price level of works of some notable artists in Nigeria (El Anatsui, Ben Enwonwu, Yusuf Grillo, Kolade Oshinowo and Bruce Onobrakpeya) remain higher in Nigerian auction than similar works of other artists practicing in Nigerian.

5. Established artists

Price of artworks can be influenced by the reputation of the artist. Agarwal, et al (2014) find that “Established artist show a positive relationship with price at the beginning of an auction.” They observe that the rate of price change, when buyers are bidding for a work of an established artist, rises towards the end of the auctions. EBay (2016) stresses that “The price of artwork largely correlates to the reputation of the artist”.

Advantages of Exhibition over Auction

Exhibition is essential to an artist due to the following advantages: promotion, meeting other artists and industrial colleagues, inspiration and selling of works.

1. Promotion

It is necessary for artists to promote their works at exhibition as it provides opportunity for them to meet people and share with them what they do. Exhibition enables the artist and his work to become more popular and attract more clients. For upcoming artists, who are trying to establish themselves, exhibition is better and more cost effective way than auction. If an artist or his work is not known, he will not succeed (Fleskes, 2014). There is no better way to make an impact with another person than a face to face encounter. Shows will help make him better known. Promotion at events builds a growing awareness of him.

2. Meeting other artists and industrial colleagues in person

Having a booth at a show makes an artist accessible. It is a location where fans and industry people can find him and solicit commissions and artworks. He can pick up jobs at shows. An artist can receive calls a few months later from someone that met him at the show, who is following up a request. If the artist did not make money at a show, he might make it down the line. (Fleskes, 2014). This goes to show the advantages an artist enjoys from exhibiting.

3. Inspiration

Walking around a show and seeing what others are doing is an inspiration that can last for a long time in the memory of the artist. Most shows are networks of booth after booth of artists who paint, draw, sculpt, hand-craft and use technology to create several imageries. Variety of styles, materials and techniques broaden the artist’s creative mind. (Fleskes, 2014). The analysis of artworks displayed by other artists at show could help the artist resolve many technical issues concerning his work.

4. Selling of works

A show enables an artist to attract buyers who are looking to purchase artworks directly from him instead of buying from a dealer. It helps the artist to sell his artworks at the price he wants. A show aids an artist to know the kind of artworks that are in vogue. It acquaints him with the business of art with fresh ideas and sells strategies that are necessary in marketing his artworks.

Conclusion

In comparing auction and exhibition regarding price of artworks, the reputation or popularity of the artist plays a vital role. For emerging artists that are not well established, exhibition is a better way of getting better prices for their artworks than auction. For well established artists, auction is a better way of getting better prices for their artworks than exhibition. With public auction most valuable artworks are sold at the highest possible price. Sometimes the eventual price is more than the expected selling price. In a documentary of British Broadcasting Corporation (BBC) on art, Alastair Sooke found that price of artworks is very subjective. A renowned art dealer, Arne Glimcher in Sooke (2011) observes that: "The whole thing of art and money is ridiculous. The value of a painting at auction is not necessarily the value of a painting. It is the value of two people bidding against each other, because they really want the painting". They want the artwork desperately, not because of its beauty, but to enhance their social status. On the other hand, auction is a big disadvantage for emerging artists, as the rich people who come to bid are oftentimes seeking for works that were produced by legendary artists, most of whom are dead. Auction can destroy the business of the emerging artist, if his work did not get a bid. Auction houses prefer to avoid such artists than to reduce price. This sort of transaction can destroy the price of the artist’s work or even his career. Most emerging artists want to be successful in their art business. To attract bids and good price for their artworks, emerging artists need to do several exhibitions, some of which has to be mounted at high profile galleries or art fairs. Works of a Nigerian artist, Chris Ofili went from affordable to exclusive, immediately after his exhibition at the Tate Gallery London. Now his works can sell for high price in most auction houses.

References

Agarwal, B., Ali, F., P Kolli, P., & X Yang, X. (2014). Predicting the Price of Art at Auction. Retrieved May 10, 2017, from

https://www3.cs.stonybrook.edu/~skiena/591/final_projects/art_acution/Team4_Final_Report.pdf

Ashenfelter, O., & Graddy, K. (2003). Auctions and the Price of Art. Journal of Economic Literature, 41(3), 763-786. doi:10.1257/jel.41.3.763

Aspire art auctions, historic modern and contemporary. (2016). Retrieved May 16, 2017, from http://aspireart.net/wp-content/uploads/2016/10/Aspire-Catalogue.pdf

Castellote, J., & Fagbule, T. (2015). Nigeria art market report 2014. Retrieved from Foundation for Contemporary and Modern Visual Arts (FCMVA) website: http://networks.h-net.org/system/files/contributedfiles/namr14.pdf

Castellote, J., & Fagbule, T. (2016). Nigeria art market report 2015 (2). Retrieved from Foundation for Contemporary and Modern Visual Arts (FCMVA) website: http://content/uploads/2016/03/Nigerian-Art-Market-Report-2016.pdf

Ebay. (2016, March 3). Understanding prices for paintings and artwork. Retrieved May 16, 2017, from http://www.ebay.com/gds/Understanding-Prices-for-Paintings-and-Artwork-/10000000177628199/g.html

Fedderke, J. W., & Li, K. (2014). Art in Africa: market structure and pricing Behavior in the South African Fine Art Auction Market, 2009 - 2013 (466). Retrieved March 1, 2017, from https://econrsa.org/system/files/publications/working_papers/working_paper_466.pdf

Fleskes, J. (2014, January 4). The importance of exhibiting at shows & why exhibit at Spectrum Fantastic art live? Retrieved May 16, 2017, from

https://fleskpublications.com/blog/2014/01/04/the-importance-of-exhibiting-at-shows-why-exhibit-at-spectrum-fantastic-art-live/

Hook, P. (2014, September 30). What makes art sell? 10 questions that establish the value of a painting. Retrieved May 16, 2017, from http://www.huffingtonpost.com/philip-hook-/ten-questions-that-establ_b_5884762.html

Kathleen, G. (2014, April 23). What determines a painting's cost? Retrieved May 17, 2017, from https://www.quora.com/What-determines-a-paintings-cost

Kostov, A. B. (2017). How to value an artwork. Retrieved May 16, 2017, from http://www.widewalls.ch/how-to-value-an-artwork/

Onwuzulike, O. (2015). Art auctions in Nigeria: A contemporary Critical Interventions, 9(1),3-2, doi: 10.1080/19301944.2015.1012901

Sooke, A. (2011). What Makes Art Valuable? - Top Documentary Films. Retrieved from http://topdocumentaryfilms.com/what-makes-art-valuable/

Vogel, C. (2012, May 2). 'The Scream' is auctioned for a record $119.9 million. Retrieved May 16, 2017, from http://www.nytimes.com/2012/05/03/arts/design/the-scream-sells-for-nearly-120-million-at-sothebys-auction.html

Vogel, C. (2014, January 15). Buyer of $142.4 Million Bacon triptych identified as Elaine Wynn. Retrieved May 18, 2017, from https://www.nytimes.com/2014/01/16/arts/design/buyer-of-142-4-million-bacon-painting-identified-as-elaine-wynn.html?_r=0

Waxman, O. B. (2013, November 14). Jeff Koons’ $58.4M Ornge Balloon Dog and 10 Other Cool Balloon Pieces | Time.com. Retrieved June 20, 2017 from http://newsfeed.time.com/2013/11/14/an-orange-balloon-dog-sold-for-58-4-million-here-are-10-cool-jeff-koons-balloon-pieces/

Wikipedia (2017). Art auction. Retrieved June 15, 2017, from https://en.wikipedia.org/wiki/Art_auction

Wikipedia (2017). Art exhibition. Retrieved June 15, 2017, from https://en.wikipedia.org/wiki/Art_ exhibition

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nanographic-news · 6 years

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北海道に久々に上陸した大きな台風、そしてそれに続いた大きな地震。被災された皆様、復旧に尽力を尽くす皆様に、早く平穏な日々が訪れることを願っております。私たちの暮らす札幌は9月の終わりに近づき、ずいぶんと落ち着きました。私も少しづつ制作作業に戻りたいと考えております。新作、どうぞお楽しみに！ [ アートフェア参加のお知らせ ] 来月10/11〜14、ストックホルムで開催される"Affordable Art Fair"に出品いたします。Eye Contemporary Art Gallery のブースにて出品いたします。 - - - After another typhoon and the big earthquake in Hokkaido beginning of September, I am hoping that at last a peaceful time will follow for the ones that have been suffering the most under these natural disasters. In Sapporo, it has been almost back to normal around this end of September. Finally, I am also getting back to working on my artworks. I'm happy to present new artworks at the AFF Stockholm, and hope you will enjoy them as much as I do! I'd be glad if you have a look and stop by the EYE CONTEMPORARY ART gallery stand: AAF in Stockholm, between Oct 11-14 2018!! Looking forward to it! https://affordableartfair.com/fairs/stockholm http://www.eyecontemporaryart.com/

#EmiShiratori #art #comtemporary #AAF #stockholm #EyeContemporaryArt #Hokkaido #Japan

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art-now-uk · 4 years

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Her, Marcelina amelia

Painting on canvas, was exhibited at Affordable Art Fair in Hamburg and Stockholm. Comissioned by Retrospect Gallery

https://www.saatchiart.com/art/Painting-Her/96385/4088172/view

#marcelinaamelia #expressionism #portraiture

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randomlicious00-blog · 4 years

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Bombardier-Launch of ECO4 Technology

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Bombardier Transportation Launches Innovative ECO4 Technologies for Total Train Performance at InnoTrans 2008 September 22, 2008 — Berlin Transportation Global Rail Industry Leader Presents Breakthrough EcoActive Technologies Delivering up to 50 Per Cent Energy Savings to Maximize Energy, Efficiency, Economy, and Ecology for Rail Operators Bombardier Transportation today launched an innovative portfolio of technologies, products and solutions that maximize energy efficient operation and total train performance for rail operators.

The BOMBARDIER ECO4 portfolio, which offers ten product concepts which are ready for use, was presented by Bombardier Transportation during a press conference in Berlin on the occasion of InnoTrans 2008 (23-26 September), the world’s largest rail industry fair.

Bombardier Transportation, the global leader in rail technology, will be presenting its extensive product range at InnoTrans under the motto, “The Climate is Right for Trains” and the company fulfills this promise with its breakthrough ECO4 technologies, some of which are first-in-industry.

“We are excited about these technologies, as we are leading the way to helping our customers achieve economical sustainable mobility now and in the future,” says Dr Josef Doppelbauer, Chief Technical Officer Bombardier Transportation.

“With energy consumption and efficiency being the priorities of our industry, the new ECO4 portfolio can help train operators enhance the reliability and performance of their fleets, while at the same time reducing both their carbon footprint and energy costs.”

The ECO4 portfolio comes at a time when rail operators are increasingly challenged by the pressures of volatile energy costs, operating efficiency and global climate change. All ECO4 products are fully operable and can easily be customized to any fleet, creating substantial overall energy savings of up to 50 per cent.

“The innovation in the ECO4 modular portfolio of ecoactive technologies rests with its ability to be applied to different frameworks and its capacity for customization to different fleets or trains,” explains Dr Tjark Siefkes, Senior Director Product Development at Bombardier Transportation.” Balancing the four cornerstones of energy, efficiency, economy and ecology into one engineering portfolio makes these technologies truly innovative, creating a new formula for optimal train performance, which we will continue to develop. For us, this is a big leap in applied technology development.”

Among the most fascinating ECO4 technologies are five industry firsts unique to Bombardier Transportation, which lead the railway market into the future of sustainable mobility:

• The BOMBARDIER EBI Drive 50 Driver Assistance System, the industry’s first integrated solution for customers to help save up to 15 per cent of traction energy by assisting drivers with information on speed and traction force, thus saving up to 30 per cent traction force.

• BOMBARDIER EnerGplan Simulation Tool, the only tool on the market which enables operators to simulate and then optimize the energy consumption for complete transport systems, reducing energy use by 20 per cent.

• The C.L.E.A.N. Diesel Power Pack, leading the industry by providing the only drive system for Diesel Multiple Units in the 660 kW class already in conformity today with the new EU emission guidelines (stage III-B) to be implemented in 2012. The C.L.E.A.N. system leads to a reduction in particulate emissions of 87 per cent.

• BOMBARDIER MITRAC Energy Saver, the leading regenerative braking system for light rail vehicles, which delivers energy savings of up to 30 percent.

• BOMBARDIER PRIMOVE Catenary-Free Operation, the world’s first system to enable completely catenary-free operation of trams over distances of varying lengths and in all surroundings including underground lines.

Two of these ECO4 products, the MITRAC Permanent Magnet Motor and the EBI Drive 50 Driver Assistance System, have also been in successful operation on Sweden’s “Green Train” between Stockholm and Västerås. This high speed research project is jointly run by the Swedish railway administration Banverket, Bombardier Transportation and other partners. Others, such as the MITRAC Energy Saver, have proven their unsurpassed reliability throughout years of successful testing during regular operations.

In detail, the technical highlights of the ECO4 products are:

AeroEfficient Train Optimisation: The industry’s first generic design approach for energy- efficient aerodynamic designs can help realize energy savings of up to eight per cent for regional and up to 15 per cent for high speed trains. It reduces the aerodynamic drag by 25 per cent with a new, state-of-the-art process called AeroEfficient Train Optimisation. The process focuses on reducing the traction effort, which is largely lost during typical driving operations due to aerodynamic pressure drag and friction. Limiting this aerodynamic drag not only saves energy used for traction, but can also reduce traveling time, as it allows for a higher train acceleration. The process can be applied when developing and constructing new products by calculating the best way to minimize the drag. It also takes into account constraints such as crash structure, industrial design and possible ergonomic limits of the cab.

C.L.E.A.N. Diesel Power Pack: A drive system for Diesel Multiple Units (DMUs). It is the only one of its type in the rail industry which already meets the exhaust emission limits Stage III-B for DMUs in the 660kW class becoming effective in 2012. The innovative product is thus years ahead of the legal requirements and presently ready to be implemented for a full-production run. The environmentally-friendly effect of the system is made possible through the use of a special catalyst with SCR technology (Selective Catalyst Reduction). This not only requires less energy than other solutions, but it also has a cooling system that is easy to handle and reduces emissions, particularly nitric oxides. Overall, the engine has an optimized weight and configuration, and operates with relatively low fuel consumption. In addition it has reduced maintenance requirements, resulting in improved efficiency. In 2009, the C.L.E.A.N. Diesel Power Pack will become part of the BOMBARDIER ITINO train sets for the Rhein-Main-Verkehrsverbund (RMV) in Germany and for Västtrafik in Sweden.

EBI Drive 50 Driver Assistance System: Saving traction energy of up to 15 per cent and reducing costs and wear, the EBI Drive 50 Driver Assistance Systemis the world’s first integrated solution in this area. This smart software tool is assisting train drivers with recommendations for velocity and acceleration/deceleration, in order to optimize their driving styles and minimize the energy needed to run a train according to its allotted timetable. Smoother operation of the train also results in the reduced wear of wheel sets, engines, brakes and tracks. EBI Drive 50 can be applied to electrical locomotives, diesel engines, any form of hybrid traction, and even multi-traction systems. In addition, different schemes of distributing locomotives within a train can be taken into account. It is suitable both for new trains and can be retro-fitted to existing vehicles.

The software operates onboard the train, through a communication gateway to the wayside and with central workstations. It calculates speed and traction force profiles, constantly updating optimized target velocity and traction force to the actual time and position. This data is displayed in the driver’s cab, where the driver can react accordingly to optimize overall driving styles over time.

Energy Management Control System: A new modeling and analysis tool, the Energy Management Control System is designed to integrate energy awareness, efficiency and carbon control into an operator’s business. The system provides customers with an accurate and affordable fleet energy management solution, using data gathered from the trains, combined with flexible and intuitive visualisation tools based on methods proven in the BOMBARDIER ORBITA system. Combining creative thinking with advanced technology and know-how, Bombardier’s clever Energy Management Control System is suitable for retro-fitting to existing vehicles that are both diesel and electric.

BOMBARDIER EnerGplan Simulation Tool: By far the industry’s leading energy optimization software tool for complete transport systems, the EnerGplan tool is an easy-to-use simulation software with a unique graphical visualization for almost any given transit system, ranging from the largest metro system to the smallest Automated People Mover application. The EnerGplan Simulation Tool allows transit system engineers to optimize the design of power distribution systems and reduce energy consumption during operations. The software’s analysis covers the fleet performance, train speed profiles, power supply and distribution system load flows, effects of onboard and wayside energy storage devices, as well as train schedules and routing. It is a graphics based, flexible simulation tool that allows transit system designers to carefully analyze and then improve the power system configuration. It also gives a preview of the optimal mode of operation. A dynamic train display even allows monitoring of any chosen train operating, for example. It is thus not only capable of simulating different energy consumption scenarios, but also of offering feasible solutions, which can then be tested against field measurements.

MITRAC Energy Saver: As one of the most fascinating new, ecoactive technologies of the ECO4 product family, the MITRAC Energy Saver is far ahead of any similar products in the market and is also the most industry tested. The innovative capacitors of the system store the energy released each time a vehicle brakes and re-use it during acceleration or operation. Applied to light rail vehicles, the system has (during several years of testing) been proven to save up to 30 per cent of energy. Calculations show that even 35 per cent will be possible for DMUs, thus reducing emissions as well as costs. The technology can also be used as a performance booster by adding extra power to the vehicle during acceleration. Behind the system is a double layer capacitor technology (also known as “ultracapacitors”), a smartly designed storage device charged with the eletrical energy set free when the brakes are used. Contrary to regular, flywheel-based, mechanical energy storages used in buses, for example, the MITRAC Energy Saver operates on a purely electrical basis: The double-layer capacitors include several hundred storage cells, connected in a series to create a MITRAC storage unit, saving the energy with relatively low losses.

The MITRAC Energy Saver has been tested extensively since 2003 in the system of the public transportation operator in Mannheim/Germany. Encouraged by the results, the German operator Rhein-Neckar-Verkehr GmbH (RNV) has ordered 19 light rail vehicles equipped with the system.

BOMBARDIER PRIMOVE Catenary-Free Operation: This revolutionary system, which includes the MITRAC Energy Saver, is the first-in-industry and enables the complete catenary-free operation of BOMBARDIER FLEXITY trams over distances of varying lengths and in all surroundings including underground lines. The outstanding feature of the system is the catenary-free power transfer; the electric supply components are invisible and hidden under the vehicle and beneath the track. The benefits for operators are the elimination of overhead wires, thus increasing the attractiveness of cities, the safe and contactless inductive power transfer and the low wear of parts and components. The system functions independently of weather conditions and ensures that full power is always available.

BOMBARDIER FLEXX Tronic Technology: Leading to considerably extended maintenance and exchange intervals of bogies, the revolutionary FLEXX Tronic Technology provides unique functionalities for active Radial Steering and Bogie Stabilization (ARS). The system overcomes the limitations of conventional bogies with passive steering and suspension elements. In addition, the interoperable system is applicable to different national track networks and reduces wheel and rail wear as well as vehicle vibration and noise.

BOMBARDIER MITRAC Permanent Magnet Motor: Increased energy efficiency and performance are the main advantages for customers choosing the MITRAC Permanent Magnet Motor (PM). Due to improved efficiency and reduced weight, the PM motor technology directly benefits the environment and saves costs for rail operators. The tested and validated, compact and powerful PM motor system is designed to meet the highest demands on drive systems for traction application. The innovative motor construction is based on permanent magnet technology that uses a rotor creating its own flux through the incorporation of magnets – an improvement over standard induction motors that rely on the flux created by the current in the stator winding. This means less energy is required, motor cooling is easier to handle, and higher performance levels can be realized compared to inductor motors of the same size. In addition to its direct benefits, the PM motor also offers the potential for reducing the vehicle life cycle cost, when replacing standard induction motors. Finally, the high motor performance also allows the shifting of braking power from the mechanical to the electric system, resulting in lower operational costs and reduced negative environmental impacts.

ThermoEfficient Climatisation System: This intelligent, low-energy interior climate system for all rail vehicles helps to improve comfort levels for passengers while simultaneously saving energy. The energy used for the cabin climatization of trains can reach up to 30 per cent such as in metros operating under extreme weather conditions. This energy however, is often wasted, as it does not adapt its performance to variables such as passenger occupancy. A more intelligent and flexible climate system control can therefore save both energy and costs considerably. The ThermoEfficient Climatisation System applies a combination of two systems: A variable fresh air rate system that uses existing sensory information (based on the vehicle mass) for calculating the passenger occupancy and adapts the rate accordingly. The second system includes the installation of heat exchangers to pre-heat or pre-cool the fresh air by using up to 80 per cent of the exhaust air. The systems can reduce the energy consumption by a 24 and 26 per cent, respectively.

Note to Editors:

About Bombardier Transportation Bombardier Transportation has its global headquarters in Berlin, Germany with a presence in over 60 countries. It has an installed base of over 100,000 vehicles worldwide. The Group offers the broadest product portfolio and is recognized as the leader in the global rail sector.

About Bombardier A world-leading manufacturer of innovative transportation solutions, from commercial aircraft and business jets to rail transportation equipment, systems and services, Bombardier Inc. is a global corporation headquartered in Canada. Its revenues for the fiscal year ended Jan. 31, 2008, were $17.5 billion US, and its shares are traded on the Toronto Stock Exchange (BBD). Bombardier is listed as an index component to the Dow Jones Sustainability World and North America indexes. News and information are available at www.bombardier.com.

BOMBARDIER, ECO4, The Climate is Right for Trains, MITRAC, EBI, FLEXITY, FLEXX, ORBITA, PRIMOVE, ITINO and EnerGplan are trademarks of Bombardier Inc. or its subsidiaries.

For information: Americas David Slack: +1 450 441 3190 [email protected]

Germany, Austria, Central and Eastern Europe Heiner Spannuth: +49 30 986 07 1134 [email protected]

Switzerland Fiona Flannery: +41 44 318 29 91 [email protected]

Nordic Countries Jonny Hedberg: +46 8 681 5062 [email protected]

Russia Alexander Bocharov: +7 495 775 1830 [email protected]

UK, Ireland, Australia, New Zealand, other countries Neil Harvey: +44 1332 266470 [email protected]

Benelux Guy Hendrix: +32 2289 7341 [email protected]

France Anne Froger: +33 6 07 78 95 38 [email protected]

Spain, Portugal, Italy, Greece, Turkey, India Luis Ramos: +35 1 919 693 728 [email protected] Likes: 5 Viewed:

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lorenty · 5 years

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#Repost @galeria.gaudi (@get_repost) ・・・ #eliualmonte, #artista dominicano interdisciplinario, participará con #galeriagaudi con una propuesta fantástica que despliega su talento natural, en nuestro stand C-11 de #Affordable Art Fair Stockholm (del 10 al 13 de Octubre)... ¡ven a verlo! #Art #gallery #love #collector #contemporaryart # #artwork #artist #artcollector #artgallery #painting #color #power #happiness #internationalartfair #artexhibition2019 #lorenty https://www.instagram.com/p/B3FXaFcDhNdKrfDJ92oivLkXIaM0XVF0PGWfA80/?igshid=eh96qyh56mp4

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johummelnewell · 5 years

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I’ll be exhibiting at Affordable Art Fair Stockholm @affordableartfairsthlm in October with @nordicartagency DM for tickets. #Repost @nordicartagency ・・・ F E M A L E A R T I S T S . . We are proud to currently represent more female artists than male @nordicartagency with a 60/40 split in favor of women. A recent Sotheby’s survey has suggested that investing in female artists may in fact yield better returns as the market place opens up & female artists are no longer being down valued or overlooked. . . We are delighted to be exhibiting the work of British female collage artist @johummelnewell this October in our Malmö gallery & at the Affordable Art Fair Stockholm. . . Drawing Acrylic & emulsion On watercolour paper & ply 37 x 27 x 2 cm 2019 . . Full exhibition details are available by visiting our bio link & you can discover more about @johummelnewell by visiting, www.nordicartagency.com/jo-hummel/ . . . . . @abstract.mag @scandilivingmagazine @elledecorationdk @elledecorationnorge @elledecorationse —————————— #abstraktkonst #abstraktekunst #abstractcollage #collageart #johummelnewell #contemporaryart #nordicinspiration #inredningsinspo #indretningsinspiration #interiør #artadvisory #nordicinspiration #malmöart #nordicartagency #copenhagenart #britishartist #femaleartist #artcollector #affordableartfairsthlm #malmöart #copenhagenart #stockholmart #collage #sothebys ——————— Connecting International Art & Artists To Scandinavia https://www.instagram.com/p/B08fDmhlFgm/?igshid=ya4fckuo9fjm

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lesleyoldakerart · 5 years

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Quick rearrange as I Sold the big triptych last night. 😊 @affordableartfairsthlm #ahcprojects #oldaker #stockholm #sold #AAF #paintings #triptych (at Affordable Art Fair Stockholm) https://www.instagram.com/p/B3b6-zgnpE_/?igshid=1qw6lgxiy6fs1

#ahcprojects #oldaker #stockholm #sold #aaf #paintings #triptych

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mysmesomefluff · 7 years

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Saeran Fanfiction #3: Cat-nappers

A/N: Here’s the drabble, as promised. :) But I did it pretty quickly so I didn’t actually go all the way with this idea.

Inspired by @mizueki‘s drawing of Saeran and Seven’s infiltration of Jumin’s apartment. Thank you for sharing that really cute piece of art on tumblr! :) Link to the picture is here.

Summary: Your job description never mentioned anything about having to protect a cat from two twin cat-nappers, or that one of them would be a particularly cute cat-napper.

You... had no words. Absolutely none.

You hadn’t worked in this field for long, so you had yet to experience or witness many odd things, according to your seniors. But then, you didn’t think that even they could have anticipated something like this to happen. and no amount of training could have prepared you for a scenario as absurd and ridiculous as this.

Honestly, it was almost laughable, except that your job was currently at risk even though you had only started work two days ago.

You gaped at the startlingly huge hole in the window through which one of them had crashed through — how was that even possible? This was the top floor, for crying out loud! — and the little shards of glass scattered across the smooth marble flooring. It didn’t look too bad, you supposed. They looked like diamonds from here, with the sun’s rays reflecting off them that gave them an iridescent glow.

Oh, who were you kidding, you were definitely going to get fired the moment Mr. Han got home.

The stress of not knowing how to account for this to your superior or Mr. Han, as well as the shock of your overwhelming failure on your second day, gradually morphed into anger, which you directed in the form of a glare at the two twin perpetrators, one of whom you had handcuffed to yourself.

The man handcuffed to you, in turn, was glaring at his brother, while the cat, Elizabeth the 3rd (you still thought her name incredibly odd, but you knew better than to make a comment about it), was rubbing her head and body against the angry man’s leg. Her tail would brush against your pants every now and then, which didn’t really help to ease your frustration with the entire situation.

As you mentioned before, you simply had no words to spare.

Everyone was currently playing the waiting game, and some of your other colleagues had gone to secure the apartment. Another had left to call for the cleaner to clear up the glass, in case an accident occurred — namely, in case the cat went over and got her paws cut. In which case, it would mean instant death by corporate heir employer.

Meanwhile, Mr. Han was reportedly rushing back home for his beloved and apparently distressed cat. It didn’t really seem to be the case. If anything, she seemed perfectly happy, rubbing her body against his leg. She seemed to have taken a liking to her kidnapper. You didn’t think Stockholm syndrome could kick in so early, and for a cat, no less.

You spared the man handcuffed to you a sideways glance, and you saw uncertainty flicker in his striking mint green eyes as he looked on silently at the cat by his leg. His hands were fidgeting by his sides, and he was biting the inside of his cheek. He probably wanted to pet her as much as she wanted to be petted by him.

She was adorable, one of the most elegantly groomed cats you had ever seen, but you couldn’t afford to be distracted by her. You were working. Not for long, anyway. You sighed inwardly when you heard her meow for the tenth time in the past... fifteen minutes. There wasn’t really much else to do, and since dwelling on your imminent downfall was doing little to help you feel better, you decided to just observe him quietly. Maybe it was a habit from your job, but something about observing people calmed you. Gave you something to think about, and at times, something to imagine.

The man next to you had messy red hair just like his brother’s, and upon closer inspection, you noticed some strands of white fur clung to the very tips of his baby hairs, no doubt because of the cat. You had been told she was known to shed an unusual amount of fur, which you hadn’t believed at first, given the stark cleanliness of the apartment in its original state. But now, looking at your blank pants that were stained with little feathery white strands, you concluded that the cleaner was exceptional at her job. Maybe you could ask her for tips later on how to get rid of all this fur when you got home.

The man next to you didn’t seem all too bothered by it, however. The barest of smiles, just a ghost of it, played on his lips as he continued to stare at the cat as she meowed and purred at him.

...Cute.

The corners of your lips began to twitch upwards, and the moment you realised it, you pressed them into a thin line and let the frown settle back on your face, trying your hardest to keep the heat from spreading up your neck.

Get a grip, you instructed yourself. You were working now, you couldn’t afford to get distracted by an unusually cute cat-napper.

But, well, you supposed there wasn’t really anything wrong with this. You were simply observing him, after all. Besides, it wasn’t as if you had anything else to do at the moment.

So your eyes went back to him, and you noted the peculiar mint green hue of his eyes, which differed greatly from the golden ones that his brother had. You were fairly sure they were twins, however. They shared the exact same facial features, except that his brother had glasses on while he didn’t, and then of course there were the eyes, and the fact that he had a completely different aura about him compared to his brother.

His brother, who had introduced himself quite grandiosely as “God Seven-Zero-Seven” when you first caught them both lurking in the hallway, was animated and strangely spirited even though he had just landed himself in hot soup with the team. Maybe slightly insane too, evident from his obsession with the Mr. Han’s pet. He seemed likeable enough though, and you would have appreciated his eccentricity and unique sense of humour more in another setting.

On the other hand, the man next to you was quiet, composed. He was eccentric in another way altogether. His face was a mask of calm, though from the slight turn down of his eyebrows, you could tell he wasn’t entirely happy with getting caught up in this mess. It was highly likely that he had been dragged into this infiltration mission by his brother.

His eyes were still fixated on the cat, and although his face was stone, betrayed no emotion, you could tell from his gaze that he truly longed to touch her, if only to pass the time while waiting for Mr. Han to return.

So against your better judgment, your lips parted to speak.

“You can touch her if you want, you know.”

His head turned, and his eyes came to rest on you.

You didn’t get a chance to take a good look at him earlier, since you had been too caught up with chasing after the both of them. But now, seeing him under the white beam of light from the ceiling, with him facing you and neither of you in a rush to make a move, you couldn’t help the slight quickening of your pulse.

He was handsome, and very much so.

His face looked especially pale under the lighting, but and it gave a gleam to his beautifully luminous eyes. He reminded you of a cat’s eyes in the dark. Glowing, mysterious, magnetic.

“I can?” he asked softly, his voice flowing like honey towards you. Just minutes before he had been shouting at his brother for “coming up with such a stupid plan”, and you hadn’t expected to hear such a tender quality in his voice. It was soothing, gliding into your ears like a gentle melody.

“Go ahead,” you replied, allowing a tiny smile to show on your face briefly, as you slowly knelt down so that he could also lower himself to pet Elizabeth conveniently.

You caught the eye of your other colleague who had a brow arched questioningly, but you mouthed a quick assurance to him. He wouldn’t do anything to hurt the cat. And if he did, you would make him pay for it, as well as for jeopardising your career.

The moment he lowered himself enough, Elizabeth practically jumped up to him, meowing in delight and nuzzling her head against his chest. He looked a little bit conflicted, a little hesitant as he raised his hand to gently stroke her head. That earned him a satisfied purr in response, as well as jealous cries of protest from his brother at the other end of the room. He began begging your colleague to let him touch her as well, but your colleague refused to budge. Fair enough, given that Mr. Han had stressed time and again not to allow a bespectacled man going by the name of Seven anywhere near his cat.

You watched quietly as he continued stroking her, the little frown that had been there on his face slowly melting away, replaced with a gentle, kind face. The corners of his lips were curled upwards slightly as he played with the cat, looking more comfortable with her by the minute.

You didn’t even realise you had been smiling yourself until his gaze moved from Elizabeth to you, and in that instant, you felt heat rush to your cheeks. Hastily, you averted your gaze, and you instinctively moved away to put some space between the both of you, except the tug of the handcuff on your wrist prevented you from doing so.

If anything, because you tugged a little too hard, the returning force made you lose your balance since you had been balancing on the balls of your feet while squatting next to him.

And then the next thing you knew, you were falling towards him.

You heard a sharp cry from the cat as she jumped away just in time to avoid getting squashed in between the both of you. And then you felt two strong hands hold firmly onto your arms to steady you, which lessened the pain as you crashed face first against his chest.

His broad, warm, strong chest—

You pulled away from him, cheeks flaming and heart racing. You muttered an apology as he steadied you, and when your eyes met, it dawned on you suddenly how close you were to him. He was holding you in place, which meant your faces were just inches apart; too close for comfort. Colour was rushing to his face, reddening his cheeks and the tips of his ears. From the heat gathering in your face, you guessed you probably looked the same.

His eyes had widened, shock and bewilderment swimming in them, as they stared deeply into yours. His gaze was penetrating, piercing, intriguing enough that you could get lost in them, just observing him all day long.

Except you had a job to do. You quickly shook yourself out of your daze, aware that your colleagues were still in the room and had probably witnessed your moment of uncharacteristic clumsiness.

Hastily, you looked away, putting as much space as you could between the both of you without causing another similar mishap. You heard him clear his throat, and from the corner of your eye, you noticed his face was still a little red as he petted the cat who had already made a swift return to his fur-covered lap.

You caught the eye of your colleague, who had arched a brow at you and was sending you a teasing smirk.

And all you could do was stare at the floor, speechless.

You had no words. Absolutely none to defend yourself, or to explain what had just happened.

All you knew was that your heart was still beating furiously in your chest and that the heat in your face wouldn’t go away.

Second day on the job, and this was proving to be increasingly disastrous as the seconds ticked by.

You didn’t know if you should be relieved or not when Mr. Han finally arrived. He had that frigid air of professionalism about him as always, though the anger simmering beneath his cool face was plain for all to see.

He exchanged a few harsh words with “Seven”, threatening to call the police on him for unwarranted trespassing of property, damaging his window, attempting to kidnap his cat and for putting her through an unbearable ordeal that could scar her fragile mind for good. (Were all corporate heirs this dramatic when it came to their pets?)

You noted, however, that he seemed otherwise fine with the man next to you, whose name you learned was Saeran. He requested you to remove the handcuffs and you did, although he didn’t ask the same of your colleague who was with Seven.

Saeran sent a flat glare in the direction of his brother when Seven pleaded for him to put in a good word for him with Mr. Han, and you had to fight to suppress a chuckle when he later sneezed thrice in succession, no doubt because of all the cat fur on him.

It wasn’t long before you and your colleagues were dismissed Mr. Han from the apartment, requesting all of you to get back to your work. You exchanged glances with the rest of the team, and in general, everyone looked quite relieved. Probably meant your job was safe for now. One of them whispered discreetly to inform you that Seven and Saeran were both experienced hackers, and that they were both part of the RFA charity organization that Mr. Han was also a member of, so nothing too severe would happen to either of them, or to the team.

That was enough to make you release a long exhale, and for the stress that had been giving you a mild migraine to fade away. You couldn’t ask for better news.

You were the last to exit the door of the apartment, and you couldn’t help but turn back. You didn’t know why you did it, exactly. You just... felt like doing it.

And then you found yourself staring back into mint eyes. He had turned over his shoulder too, to spare you one last glance before you left.

Once more, you felt your cheeks heat in a blush, but this time, you didn’t look away. You offered him a tiny smile and a nod, which he returned in kind. A wordless goodbye. Maybe a “see you later”. Who knew?

You had work to do.

So with a slightly giddy head and a loud thumping in your ears, you turned around and left, closing the door behind you, and silently hoping that the two cat-nappers would drop by sometime soon.

#saeran #saeran fanfiction #mystic messenger #mystic messenger fanfiction #mystic messenger fanfic #saeran choi #saeyoung #saeyoung choi #707 #seven #unknown #saeran x reader #unknown x reader #saeran fanfic #jumin han

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