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ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. Massimo Osanna & Eike Schmidt - Uffizi! Una giungla senza regole! - “Tesori svenduti”, il Mibac frena sugli Nft dell’arte; in: Uffizi gallery makes only €70,000 from Michelangelo NFT that sold for €240,000. The ArtNet News (11/07/2022), Art Newspaper (13-14/06/2022) & La Repubblica (24-25/05/2022). Foto: the_rocco_real, "Cappella Sistina", Instagram (11/07/2022). wp.me/pbMWvy-2UP
Foto: the_rocco_real, "Cappella Sistina", Instagram (11/07/2022).
www.flickr.com/photos/imperial_fora_of_rome/52210514800
1). FLORENCE - Italy Instructs Museums to Halt Contracts With NFT Companies, Citing ‘Unregulated’ Terms That Could Affect the Country’s Cultural Heritage - The move comes after the Uffizi revealed that a tech company took the vast majority of proceeds from the NFT of a Michelangelo masterpiece. The ArtNet News (11/07/2022).
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S.v.,
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021) & Corriere Della Sera (14/05/2021); in" RARA 2022 (07/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/52209026232
--- RARA 2022 (07/10/2021) - Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021).
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When Florence’s Uffizi Gallery sold an NFT of Michelangelo’s Doni Tondo for €240,000 last year, it seemed like it found a major new revenue stream. But it turns out that the tech company it partnered with to produce the digital work took so much in fees that the museum only reaped €70,000 ($70,500) of that. Now, the Italian ministry that regulates the country’s museums has asked institutions to temporarily cease contracts with NFT providers.
The Uffizi sale was orchestrated by the Milan-based tech company Cinello, which had been given a five-year contract (that expired December) to digitally reproduce works of art from the Uffizi’s collection.
Each of the digital works, which Cinello calls DAWs, were certified on the Ethereum blockchain and traded as NFTs in conjunction with Unit, a contemporary art dealership in London. The works were made in editions of nine, priced between €100,000 and €250,000 ($114,000–$284,000) each.
A Cinello spokesperson told the Art Newspaper that the company would split the proceeds with the Uffizi 50/50—after production costs. Those costs—which included taxes, a platform commission, the cost of producing a frame, and a 20 percent operating fee—totaled €100,000.
Initially, the NFT was designed to be in a hybrid digital and physical artifact, combining a wooden copy of the original frame, with a screen and a chip where the copy of the work was recorded as an NFT.
However, the sale generated public scrutiny after the Italian daily newspaper La Repubblica ran a headline this past May wondering who owns the digital rights to Michelangelo’s Doni Tondo. In that article, the Uffizi’s director, Eike Schmidt, admitted that the museum had not done adequate due diligence when it came to structuring the deal around the NFT.
“It’s fundamental to inform yourself not only from a technical point of view, but also from a legal point of view,” he said. Adding that “certain platforms where you register ownership may not give sufficient guarantees, and you risk losing everything,” he said.
By buying digital copies of works in the Uffizi’s collection, new owners can theoretically exhibit and control them in augmented and virtual reality, as well as in emerging environments such as the metaverse. This could leave institutions like the Uffizi high and dry when it comes to controlling the works it sells from its own collection on budding metaverse platforms.
“Given that this matter is complex and unregulated,” a spokesperson for the Italian ministry of museums told the Art Newspaper, “the ministry has temporarily asked its institutions to refrain from signing contracts relating to NFTs. The basic intention is to avoid unfair contracts.”
For its part, Cinello maintains that all rights to the work remain with the museum, adding that its goal is “not to disperse Italian heritage around the world,” but to help the museum receive royalties and assist in raising much-needed funds to protect, conserve, and maintain the originals in its collection.
Though its contract with the Uffizi is technically over, Cinello is currently working with 10 other Italian museums, including the Museo di Palazzo Pretorio and Pinacoteca di Brera di Milano.
The company has not responded to a request for comment on whether it will continue to offer and structure similar NFT deals.
Other companies, such as LaCollection, have also recently announced similar partnerships, including with the British Museum and the Museum of Fine Arts, Boston.
The State Hermitage Museum in Saint Petersburg, Russia, and the Belvedere Museum in Vienna, have also deployed similar schemes. In September, the Hermitage auctioned NFT replicas of its five best-known paintings, netting it $444,000 at the time. The Belvedere digitized and fractionalized an image of Gustav Klimt’s The Kiss, released as a series of 10,000 NFTs last Valentine’s Day, each priced at .65 Ethereum (about $1,950 at the time), generating about $4.5 million.
While moves to digitize priceless works of art appear to be gaining steam (despite the recent calamity around NFT prices as a whole), the question of who ultimately stands to benefit in an as-yet unregulated market remains.
Fonte / source:
--- The ArtNet News (11/07/2022).
news.artnet.com/market/cinello-nft-michaelangelo-2145003
Fonte / source, foto:
--- the_rocco_real, "Cappella Sistina", Instagram (11/07/2022).
www.instagram.com/p/Cf4rqdSs1h8/
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021) & Corriere Della Sera (14/05/2021); in" RARA 2022 (07/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/52210029131
2). FLORENCE - Uffizi gallery makes only €70,000 from Michelangelo NFT that sold for €240,000
Deal with Cinello company fuels debate about ownership of Old Master masterpieces in the metaverse age. The Art Newspaper (13/06/2022).
The sale of an NFT based on Michelangelo’s famous painting Doni Tondo (1505-06) made €240,000 last year netting the Galleria degli Uffizi in Florence €70,000, a figure recently revealed by the museum. The work was minted by a Milan-based company called Cinello as part of a five-year agreement which should have resulted in the production of 40 digital works. The development is part of an ongoing debate in Italy about ownership and copyright issues linked to major masterpieces housed in national collections.
The Uffizi signed the deal to make DAWs (encrypted digital art works) with Cinello in 2016. “The partnership with Cinello lasted five years and expired in December 2021. During this time Cinello had the right to make NFTs of the works that were part of the agreement; only the Tondo, however, was made,” says an Uffizi spokesperson. The Cinello website states: "For each DAW an NFT token is created on the Blockchain; this certifies the ownership of the work." The Cinello website states: "For each DAW an NFT token is created on the Blockchain, this certifies the ownership of the work."
The spokesperson adds that the contract with Cinello states that “income due to the reproduction of the image is split in half between the company and the museum; the Cinello copy [made] about €140,000 [on the €240,000 sale], so the Uffizi received €70,000 [along with Cinello].” The remainder, €100,000, went on “production costs” according to the Artribune website; Cinello did not respond to a request for comment regarding these sums. According to the Vogon Today website, the Michelangelo NFT was bought by a collector in Rome.
The move has sparked concerns however about whether major works are up “for sale”. An article in the Italian newspaper La Repubblica last month asked: “Who owns Michelangelo’s Doni Tondo?.... who has the legal rights linked to the work? If the buyer ever decides to exhibit it, can he do it without the permission of the Uffizi? Basically: do we not risk losing control of our heritage in a time when we are increasingly moving towards the metaverse?” The newspaper adds that Italian government ministers have also raised concerns about the deal with Cinello.
In a lengthy statement, the Uffizi says: “Basically: do we not risk losing control of our heritage… In reality, [existing laws] give punctual and precise answers to those questions long before the invention of the technology in question, i.e., the Ronchey law of 1994, and again the Urbani code of 2004…. the rights [linked to the works] are in no way alienated, the contractor has no right to use the images granted for exhibitions or other unauthorised uses, and the assets remain firmly in the hands of the Italian Republic.”
Museums worldwide are trying to make money off the back of NFTs. The British Museum (BM) in London has recently sold NFTs of JMW Turner and Hokusai works drawn from its collection, in partnership with the French start-up LaCollection.io. The royalty deal between LaCollection.io and the British Museum remains confidential.
Earlier this year the Uffizi, the Complesso Monumentale della Pilotta in Parma and the Pinacoteca di Brera and Biblioteca Ambrosiana, both in Milan, sold digital facsimiles of works by Raphael and Leonardo da Vinci at Unit London Gallery.
UPDATE: The Uffizi spokesperson says: “The museum didn't sell anything but the use of the image—the DAW (digital art work), the selling of the relative piece, is all [down to] Cinello. It Is false to say that the museum sold the Tondo copy.”
UPDATE (14 June): A spokesman for Cinello says: "We would like to specify that Cinello does not sell NFTs, but DAW® (Digital Artwork). Ours is a patented technology (registered in Italy, China, USA and Europe) that enables the digitisation of the works of art from our partner museums to provide new sources of revenue."
He adds: "Cinello does not hold exclusive rights with public museums. All rights to the artwork remain with the museum that owns the original. We create a new right linked to our patent, which is the DAW®. The collector who buys the DAW® by contract cannot exhibit it in public exhibitions, the work is usable for private use. DAW® are created precisely to maintain control (which remains in the hands of Cinello and the partner museums) and not to disperse the heritage in the digital world."
Fonte / source:
--- The Art Newspaper (13/06/2022).
www.theartnewspaper.com/2022/06/13/uffizi-gallery-makes-o...
Foto: La Repubblica (25/05/2022).
www.flickr.com/photos/imperial_fora_of_rome/52209026242
3). ITALIA - “Tesori svenduti”, il Mibac frena sugli Nft dell’arte - I timori dopo l’accordo siglato dagli Uffizi per 40 capolavori. Il caso stasera alle Iene. Una commissione al lavoro: “Regole certe.” La Repubblica (25/05/2022).
Di chi è il Tondo Doni di Michelangelo? E la Nascita di Venere di Botticelli? Ancora: ma davvero una società milanese ha messo in vendita i Canaletto, un Tiziano, e persino un Leonardo esposti agli Uffizi? Anni fa queste domande non avrebbero avuto cittadinanza. E invece da qualche mese stanno rimbalzando negli uffici del ministero dei Beni culturali, dove sono preoccupati dalla possibilità di perdere - le parole sono dell'ufficio legislativo - "la gestione, il controllo e lo sfruttamento" delle immagini digitali di alcune delle opere più importanti del nostro Paese.
Nota S.v.,
--- Nft, il direttore degli Uffizi: "Serve prudenza ma non abbiamo ceduto i diritti in esclusiva” - Lo storico dell'arte Eike Schmidt dopo la polemica per la riproduzione digitalizzata dei capolavori delle Gallerie fiorentine, da Caravaggio a Leonardo a Botticelli: "E comunque il contratto con la società Cinello è scaduto e non è stato rinnovato." La Repubblica (24/05/2022).
www.repubblica.it/cronaca/2022/05/24/news/nft_il_direttor...
Tanto sono allarmati che il direttore generale dei Musei, il professor Massimo Osanna, ha firmato lo scorso anno una circolare bloccando d'urgenza i contratti con questa società milanese. Ha ordinato oggi di non rinnovare quelli già siglati. E ha insediato una commissione che dovrà cercare di mettere ordine ed evitare che quello che è accaduto si ripeta.
Ma, intanto, cosa è successo? La storia la racconteranno stasera le "Iene" in un servizio firmato da Antonio Monteleone e Marco Occhipinti, che hanno condotto un viaggio nel mondo delle opere d'arte italiane e degli Nft, i not fungible token: opere d'arte digitali che vengono rese uniche grazie alla registrazione in un albo pubblico, la blockchain.Il mercato è enorme: recentemente Everydays: the first 5000 Days, un'opera di Beeple, è stata venduta per 69.4 milioni. Oltre alle nuove opere, c'è un tema che riguarda anche il patrimonio esistente: ciascuna opera d'arte può avere una sua copia digitale che può essere immessa sul mercato. A proporre un'operazione del genere ai musei italiani è stata la società Cinello, che ha un brevetto in materia.
L'idea è semplice: si realizza una copia digitale perfetta dell'opera. La si riproduce su un monitor ad altissima definizione, la si incornicia come si fosse al museo e la si vende a ricchi collezionisti. Il ricavato va diviso 50 e 50 tra Cinello e il museo. I primi a credere all'operazione sono gli Uffizi, che firmano un contratto - come ricostruiranno stasera le Iene - per 40 opere tra le più famose. Nell'accordo vengono stabiliti prezzi e un numero di copie massimo da mettere sul mercato. Alcune potranno essere acquistate, altre anche soltanto noleggiate. Il primo a essere venduto è proprio il Tondo Doni di Michelangelo, come annunciato trionfalmente un anno fa, per 240mila euro. Ma è proprio lì che cominciano i problemi. Qualcuno si chiede: ma ora di chi sono i diritti legati a quell'opera? Se mai il compratore dovesse decidere di esporla, può farlo senza il permesso degli Uffizi? In sostanza: non rischiamo di perdere il controllo del nostro patrimonio in un tempo in cui si va sempre più verso il metaverso?
Gli Uffizi spiegano al Ministero, contratto alla mano, che non è stata data alcuna esclusiva. E quindi, il problema non esiste. Ma a Roma non sono convinti. Le Iene fanno notare due cose: che la Cinello ha ricevuto tutto senza alcuna procedura pubblica. Un regalo. Anche perché Cinello non paga alcun canone, divide gli introiti alla metà (una percentuale molto alta per un'intermediazione). E che, sebbene nel contratto non si parli di esclusiva, nei fatti c'è una clausola che quasi la disegna. Il museo si impegna infatti a non far deprezzare il bene: le copie digitali costano tanto perché sono numerate, ma se ne venissero concesse altre, quelle sul mercato perderebbero di prezzo. Dunque, Cinello potrebbe impedirne la realizzazione.
Ma i problemi sono anche altri. Repubblica ha letto i verbali della commissione di esperti nominata dal ministero "in merito agli Nft e alla Criptoarte". Osanna parla di"contratti stipulati da alcuni musei" (oltre agli Uffizi, la Pilotta di Parma, la Galleria nazionale delle Marche, Capodimonte e l'Archeologico di Napoli) "immediatamente bloccati ed estremamente svantaggiosi per l'amministrazione, perché prevedevano l'alienazione della riproduzione del bene. La necessità imprescindibile è quella di far mantenere allo Stato la proprietà della riproduzione". La questione infatti non è avere paura degli Nft, che possono essere una risorsa. Ma non trasformarli in una giungla senza regole. E con pochi preferiti. Perché quella sì, fa paura.
Fonte / source:
--- La Repubblica (25/05/2022).
www.repubblica.it/cronaca/2022/05/25/news/tesori_in_peric...
Please don't mistake this for a triumphal arch.
The Menin Gate Memorial to the Missing was inaugurated on Sunday 24 July, 1927 by Field Marshal Lord Plumer. General Charles Harington, a colleague and close friend of Plumer, described the occasion in his book, "Plumer of Messines".
According to Harington the most moving part of Lord Plumer's speech was his attempt to give some comfort to the parents and relatives at the ceremony of the missing soldiers of the Ypres battlefields. Facing the Ypres Salient his words were:
"... One of the most tragic features of the Great War was the number of casualties reported as 'Missing, believed killed'. To their relatives there must have been added to their grief a tinge of bitterness and a feeling that everything possible had not been done to recover their loved ones' bodies and give them reverent burial. That feeling no longer exists; it ceased to exist when the conditions under which the fighting was being carried out were realised.
But when peace came and the last ray of hope had been extinguished the void seemed deeper and the outlook more forlorn for those who had no grave to visit, no place where they could lay tokens of loving remembrance...
It was resolved that here at Ypres, where so many of the 'Missing' are known to have fallen, there should be erected a memorial worthy of them which should give expression to the nation's gratitude for their sacrifice and its sympathy with those who mourned them.
A memorial has been erected which, in its simple grandeur, fulfils this object, and now it can be said of each one in whose honour we are assembled here today: 'He is not missing; he is here'."
Ypres (now Ieper) is a town in the Province of West Flanders. The Memorial is situated at the eastern side of the town on the road to Menin (Menen) and Courtrai (Kortrijk).
Each night at 8 pm the traffic is stopped at the Menin Gate while members of the local Fire Brigade sound the Last Post in the roadway under the Memorial's arches.
A small (18mm in diameter) token from 1939, issued as part of a fundraising campaign in the pre-Israel Palestine.
You can read interesting article about this tax in a site called "Collect".
Sleep Token in concerto al Graspop Metal Meeting 2023 di Dessel foto di Andrea Ripamonti per www.rockon.it
ADOLPH'S
SANDWICH
BAR
GARY, INDIANA
GOOD FOR
25¢
IN TRADE
Date: Circa 1930s
Source Type: Token
Publisher, Printer, Photographer: Unknown
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: This token appears in tokencatalog.com, the premier source for token information.
Adolph's Sandwich Bar was located at 456 Broadway in Gary, Indiana. The proprietor of the business was Adolph Lachowitz. Today [2016], the location is a grassy area located just east of the Genesis Convention Center.
⦿ Wagaman No. G-820i; rarity 7 (10 to 19 examples known to exist)
⦿ Token Catalog No. 334670
Sources:
Wagaman, Lloyd E. 1981. Indiana Trade Tokens. Fairfield, Ohio: Indiana-Kentucky-Ohio Token and Medal Society. 302 p.
TokenCatalog.com
Copyright 2016. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Moneda acuñada durante el gobierno de la junta de gobierno de 1973.
Se aprecia la celebración del golpe de estado del 11 de septiembre de 1973 en el motivo de la moneda.
This token in poor condition. The legend reads "PURE COPPER PREFERABLE TO T..." I am not sure what the last word beginning with "T" is. Trade perhaps.
The third and fourth trips on the C&PRR's opening day of 2021 were diesel-hauled after the steam loco was failed with a broken spring. Fortunately, no 37 227 was returned to health recently and was able to step in.
Here Phil the secondman is about to received the single-line Chinnor Branch token from the 'person in charge' at Princes Risborough.
Chinnor & Princes Risborough Railway.
(Not the composition I had intended owing to my Nikon FX camera recording a DX-size image.)
The reverse side of my 3 monorail tokens. One with the Harbour Bridge, then a Frill Neck Lizard & finally a Koala.
The Cattal signaller, a genial Scot, hands the single line token to the driver of a Class 150 'Sprinter' DMU forming Northern Rail's 12.11 York to Leeds via Harrogate service. The signaller told me the box will close with resignalling of the line in 2017. @12.32
Moneda que incorpora a su diseño 2 copihues.
El copihue es una flor autóctona de Chile, de lento crecimiento. Actualmente se encuentra en peligro de extinción por lo que ha sido protegida por ley. Además es la flor nacional de Chile.
A scene that is now sadly long gone in Northern Scotland as 26029 arrives at Achnasheen with a train from Kyle to Inverness and in doing so exchanges the Strathcarron-Achnasheen token for that to Garve. In the opposite platform 26034 is waiting to head for "The Kyle".
7th May 1981.
Photo:Alan Walker
Die for a UK advertising disc (aluminium, 1930s?) for Peek Frean's Teddy Bear biscuits showing a Teddy Bear. Peek Frean is a very well known London biscuit maker. The maker is Wright & Son of Edgware. Photo provided by Philip Mernick.
UK advertising disc (aluminium, 1930s?) for Peek Frean's Teddy Bear biscuits showin a Teddy Bear. Peek Frean is a very well known London biscuit maker. The maker is Wright & Son of Edgware. Photo provided by Philip Mernick.
RH&DR no.1 'Green Goddess' arrives at New Romney from Hythe and collects the New Romney - Romney Sands token from the signalman.
31.5.16
Mamiya C220/ 80mm Mamiya-Sekor lens
Ilford Delta 400
Paranol S developer