#and as an avid collector of shiny rock

[onejellyfishplease]

Part 16

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Also I love drawing unmutated Donnie so much, with each update he gets more and more scrunkly

I had to physically restrain myself from drawing his nose any longer.

Also Leo is a menace, and no matter when happens, as a brother he is contractually obligated to make fun of Donnie. It’s just instinctual.

(Don’t mind me, just dropping in some lore… or well, dropping it on Donnie)

(Next)

[longtallglasses]

some miwi headcanons just bc ! older ones

i see young mike as kind of loud and not realizing how loud (and annoying) his yelling near people is (ie karen yelling in s1 “mike let’s go!” “COMING!!!”) however he quickly learns not to yell around will, adopting his softer voice for him BUT

in school he’s constantly calling over to will “will come here” “will sit next to me” “will! over here! look at this!” trying to get his attention “will, will, hey will…” other kids are like dude shut up… so many kids know will’s name who’ve never seen him, and mike’s thought of as that kid who’s always calling out for his friend.

i’m an avid rock collector!mike enjoyer. on the playground, in the forest, at the park, at the lake. he’s picking up all the cool ones, storing them away for very important scientific reasons like “this one’s shiny in A Different way!” he sets aside his favorites to show and give to will, very much in the style of a cat bringing a dead rodent to their owner, like “got something special just for you :) a Very Cool Rock :)” will loves how much mike enjoys it and is very excited to receive them, feeling quite special.

will loves stuffed animals (i mean we been knew) when he was younger they all had names and backstories, interpersonal drama and storylines he played out. two stuffed cats he definitely thought of as him and mike subconsciously, as they were best friends. he would act out little dramatic scenes of them running away from some oppressive kingdom, going on an adventure and meeting new friends along the way. … and he may have made them kiss a few times …

obviously small will loved drawing, but i don’t think he was always confident in his skill. after people tell him he’s good he gets caught up in trying to be really good, and gets frustrated when he can’t do something the way he wants. hence crumpled up attempts in the trash mike fishes out. there’s a spell of time where he gives up for a bit and jonathan asks why he hasn’t seen him drawing lately, and will says he doesn’t think he can get any better, it’s too hard. jonathan tells him it doesn’t matter if it’s perfect, he should just draw to make himself happy “draw for the campaigns, your friends think it’s so cool” so will keeps at it focusing on drawing what he thinks him and his friends will appreciate

while watching scary movies in the basement mike and will always held hands under blankets. it started when they were younger and they first got permission to watch a scary movie, they didn’t want to admit they might be getting too scared. during a big jump their hands reached out on instinct and too caught up in the movie they didn’t let go. when it was over they didn’t talk about it, but then it just kept happening every time they got scared. which led to holding hands when upset outside of watching movies. they never really discussed it, it just felt like their little secret thing.

all the boys were nice to holly but will was the only friend who actually liked seeking her out to play w them. (fascinated by a little sister unlike lucas and only-child dustin) mike and will would play games with her sometimes, will thinking she was really cute, and mike thinking it was cute will really liked her. cue karen thinking will is the best influence on her son

i have such a strong image of kindergarten miwi right after they become friends making mud pies together every recess. their teacher scolds them the first few times having to scrub their hands when they come back in. it gets so bad when the recess monitor sees them heading for the dirt they’re yelling “Michael! William! don’t even think about it!” they think it’s so funny to rile them up, they start spreading mud on each others arms “will you need more than that!” they only try to eat it a few times, it does taste really gross. after they’re banned from the dirt, they move to the sand box, it’s only a bit cleaner.

[inkspottie]

hello hello, i saw an ask that mentioned tarot cards and in the tags i saw something about rocks.. so i assume you mean the shiny kind :)

please. please. if i get my hands on said shiny rocks i may make jewellery with em because i love these squishy little angst beans-

Hehe shiny and normal rocks. My grandpa is an avid collector so I grew up polishing them and making pretty geodes.

So ye I have a few

Sebastian of course is Sodalite and for a gem I like Alexandrite for him too.

Sadao is Epidote, and Peridot

Anzu is Lepidolite and Amethyst

Gabriel is Labradorite and Sapphire

[heliophaestus]

ok PLEASE interact:

public transit enthusiasts, self-deprecation haters, people who have picked up the habit of vocally saying tone indicators out loud, music composers, shitty loud rock enjoyers, people who like being on crew more than cast in productions, fans of math and sciences, shiny rock collectors, deep sea creature lovers, people who don’t like apple OR orange juice, people whose first language is not english, people that don’t know when to use who versus whom, people with an avid dislike for public speaking, mediocre grade-havers, people who can’t and won’t shut up when someone brings up their topic of interest, artists/writers who haven’t posted in over a month, brass instrument players, and people who work in/want to work in skills and trades

[melrosing]

Do you have any Brienne headcanons or theories?

random assortment of Bri headcanons:

Brienne actually has a very nice voice :) This one is also a theory I guess because I do think she'll sing at some point (as she wanted to do for Renly), and everyone will be like :o! and by ADOS.... her debut album

Since GRRM is keeping so quiet on the details of Tarth I've decided that they've got some weird kind of celestial pagan-ish rituals going on around the rising sun and the phases of the moon. Like the head of House Tarth being called 'the Evenstar' makes me think that the title infers some kind of ritualistic role, with weird fantasy robes etc. I've probably made this up completely but I think it'd be cool, that Brienne's been sort of training for this role as well as becoming the head of her house

She likes animals but she's kept her distance from them since Ser Goodwin had her slaughter lambs and piglets in training....

She was an avid collector of Things growing up. 100% the kind of kid to keep a box hidden under her bed but the only things in it are seashells and shiny rocks and whatever

[demonsofdevildom]

Pokemon Verse: Lucifer - Commonly thought of a rich man though he and his brothers do shady business underneath their respective images that they portray to the public, double lives if one could put it that way. Known for his sweeping manner of battles when fought against, possibly a veteran due to how he is and quite calculating too. Wide range of types suit different situations/battles, perfect/maxed stats, has quite a few Legendaries/Mythical Pokemon. Mammon - Known for being the thief amongst the brothers mostly, though quite a handful in battle so don’t let his looks fool you otherwise you lose more than just money when you do. Mix of birds and others that are found good for stealing, varying types somewhat. Max friendship. Leviathan - A collector of various mons and surprisingly a good battler if not flustered of course, for he is known for washing out battles both literally and figuratively. Water types mostly with some other types mixed in, maxed stats, avid shiny hunter/collector. Max friendship. Satan - Knowledgeable trainer and known for being a theorist of various Legends/Myths/Folklore. Feline types mostly along with various smart mons as well, max friendship. Asmodeus - Contest/Musical star and a pretty good trainer, sharing various posts or selfies of himself and Pokemon. Pretty types or mostly fairy types, max friendship. Beelzebub - More of the casual trainer and traveler when seeing various places as well tasting the foods of each region, never without his twin it seems and oddly in tune with said twin as well. Fighting, Bug, Rock and Psychic (due to a telepathic bond with his twin), max friendship. Belphegor - Lazy trainer but surprisingly can still mop the floor with others, enjoying being with Beel most when going outside and commonly seen with said twin most of the time. Dark, Ghost, Psychic (due to a telepathic bond with his twin) and Poison types, rarely uses special evolutions (Mega, Dynamax, etc.)

[ratsoh-writes]

I'm cutting it close on the match ups but to be fair I don't get on Tumblr that regularly. Before I ramble off a list of random physical and personality traits, I want to say that one of the few blogs that I do try to keep up with when my mental health let's me is yours. It always makes my day when I see your posts, so thank you. <3

Alright, here we go- I am: A 20 year old, polyamorous transman who uses He/They/Fae pronouns, 4'10 3/4", not actively seeking another romantic partner but always for more friends and if feelings develop I panic and go with the flow, pudgy and in need of motivation to exercise but a fondness for sweets, freshly dyed red hair (it's still drying), hazel eyes in desparate need of glasses, a busybody when I put my mind to things, tend to push myself too hard (still recovering from a shoulder/wrist injury, whoops), insomnia and lucid dreams are common, an avid reader with plans to become a published author, someone who gets easily overwhelmed by crowds/overlapping noises (the synesthesia Really doesn't help), a daydreamer and lover of music, a consumer of most knowledge I can get my hands on (preferences for mythology, languages, arts, soft sciences), anxiety and depression are struggles but I'm stubborn and have been told that I'm a pleasant coworker/leader but have a tendency to psych myself out, a lover of baking and puzzles, collector of stuffed animals and small shiny things (pennies, pop tabs, rocks), prefers comfort over popularity, I love to clean and organize, occassionally has volume control issues when excited but would rather observe most conversations, a total little spoon or backpack, physical affection is Huge for me, loud noises and flashing lights (fireworks, firearms, etc) terrify me. I want to get into gardening and crocheting again. I plan on getting lots of tattoos and changing my body in the future, and know I can be a lot sometimes. If you get to know me, you get to unlock my ~tragic back story.~ ;^0c Uuuhh... I love spaghetti and puns, I'm lactose intolerant but love cheese and ice cream, my favourite colour is mustard yellow, I hate the feeling of nail files and sandpaper, tea before coffee but both are delicious, I have a cat?? He is my bastard son. I have a tendency to ramble and overshare. There. I think that's plenty of too much to work with. Happy New Year!

I’ve got two who are great for you, but since I haven’t done this guy yet I’ll pick him! Late match you with GREEN (gastertale papyrus)

Green is a cool, intelligent, and defined gentleman. He’s quite the motivational speaker and is your guy if you need someone to help you each your goals (like exercise and healthy eating). He knows how to modivate people without getting condescending which is a very special skill in my opinion

Green loves a bubbly personality, and from what I’ve read, you sound like a really positive person. He’ll find it refreshing that you try so hard to be optimistic and help other feel the same way.

Green is also very attracted to people with intelligence. He leans more towards the sciences, but also likes history and psychology as topics of discussion. Chatting with green always turns into a very interesting and deep conversation

Dating green includes:

This man has perfect manners and treats his SO like royalty. He also likes seeing them flustered. He knows exactly what he’s doing each time he kisses the back of your hand.

Green is also suprisingly a very good cuddler. It’s not the first thing in his mind, but if SO asks, he’ll almost never refuse. He’s one of the taller papyri and makes a wonderful big spoon

Finally, green is a gift giver, and he likes having interesting displays in the home. He’d probably have a China cabinet but instead of plates, it’s filled with all the shinies your bird heart desires

If you’re wondering, papyrus was the second choice

[sigynthevictorious]

Dolls: Has your muse ever collected something?

Fear-Themed Headcanon Questions

Sigyn

She isn't an avid collector of anything in particular, but does have a collection of trinkets etc. from when the boys were little (e.g. drawings, their first curls, gifts they made her, old toys). They're kept wrapped up in a chest under her bed, when she's feeling particularly low she will look through them all and reminisce.

Narfi

When he was little, he kept a collection of pretty rocks and shells he would find out on his walks, usually with the mind of gifting them to his mother or father but would often forget. So instead they sat proudly lined up on his shelf.

Vali

Coins and anything shiny. He's like a magpie and if anything takes his fancy he'll take it. This could be anything from a ring, to a bottle lid. He tries to get at least one coin every time he visits another realm, he had centuries worth of various Midgardian coins due to this.

This has also resulted in him being chased down for theft. Obviously he's too good to never get caught. He keeps his trinkets in a little wooden box under his bed.

[momsden]

Hoarder's Anxiety & How Gamers Deal With It

Hoarder’s Anxiety & How Gamers Deal With It

As a long-time World of Warcraft player and an avid collector of shiny things, I’ve always found it hard to deal with the fact that I just can’t have it all – while preserving the remnants of my personal life, growing a business, and… You know. Living a full life. Still, I can’t help but feel like I’ve swallowed a rock every time I see someone on a mount that I could have had… If only I had put…

[hcrystals24h]

These Healing Crystal Jewelry Retailers Wish to Help You Rock Crystals Each Day

Healing crystals aren’t just decor in your home highlights (e.g. agate coasters) or Instagram nail artwork #inspo. Somewhat, to truly enlist their abilities wherever, every time, consider actually using some metaphysical minerals or gemstones by means of some super-pretty expensive jewelry. (If you’re in need of crystal 101, read this information which matches gemstones for your astrological signal.) Besides this eases the requirement to bring the unique rocks around along within a pouch (or perhaps your bra), additionally, it offers your thing a numinous feel for an effortlessly amazing but totally higher-vibe seem.

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But, obviously, you can use your chosen rocks anyplace. Like at the moment, I have got an arm party loaded with jade, citrine, clear quartz, amethyst, moonstone, and rose quartz—because every one of these is my, go-to healing crystals. Skim through these extraordinary creative designers for sections that line up with your finances and your chakras, way too.

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Additional Resources:

https://en.wikipedia.org/wiki/Swarovski_crystal

https://www.wikihow.com/Make-Jewelry

https://www.nytimes.com/1991/09/22/news/crystal-jewelry-unlike-its-forerunners.html

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[ntrending]

A ball of space mud just pelted Earth—and scientists couldn't be happier

New Post has been published on https://nexcraft.co/a-ball-of-space-mud-just-pelted-earth-and-scientists-couldnt-be-happier/

A ball of space mud just pelted Earth—and scientists couldn't be happier

Space science is always about what’s going on ‘out there’. Sometimes, astronomers must pay attention to what’s falling to Earth, too. That’s precisely what Arizona State University’s (ASU) Laurence Garvie is ready to do as he and his team scrutinize an extraterrestrial mud ball that rained down from the heavens last month and landed in a small town in Costa Rica. That’s not a euphemism: We’re talking about a literal mud ball.

In late April, the residents of Aguas Zarcas saw a giant fireball light up the sky as it hurtled towards the ground and broke up into hundreds of pieces in the atmosphere. Within minutes of the fall, local news media reported pieces were falling through the roof of a house at hundreds of miles per hour, destroying a dining room table. “It really arrived with a big bang,” says Garvie.

Early reports showed this meteorite to be a carbonaceous chondrite—which are non-metallic rocks that formed 4.5 billion years ago, back when the solar system was a mere crabby infant. It’s extremely rare for a meteorite like this, so full of clay, to fall down to Earth. “We’ve been waiting for something like this to fall for decades.” says Garvie, a meteorite researcher and curator for ASU’s Center for Meteorite Studies. The last time a rock like this hit Earth was in 1969, in Australia. Others have fallen since, but never yielding more than paltry amounts of extraterrestrial material to study.

Now our planet has been blessedly pelted with another giant mud ball, with an abundant supply of samples available for scientific scrutiny. These sorts of rocks could hold potential clues to the origin of life in the solar system, since they’re chock full of organic compounds that could act as the ingredients for life. The one that fell in 1969, says Garvie, arguably gave birth to the entire field of astrobiology.

The ASU team was able to get in touch with two avid meteorite hunters from Arizona who had traveled out to Costa Rica within a day of the fall to collect pieces of the fireball that broke apart as it torched through the sky. About 55 pounds from the original washing-machine-sized fireball were recovered by meteorite collectors during a lucky five rain-free day streak in the region—critical for preserving clay materials that tend to fall apart very quickly once wet, and thus degrade the unique extraterrestrial properties of the rock. Those hunters donated several samples to Garvie and his team, who were among the first lab’s in the world to begin studying the Aguas Zarcas mud ball.

According to Garvie, the mud ball is more than just a random pile of clay zipping through space. It’s a fragment of a larger body that was on its way to growing into a planet. A larger hot aggregate of cosmic material began to cool down, and effectively “fossilized” into a cold rock, disturbed by collisions with smaller rocks but staying largely intact as it orbited around the sun, likely in the asteroid belt. By chance, it was lodged out of its orbit and ended up hurtling into the Earth’s atmosphere and landing in Costa Rica. Quite a journey for a ball of mud, no?

The list of analyses scientists can run on these samples is seemingly endless. They include more conventional work like observations under infrared or UV light, and spectroscopy assays to understand the chemistry of the material. They also include bolder tests—clays often give us a very pungent and specific set of odors when exposed to moisture, and Garvie and his team are setting up tests designed to figure out the origin of those smells and what they too can say about the mud ball’s composition. Other labs are poking away at digging into some of the meteorites metals, and reconciling how the aqueous and metallic compositions could have co-existed for so long.

While the mud ball’s impact could be key to understanding larger questions about the chemistry of the early solar system, there are also more immediate implications worth investigating. Clays are abundant in water, which raises the specter of potentially mining clay-rich asteroids in space one day for water that’s critical for space travel and exploration. That water could be important for human consumption, growing plants, or potentially used as rocket fuel in novel kinds of spacecraft propulsion systems. “Developing the technologies to heat this material in the asteroid belt, to extract water out, it’s going to be a key point of future space travel,” says Garvie.

The Aguas Zarcas samples are also thought to closely resemble the composition of asteroid Bennu, currently being studied in space by NASA’s OSIRIS-REx mission, which will eventually return of sample of the asteroid to Earth. This makes the mud ball research a sort of prelude to what we might later find in the following decade when the OSIRIS-REx sample is finally in our hands.

A mud ball doesn’t exactly have the same shiny sparkle as a star, but that doesn’t make it any less exciting for scientists to dig into. “Nature’s done the hard job of creating this material,” says Garvie. “Now it’s up to us to tease this out and investigate the history of where it came from, how did it form, and what it can tell us about the early solar system.”

Written By Neel V. Patel

[nu-gundam]

Tag 8 People you want to get to know better

Tagged by: @kamenriderkuuga

How old are you? 26

What’s your current job? i schedule internet installations for companies. ask me about my ISP tier list

What are you talented at? i like drawing; i do it a lot and i'm pretty proud with where i am with that. there are definitely people out there that are better than me but i draw things that make me happy to look at and i think that's what's important

Do you collect anything? i'm not an avid collector of any of these, but: figures, gunpla, stuffed animals, crystals/shiny rocks

What’s a topic you always talk about? i can talk for a while about desserts/candy because i love them

What’s a pet peeve of yours? when a cheap/dying ballpoint pen makes u press down hard on the paper but doesnt even have the courtesy to give you a solid line on the paper so there's those little white gaps in where you're writing and that's why i buy overpriced ink pens and bring them into work

Good advice to give? you know your own limits better than anyone else. if things get too much, it's okay to take time for yourself and regroup. i find it helpful at work to get up and walk the like 20 feet to the water cooler and get some water when things get overwhelming, just to give myself a little break to stretch and have a brief change of scenery.

What are five songs you’d recommend? The Fall Of Rome - The Airborne Toxic Event  The Dead Can't Testify - Billy Talent  Fresh Static Snow - Porter Robinson  Unsafe Safe - The Hush Sound Major Tom - Shiny Toy Guns 

im supposed to tag people but i never really feel comfortable doing that since i don’t really talk to many people on tumblr, sorry!!

[lesbiankoby]

♦▼ franziska von car!!!!!!

♦ - quirks/hobbies headcanon

this is probably cheating a little bit because its not a new one but i love yelling about it anyway FRANZISKA VON KARMA AVID COLLECTOR OF USELESS KNICK-KNACKS her apartment(s) are so fucking cluttered

also i think she likes smaller animals if that counts........smaller soft animals......its a feeling. and also franziska with a hamster is funny. or a cat. haligan you’re the expert is ‘cat’ a hobby

▼ - childhood headcanon

also probably cheating but babyziska was the kind of kid who loved to collect and play with like, neat rocks and stuff? preclude to Knick Knacks. which mvk was against because mvk is against happiness. edgeworth used to help her hide like, neat shiny rocks and other cool things she found under a loose floorboard under his bed (so that if manfred ever found out about it he could take the blame instead of her). 

[wow-rhuanious]

A toss and a cat figurine tumbled up into the air, then smacked back into her hand. Imriel grinned at herself. Rhuan really needed to do a better job of watching her pockets.

“You do realize that isn’t just a memento?”

She cocked a brow as Rhuan stepped closer with an unreadable look her face. Imriel kept her grin unrepentant, ears at a jaunty angle. She was really expecting more of a reaction than that from Rhuan, who was both avid collector and entirely too attached to her belongings. The non-reaction sent a tingle down her back.

“More than a memento?” She said and rolled her eyes, grin not fading. What was being a rogue but being willing to poke people with sticks despite instincts singing little swear words at her. Only cowards listened to that niggling little voice, rogues went where others dare not tread.

And if push came to oh shit she could totally get away before Rhuan got a hand on her. Tactical retreat was every rogue’s best friend.

“Every rock and scrap of cloth you keep in your bag has some meaning to you. Treasure maps to nowhere, useless gems, a shiny silver necklace. What’s so special about this honestly not that well carved cat?”

Imriel tossed the figurine up again, keeping her eyes on Rhuan as the cat tumbled.

“Have you ever asked yourself where Alisanos goes when he is not at my side?” Rhuan said, her gaze locked on Imriel, arms crossed now. Her face growing readable and more sour with every passing moment. She really was entirely greedy with her things. Imriel sniffed.

“Can’t say that I have, your little ghost of a cat is hardly a priority of mine.” Something about that sentence bothered Imriel and she paused in her game of catch to frown. Her attention shifted to the figurine, was it shinier than it had been? She swallowed and carefully considered her next words.

“So, ghost? How, um, literally correct was I?” Imriel said, lifting her gaze back to Rhuan. Who was now looking entirely, unbearably smug, teeth extra sharp in her grin.

And that’s the story of the one time a ghost cat gave Imriel a cat bath. She doesn’t want to talk about it.

[goldeagleprice]

Letters to the Editor (June 12, 2018)

Readers spot first 2018 coins in change

May 10 was the very first time I noticed 2018 Lincoln cent coins in my change.

David Mediate New Castle, Pa.

  I got a 2018 cent in change last week.

Anthony Meister Rockford. Ill.

  I wrote you earlier about some 2018 change I received, but there are a few other things I thought I should mention in this updated email.

Recently, I received two 2018 Pictured Rocks quarters along with a 2018 Denver penny at a shop near San Fransisco, Calif. Also, I always check the Coinstar at the various grocery stores, and while I’ve gotten coins from countless different countries, I’ve also found a 1943 Denver steel cent that it rejected, which I thought was worth mentioning. Also, I spend much of my free time going through rolls of coins, particularly nickels, and that has provided some interesting finds. I’ve gotten many Buffalo nickels, but the notable things I’ve found are an 1888 Liberty “V” nickel, a 1928 hobo nickel of a soldier, a nickel from Bermuda, and one from The Bahamas.

Ari Kaufman Mill Valley, Calif.

  2018 quarters hard to find in Los Angeles

I would share with you the fact I have yet to receive a 2018-dated quarter in circulation. I live in downtown Los Angeles and purchase a cup of coffee each morning at the same coffee shop while walking my dog.

My change each day is three quarters that I then inspect before handing them back over as a tip. Typically within a week or two of the new America the Beautiful quarter design release, I’ll get one, or often three from a fresh roll. But none this year. Zero. Zip.

And, in total, I have gotten one 2018-dated coin in circulation, a “D” cent.

Michael Wielock Los Angeles, Calif.

  Teach children to recognize silver in their change

My first point is everyone seems to be dissing the Mint, be it pricing, bad packaging, etc. I have been dealing with the Mint for probably 40 years. I got in on the CC sale back in the day and much more.

I can only remember having one problem with them. I ordered a proof set that had a blemish on the obverse field. I sent it back and within a week got another one with the problem fixed. So I can only say that my experiences were good ones.

My second point is that since my son was very young, I showed him how to recognize silver coins and other coin related tidbits, Wheaties, some errors, etc. Just the other day, he got a 1964 Washington quarter and gave it to me. We should teach our kids to be on the lookout, because there are still silver coins in circulation. The trick is to be able to recognize them.

When I worked at a large department store on the cash register, a lady once paid her order with $10 in silver coins, which I gladly exchanged for paper money. Keep looking, young people.

Joe Taylor Philadelphia, Pa.

  Reader surprised by find of Philadelphia cents

I live out west where the Philadelphia mintmarks do not roam. However, today I received my first 2018 coins, two shiny pennies from the Philadelphia Mint.

Oh! Did I mention that they came in one of those envelopes asking for a donation?

Jim Gristenti Address withheld

  Will proof silver Eagles be worth just bullion value?

Every year the U.S. Mint produces burnished and proof silver Eagles. I buy two of each every year, one proof for my grandaughter, one burnished for my grandson and the others for me. (They are seven and four years old.) I think the U.S. Mint overprices them, but I buy them anyway.

My biggest concern is let’s say God allows me to be around for another 20 plus years (I am 66 today) with a good head and sound mind. In the next 20 years, they will have a nice collection of silver Eagles. I do not consider them an investment, but I do not know how the future generations will take them.

I go to a local coin show, and you do not see many Generation X, Generation Z or Millennials at these shows. Will coin collecting basically end after all the Baby Boomers die off? Even though I did not consider them investments, who will want these coins in the future?

Supply-and-demand economics will take over, and there will be a good supply of “collectible” silver Eagles with probably little or no demand. These coins will become bullion coins pretty much worth the price of silver.

Will my grandkids have something that I paid a premium for worth only bullion values? Should I even continue to buy them for them? Or even myself? It seems if I do buy them for me, I should sell them off before I pass on. At least I should get fair value in my lifetime. There will still be collectors in my lifetime.

Will coin collecting in general become a thing of the past?

Ralph A. Fuller Cleveland, Ohio

  Too many coin issues depress interest, values

The reason I no longer buy from the U.S. Mint is that they are indistinguishable from the Franklin Mint – putting out multitudes and multitudes of overpriced Junque.

The rubes fell for the state quarter bit, but how many of those folks are still collectors versus how many of us have they alienated?

I stopped buying modern coins long ago when the Mint went on a “Lets see how many varieties of ‘collector’ coins we can come up with and sell for an extreme profit” rampage. The U.S. Mint all but ruined the hobby for me.

Name withheld

  Will pre-1982 cents go up in value over time?

First of all, good luck in your new office surroundings.

As an avid collector of old U.S. coins, I have also collected the older 1982 pennies in old glass jugs. Started saving these coins many years ago when the rumor came out that these older pennies would go up in value.

I have not seen any recent articles on the older pennies. Have you heard anything on whether these pennies will ever be more valuable, or you can send me an email address that I can address it with some one else?

Thanks for your time and “Class of ’63.”

D. Ritchey Address withheld

Editor’s note: We assume you became interested in pre-1982 cents because of their 95 percent copper composition. Much has been written over the years about rising copper prices. The copper in each of these cents is now worth about two cents. However, melting cents has been illegal since 2006 when the U.S. Treasury adopted a regulation prohibiting the practice.

  Are other readers finding mint errors in change?

Last month, a fellow collector displayed a “sunburned” dime (a dime missing the copper-nickel “sandwich”).

It was interesting and a definite mint error that turned up in circulation. It had probably been circulating as a cent for a few years before my collector friend noticed it and culled it out.

This got me thinking that I’ve been holding onto a mint error myself. Several years ago, I found an “albino” cent (a cent without the copper plating) dated 1987. At first, I thought it was one of those reprocessed 1943 cents that one (non-numismatic) company had sold to unsuspecting collectors as uncirculated “War Pennies.” (Fool me once…)

Has any other reader found mint errors (“sunburned” or “albino” coins) in circulation? I am thinking about sending my “albino” cent to one of those third-party grading companies to verify its authenticity.

Bill Tuttle, Cleveland, Ohio

Editor’s note: You should probably save your money, as the cost would consume the value of the “albino” cent.

  Hard to find a use for coins in high-tech Boston

Was amused by the question on Numismaster.com as to whether coins will be gone 10 years from now. The 100 percent “No” was what made me chuckle. It was, after all, a survey taken by coin collectors! I’m beginning to wonder if bank tellers and/or cashiers are going to be around in 10 years.

In my never-ending quest for new quarters, just today, at two local banks, I overheard customers asking for one or two rolls of quarters. What they do with them, I don’t know. This area is so high tech the parking meters take phone payments and the Mass Pike only allows transponders. The libraries don’t allow coins for the copier machine. Anything to eliminate a job for an American.

Name withheld Boston, Mass.

  This article was originally printed in Numismatic News. >> Subscribe today.

  More Collecting Resources

• Subscribe to our monthly Coins magazine – a great resource for any collector!

• Keep up to date on prices for Canada, United States and Mexico coinage with the 2018 North American Coins & Prices guide.

The post Letters to the Editor (June 12, 2018) appeared first on Numismatic News.

[caveartfair]

The Women Who Built the New York Art World

Over the course of 10 years, between 1929 and 1939, four of New York City’s most iconic museums emerged in Manhattan: the Museum of Modern Art, the Whitney, The Frick Collection, and the Solomon R. Guggenheim Museum. These institutions are now world-famous. But their founders—predominantly women—are relatively unknown.

During this period, other women—like Peggy Guggenheim, Grace Nail Johnson, and Florine Stettheimer—also helped carve out the New York art landscape by establishing influential galleries and salons that fostered avant-garde art.

Today, their work is still visible in the fabric of Manhattan’s landmark art scene, filled with progressive museums, galleries, and experimental art spaces. Rarely, however, are these women heralded as the pioneers they were. Below, we highlight the radical tastes and essential contributions of the women who shaped the New York art world we know today.  

Lillie P. Bliss (1864–1931)

Co-founded MoMA in 1929

Lillie P. Bliss. c. 1924. Rona Roob Papers, II.C.3. Courtesy of The Museum of Modern ArtArchives, New York.

Installation view of the exhibition “Bauhaus: 1919–1928,” on view December 7,1938 through January 30, 1939 at The Museum of Modern Art, New York. Courtesy of The Museum of Modern Art Archives, New York. Photo by Soichi Sunami.

Lillie P. Bliss, the daughter of a wealthy textile merchant from Boston, didn’t conform to late-19th century expectations of women. Bliss never married, she owned her own shiny Pierce Arrow limousine (she loved cars), and she developed a voracious and discerning appetite for art. “She was an advocate for modern art when it had few admirers, a patron when it had almost no market,” wrote philanthropist Eleanor Robson Belmont of Bliss in a 1931 catalogue commemorating her iconic art collection.

Bliss was one of New York’s first major collectors of modern art. Her lovingly cultivated cache of great works by Cézanne, Daumier, Redon, Seurat, Gauguin, Modigliani, Monet, and more would become the foundation of one of the most important public collections in the United States.

In November 1929, at the age of 65, Bliss and friends Abby Aldrich Rockefeller and Mary Quinn Sullivan (budding collectors themselves), met for lunch to discuss opening a public museum devoted to contemporary art, which didn’t yet exist in New York. Later that year, they opened The Museum of Modern Art at 730 Fifth Avenue. Bliss devoted the last two years of her life to shepherding the museum’s early growth—and gifted 150 of her prized pieces to the new institution.

Bliss’s renegade tastes and support of young artists also helped to set the stage for collecting in America. At the legendary 1913 Armory Show, where European paintings by the likes of Matisse and Duchamp shocked American critics, she had bought her first works of art: three by Renoir and a whopping eight by Redon.

When she died in 1931, a new apartment that she’d purchased specifically for the display of her collection brimmed with works like Daumier’s The Laundress (c. 1863) and Cézanne’s Pines and Rocks (No. 9) (c. 1897). Paintings by Toulouse-Lautrec, Pissarro, and Davies covered her living room, while woodcuts by Gauguin and etchings by Picasso decorated her hallways.

Abby Aldrich Rockefeller (1874–1948)

Co-founded MoMA in 1929

Abby Aldrich Rockefeller (Mrs. John D. Rockefeller Jr.) seated at her desk. 1922. Photo by H.T. Koshiba. Courtesy of the Rockefeller Archive Center.

In the early 1900s, The Metropolitan Museum of Art routinely refused to show or accept donations of  contemporary artwork. Abby Aldrich Rockefeller, who began collecting art in 1925, was an avid opponent of this conservative approach. (In 1929, the Met declined the donation of her own significant modern art holdings.) She believed that radical contemporary artists like Matisse, Diego Rivera, and Georgia O’Keeffe should be patronized, and given a public platform too.

A society girl from Providence, Rhode Island, Aldrich Rockefeller married the quiet, rigid, and wildly wealthy John D. Rockefeller, Jr. (son of famed oil baron John D. Rockefeller) in 1901. She fast established a reputation as one of New York’s most prominent hostess-philanthropists. But the causes she chose to support—women’s advancement and art—were unconventional. And though her passions were often questioned by her husband and his circle, she pursued them vigorously until her death.

She’d developed her interest in avant-garde art during a European sojourn in her late teens. After returning to New York and settling into her 10-story mansion with her husband, Aldrich Rockefeller continued to surround herself with art and artists. She invited Matisse to dinner, befriended bohemian painters like Marguerite Zorach, and invited Rivera to paint a massive mural in her husband’s swankiest property: the Rockefeller Center. (The mural was famously destroyed in 1934, following controversy surrounding the artist’s inclusion of a portrait of Lenin.)

Her reigning achievement, though, was co-founding MoMA with Bliss and Sullivan. It was Aldrich Rockefeller who convinced her husband to underwrite the museum and give up a prime slice of real estate to use as its sculpture garden. And it was she who donated 181 gems from her collection, by the likes of Seurat and Van Gogh, to the museum, as well as gifting important works to the Metropolitan Museum of Art and The Cloisters.

Mary Quinn Sullivan (1877–1939)

Co-founded MoMA in 1929

Mary Quinn Sullivan. (no date). Courtesy of The Museum of Modern Art Archives, New York.

Installation view of the exhibition “Cézanne, Gauguin, Seurat, Van Gogh,” on view November 7, 1929 through December 7, 1929 at The Museum of Modern Art, New York. Courtesy of The Museum of Modern Art Archives, New York. Photo by Peter Juley.

Mary Quinn Sullivan began her adult life as an artist and art teacher, surrounding herself with pioneering women. (For a short stint, Sullivan roomed with artist and suffragist Katherine Dreier, and her various New York homes became stomping grounds for creatives of all stripes.) After studying at Pratt, she left for Europe to school herself in its art education strategies, and became enamored with avant-garde European movements like Impressionism and Post-Impressionism.

The excursion spurred her collecting habits. And upon returning to New York, she, like Bliss, acquired some of her first art at the 1913 Armory Show. Later, with her husband (lawyer and rare book collector, Cornelius Sullivan) she scooped up works by Cézanne, Van Gogh, Toulouse-Lautrec, Gauguin, Picasso, Derain, Modigliani, and more.

When Sullivan joined forces with Bliss and Aldrich Rockefeller to establish MoMA in 1929, she shaped its educational mission, which remains an integral facet of the institution today. She remained a museum trustee until 1933, leaving a year after she’d opened a commercial art gallery that showed work by American and European artists like Chaim Soutine. There, Sullivan hired Betty Parsons, who would later open her own legendary New York gallery.

Florine Stettheimer (1871–1944)

Hosted an influential salon for avant-garde artists and writers

Florine Stettheimer in her Bryant Park garden, c. 1917-1920. Florine Stettheimer papers, Rare Book and Manuscript Library, Columbia University.

Florine Stettheimer's studio at the Beaux-Arts Building, New York, 1944. Photograph by Peter A. Juley & Son. Courtesy of the Florine Stettheimer Papers, Rare Book and Manuscript Library, Columbia University.

Painter Florine Stettheimer’s Bryant Park-facing studio doubled as the Jazz Age’s most idiosyncratic, and by many accounts, fruitful, salon. One of Stettheimer’s paintings captures the carnivalesque scene that many of her contemporaries recounted. In Studio Party (1917-1919), cultural figures lounge and pore over the art displayed on almost every surface of the pink room. They include Stettheimer, her sister and fellow saloniste Ettie, sculptor Gaston Lachaise and his wife and muse Isabel, Cubist painter Albert Gleizes, playwright Avery Hopwood, critic Leo Stein, Hindu poet Sankar, and—for good measure—a harlequin.

It was common for Stettheimer to gather a similarly diverse group of artists within the studio she legendarily decorated with iridescent cellophane, profusions of flowers, and a large nude self-portrait. Other regular Stettheimer salon attendees included friends like Georgia O’Keeffe, Alfred Stieglitz, Harlem Renaissance patron and documentarian Carl Van Vechten, and Marcel Duchamp. Like Gertrude Stein’s contemporaneous salons in bohemian Paris, Stettheimer offered an environment that encouraged open creative exchange between artists of all genders, backgrounds, and chosen mediums.

Gertrude Vanderbilt Whitney (1875–1942)

Founded Whitney Museum in 1930

Portrait of Gertrude Vanderbilt Whitney, via Wikimedia Commons.

Installation view of Opening Exhibition –Part I of the Permanent Collection (Painting and Sculpture),  November 18, 1931—January 2, 1932. Photo by Samuel H. Gottscho. Courtesy of the Frances Mulhall Achilles Library, Whitney Museum of American Art, New York.

Unlike many of her collector-philanthropist peers, Gertrude Vanderbilt Whitney focused on American art, rather than European. While she studied sculpture in Paris (and was once critiqued by Auguste Rodin), she established her studio in New York’s Greenwich Village. There, she forged bronze objects depicting soldiers at war or busts of mythical figures—and created massive public sculptures. She would later transform the space into the Whitney Museum of American Art.

Vanderbilt Whitney’s studio became her second home, where she could make work and entertain creative friends away from the traditional tastes of her husband, Harry Payne Whitney, who didn’t take her art practice seriously. (He also refused to let her hang Robert Henri’s striking portrait of her in their shared home, because he didn’t want his friends to see a picture of his wife, as he said, “in pants”—the mark of the era’s “new woman.” She hung it her studio instead.)

The space also became a haven for young artists who were attracted to her free spirit, adventurous taste, and penchant for throwing parties. In 1914, she turned the network of apartments that surrounded her studio into Whitney Studio, where she exhibited the work of emerging, unrepresented painters and sculptors from her community. In the process, she amassed a collection of over 500 pieces of American art, including works by the then-unknown John Sloan, Edward Hopper, and Joseph Stella.

In 1929, she offered the trove, along with a several-million-dollar endowment, to the Metropolitan Museum of Art. When they refused it, she turned Whitney Studio into an unprecedented institution: one that focused solely on emerging American art. The Whitney Museum of American Art came to life in 1931 on West Eighth Street. Today, while the institution has outgrown its original home many times over, its focus remains the most influential and radical art made in this country.

Grace Nail Johnson (1885–1976)

Patron and mentor of Harlem Renaissance artists

Grace Nail Johnson bridal photo in Panama, 1910. Via Wikimedia Commons.

Postcard of Augusta Savage’s Lift Every Voice from Carl Van Vechten to Grace Nail Johnson. Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.

Grace Nail Johnson was known as “the grand dame of Harlem.” She earned the title by tirelessly supporting the arts and activist causes, primarily Civil Rights and the Women’s Suffrage Movement. The Harlem home she shared with her husband (the poet, writer, and activist James Weldon Johnson) became a sanctuary for Harlem Renaissance writers, painters, and musicians. There, Nail Johnson would survey their work and offer sage advice, in turn assuming the role of mentor for young artists.

As the only black member of Heterodoxy, a feminist debate club in Greenwich village, she also voiced her passionate commitment to equal rights for women and the black community. Among other activist achievements, she founded the NAACP Junior League in 1929, and made a trip to the White House in 1941 at Eleanor Roosevelt’s invitation, to discuss race relations.

Her fight for equality extended to art, too. After her husband’s death, she and Harlem Renaissance photographer Carl Van Vechten established the James Weldon Johnson Memorial Collection of American Negro Arts and Letters (now called the James Weldon Johnson Memorial Collection) at Yale University. An essential act of artistic preservation when many established museums and institutions ignored art made by people of color, it remains one of the most important archives of art, writing, and ephemera documenting the Harlem Renaissance’s vast creative output.

Helen Clay Frick (1888–1984)

Opened The Frick Collection in 1935

Helen Clay Frick in Belgium, August 1920. Courtesy of The Frick Collection/Frick Art Reference Library Archives.

West Gallery, Frick New York Residence, 1927. Photo by Ira W. Martin. Courtesy of The Frick Collection/Frick Art Reference Library Archives.

When Helen Clay Frick was 31 years old, she inherited $38 million—and subsequently became the richest woman in America. At a young age, she’d already taken a shine to her father’s collection, which included masterpieces by Turner, Constable, Gainsborough, and Vermeer, among other great Old Master and European artists. Just after she turned 21, she assembled a two-volume catalogue detailing the family’s art.

Clay Frick had always been independent and ambitious: she never married and after her father died, she took it upon herself to oversee a stipulation in his will that his collection should become a public museum. In 1935, under Clay Frick’s guidance, The Frick Collection opened in the family’s mansion on 5th Avenue. And she breathed life into it by encouraging new acquisitions. Along with eight other trustees, she purchased works by Piero della Francesca, Duccio, Goya, Monet, Ingres, Rembrandt, and others to add to the museum’s ornate halls.

Clay Frick also led the creation of another New York art world treasure: the Frick Art Reference Library. Originally housed in the mansion’s subterranean bowling alley, it moved to a building on 71st Street and opened to the public in 1924. Including over 228,000 books, it houses a vast reservoir of information documenting European and American art from the 4th to the mid-20th centuries.

Hilla Rebay (1890–1967)

CO-FOUNDEd THE MUSEUM OF NON-OBJECTIVE PAINTING in 1939, LATER RENAMED THE SOLOMON R. Guggenheim Museum

Hilla von Rebay in her Connecticut studio, late 1930s; Courtesy of Hilla von Rebay Foundation Archive © Solomon R. Guggenheim Foundation Archives, New York. All Rights Reserved.

A baroness born into an aristocratic family in Alsace, Germany, Hilla Rebay refused to heed her father’s wishes for her future. “You are my virtuous daughter, go find a husband, end of story,” he once said. “I will not tolerate having any artists in my family.” Instead, she forged her own path. Rebay never married. Instead, she became an artist, moved to America, and inspired the creation of the Solomon R. Guggenheim Museum. She also led the institution’s trailblazing program of abstract art as its first director.  

Rebay’s interest in art emerged at a young age; the Guggenheim Museum Archives contain a delicate self-portrait Rebay drew at the age of 14. After honing her skills in art schools across Europe, where she was exposed to the Der Blaue Reiter movement, she took up non-objective (or abstract) painting. Her interest in the style was stoked by friendships with pioneering artists Sophie Taeuber-Arp and Jean Arp, who introduced her to Wassily Kandinsky’s seminal manifesto on abstraction. She would soon become one of its most outspoken champions.

When she immigrated to New York in 1927, she carried with her a passionate dream: to establish a “museum-temple” where the public could be exposed to non-objective art. A year later, she met wealthy businessman Solomon R. Guggenheim, who sat for a portrait in her studio. The fateful event led to a lifelong personal and professional partnership that precipitated the formation of the Guggenheim Museum.

Through Rebay’s connections, she, Guggenheim, and his wife Irene met Kandinsky on a group trip to Europe. There, Guggenheim made a watershed acquisition: the painter’s masterful Composition 8 (1923). It sparked his appetite for collecting, which was guided by Rebay’s expertise. Together, they established The Museum of Non-Objective Painting at 24 East 54th Street in Manhattan in 1939. She became its director and filled the space with the era’s most daring and influential art—Calder, Klee, and Mondrian—along with wafts of incense and melodies by Bach and Beethoven.

When the museum’s collection outgrew its 54th Street home, she and Guggenheim commissioned Frank Lloyd Wright to design new headquarters for the institution. The resulting white temple spiraled into the sky, reflecting the ideals of abstract art that Rebay cherished.

Peggy Guggenheim (1898–1979)

Founded Art of this Century Gallery in 1942

Peggy Guggenheim with Alexander Calder’s “Arc of Petals.” Palazzo Venier dei Leoni, Venice, early ’50s. © Fondazione Solomon R. Guggenheim, foto Archivio CameraphotoEpoche, donazione Cassa di Risparmio di Venezia, 2005.

Berenice Abbott, Surrealist Gallery, Art of This Century, 1942. Courtesy of Solomon R. Guggenheim Foundation, Venice. Purchased with funds donated by Alberto and Gioietta Vitale, the Guggenheim Circle of the Peggy Guggenheim Collection, Sotheby's, and through prior gifts of the M.R. Taylor Bequest and Asbjorn Lunde, 2016.

“Not until Art of This Century did it occur to Americans that a gallery could be a cross between an amusement park, a haunted house, and a Paris cafe,” wrote Peggy Guggenheim’s biographer, Francine Prose, of the gallery Guggenheim established on West 57th Street in 1942.

By that time, Guggenheim was known in bohemian art circles for her eccentric tastes. The daughter of a family with a 19th-century mining fortune to its name (and the niece of Solomon R. Guggenheim), she began traveling and buying art in her early twenties. She rubbed elbows with the likes of Dada master Marcel Duchamp, sculptor Constantin Brancusi, and novelist Djuna Barnes in the early 1920s in Paris. Later, after she moved to London, she developed a passion for art by Salvador Dalí, Georges Braque, Piet Mondrian, and Francis Picabia, and added to her collection at a breakneck pace. In her tell-all memoir Out of This Century (1979), she wrote: “My motto was ‘buy a picture a day’ and I lived up to it.”

It was this vast collection of avant-garde art that she hastily brought back to New York in the early 1940s, as World War II intensified, with the help of her lover, artist Max Ernst. In 1942, dissatisfied by the museums she visited upon returning to the States (she described The Museum of Non-Objective Painting, founded by her uncle and Rebay, as “a joke”), she opened her own museum-cum-gallery, which she dubbed Art of this Century. The space would show facets of her permanent collection, as well as sell art by experimental artists of the Surrealist, Dadaist, and Cubist movements.

Jackson Pollock had his first solo show there in 1943. Guggenheim was also famously committed to showing women artists—rare for art institutions of the time. She was one of the first gallerists to exhibit the work of Leonora Carrington, Frida Kahlo, and Louise Bourgeois, and mounted two large-scale group shows and 12 solo presentations of work by women.  

While Guggenheim closed Art of this Century in 1947, she established a model for commercial galleries and art institutions interested in experimental art over the course of its five-year existence. Later, she brought her iconic collection back to Europe where she opened the Peggy Guggenheim Collection—a public exhibition space nestled in an 18th-century Venetian palazzo. There, she’d famously live out her days in the company of 14 Lhasa Apso dogs and her prized cache of paintings and sculptures.  

Betty Parsons (1900–1982)

Founded Betty Parsons Gallery in 1946

Betty Parsons at one of her solo exhibitions at Midtown Galleries, New York, 1937–38. Photo by William H. Allen. Courtesy of Alexander Gray Associates and Betty Parsons Foundation.

Parsons was introduced to art at the age of 13, when she visited the infamous 1913 Armory Show. It was then that she vowed to devote her life to the medium, becoming first an artist and later a legendary gallerist.

Parsons opened her eponymous gallery in 1946 on Manhattan’s 57th Street. Her tastes in art had always been progressive, and she immediately brought the radical work of the burgeoning Abstract Expressionist movement into the space. “People would slash the paintings,” said Hedda Sterne, a painter and friend of Parsons. “Everybody was telling Betty everything she showed was nonsense, but she had the courage of her opinions.”

Famously, Parsons represented Abstract Expressionism’s most venerated painters: Jackson Pollock, Mark Rothko, Barnett Newman, and Clyfford Still, who she affectionately called the “Four Horsemen.” But she also represented female, African-American, Latin American, and Asian artists when few other American galleries did. They included Agnes Martin, Louise Nevelson, Roberto Matta, Kenzo Okada, and Thomas Sills. “I never thought about whether the artist was a male or a female,” she said in a 1977 interview. “I always thought: ‘Are they good or not good?’”

Parsons forged the model for the modern American gallery, an accomplishment noted by both the artists who surrounded her and the gallerists who came after her. “Betty and her gallery helped construct the center of the art world,” said Helen Frankenthaler. Leo Castelli, who opened his own influential gallery in 1957 said: “It was the beginning of a great moment in American art that started there at Betty Parsons’s. For the first time, a great original art movement took place in America.”

—Alexxa Gotthardt

Header video: Clip from Hans Richter, 8x8: A Chess Sonata in 8 Movements, 1957. Hans Richter Archive, A.III.2. Courtesy of the Museum of Modern Art Archives.  

from Artsy News