Isn’t that truly amazing? I’ll be making more things along this line, just now discovered the clipboard among other stuff I wouldn’t ordinarily even think about putting up, but gosh, there are so many wonderful products and some of them are just positively work-oriented and naturals for the total feng-shui of your planetary existence. Continue reading →
Don’t forget that YOU DON’T NEED TO ACTUALLY WAREHOUSE ANY OF OUR PRODUCTS –we drop ship to your customer! No need to put a single penny out of pocket!!! You advertise the item, the customer buys it, you tell us you received the money and we ship the item, then you send us our share and keep your share or give it away, spend it, whatever — it’s YOURS!!!
You can earn big cash, but that’s not important — what IS important is GETTING THE WORD OUT THERE, and this is the program that’s going to do it. How do I know? Because it’s doing it now, and there are lots of folks benefiting from this important WORK ACTION that you could take. Continue reading →
JOAN MIRO — Original Mourlot Hand-Pulled Stone Lithograph printed on wove paper, it is the back cover of ” XXe Siecle #4″, published in 1954; edition size about 5,000, probably a few hundred circulating around nowadays, or far less, as a result of many of them falling into a permanent collection of a library, university or museum. A very rare original print with lots of early primitivism and strong paint strokes. The double “X” signifies the “twentieth century” aspect of the famous high-grade French art “magazine” of the Golden Age of Art. Condition is Extra-Fine.
Bidding Range: $950 – $1500
SIDE-NOTES: This is hard to find, and expensive to buy, with no hope of “fast turnover”. It may take years to sell a print in a gallery. There are some XXe Siecle originals on eBay, and a lot of things that people THINK are XXe Siecle that are also there. Some prints are as low as $30 bucks or so, when the seller is unaware of the value of the print, and when the artist is not as well-collected, highly valued or among the “Big Name Artists” like Rembrandt, Renoir, Chagall, Miro, Picasso, and Matisse. It’s not a good idea to seek out bargains in the art market. You pay for what you get, and you get what you pay for.Continue reading →
Years ago, my friend Mel Powers — an incredible marketing genius who was also the publisher of the famous “For the Millions” book series — said that if I ever wrote a book on Astrology, he would title it “Astrology For The Dozens”.
As many folks know, Claude and I have a goldmine that we haven’t worked in many years. Why not? Simple reason: doesn’t pay. Why not? Simple answer: to make a gold mine pay, you need OSHA clearance, among other things. You need a license to exploit mineral rights, even on your own property. The biggest problem is, you don’t want to advertise where your mine is located — that’s inviting disaster in a hurry. The other increasingly obvious reason is that we’re just too dang elderly for all that climbing and hiking and bending and waterlogged drenchings and cold misty mornings. On the other hand, a few expeditions in there every so often wouldn’t be too bad. Here’s the deal: we can’t take in a workshop — it’d reveal the location of the mine, the very last thing you’d want to do. One more major piece of information weighing in rather heavily…gold is at the bottom of a price-test, and that means people are not interested in buying it right now. The public only buys a thing when it’s at the top of its price range, so when gold goes up and up and up, they’ll eventually buy — right at the tippy-top of the market. Then, quite predictably, when gold goes back down, as it always does when traders take a profit on the way up, they sell. Pardon my chuckles. So the gold mine has sat for several decades with nobody seemingly interested. But all of a sudden, we’ve had three inquiries about the mine, all from the same general direction…
These are original 17th century lifetime impressions produced by Rembrandt van Rijn in Holland, about 1640-ish. They come from very powerful collections with great and unusually clear provenance, meaning they can be traced back to previous owners quite far in the past. Pieces like this generally sell for anywhere from $24,000 to $150,000 for the very rare “St. Jerome in a Dark Chamber”, which came from the collection of Theodore Donson, the world’s most famous Rembrandt collector today. So how come if you brought these into a gallery or a dealer, the best they could offer would be a hundred bucks each, and that’s FRAMED!!! If you don’t get what the game is, tune in Saturday morning at 6;30 a.m. for a serious tutorial on selling stuff into a bad economy. There’s an ART to it, not just dumb luck or running full-tilt against a brick wall. See you on the ICW. If you don’t know how to join us there, ASK!!!