#Art Valuer London

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Get higher financial returns with Art Investment London! At Art Market Solutions, we help clients transform art into an alternative asset class. To get excellent art pricing services, simply approach us today! For more information, you can visit our website https://www.artmarketsolutions.co.uk/ or call us at 01462 612268

#Art Valuer London

[mondaniweb]

WATCHES AND WRISTWATCHES AUCTION by Bonhams

13 September 2023, 13:00 BST

London, Knightsbridge

LOT 61 - Explorer, Ref: 5500

£3,000 - £4,000

€3,500 - €4,700

#auction #rolex #watches

[whatdoesshedotothem]

Sunday 7 February 1836

6 40

11 25

No kiss ready in 1 5 hour F38 ½° at 7 ¾ am at which hour breakfast for A- to go to the school at 8 ½ - sat reading last Quarterly Review from p. 445 to 487 favourable and interesting critique on ‘the original’ by Thomas Walker m.a. etc one of the London police magistrates - Greek for dinner [αριςον] .:. the art of dining aristology (452) Groves of Charing - cross the 1st fishmonger in Europe (464) Fisher Dyke Street St. James’s  the best poulterer in London (466) Ochlocrasy, mobocrasy (483) sat reading till 10 40 - A- came back at 10 ¾ (rode) just as I had written the last 6 lines - walked on the flags about an hour till 12 (cold in my head - or blood in my head - a little headache and tightness over my eyes) - at 12 10 A- and I read prayers to my aunt (in bed) and our 2 maids in 20  minutes - wrote note to ‘Messrs. Parker and Adam Solicitors H-x’ to ask them to get a few bills printed and posted as soon as possible for the reservoir (Lake or dam) to be let, making embanking and puddling ‘at 5pm next Monday at the Stag’s head Inn Mytholm - SW- said yesterday the making would be done at 5d. or 6d. per yard  and the puddling (5 or 6 hundred yards all along the embankments against the brook and at the far end) at 9d. per yard - at the school at 2 - sat reading (Mérats Botany) 25 minutes in the carriage - Mr. Wilkinson did all the duty - preached 20 minutes from John viii. 47. 50 minutes at Cliff Hill - Mrs. AW- in very good humour and spirits - called for a moment at Crownest - Mr. SW- to meet Holt here at 9 ½ am on Tuesday and set out the Listerwick engine-pit drift - thought in church this afternoon (1st time it occurred to me) to call the dam or reservoir The Mare Mr. SW- and Mitchell the land valuer agreed in valuing the manure laid on the lowland by Mr. Carr at £21 + some shillings - home at 5 ½ - wrote letter 8 or 10 lines to ‘John Clarke Apysgarth’ Not sent to go by the man who goes there from H-x every Monday to tell John to ask the medical man who attends him to write and inform if he thinks him well enough to return to his place; if not, if he (the medical man) is in hope that he (John) will be well enough in a week or ten days from this present time - dinner at 6 ¼ John Clarke himself arrived and come to ask if we ready for dinner - my letter .:. a dead letter - coffee - with my father and latterly with Marian (A- left me to go to my aunt) till 8 ¾ - then reading tonight’s paper till 9 20 - fine day till about 5 then a little rain all the way from Cliff Hill home - 20 minutes with my aunt till 10 - just before and afterwards read (in my study and downstairs) Macnab [McNab] on planting handy evergreens - recommends planting in pointer and watering in wet weather - his reasons good - F35° and soft damp night now at 10 25.

[mishinashen]

Interior by Sir William Orpen, ca. 1901

Even though we know who they are, the couple posing in William Orpen’s Interior are not sitting for a double portrait. The man, his eyes downcast, leans on a cabinet, while the woman, seated beside him looks away. In the dingy room the conversation has subsided. Their placing, and the momentary lapse that links them, suggests that complex events, those of a play, or a novel, have brought them to this point. The painter had, as we know from his success with The Play Scene from ‘Hamlet’, 1899 (Private Collection), an unerring sense of theatre.

The present picture is one from an exceptional series of interiors begun at 21 Fitzroy Street, London, in 1899-1901. The group includes, A Mere Fracture, The Valuers, The Chess-Players, The Refugees, A Window London Street, and the present work. While in a number of instances these works followed the artist to his new rooms in Honiton Street, Chelsea following his marriage to Grace Knewstub in August 1901, Interior appears to have been abandoned around the time of the move. Before his wedding, the young artist remained in close contact with former Slade School friends who gathered at the gaunt eighteenth-century terrace, then known as The Newcomes, and so named because it was the former abode of Colonel Newcome and his artist son, Clive, the eponymous heroes of William Makepeace Thackeray’s novel (1855). (In Thackeray’s day the area around Fitzroy Square was known as ‘Anglo-India’ on account of its popularity with retired colonial service officers, of which the fictional Colonel Newcome was one.)

By 1899, when Orpen left the Slade School of Fine Art, the house was in the hands of Augusta Everett, the eccentric mother of John (Herbert) Everett, one of his Slade contemporaries (see Gwen Yarker, Inquisitive Eyes, Slade Painters in Edwardian Wessex, 2016, Sansom & Co, Bristol, pp. 43-55.) Orpen occupied rooms in the cellar, installed a four-poster bed which features in The English Nude (Mildura Art Centre) and the portrait of Augustus John (National Portrait Gallery, London), and, when potential sitters appeared, sprinkled eau-de-Cologne to kill the smells that rose from the earthen floor. Here, under the rafters of the dreary edifice, he also worked on Interior.

The painting shows Emily Elizabeth Scoble, the artist’s model and girlfriend prior to his marriage. Not only was she The English Nude, but she also posed for The Mirror (Tate, London), shown at the New English Art Club winter exhibition in 1900, and one of the artist’s most celebrated works. Behind her stands Everard Meynell, also a Slade student and son of Alice Meynell, Oscar Wilde’s ‘Sybil of Style’, and one of the most respected late Victorian women poets. His father Wilfrid, an important editor and publisher, patronised Orpen around 1900 and wrote the early article on the painter. (Wilfrid Meynell, ‘William Orpen’, The Artist, vol XXXI, no 260, August 1901, pp. 177-185. Wilfrid, for instance, purchased Orpen’s Portrait of Augustus John, 1900, which his daughter, Olivia, sold to the National Portrait Gallery in 1948 for £400).

#art #irish art #portraitist

[cathygeha]

REVIEW

The English Billionaire by Serenity Woods

The Billionaire Princes #3

 With winter on the way…reading a romance set in England around Valentine’s Day is a great way to spend the day. I always know that this author will provide a great story and loved this one just as much as all the previous ones by her that I have read.

 What I liked:

* That the story begins 12 years in the past, we meet the main characters, and like them both

* The second chance romance that really works – sometimes they don’t

* That I liked both characters when they met and liked them when I see them again twelve years later

* The setting in England with Kora visiting from New Zealand

* The family aspect and how much both Kora and Callum love their families

* Kora’s quest to find out more about her mother’s family, the clues, and what she ultimately learned

* That I felt Kora and Callum were well matched and perfect for one another

* Josh & Jim: brother and grandfather of Callum

* The fairytale banquet at the castle

* The chemistry between Callum and Kora

* The tidbits of history scattered through the story

* That a medical issue, or two, was part of the story and how it was handled

* Seeing characters from previous books in the series and the references to other series by the author…triggered fond memories of those other books and a desire to revisit them soon

* That there was a happy outcome that worked well for all

* Wondering about who will be next up to have their story told and how the rest of the Prince family members will meet their partners.

* All of it really except…

 What I didn’t like:

* Scratching my head trying to think of something…there was one person or two that were not the best in the world and I could have done without them but they were necessary for the story so…ah well…

 Did I enjoy this book? Yes

Would I read more in this series? Definitely!

 Thank you to the author for the ARC – This is my honest review.

 5 Stars

      BLURB

 One night is never enough… On my thirtieth birthday, I decide it’s time to make some changes.

Okay, it’s really only one change.

No more men.

Gone is the boyfriend who cheated on me with my best friend.

Gone are all the disastrous relationships that have left me dispirited and jaded.

I’m tired of giving my fragile heart to a man, only to have him trample all over it.

Instead, I’m going to concentrate on my career, which I love.

As a valuer of art, antiques, and jewelry, I’m passionate about people’s prized possessions.

My family owns a chain of toy stores that originated from one toy shop in London’s Regent Street, and I decide it’s time I saw where it all began.

It’s the trip of a lifetime, one a man can’t spoil, because there’s no way I’d get involved with a guy who lives on the other side of the world.

And then Callum walks into the London store.

Ten years ago, we spent one sensational night together at a New Year’s Eve beach party in New Zealand.

I thought I’d never see him again. But here he is.

In the very muscular, very hot, and very British flesh.

He’s changed a lot since that night. He’s more serious, more ambitious, and a whole lot richer.

He wants one more night with me.

I can give him that without falling for him.

Without my life collapsing again around my ears.

Can’t I?

#Serenity Woods #The Billionaire Princes 3 #Contemporary Romance #Second Chance Romance #Fiction #Romance

[hcafilm19]

Filipe - Silver Award - Unit 1 Part D

Which art forms are you interested in?

I am interested in filming and drawing as an art form. However, I am also interested in musical art forms because I play the violin, I believe that sound can reach people’s hearts. I just love playing nice peaceful music.

Careers in Music:

Orchestral musicians find it hard to earn money. A rank and file players can earn around £40,000 annually in the London Symphony Orchestra. However, musicians in the London Philharmonic and Philharmonic orchestra usually earns no more than £30,000 per year.

Musician often earns money from; merchandise, music lessons, live performance, advances, royalties and licensing fees from music.

The jobs in music careers are: Musician, Music teacher, Selling music, Producer,  A&R Coordinator/Representative, Composer/Song Writer, DJ For Clubs, Instrument Repair, Restoration and Tuning, Music Festival and Concert Organizer and music Therapist.

Careers in Arts:

Filmmakers, photographers, artists, theater makers, actors, arts facilitators,Art gallery curator, Art therapist, Art teacher, Art lecturer, design lecturer or art history lecturer at a university, Art technician/demonstrator at a university, Art valuer/auctioneer, Illustrator.

What kind of places might these artists exhibit/perform in?

Cinemas, theatres, exhibition spaces, music venues, community centres. 

PARTICIPATING IN A MASTERCLASS:

16mm Film Workshop with Rhea Storr (Filmmaker and artist) 

On 16th June I participated in a masterclass run by artist Rhea Storr at Somerset House. We saw her own short movie exploring the theme of identity (it was also shown in the GET UP STAND UP NOW Exhibition).

We hand-made our own films using 16mm film reel. We edited it like the old style movies.

Everyone contributed to the film reel and drew random things with a felt-tip and colored their fingered and printed it on the reel to suggest the theme of IDENTITY.

What I learnt about her practice as an artist and how it has an influence on me:

Through this experience i have learned about Rhea’s artistic practice on making 16mm footage by experiencing the footage making first hand which has influenced me on making a similar 16mm footage to Rhea’s

In this photo Rhea Storr was showing us her own  16mm footage about her identity. she explained where she filmed this and how the dress was made.

This is a picture of me painting my film reel by sticking it in the paint buckets, I look excited?

This is the Final work of all of our film reels attached together.

RESEARCH INTO ARTS ORGANISATIONS:

Lewisham Youth Theatre -

www.lewishamyouththeatre.com

LYT is a free young people’s community for acting and theatre which was ran by the lewisham council.

We have a project every term for school year 4-11 and if you have attended one of the projects then you can join the members committee where you have free snack every time you go. it is on every Thursday.

They also have Arts Award in them which is good. They do from Bronze all the way to Gold arts award.

Animate Artists

www.trinitylaban.ac.uk/

Animate artists is a special orchestra ran by Trinity Laban building of Conservatoire of music and dance.

Animate orchestra created their own music from the numbers and key signatures and time signature.

It is a really artistic project exploring the theme of musical art and everyone there are quite good at playing music.

I have participated in this event however they don’t have a picture of me :( .

Research into Arts Practitioners:

Chloe Plumb - Filmmaker and Youth Arts Facilitator

There is the organiser/facilitator called Chloe who runs the summer film project in 1a Arts. She does professional film making and I know that she held the boom once for a movie.

Since she is working with Somerset House this term, her effort will be shown in Somerset House in the courtyard where everyone can see. She is supervising this workshop will be given credits to at the end of the film that she helped us make.

In order to find out more about the arts practitioner I had emailed her via Gmail and she gave me a valid and fulfilling response. I also found out about the future education and career pathways in arts via her email.

She recommended me to work in the cafe first as a head start to the career in the arts, so you won’t mess up. she had also done some extra study in the arts and went to the Masters course in Visual Anthropology. she typed that she also started to do work experience and build internships in film companies and theatre and started to produce her own short films  and created a website of work.

This was the email that Chloe has replied to me by my questions

I found out that if you graduate from a university it doesn’t recommend you a job and that you have to find a job quick otherwise you will run out of money. she also said that it is not easy to become an artist in London with the ‘expense of living’.

It has influenced my to make short films and animation as a side job, as well as my hobby, and concentrate on my main job. It has also encouraged me to donate to charity more, if I have the money. And take more masterclasses and extra learning on my career.

#Filipe #silveraward #unit1 #partd

[artmarketsolutions]

WE ARE FOR ALL YOUR ART MARKET REQUIREMENTS…

WE ARE FOR ALL YOUR ART MARKET REQUIREMENTS…

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#Augustus,#Gwen,#John,

#AugustusJohn, #MickRooneyRA, #LSLowry,

#AugustusJohn,#GwenJohn,#Welsh,

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[karendeakinantiques-blog]

Chrysolite, chrysoprase, chrysoberyl … chryso whaaat? A guide for antique jewellery collectors

New Post has been published on https://www.karendeakinantiques.com/chrysolite-victorian-art-deco-antique-jewellery-guide-sydney/

Chrysolite, chrysoprase, chrysoberyl … chryso whaaat? A guide for antique jewellery collectors

A yellow-green chrysolite set beside a large cabochon garnet in a richly enamelled Holbeinesque pendant from about 1870, just sold by Karen Deakin Antiques in Sydney

Chrysoberyl, chrysocolla, chrysolite and chrysoprase. That’s a lot of gemstones with confusingly similar names. And then there’s chalcedony, which in my head I lump in with the four named above because of its “ch”.

It can be hard to keep them all straight. Do you know the differences between them?

It’s chrysolite I really want to talk about here but let’s get the others out of the way first.

Before we start, let me stress that I’m not a gemologist, and I’m not going to list chemical names or specify crystalline structures. As an antique jewellery dealer I’m interested in how stones look, how they react to light, and how they have been used in the jewels from the periods I deal in, broadly 1700 to about 1960.

An early to mid Victorian chalcedony cross in 15-carat gold, available for sale

I’ll begin with the last one I mentioned, chalcedony, because it appears in several semi-precious forms. These include agate, moss agate, carnelian (as it’s commonly called today, though in my years in the antique markets of London we called it cornelian) and onyx.

Pure chalcedony is white – it’s impurities that add the colour. One often sees white chalcedony in antique jewellery, along with pale blue, mauve and grey versions. It was always shaped and polished rather than faceted because of a special quality that is the result of its crystalline structure: translucence.

When at its best this translucence – and the accompanying distribution of colour – lends itself to large earrings. I’ve written before about how earrings are better than any other type of jewellery at showcasing the beauty of gemstones.

Three chrysoprase pins, all for sale in my store in central Sydney

Let’s move on to chrysoprase, which is actually yet another type of chalcedony. It’s the green version, and can look very similar to jade. In the west it was at its height of popularity during the Art Deco period – as indeed was jade and all things oriental.

Late Georgian and early Victorian white chalcedony long-drop earrings were the inspiration for their later Art Deco chrysoprase counterparts, as seen in these examples I’ve previously sold (and kindly modelled for me by their new owners).

A Victorian day-to-night earring along a chrysoprase and marcasite jewel from the Art Deco period

I’m not going to say much about chrysocolla, a blue-green stone sometimes confused with turquoise, because it isn’t common in the antique jewellery I sell. But I do admire the intense greenish blue of another, similar gemstone with a yet another similar name – chrysocolla chalcedony, also known as gem silica. Extra confusingly, it’s not a form of chrysocolla. It is a chalcedony, though, and top-grade gem silica can demand the highest prices of all the chalcedony variants.

Now on to chrysoberyl, a hard gemstone that is (again bewilderingly) not a beryl – the best-loved beryls are softer and more brittle emeralds and aquamarines. It appears in three main varieties.

The first is ordinary chrysoberyl, which is yellowish-green. The second is chrysoberyl cat’s eye which, when cut in cabochon shape, can display a strong band of opalescence reminiscent of a feline eye. This optical effect is known as “chatoyancy”, from the French “oeil de chat”. The third is the highly prized and extremely rare alexandrite, which has a similarly spectacular trick up its sleeve: it can change colour from green to red depending on the light.

And so finally we can move on to chrysolite, a name derived from the Greek and Latin words for “gold stone”.

Textbooks will tell you there is no such gemstone. Strictly, this is true. It’s is an archaic term that refers to a number of different gems that all display yellow and green hues. These include chrysoberyls, peridots, topazes, sapphires and tourmalines.

Because of this ambiguity, the word chrysolite is no longer used by gemologists. But I believe it has value.

Many antique dealers still use the term, myself included. We do this because it identifies stones of a distinct yellow green that were often seen in late Georgian and early to mid Victorian jewellery.

Then they seemed to disappear. It’s my guess that most of these stones were uniquely coloured peridots from a rich seam that was eventually mined out.

Infuriatingly, my valuer was unable to test the chrysolites set around a cabochon garnet in an opulent Holbeinesque necklet from about 1870 that I have for sale in my shop (see the photo at the top of this blog). The curvature of the large central stone prevented his equipment from getting a proper reading. This means my description for these beguiling beauties must remain, correctly and emphatically, “chrysolites”.

[arthisour-blog]

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Lanyon Homestead lies at the foot of the Brindabella Ranges and is one of Australia’s premier historic properties. The Precinct’s centrepiece, the 1850’s Homestead, has been beautifully restored and furnished.

Set within superb gardens the Lanyon includes an historic homestead and outbuildings sited within a working rural property. Sheep and cattle still graze on the timbered hills and fertile banks of the Murrumbidgee river.

Lanyon is an historic homestead and grazing property located on the southern outskirts of Canberra in the Australian Capital Territory.

The site was first occupied following white settlement by Timothy Beard, who depastured cattle on the Limestone Plains as early as 1829. Beard had been transported to Australia for life and arrived in the colony in 1806. After receiving his pardon he entered the pastoral industry as a squatter. Beard’s huts were located on the Molonglo River near Queanbeyan and on the site of Lanyon homestead. Beard was forced out of the area by land grants and later became an innkeeper at Bringelly (Moore, 1982).

The Wright family James Wright and his friend John Hamilton Mortimer Lanyon settled at Lanyon in 1833 as squatters after arriving from London earlier that year. (James also took his wife and his 5 children with him.) In 1835 they purchased several adjoining blocks on the Murrumbidgee River, then the edge of legal occupation within the nineteen counties. Wright and Lanyon established an orchard, vegetable gardens, planted wheat and purchased cattle and sheep and set up a dairy herd. Fifteen convicts were assigned to Wright and Lanyon by 1835, increasing to thirty by 1837. Wright’s elder brother William arrived in 1836 and purchased adjoining land. William died in 1837 following a shooting accident. Lanyon returned to England and died in 1841. Wright married Mary Davis in 1838 and the first three of their eight children were born at Lanyon. Wright encountered financial difficulties and was forced to sell Lanyon in 1841 and move to nearby Cuppacumbalong station. The Wrights had established a self-supporting community at Lanyon of up to 60 people. The design of Wright’s courtyard buildings is said to be reminiscent of his native Derbyshire (ACT Government, 1994).

The Cunningham family Lanyon was next purchased by Andrew Cunningham, a banker from Fyfeshire in Scotland. Cunningham arrived in Sydney with his family in 1845 and settled at Congwarra, north west of Lanyon. The Cunninghams built the present Lanyon homestead from local fieldstone in 1859. Lanyon was carrying 25,000 sheep by the time of Andrew Cunningham’s death in 1887 and the Cunninghams had acquired five properties. Cunningham’s sons James and Andrew Jackson Cunningham operated the properties in partnership, with James at Tuggeranong and Andrew at Lanyon. In 1905 Andrew Jackson married Louisa Leman and extended and redecorated the homestead. Andrew died in 1913 and Louisa sold the contents of the homestead and returned to Sydney. James Cunningham moved his family from Tuggeranong to Lanyon in 1915.

The Field family After James’ death in 1921 his son Andy oversaw Lanyon until 1926 when the property was sold to Harry Osborne of Currandooley, near Bungendore. The Osbornes sold the property in 1930 to Thomas Field who had large landholdings in New South Wales and Queensland. The Field family lived in Sydney but visited Lanyon often. They implemented major changes, including modern farming methods, large scale pasture improvement and irrigation of lucerne. By the late 1960s, the growth of the National Capital had necessitated the resumption of large tracts of farmland south of Canberra. Up to a dozen rural leases, in parts of South Woden and Weston Creek, were resumed to make way for development of Tuggeranong, the second of Canberra’s urban satellites[1] Lanyon, was the largest single parcel of freehold land in the ACT. Tom Field lodged plans to sub-divide some of his 9,000 acres (36 km2). When the Federal Government proceeded to acquire Lanyon, Field refused an offer of $1.875m and sought compensation of $33m, the amount a private valuer had placed on the land when assessed at urban values.

The matter of Field versus the Commonwealth of Australia eventually proceeded to Australia’s High Court. The government defended the level of compensation it had offered Mr Field, concerned too that if successful, the ‘Field Case’ would set a dangerous precedent for compensation on freehold land throughout Australia. The Federal Government acquired Lanyon for $3.7m in 1974. In the early to mid-1970s the McMahon and Whitlam Governments withdrew the rural leases for Lanyon, Cuppacumbalong Homestead and Gold Creek Homestead.

The government converted the homestead into the Sidney Nolan Gallery which opened to the public in 1975. It housed a collection of the paintings of Sir Sidney Nolan. A purpose-built gallery for the Nolan collection was built in the grounds in 1980. An extensive conservation and restoration program was undertaken and the homestead is now managed as a house museum, within a working property, by the ACT Government and the National Trust.

Lanyon Homestead Tharwa, Australia was originally published on HiSoUR Art Collection

[proauction-blog]

Top Five Most Expensive Items Ever Sold by Sotheby's

Katia Savchuk ,  FORBES STAFF I write about billionaires and entrepreneurs around the world In 1744, a London bookseller named Samuel Baker made a few hundred pounds auctioning off rare books from an aristocrat’s collection. That turned out to be the first sale for what became Sotheby's. Over the next 270 years, Sotheby’s expanded into art and jewelry and grew into a global powerhouse synonymous with hawking luxury items to connoisseurs with deep pockets. Now, the historic auctioneer is hoping to reach more mainstream consumers by making a big push online. Starting this fall, Sotheby’s will begin streaming live auctions on eBay EBAY +0.50%, allowing the website’s 149 million online shoppers to bid in real time. Online bidders have increasingly been willing to lay down large sums of cash. The number of items Sotheby's sold online rose by nearly 40% last year, and in April, an early copy of John James Audubon’s book The Birds of America set a record for the company's online live auctions when it went for $3.5 million. Still, these figures pale in comparison to what offline auctions have fetched. Here are the five most expensive items — all works of fine art — that Sotheby’s has ever sold: 1. $119.9 million “The Scream,” Edvard Munch (1895)

Webmaster's insight:

Europe’s leading specialist auctioneers and valuers of catering & hospitality and food processing equipment.www.proauction.ltd.uk

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