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Crescent Beach residents asked for the trains NOT to sound their horns, The Canadian federal DOT said yes if the line was fenced. Resident cost $30K+ and the fence must enclose all rail property including where the residents park their cars and boats. No more complaints :)-
29525 Tudor Way Magnolia, TX 77355
www.heritagetexas.com/property/48265106/29525-tudor-way-m...
This log retreat located on a serene 9+ acre fenced property was designed to maximize it’s potential with an appropriately scaled yet fully equipped modern home. The double tongue and groove log construction is beautifully accented by hand hewn log beams, railings, large windows, and impressive vaulted ceilings offering scale and charm. Despite the quaint quality of the exterior an expansive interior awaits………
The open main level features a well equipped mudroom, chef’s kitchen, stainless steel appliances, granite counter tops, large dining area, sitting areas, master suite, and great room with an open floor plan. All of which open to unobstructed views of the surrounding
pine and oak forest, a wraparound deck, sauna, hot tub, and terraced patio.
The main level master suite features a luxurious and meticulously detailed bathroom and large walk in closet. Noteworthy features include custom designed and built cabinetry and closet systems with an abundance of hidden storage space.
The upper level features an open game room, views from every room, two large guest suites each with spacious walk-in closets and attached bathrooms. This retreat also includes a large air conditioned shop and separate living quarters.
The careful planning, creative design, and intense attention to detail make it this a highly sought after country retreat near the city.
Contact for listing details:
www.heritagetexas.com/property/48265106/29525-tudor-way-m...
The text:
Nedko Solakov, Discussion (Property)
“Think with the Senses – Feel with the Mind. Art in the Present Tense”
52nd International Art Exhibition, La Biennale di Venezia
curator: Robert Storr
Discussion (Property)
I came across this story in the summer of 2006. A newspaper article described the decade-long dispute - to put it mildly - between Russia and Bulgaria over Russia’s claim that Bulgaria’s continued manufacturing and selling of the AK-47 assault rifle was illegal. This notorious masterpiece of automatic weaponry was conceived by Mikhail Kalashnikov in the late 1940s, and in the socialist era the Soviet Union freely gave its permission, as well as all related technical documentation, to the People’s Republic of Bulgaria, so that the small satellite state could churn out AK-47s to satisfy intense Eastern Bloc demand.
Years later, socialism collapsed and capitalism took over. However, the AK-47 had never been the subject of an international patent application or legal transfer as an intellectual product. If it had been, M. Kalashnikov would have long ago become a billionaire as, according to available statistics to date, somewhere between 50,000,000 and 100,000,000 AK-47s have been marketed worldwide. So, when tough talks on the issue kicked off between Russia and Bulgaria in the 1990s, it was obvious things could not be settled in an international court.
It is now difficult to retrace the twists and turns of the negotiations and other related developments that followed. On the one hand, all meetings of the intergovernmental commissions were secret, and on the other, people like myself don’t usually go to gun show and so have not directly witnessed some of the more embarrassing rows, with Russians publicly telling Bulgarians off for exhibiting and selling stuff that belonged to them. However, during the last few years especially, Bulgarian manufacturers started to claim that they had switched production over to a different assault rifle named the AR that, despite its slight similarity to the AK-47, was entirely modernized in line with NATO standards and was selling very well indeed. For example, according to the Bulgarian press, a couple of years ago the American Central Command for Iraq decided to purchase 40,000 Bulgarian AR assault rifles to arm the new democratic Iraqi army.
That was more or less what I knew when I decided to approach the two sides and try to have them talk in front of the camera. As a first step I focused on the Bulgarian “A…l” factory, a producer of the rifles situated in the picturesque city of K. As an artist unconnected to the military who also lacks any contacts whatsoever with arms dealers, I asked the deputy minister of culture (a nice lady) to help put me in touch with the director-general of “A…l”, Mr. N.I. She phoned the deputy minister of defense (another nice lady) and I was promised a meeting. Since I am paranoid by nature, I also asked a well-known reporter (again a woman) to help.
So, on December 1, 2006, when I appeared before Mr. I. in his office, he started by saying: “The prime minister was the only one who didn’t call about you coming!” Nevertheless, it took me almost three hours to convince the director-general to say a few words on camera. Why? The main problem was that my attempt to get both sides to talk was simultaneously being pursued right in the middle of the last round of heavy negotiations between representatives of Russia and Bulgaria on the intellectual property of military items. Obviously Mr. I., a reasonable middle-aged man, didn’t want to jeopardize the entangled disputes by talking to an artist who, to his question: “But why do you - not a journalist - have an interest in this matter?!” gave a rather peculiar answer: “Because I’m used to reading about intellectual property disputes over a book or a musical score, but never over a weapon, reportedly the most popular of all time”. Eventually, Mr. I. agreed to my request and gave a one-minute interview. Then, off the record, he spoke for more than an hour about how he had studied in the Soviet Union and how he admired the quality of Russian military production. He also spoke about having worked in that “A…l” factory for decades, first as an engineer and later as director-general. His main concern now was how to sustain the jobs of his 5,500 employees, who also produce many civilian products such as CNC equipment.
After the interview, I went to the firm’s website and found a complete list of the assault rifles they were producing with photographs of each one. I requested a few better quality images to use in my project and, after a careful selection, the factory’s design department sent me a CD on December 19, 2006, with a dozen high-resolution samples partially covering their output of AR assault rifles. Unfortunately, the ones I most wanted were deemed “too controversial” to be used in the way I suggested, despite the fact they were publicly shown on the website. “We don’t want to piss the Russians off with your project, right?” said Mr. I. and I had to agree with him. I then hired two skilful young artists to make twelve life-size drawings of the AR rifles, using the less controversial images as a reference. It took the girls two months to finish the job.
Mr. I. was also kind enough to help me illustrate my point even better by arranging for me to buy two real but inoperative 1960s vintage AK-47s (one of them with a folded metal butt) at one of the biggest arms shops in Sofia. Unfortunately, the disarming technique carried out on these rifles - precisely described in the official certificate that came with them - was found unacceptable by the Italian authorities who mandated other disarming procedures for assault rifles. I had to then give up the idea of exporting the AK-47s and decided to buy one in Italy. Consequently here you see a Romanian made AK-47 that comes from an Italian shop and which has a weird additional handle, all of which I can live with.
Parallel to all this Bulgarian activity, I was desperately trying to make contact with the Russian side. On November 21, 2006, the same deputy minister of culture wrote an official letter to the Russian embassy in Sofia, requesting an appointment for me to discuss the issue with a government representative. I was in Miami when I got the bad news from the deputy minister that in a letter dated December 5, 2006, the Russian embassy had declined to set up a meeting for me. Later, back in Sofia, I addressed the same request to a high-ranking person (a lady again) from the Bulgarian Ministry of Foreign Affairs, also soliciting the help of a curator (yet another lady) working for the ministry. Politely and diplomatically, I was told about negotiations going on right then on the same subject and how such a letter focused on my own project would be deemed entirely inappropriate by the Russian embassy. “Can I mention in my story that you are anxious to approach the Russians?” I asked the Foreign Office lady. “I’d rather you didn’t”, was the answer.
I was then introduced to a successful businesswoman who was seriously involved with Russia and, in fact, had the right connections. She kindly took up my cause and finally managed to talk with the Russian ambassador about my project. Even though he didn’t refuse outright to help me, it was still not quite clear if I could really meet someone from their side. At last, thanks to a native Russian (another woman, of a quarter-Armenian descent who, as it happens, is also an international curator based in Bulgaria), the Armenian ambassador in Sofia had a word with the Russian ambassador whereupon a meeting with Mr. P. and Mr. V. from the Russian embassy took place at the latter’s premises on January 24, 2007.
Mr. P. and Mr. V. were both very kind and promised to supply me with a copy of a film broadcast on Russian TV in 2006 that addressed ‘the-Bulgarians-and-our-own-Russian-weapons’ subject. The two gentlemen also promised to try and arrange a meeting with a representative of the Russian “R…t” - the organization authorized to sell weapons internationally - who hopefully would not mind a chat with me about my project.
A few days ago, while standing-by in hope such a meeting, I read in the papers that the negotiations were apparently taking a turn for the better and that new terms that would please both parties were almost agreed.
I don’t know what arguments the two sides had offered to clear all the hurdles. If I can make an educated guess, they were probably more serious than: “Did the Russians ever obtain a license for using our Cyrillic alphabet over the centuries, which as everybody knows, was invented by the Bulgarian brothers Cyril and Methodius back in the ninth century, or for eating Lactobacillus Bulgaricus, the tiny bacteria that makes the best yoghurt?” So, after all those years of wrangling over property rights, I feel personally satisfied that, at least in the assault rifle sector of the international arms trade, there will finally be relative peace.
Nedko Solakov
February 2007
Edited by Charles Esche
[Source.]
Property market views from Poland and unique investment opportunities. www.polish-investment-properties.co.uk/
(Extract from Macedon Ranges cultural heritage and landscape study. 4 v. 1994.).
.
Henry Suetonius Officer reputedly aquired the Duneira site from
1872-1877 (Blocks 4,5,10,11,14) paying some £84 for 38 acres but
rate listings give Robert Officer as the owner. .
.
Suetonius Henry Officer (1830-1883).
Officer was born in Hullgreen, New Norfolk, Tasmania 1830, the
son of Sir Robert & Lady Officer. He was educated in Edinburgh
with his brother, Charles, and returned to the colonies, seeking
gold in Victoria but eventually settling for pastoralism in
company with his brothers and Charles Miles{ ibid.}. They managed
stations in the Wimmera and the Riverina, James marrying in 1866
and commencing construction of a 20 room homestead at Murray
Downs & Willakool, two adjoining properties fronting the Murray
River. After experimentation with irrigation, via steam pumps and
windmills, he was able to develop extensive orchards and crops. He was also, like his brother, interested in
acclimatisation, having developed an ostrich farm on his property
(Charles was a council member of the Zoological & Acclimatisation
Society for 10 years, president in 1887). .
.
Blighted by illness, Suetonius reputedly moved to Leighwood,
Toorak (Melbourne) in 1881, having erected the first stage of
Duneira at Mount Macedon, but died two years later. However his son, Henry jnr. was
born at South Yarra in 1869 and his next child, Jessie, was born
at Macedon in 1877, indicating that he was in residence at both
places prior to the dates previously supposed..
.
Suetonius probably commissioned the first stage of Duneira to be
erected as a summer house between c1874-6. The architect Levi
Powell is thought to have designed a house for him there around
that date. The first improvements listed on the site were
stables in 1874 when Robert Officer was rated as owning the site. The house was reputedly not occupied regularly
until c1881 when Suetonius moved to Toorak.
However it appears he and his family were in residence at Duneira
by 1877..
.
When Suetonius died in 1883 his wife, Mary Lillias Rigg Officer
(nee Cairns), of Glenbervie, Glenferrie Road, Toorak was the
co-executor of the estate, with merchant Robert Harper; she is
the rate occupier in 1888. Mrs Officer was the
sister of Mrs Robert Harper (Huntly Burn) and Mrs John C lloyd
(Montpelier, later Timsbury): all three houses were reputedly
built in the same period... .
.
The house bricks for the first stage were said to have come from
the Macedon Brick Kiln (once near the Macedon railway station,
set up in c1888-9?) with external walls built in 14" Flemish bond
from slop-moulded bricks (9 inch by 2.1/2). The bricks were reputedly carted
from Macedon by Cogger. The footings were of bluestone
and reputedly dressed sandstone blocks also survive, suggesting
that the first stage was face brick with stone quoins and the
next renovation c1888 added wings and a cement coating to the
whole complex. Floor frames were reputedly supported on stone
dwarf walls and joists were 6x2.1/2 inch jarrah, with flooring
being 6 inch pine}. Seaweed was apparently used for
ceiling insulation..
.
The servants' wing verandah was skillion in form with timber
posts with classical capitals. The main verandah had coupled
posts (rebuilt with single posts) a panelled frieze and slimmer
capitals set just under the frieze rail}. The
balustrade may have been of single cast-iron balusters..
.
Just prior to the sale to the speculator, James Smith Reid in
1890, and during the occupation of Edward Dyer, major additions
were made to the house complex and a reputedly a caretaker's
lodge was placed at the gate (survives, altered c1920s) but this
appears to have been added by Reid in the early 1890s. .
.
The added rooms were reputedly: billiard (32'x24') and dining
rooms, kitchen, servants bathroom, service block with 5 rooms
(engine room, dairy, pantry, store, boiler room, built of
Northcote machine made 9" brickwork). Damp proof coursing was
used in these additions compared to the slate of the first stage
and acetylene gas (engine room) was thought used for lighting
from this period, as reticulated in 1.1.2" mains and 1/2 inch
branches to internal and some external verandah lights.
Cast-iron elaborately detailed water radiators were also used,
with hot water pumped from the boiler room, and later a duplicate
boiler allowed hot water to be reticulated taps in the house{
ibid.}..
.
The description in rate books expands to villa and cottages (on
37 acres) for the first time under Reid in c1893 but the annual
valuation had already peeked in 1888 at £200 in the occupation of
Edward Dyer. An Edward Dyer was listed at that time as a fruiterer in
Burwood Road, Hawthorn..
.
The water supply is from a concrete tank fed by a spring.
Outbuildings include timber clad stables, storerooms,
blacksmith's shop, coachman's room, milking bails, hay shed and a
green house. The stables (extended) were described as having had
a shingled gabled roof (rear skillion) with loft entered via an
external stair at the north end. It had a blacksmith's
shop (altered for garage c1941), carriage and coachman's rooms,
two stores and vertically boarded main doors{ ibid.,p24}. The
milking and hay sheds had hipped roof forms and timber cladding
and frame. The interior was white-washed. The greenhouse
in the secret hedged garden is of a later date, with a timber
frame built up on 11" cavity brickwork walls, with a brick floor
and heated water pipes under each shelf. The boiler is near the
entry..
.
The `Gisborne Gazette' reported on Duneira in 1903 under the
heading of `A Popular Health Resort':.
`Duneira certainly merits a few remarks though beautiful
residences and grounds are by no means rare in that locality..
(when Reid purchased it, it was `little better than a wilderness'
and he had spared no expense to restore it).. After passing the
lodge at the main entrance, a broad serpentine drive leads up to
the house and from there the grounds are laid out in broad
sloping lawns surmounted with choice borders and fringed with
trees which however do not interfere to any great extent with the
view. There is of course no lack of flowers which grow
luxuriantly on the mount but the great feature of Duneira is the lawns, those open green expanses which delight the eye at all times of the year. the secret of this perennial verdure is to be found in the copious water supply with which Macedon is blessed (spring at rear of house, tapped by tunnelling 40m into the hill, ie. grass grows up to base of Monterey pines)..
.
During Reid's time there, the valuation increased marginally in
1899-1900 and again soon after, with Reid's address being given as care of Rosstrevor Magill, South Australia, in c1909-10. JS Reid died in 1922, leaving the property to the management of JS Reid jun (a chemist) and the merchant GL Dewez of Sydney,
his widow Martha Turnbull Reid and William Riggall.
Reid was the son of the Rev. James Reid of Queensland but gained success as a journalist, starting newspapers in gold mining areas such as Gympie, Charters Towers, Etheridge and Wilcannia, NSW. He was at Broken Hill when the Broken Hill P/L commenced, printing their prospectus. He became a director of BHP. His occupation was listed as `speculator' in the early 1900s.
In the 1920s Mrs Martha Reid's `little Eden' was described by a touring group of horticulturalists, thus:
`.. a trim green lawn with magnificent Japanese cypress which was voted the finest in Australia; nearby a splendid weeping elm caught the eye; the maples, beech and the horse chestnuts supply fresh tints; majestic Oregons tower towards heaven...
Everywhere soft tinted rhododendrons and azaleas bloomed in the sunshine and near a rock garden decked with flowers of every conceivable hue, myriad tinted tulips thrust up their heads.'.
Again, in 1927, the Victorian Nurserymens & Seedmens Association noted of Duneira:
`...where probably the finest display of rhododendrons is to be seen; these and a magnificent specimen of `Cupressus lawsoniana'
"Aurea" caused us to linger longer than the specified time. The rock garden dotted with a remarkable collection of alpines, several linden trees and pendulous birches were considered to be a feature unparalleled elsewhere in the State Mrs Reid owned it until 1941, selling to Dr Alfred & Betty Alcock (nee Nicholas) of Toorak, being reputedly a gift from Alfred Nicholas.
The auction was in December 1940 when Duneira was described as a substantially constructed brick villa with slate roof containing spacious return verandah, entrance hall, sitting, morning and dining rooms, an excellent billiard room, large glazed vestibule, 5 main bedrooms, two well appointed bathrooms, 4 maids bedrooms, maids' sitting room and bathroom, well appointed kitchen, store rooms and septic sewage, central heating,
private gas service and extensive outbuildings on 38 acres. The 500 metre elm-lined drive was said to be the longest (privately owned?) elm avenue in Australia.
Extensive renovations followed the Alcock purchase including electricity, removal of the concave and skillion roof timber verandahs, enlarging of openings, conversion of the billiard room to a lounge, new bathrooms in bedrooms, servants rooms converted, larger kitchen and improved connection to dining, more water storage, covered way to link service wing with house, creation of a new entry point from the courtyard, enlarged stable for cars with barn for machinery store, removal of trees, and the replacement of previously gravelled paths and roads (with open brick drains) with concrete and asphalt. Mrs Alcock remarried (Stuart Wickens) but maintained her interest in the garden, reputedly having created the `secret garden'.
Mrs Alcock resold to Keith Allen and R.Lowe in c1977. Keith Allan presumably replaced the verandah, following his reported intention to do so in 1978.
Mr & Mrs Laurie Matheson purchased it in 1981, just prior to Matheson's involvement in the Ivanov, Combe affair which caused some controversy in Australia and the 1983 Hope Royal Commission.
In the same period he was noted for a high speed dash in his Ferrari to save Duneira from the 1983 fires.
Matheson was a trade commissioner to eastern Europe (1968-) and later via Heine Brothers (1972-) and his own Commercial Bureau, he negotiated extensively with Russia over trade links. Prior to this, while in the navy, Matheson (then aged 33) had commanded the unit in search of Prime Minister Holt who disappeared at Cheviot beach in 1963. He had been educated at Burnside orphanage and later Yenco agricultural college, NSW. Matheson is credited with having built the reproduction porch entrance from the court yard.
Until recently it was still owned by the widow of Laurence Matheson whose memorial (q.v.) at the Macedon cemetery is so distinctive. The same artist (for the memorial) had provided two statues for the garden depicting the Mathesons but after the recent sale, these were removed.
The East and West Lawns are of central importance to the aesthetic significance of the property, being the major landscaping feature through which the Elm Avenue runs. This comprises approximately ninety Dutch Elms (Ulmus X hollandica) underplanted with bluebells (Hyacinthoides non-scripta) and is one of the best surviving examples of a private formal avenue in Victoria. Another strong aesthetic feature of the property are the two northern avenues of sycamores and oaks, and the hedges of mature rhododendrons, holly and Portuguese laurels.
The collection of significant trees, includes many large and rare conifers, rhododendrons and other cool climate plants. Besides the avenue of Dutch Elms (Ulmus x hollandica), other significant trees include the Ilex kingiana (Himalayan Holly), Abies procera (Noble Fir), Prunus serrulata 'Shirotae' (Japanese Flowering Cherry). Other important trees include the many Douglas Firs (Pseudotsuga menziesii), Giant Fir (Abies grandis), Caucasian Fir (Abies nordmanniana), an unusual form of the Norway Spruce (Picea abies), Eastern Hemlock (Tsuga canadensis), Tulip Tree (Liriodendron tulipifera), Linden (Tilia X europaea), Montpelier Maple (Acer monspessulanum), Antarctic Beech (Nothofagus moorei) & Cut-leaved Walnut (Juglans regia 'Laciniata') which is extremely rare in cultivation.
The real estate crisis which struck the market some time ago, affected the real estate market the most. A real estate investment for most is more than simply a financial investment. It involves an emotional and physical investment since you have brought the property with lots of plans and dreams.
For More Detail Click Here:
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
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The Minnich property on Haigh Road during spring rains, n.d. Donated by Hope Minnich. Conejo Through the Lens, Thousand Oaks Library Special Collections . Photo ID # CTLmin11
There are no known U.S. copyright restrictions on this image. The Thousand Oaks Library requests that, when possible, the credit statement should read: "Image courtesy of Conejo Through the Lens, Thousand Oaks Library."
Chartwell is a country house near Westerham, Kent, in South East England. For over forty years it was the home of Sir Winston Churchill. He bought the property in September 1922 and lived there until shortly before his death in January 1965. In the 1930s, when Churchill was out of political office, Chartwell became the centre of his world. At his dining table, he gathered those who could assist his campaign against German re-armament and the British government's response of appeasement; in his study, he composed speeches and wrote books; in his garden, he built walls, constructed lakes and painted. During the Second World War, Chartwell was largely unused, the Churchills returning after he lost the 1945 election. In 1953, when again prime minister, the house became Churchill's refuge when he suffered a debilitating stroke. In October 1964, he left for the last time, dying at his London home, 28 Hyde Park Gate, on 24 January 1965.
The origins of the estate reach back to the 14th century; in 1382, the property then called Well-street was owned by William-at-Well. It passed through various owners and in 1836 was auctioned, as a substantial brick-built manor. In 1848, it was purchased by John Campbell Colquhoun, whose grandson sold it to Churchill. The Campbell Colquhouns greatly enlarged the house and the advertisement for its sale at the time of Churchill's purchase described it as an imposing mansion. Between 1922 and 1924, it was rebuilt and extended by the society architect Philip Tilden. From the garden front, the house has extensive views over the Weald of Kent, "the most beautiful and charming" Churchill had ever seen, and the determining factor in his decision to buy the house.
In 1946, when financial constraints forced Churchill to consider selling Chartwell, it was acquired by the National Trust with funds raised by a consortium of Churchill's friends led by Lord Camrose, on condition that the Churchills retained a life-tenancy. After Churchill's death, Lady Churchill surrendered her rights to the house and it was opened to the public by the Trust in 1966. A Grade I listed building, for its historical significance rather than its architectural merit, Chartwell has become among the Trust's most popular properties; 232,000 people visited the house in 2016, the fiftieth anniversary of its opening.
History
Early history to 1922
The earliest recorded mention of the land dates to 1362 when it was sold by a William At-Well.[1] The origin of the name is the Chart Well, a spring to the north of the current house, Chart being an Old English word for rough ground.[2] The site had been built upon at least as early as the 16th century, when the estate was called Well Street.[3] Henry VIII was reputed to have stayed in the house during his courtship of Anne Boleyn at nearby Hever Castle.[4] Elements of the Tudor house are still visible; the Historic England listing for Chartwell notes that 16th- (or possibly 17th-) century brickwork can be seen in some of the external walls.[5] In the 17th and 18th centuries, the house was used as a farmhouse and its ownership was subject to frequent change.[3] On 22 September 1836, the property was auctioned at Cheapside, advertised as "a suitable abode for a genteel family".[6] In 1848 it was purchased by John Campbell Colquhoun, a former MP; the Campbell Colquhouns were a family of Scottish landowners, lawyers and politicians.[7] The original farmhouse was enlarged and modified during their ownership, including the addition of the stepped gables, a Scottish baronial genuflection to the land of their fathers.[8] By the time of the sale to Churchill, it was, in the words of Oliver Garnett, author of the 2008 guidebook to the house, an example of "Victorian architecture at its least attractive, a ponderous red-brick country mansion of tile-hung gables and poky oriel windows".[3] Tilden, in his "highly unreliable"[9] memoirs, True Remembrances, wrote of "creating Chartwell out of the drabness of Victorian umbrageousness".[10]
Churchill at Chartwell
1922 to 1939
Chartwell – Clementine Churchill's "magnificent aerial bower" to the left
Churchill first saw Chartwell in July 1921, shortly before the house and estate were to be auctioned.[11] He returned the same month with his wife Clementine, who was initially attracted to the property, although her enthusiasm cooled during subsequent visits.[12] In September 1922, when the house had failed to sell at auction, he was offered it for £5,500. He paid £5,000, after his first offer of £4,800, made because "the house will have to be very largely rebuilt, and the presence of dry rot is a very serious adverse factor", was rejected.[13] The seller was Captain Archibald John Campbell Colquhoun, who had inherited the house in June 1922 on the death of his brother.[14] Campbell Colquhoun had been a contemporary of Churchill's at Harrow School in the 1880s. On completion of the sale in September 1922, Churchill wrote to him; "I am very glad indeed to have become the possessor of "Chartwell".[5] I have been searching for two years for a home in the country and the site is the most beautiful and charming I have ever seen".[14] The sale was concluded on 11 November 1922.[15]
The previous 15 months had been personally and professionally calamitous. In June 1921, Churchill's mother had died, followed three months later by his youngest child, Marigold.[15] In late 1922, he fell ill with appendicitis and at the end of the year lost his Scottish parliamentary seat at Dundee.[16]
Philip Tilden, Churchill's architect, began work on the house in 1922 and the Churchills rented a farmhouse near Westerham, Churchill frequently visiting the site to observe progress.[17] The two-year building programme, the ever-rising costs, which escalated from the initial estimate of £7,000 to over £18,000, and a series of construction difficulties, particularly relating to damp, soured relations between architect and client,[18] and by 1924 Churchill and Tilden were barely on speaking terms.[19][a][b] Legal arguments, conducted through their respective lawyers, continued until 1927.[22] Clementine's anxieties about the costs, both of building and subsequently living at Chartwell also continued. In September 1923 Churchill wrote to her, "My beloved, I beg you not to worry about money, or to feel insecure. Chartwell is to be our home (and) we must endeavour to live there for many years."[23] Churchill finally moved into the house in April 1924; a letter dated 17 April to Clementine begins, "This is the first letter I have ever written from this place, and it is right that it should be to you".[24]
In February 1926, Churchill's political colleague Sir Samuel Hoare described a visit in a letter to the press baron Lord Beaverbrook; "I have never seen Winston before in the role of landed proprietor, ... the engineering works on which he is engaged consist of making a series of ponds in a valley and Winston appeared to be a great deal more interested in them than in anything else in the world".[25] As Hoare's presence indicated, Churchill's holidays were very rarely pure vacations. Roy Jenkins, in his study, The Chancellors, contrasted Churchill's approach to holidaying with that of his then boss, Stanley Baldwin. "Churchill went to Chartwell or elsewhere to lengthen the stride of his political work, but not greatly to reduce its quantity; far from shutting himself off, he persuaded as many as possible of his colleagues and henchmen to visit him, to receive his ever-generous hospitality."[26] In January 1928, James Lees-Milne stayed as a guest of Churchill's son Randolph. He described an evening after dinner; "We remained at that round table till after midnight. Mr Churchill spent a blissful two hours demonstrating with decanters and wine glasses how the Battle of Jutland was fought. He got worked up like a schoolboy, making barking noises in imitation of gunfire, and blowing cigar smoke across the battle scene in imitation of gun smoke".[27] On 26 September 1927, Churchill composed the first of his Chartwell Bulletins, which were lengthy letters to Clementine, written to her while she was abroad. In the bulletins, Churchill described in great detail the ongoing works on the house and the gardens, and aspects of his life there. The 26 September letter opens with a report of Churchill's deepening interest in painting; "Sickert arrived on Friday night and we worked very hard at various paintings ... I am really thrilled ... I see my way to paint far better pictures than I ever thought possible before".[28]
Churchill described his life at Chartwell in the later 1930s in the first volume of his history of the Second World War, The Gathering Storm. "I had much to amuse me. I built ... two cottages, ... and walls and made ... a large swimming pool which ... could be heated to supplement our fickle sunshine. Thus I ... dwelt at peace within my habitation".[29] Bill Deakin, one of Churchill's research assistants, recalled his working routine. "He would start the day at eight o'clock in bed, reading. Then he started with his mail. His lunchtime conversation was quite magnificent, ...absolutely free for all. After lunch, if he had guests he would take them round the garden. At seven he would bathe and change for dinner. At midnight, when the guests left, then he would start work ... to three or four in the morning. The secret was his phenomenal power to concentrate."[30][c] In his study of Churchill as author, the historian Peter Clarke described Chartwell as "Winston's word factory". Wikipedia
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The St. Regis New York
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Are you missing this ring? The gold diamond cluster engagement ring was recovered from an address in Shard End on 30 July.
Officers believe the ring was stolen from an address in Erdington or Stechford. Other property found at the address has been traced back to a burglary in Erdington.
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A view into a farm I've always wanted to wander into, just to see what's beyond the pile of topsoil.
Except I obeyed the sign.
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With chestnuts roasting on an open fire, Federal Reserve Chair Janet Yellen is nipping at the noses of mortgage industry professionals with one interest rate hike in the bank this year and two or three more likely on the way in 2017.
Merge that scenario with a new president in Washington, D.C., and a healthier U.S. economy, and 2017 really does shape up to be a barn-burner for mortgage industry professionals and home financing consumers.
What can both parties expect to see happen next year in the mortgage sector? Here are five likely scenarios, delivered by veteran mortgage industry experts:
Expect higher lending rates - Bill Dallas, co-founder and CEO at Cloudvirga, a Los Angeles-based mortgage workflow technology firm, says improvement in wage growth along with a strong job market will give support to consumer spending, which should help boost U.S. gross domestic product. "We expect GDP to increase to 2.1% in 2017 and 2.0% in 2018, which in turn would cast an upward pressure on mortgage rates," he notes. Dallas says he expects 30-year fixed mortgage rates to rise to 4.2% for the full year 2017 and 4.6% in 2018. "Under that scenario, more households will be discouraged to refinance," Dallas adds.
Fannie and Freddie privatized - Michael Taylor, branch manager at First Home Mortgage Corporation, in Millersville, Md., says 2017 will see Fannie Mae and Freddie Mac begin the process of privatization. "The agencies have paid back their TARP loans and have been paying the U.S. Treasury," he says. "Now it's time to spin them back into the private sector."
Fewer mortgage loans - Neil Garfinkel, managing partner at Abrams Garfinkel Margolis Bergson, LLP in New York City, says higher interest rates are already having a negative impact on loan originations and refinancing. "A report from the Kroll Bond Rating Agency predicted a 20% drop in loan origination volume in 2017 and a decrease in refinancing volumes from $263 billion this quarter to $145 billion in the first quarter in 2017," he says. "We are starting to see a slowdown in loan originations already."
Lower home prices - Garfinkel says he also anticipates a decline in home sale prices in the New York residential real estate market in 2017. "I believe that higher mortgage rates will result in lower housing prices," he says. "Lenders who have strong lending programs will do well in the marketplace."
With rates higher, expect an early home buying season - Theresa Williams-Barrett, vice president of consumer lending and loan administration at Affinity Federal Credit Union, says loftier interest rates and the urge to buy before lending costs really rise will have buyers on foot in January and February, well before the tradition spring home buying busy season. "Many people were waiting on the sidelines in anticipation of rising rates - though still, they remained low," Williams-Barrett says. "Now we're seeing the rise in rates come to fruition and as a result, we should anticipate those who were once on the sidelines, begin to act on the market in hopes of capitalizing before rates get higher. Keeping that in mind, buying season has traditionally always been around spring, but we may see that season take place as early as winter 2017."
With so many big impactors in play, 2017 should be an eye-opening one for the U.S. mortgage sector, especially during the first three months of the year. Expect change and volatility, because that's what experts say will transpire with mortgages in 2017. Some effective marketing techniques, like Real Estate Virtual Tours, can help in covering the deficits and ultimately improve the situation which is expected to worsen to some extent.