#coslovich

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Non solo espresso

Il caffè, spesso sottovalutato dai barman italiani, è in realtà un universo complesso e affascinante, ricco di tecniche, filosofie e metodi di estrazione unici. Per chi desidera approfondire queste tematiche, la Specialty Coffee Association Europe (SCAE) rappresenta una risorsa fondamentale. Maggiori informazioni sono disponibili sul loro sito ufficiale: [SCAE…

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Heretic Temple by The Secret from the album Agnus Dei

[bhfineart]

Double No Trouble at Smith & Singer

A few years ago, 30 people at a major fine art auction, like at the Smith and Singer sale on Wednesday evening, September 2, would have looked like a looming disaster. However, stand-in auctioneer, Stuart Davies, chief auctioneer of Sotheby’s International Realty, assured the audience that they were prepared for a large number of phone and internet bidders – which has become the new norm in the art auction room in 2020 – and asked for patience.

Which was indeed required: the 55 lots took close to two hours to sell, but it was worth the time for vendors and auction house alike, as the sale generated a total hammer price of $5.044 million, with 120% sold by value and 87% sold by number, and numerous paintings sold for double the price they had achieved just a few years prior.

It must have been a steep learning curve for Mr Davies auctioneering millions of dollars worth of fine art against his usual sale of high-end property, yet it was clear from the outset that he was an experienced auctioneer. Stuart Davies’ style of auctioneering differed markedly from Smith & Singer head auctioneer Martin Gallon’s affable and more melodic style, who was locked down in Victoria. The more frenetic and speedy style worked on the many phone bidders, sparking big interest and big prices on numerous pieces offered.

Among the 55 lots, Arthur Boyd was well represented with 6 paintings, from the diminutive lots 1 and 2 at just 30 x 19.5 cm to the wall challenging canvasses lots 40 and 41 measuring 259 x 305 cm and 152.5 x 366 cm respectively.

It was hard to pick between Shoalhaven River with Wading Bird and Cockatoos (lot 1) and Shoalhaven River with Flying Bird and Cockatoos (lot 2), both estimated at $30,000-40,000, but clearly the new owner could not bear to see them separated, and bought both, lot 1 for $43,000 hammer price and lot 2 for a comparable $42,000.

Usually putting a painting to auction within five years of its offering means a price reduction, but not in this climate it seems. Fred Williams’ Treefern Hillside, near Tallebudgera (lot 4) was sold by Smith & Singer in May 2018 for a hammer price of $30,000, and last night, the gouache managed a miraculous $48,000.

Speaking of miracles, Basket of Mandarins, 1965 (lot 5) went on to achieve the second highest price ever at auction for a painting by Margaret Olley, after the interior scene Yellow Room, Afternoon, 1990, sold by Sotheby’s in November 2013 for $130,000. Estimated at $40,000-50,000, the mandarins got boosted by lots of vitamin B (bidders) to an extremely healthy $105,000, while the larger, but equally nutritious, Basket of Oranges, 1964, sold in 2018 for $55,000.

A rare and historically important work on paper by Russell Drysdale looked like it might take off bidding-wise, and didn’t disappoint. Midnight Osborne, 1941 (lot 7) on hopes of $50,000-70,000 sold very well, two and half times above the low estimate, for $125,000.

Equally impressive was the same-era still life by William Dobell from 1940 (lot 8), selling for $82,000, almost tripling the low estimate of $30,000.

Although Brett Whiteley’s White Corella, 1987 (lot 12), was stripped of its Greg Norman provenance late in the piece, it found a new home at its low estimate of $600,000.

Denis Savill, who was in the room and as active as ever, would remember Arthur Boyd’s Fishing at Dusk on the Shoalhaven (lot 14), as according to the provenance, it passed through his hands on more than one occasion. The painting caught more than double its low estimate of $80,000, selling for an impressive $165,000.

No luck however for seemingly out of fashion with collectors of Lloyd Rees: his Western Landscape, 1958-61 (lot 15), sold at Christies in May 2002 for $135,000 hammer price, however this time, it could not attract bidders at what appeared to be modest estimates of $120,000-160,000.

Significantly more in favour are impressionist husband and wife team Emanuel Phillip Fox and Ethel Carrick. Emanuel’s In the South of France, ca 1911 (lot 16), offered a colourful reminiscence of holidays past, and sold at the high estimate of $65,000. Meanwhile, another double your money in two years opportunity arose with Ethel’s closer to home In Sydney Botanical Gardens (lot 17). After selling with Smith & Singer in August 2018 for $65,000 hp, it sold again last night for a blossoming $150,000.

Estimates of $50,000-70,000 on Penleigh Boyd’s Springtime, 1921 (lot 16) seemed spot-on, after Deutscher + Hackett had sold a highly comparable “Wattle” painting in November last year for $60,000 hp – or so you would think. Interest however rose to spring fever level, and these blooms sold for $160,000, making this one of the highest auction prices ever achieved for the artist.

Deutscher + Hackett sold the atmospheric The Campfire, Mount Macedon (lot 19) by Frederick McCubbin in August 2013 for $65,000 hp on hopes of $60,000-80,000. Last night, it sold for $135,000, and thus continuing the trend of many paintings selling in this market for double the prices one would normally expect.

Another painting to greatly exceed expectations (although perhaps less surprising) was Albert Namatjira’s Glen Helen Gorge, ca 1945-51 (lot 21). Arts journalist Gabriella Coslovich might reference it tongue-in-check as the “highest price for a Namatjira to sell at auction without a gum tree in it”. Carrying estimates of $38,000-45,000 and extensively exhibited and illustrated in Alison French’s authoritative publication on Namatjira Seeing the Centre, this watercolour sold for twice the high estimate at $90,000. This represents the second highest price at auction for the artist, after Finke River Mission sold in August 2016 for $100,000, also with Smith & Singer.

Unsurprisingly, Elioth Gruner’s highly atmospheric Colour Note (with Cows), 1917 (lot 23) sold for $38,000 just under the high estimate of $40,000. Highly surprising however was the new auction record of $315,000 set for Gruner with of A Land of Wide Horizons, Michelago, 1922 (lot 24), but no surprise to Denis Savill however who underbid the work. Land of Wide Horizons sold for more than three times its high estimate of $100,000, eclipsing the $220,000 for On the Sands, 1920, set by Menzies in April 2018.

A perhaps unusual occurrence for saleroom darling Del Kathryn Barton was the failure to launch of her Weird Seed, 2017 (lot 35), estimated at $180,000-220,000, and one of the few pass-ins on the night.

On the other hand, the more generally out of favour at auction William Robinson did create great interest: the large Back Creek Gorge to Coomera, 1994, (lot 39), with hopes of $250,000-350,000 did very well selling for $410,000, pushing this painting onto the 4th highest price at auction for the artist. Perhaps this will spark renewed interest in the Robinson’s major works in this environment.

Never out of favour, Arthur Boyd’s monumental Bathers, Shoalhaven Riverbank and Clouds, 1984-85 (lot 40), sold for $440,000 to a room bidder, also floating above the high estimate of $400,000, whilst his Triptych from the Australian Scapegoat, 1988 (lot 41), failed to find a buyer with a big enough wall to house the massive work.

The previous night, Bonhams had held a mini-sale online with 34 lots. The sale turn-over was a more modest $364,000, but very respective sold-by figures of 95% by value and 74% by numbers. A Margaret Olley still life Zinnias and Plums, 1985 (lot 22) was the most successful lot, selling for $60,000 on estimates of $45,000-55,000.

Article originally published in Australian Art Sales Digest

Double No Trouble at Smith & Singer was first seen on: Banziger Hulme Fine Art

from Banziger Hulme - Feed https://www.bhfineart.com/double-no-trouble-at-smith-singer/ via https://www.bhfineart.com

[navigamus-blog-a-vela]

SAIL 2017 - CONCLUSA LA PRIMA PROVA DELLA PORTOPICCOLO CLASSIC TROFEO ITAS ASSICURAZIONI - 2017

10 giugno 2017 - Il campo di regata di Portopiccolo è stato il palco riservato quest’oggi agli yachts d’epoca e classici, i protagonisti della attesa seconda edizione della Portopiccolo Classic Trofeo ITAS Assicurazioni 2017, l’evento di apertura della stagione adriatica AIVE (Associazione Italiana Vele d’Epoca). Tra le boe del percorso preparato dallo Yacht Club Portopiccolo, caratterizzato da 10 nodi di vento termico giunto puntale alle ore 12.00 da 220 gradi, si è schierata la storia, anzi le storie, a tratti leggendarie, di queste regine della vela e del mare.   Lo spettacolo, sia in banchina che a vele spiegate, è stato come sempre di enorme fascino ma, trattandosi di una regata, non è mancato l’aspetto agonistico e la lotta per i punti della prova disputata quest’oggi. La classifica della Portopiccolo Classic Trofeo ITAS Assicurazioni, nella divisione yacht d’epoca vede al comando FINOLA dell’armatrice Elisa Metu che corre per il guidone dello Yacht Club Portopiccolo. FINOLA precede SERENITY di Roberto Dal Tio (C.V. Conegliano) e UN SOGNO di Giorgio Brezic (Società Triestina della Vela). Nella categoria riservata agli yachts classici si impone al momento STRALE di Enzo Bruno Bandini (Circolo Velico Ravennate) davanti alla STELLA POLARE di Fabrizio Cumbo e NEMBO 2 di Nicolò de Manzini (entrambi portacolori dello Yacht Club Adriaco). La leadership provvisoria nella categoria della passere spetta a LUCIA di Leone Sirio (Società Triestina della Vela) che precede NESTORE armato da Artemio Croatto (Yacht Club Hannibal) e QUEEQUEG di Davide Coslovich (Società Triestina Sport del Mare). Nella speciale classifica dedicata esclusivamente agli scafi nati dalla matita e dal genio dell’indimenticato Carlo Sciarelli spicca il nome di ANGELICA IV dell’armatore Carlo Cazzaniga (Yacht Club Hannibal) che precede STELLA POLARE e AURIGA di Elena Galasso. Lo spettacolo prosegue domani, con la seconda prova del programma che si prevede, se le previsioni saranno confermate, con un vento di bora sul campo di regata.

FROM http://www.navigamus.info/2017/06/conclusa-la-prima-prova-della.html

[howtallcelebrity-blog]

All about Claudia Coslovich : height, biography, quotes

How tall is Claudia Coslovich

See at http://www.heightcelebs.com/2017/05/claudia-coslovich/

for Claudia Coslovich Height

Claudia Coslovich's height is 5ft 7in (1.70 m)Claudia Coslovich (born 26 April 1972 in Trieste) is a former Italian athlete who specialized in the javelin throw. First Name: Claudia Last Name: Coslovich Born: 26 April, 1972Height: 5ft 7in (1.70 m)Weight: 160 lbs (72.6 kg)Astrological Sign:...

[mmuniverse78]

ONLY PROTEINS 🍷🍷🍷 #dinner #prosciutto #sausage #cheese #wanderlust #gourmet #croatia #oliveoil #wine #sport #love #loveistria #sogood #croatiafulloflife #fitness #food #Istria #protein #amazing #kitchen #top #finefood #winelove #wine #nature #butter #healthy #paradise #travel #shareistria #holiday #amazing (at Restoran Loggia -Coslovich , Oprtalj)

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Gabriella Cosolovich on <b>writing</b> the Brett Whiteley forgery trial

Gabriella Coslovich, a former Age arts journalist, tells Daily Review about writing Whiteley on Trial, her new book that follows the twists and turns of ... http://ift.tt/2ynDic4

[cybartender]

St-Germain sceglie Sophie Turner per la campagna del St-Germain Hugo

St-Germain, il celebre liquore francese ai fiori di sambuco, ha lanciato una nuova campagna globale con l’attrice Sophie Turner come protagonista. Iscriviti(GRATIS) per leggere l'articolo completo

St-Germain, il rinomato liquore francese ai fiori di sambuco, ha scelto l’attrice Sophie Turner (nota per i suoi ruoli in “Game of Thrones” e “X-Men”) come protagonista della sua nuova campagna pubblicitaria. Questa iniziativa celebra il cocktail di punta del marchio, lo St-Germain Hugo, noto per il suo gusto fresco e leggero, ideale per l’estate. Un’icona globale per un drink…

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I ME CIAMAVA PER NOME: 44.787. Risiera di San Sabba

I ME CIAMAVA PER NOME: 44.787. Risiera di San Sabba

Foto di scena: I me ciamava per nome:44.787 – Renato Sarti © Wanda Perrone Capano

Teatro della Cooperativa 28 gennaio | 2 febbraio

I ME CIAMAVA PER NOME: 44.787 Risiera di San Sabba testo e regia Renato Sarti da testimonianze di ex deportati raccolte da Marco Coslovich e Silva Bon per l’Irsrec FVG con Nicoletta Ramorino, Ernesto Rossi, Renato Sarti e Irene Serini brani musicali Alfredo Lacosegliaz, Mo…

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Why is art made?

1 artist unknown, France, Hand axe , Acheulean Period, (500,000 Before Present), flint stone collection of The Nicholson Museum, University of Sydney

2 artist unknown , Commemorative head of an Oba (king), (circa 16th  -17th century ) Benin City, Edo people, Nigeria brass,approx..23.5x21.9x22.9 cm

3 Lola Greeno (born 1946), Australia, Tasmanian Aboriginal People.   Purmaner (2004) maireener shells, yellow oat shells, button shells, cotton & nylon thread 41.5x21.ox1.8cm Shell necklace, 2015,– courtesy of Marina Abramović

4 Patricia Piccinini (born 1965) Sierra Leone, lives and works in Australia Sphinx (2012) silicone, fibreglass, human and animal hair, bronze  122cmx110cmx55

texts A-D  from mona.net.au

A    Geoffrey Miller’s point of view Geoffrey Miller is an American professor of psychology, and author of The Mating Mind (2000) and Spent: Sex, Evolution, and Consumer Behavior (2009).

Artists are sexy as... Miller agrees with Brian Boyd that art is a signaling system—like a bee’s dance, a bird’s song, or a gorilla thumping its chest—but reaches a very different conclusion about the purpose and function of that system. It’s easy to explain the ‘receiver’ end of art, says Miller; we consume it like ‘eye candy’, in the sense that it stimulates our pleasure-responses to certain stimuli, the shapes, colours and patterns for which we have a ‘sensory bias’. But on the ‘sender’ side: why bother? Why invest ‘limited time, energy, and risk in growing ornaments, making sounds, or creating works that receivers might enjoy,’ when such efforts might be better put to more practical ends?

The answer, says Miller, lies in Darwin’s explanation of art more than a century ago: that it arose—long before humans—as a mechanism for attracting mates. Art making is one of the many ways animals ‘signal their health, resourcefulness, intelligence, and / or general fitness’ to potential mates, in the same manner as do the splendid (but otherwise useless) feathers on a peacock. Darwin’s view fell out of favour for much of the twentieth century, but new evidence points to its validity—as does the discovery, very recently, that human art-making sensibilities are much, much older than we thought, and are apparent in Acheulean hand axes up to half a million years old. The ‘carefully exaggerated symmetry’ of such tools point to an emerging aesthetic sense that persists, today, as a signal of ‘good genes, good bodies, and good brains.’ Art has, of course, come to fulfill many secondary functions—on a personal, social, and economic level. These cannot be dismissed. But we are here, after all, to talk about origins.

Illustrated  with  Hand Axe, France, Acheulean, 500,000 BP, – courtesy of The Nicholson Museum, University of Sydney.

B    Brian Boyd’s point of view Brian Boyd is a Distinguished Professor in the Department of English at the University of Auckland, New Zealand, and author of books such as On the Origin of Stories (2009) and Why Lyrics Last: Evolution, Cognition, and Shakespeare’s Sonnets (2012).

Art is cognitive play with pattern. Boyd argues that to understand the origin of art, you need to look to the ‘signaling systems’ that all kinds of plants and animals use to convey information to each other. Think of the relationship between flowers and the birds and insects that pollinate them: flowers have adapted to reflect and amplify the preference of their ‘audience’. This interplay between audience preference and the artist’s desire to satisfy and expand those preferences creates a kind of a feedback loop that propels the trajectory of art history, and that can be seen in the diverse styles and techniques different groups use to express their identity.

Underpinning this diversity, however, is the status of art as a form of cognitive play. Play, widespread through the animal kingdom, is a mechanism that evolved to help us practice important life-saving skills in a safe circumstance. Because humans gain most of their advantages via intelligence, they are inclined towards cognitive play, and in particular, cognitive play with pattern. Humans are natural-born pattern-extractors: reading regularities in the environment is crucial to ensure our survival and prosperity. Art of all kinds uses pattern—on multiple levels, in intersecting, locally relevant ways—to engage the attention of its audience; the audience is rewarded with the opportunity to fine-tune cognitive skills needed to understand the world, and gain mastery over it.

Illustrated with  Commemorative head of an Oba (king), Benin City, Nigeria, Edo people,   c1735–1816

C    Steven Pinker’s point of view Steven Pinker is a Canadian-American psychology professor and experimental psychologist, cognitive scientist and linguist, whose influential publications include The Language Instinct (1994), How the Mind Works (1997) and The Blank Slate (2002). We make art because we can. Pinker takes issue with ‘lame and flabby’ theories for art that confuse questions about its worth and value at a social level, with questions about its function in a Darwinian sense. The proper question to ask is: ‘Is art a heritable trait that enhanced the reproductive rate of our ancestors?’ The answer, he finds, is that art is a by-product, a kind of side effect of other adaptations, such as the desire to obtain status via ‘conspicuous consumption’ (Veblen) of sumptuous goods, and to identify oneself as a member of the fashionable elite.   Art is also a vehicle for engagement with our evolved aesthetic sense. There are adaptive explanations why certain faces, bodies, patterns and habitats give humans aesthetic pleasure: ‘they are cues to understandable, safe, productive, nutritious, or fertile things in the world.’ Artists can choose to play with or flout the audience’s preference for such sensory stimulus, or to create ‘supernormal’ doses of it. Art is, in this way, akin to cheesecake: a ‘pleasure technology’ we have invented for no other reason than our own enjoyment and satisfaction.

“…she decided that Abramovic was just the sort of woman who could carry off a shell necklace worthy of a warrior. 'I thought, wow, these shells actually do suit that woman,' Greeno says.” Gabriella Coslovich

Illustrated with Shell necklace, 2015, Lola Greeno – courtesy of Marina Abramović

D   Mark Changizi’s point of view Mark Changizi is an American evolutionary neurobiologist and cognitive scientist, and author of The Vision Revolution (2009) and Harnessed (2011). Does civilisation mimic nature? I believe so… For Changizi, we don’t have instincts for art and other ‘stimulus artefacts’ like music, language and design. These are inventions of civilisation; but crucially, they persist in (and possibly define) our species because they have been shaped to fit the preferences of our ancient brains. This is ‘nature harnessing’: the process wherein aspects of our culture mimic nature ‘so as to harness evolutionarily ancient brain mechanisms for a new purpose’. Speech, for instance, mimics the sound structures of the environment in which we evolved; alphabet letters, at the deep, unconscious processing level of our brains, resemble the contour combinations characteristic of our natural habitat. Music, arguably the pinnacle of artistic expression, is structured according to the sounds of people moving; we respond with emotion, and movement of our own. Indeed, says Changizi, the highly evocative aspects of our culture most likely can be traced to the most powerful natural source of all our woe and joy, that which on our prosperity depends: other humans.

Herein lies his hypothesis for art: that it exists not because we have an instinct for it, but because it responds to—harnesses—our instinct to engage with other people.

Illustrated with Sphinx, 2012, Patricia Piccinini – © Patricia Piccinini, courtesy of the artist and Tolarno and Roslyn Oxley 9 Galleries

[futuresupernovas-blog]

CREATIVE IDENTITY

 When exploring one’s creative identity, one must firstly understand what it means to possess one. In Andrew Bennett and Nicholas Royle’s An Introduction to Literature, Criticism and Theory (2004), it is recognised that one’s identity refers firstly to how one sees themselves and secondly to how others see them. 

This disturbs the question of an artist’s creative identity being refined in their artwork (). Is a creative identity manufactured?

In my critical processing and creation of art, I see a recurring personality but I would not call it a facade. Australian artist Gordon Bennett said in an interview that his “every work to date has been a self-portrait” (Coslovich 2004). This not only refers to his reflections on himself but also the image constructed of him by other people. 

Displayed: Self portrait (But I always wanted to be one of the good guys),Gordon Bennett, 1990

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I me ciamava per nome Testo e regia di Renato Sarti da testimonianze di ex deportati raccolte da Marco Coslovich e Silva Bon per l’Irsml FVG…

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Cocktail Stagionali: Come Creare Un Menu Fresco e Rilevante Tutto l'Anno

Nel mondo del bartending, uno degli aspetti più importanti per distinguersi e mantenere una clientela fedele è la capacità di offrire cocktail unici e stagionali. I cocktail stagionali sono un ottimo modo per mostrare la tua creatività e per sfruttare al meglio gli ingredienti freschi e di stagione disponibili localmente. Vantaggi dei Cocktail Stagionali L’utilizzo di ingredienti freschi e…