July 14, 2011 - Auction Central News

Rare portraits of England’s early monarchs in London display

King Henry II, unknown artist, oil on panel, circa 1620, 22 1/2 in. x 16 1/2 in. (571 mm x 418 mm) uneven. Purchased 1974. NPG 4980(4). Copyrighted image courtesy of National Portrait Gallery.

LONDON – One of the largest and most important sets of portraits of early English kings and queens is to go on display at the National Portrait Gallery for the first time in 36 years. The 16 portraits, from William I to Mary I, are usually on loan to Montacute House, Somerset, but have been brought to the National Portrait Gallery as part of the Making Art in Tudor Britain research project. The portraits and the results of the research feature in a display Picturing History: A Portrait Set of Early Kings and Queens from July 19-Dec. 4, 2011 before being returned to Montacute House.

Between March and May 2011 these paintings underwent technical analysis including dendrochronology (tree-ring dating), infra-red analysis, x-radiography, paint sampling and microscopy. Prior to the research it was thought that the set comprised of at least two groups of portraits: the first painted in the 1590s, and the second thought to have been painted in the 1620s. However, dendrochronology has revealed that the wood used for the panels of all 16 portraits was felled at around the same date, making it possible that all the portraits in the set were produced around the same time, possibly as early as the 1590s.

Stylistically it is clear that not all 16 portraits were painted by the same artist. but the analysis has revealed that there are distinctive groups within the set that were produced by the same hand or workshop. For example, the portraits of Kings Henry I, Stephen, Edward II and John (three of which have distinctive crooked eyes) were almost certainly painted by the same artist. A number of other links between different portraits in the set have also emerged, such as similarities in the way in which some of the designs have been transferred onto the panels and the fact that several are painted on wood from the same trees.

Portraits such as these were often rapidly and cheaply produced based on established patterns derived from woodcuts and engravings. The lack of surviving portraits taken from life for the early kings meant that the ‘likeness’ of many of these monarchs was not firmly established. The result is that while some monarchs, such as Henry VIII can be easily identified, others could be depicted differently from portrait to portrait. The same template might even be used for several different kings. The display will include a portrait of William the Conqueror on loan from a similar set in the collection of Dulwich Picture Gallery and will enable two competing versions of a true ‘likeness’ of William I to be seen together.

The portraits previously belonged to the collection of the Duke of Leeds and were purchased by the National Portrait Gallery in 1974, when they were last on display in the Gallery, before being loaned to Montacute House in 1975.

Sets of portraits of monarchs were popular in the late 16th century. The bold colors and linear style suggest that they were intended to be seen from a distance, in domestic interiors, institutions and civic buildings. The portraits were decorative but also used to communicate allegiances, personal interests and beliefs at a time when there was an increased interest in the narrative of England’s past. Sets would vary in size from five to six to around 30, and the National Portrait Gallery set is one of the largest to survive. When an artists’ workshop received a commission for a set such as this it is likely that several artists and craftsmen were put to work to produce the portraits, which would account for the variety of styles and painting methods identified. The findings of the technical analysis have provided important information in helping us to understand the practices of artists’ workshops during this period.

Dr. Tarnya Cooper, 16th Century Curator said: “This lively and amusing group shows monarchs in richly gilded costumes wearing golden crowns, almost as if they were early cardboard cutouts. The features of some of the kings are entirely imaginary, while others are based on existing portraits. The whole set shown together is extremely striking, and in the late 1500s it would have provided an entertaining visual chronology of the English monarchy for audiences who were already used to seeing such characters on the stage in plays by Shakespeare and Marlowe.”

Monarchs Represented in the Exhibition:

King William I, Reigned 1066-87 © National Portrait Gallery, London NPG 4980 (1)

King Henry I, Reigned 1100-35 © National Portrait Gallery, London NPG 4980 (2)

King Stephen, Reigned 1135-54 © National Portrait Gallery, London NPG 4980 (3)

King Henry II, Reigned 1154-89 © National Portrait Gallery, London NPG 4980 (4)

King John, Reigned 1199-1216 © National Portrait Gallery, London NPG 4980 (5)

Edward II Reigned 1307-27© National Portrait Gallery, London NPG 4980 (6)

King Edward III, Reigned 1327-77 © National Portrait Gallery, London NPG 4980 (7)

King Richard II, Reigned 1377-99 © National Portrait Gallery, London NPG 4980 (8)

King Henry IV, Reigned 1399-1413 © National Portrait Gallery, London NPG 4980 (9)

King Edward IV, Reigned 1461-70 and 1471-83 © National Portrait Gallery, London NPG 4980 (10)

King Edward V, Reigned 1483 © National Portrait Gallery, London NPG 4980 (11)

King Richard III, Reigned 1483-5 © National Portrait Gallery, London NPG 4980 (12)

King Henry VII, Reigned 1485-1509 © National Portrait Gallery, London NPG 4980 (13)

King Henry VIII, Reigned 1509-47 © National Portrait Gallery, London NPG 4980 (14)

Anne Boleyn, Second Queen of Henry VIII © National Portrait Gallery, London NPG 4980 (15)

Mary I, Reigned 1553-8; daughter of Henry VIII and Catherine of Aragon © National Portrait Gallery, London NPG 4980 (16)

General Information:

National Portrait Gallery, St Martin’s Place, London, WC2H 0HE. Opening hours Monday, Tuesday, Wednesday, Saturday, Sunday: 10am – 6pm (Gallery closure commences at 5.50pm) Late Opening: Thursday, Friday: 10am – 9pm (Gallery closure commences at 8.50pm) Nearest Underground: Leicester Square/Charing Cross Recorded information: 020 7312 2463 General information: 020 7306 0055

www.npg.org.uk

ADDITIONAL IMAGES OF NOTE

Mary, Queen of Scots, unknown artist, oil on panel, circa 1560-1592, 9 7/8 in. x 7 1/2 in. (251 mm x 191 mm). Purchased 1916, NPG 1766. Copyrighted image courtesy of National Portrait Gallery.

King William I (The Conqueror), unknown artist, oil on panel, circa 1620, 22 3/8 in. x 16 1/4 in. (568 mm x 414 mm) uneven. Purchased 1974. NPG 4980(1). Copyrighted image courtesy of National Portrait Gallery.

King Stephen, unknown artist, oil on panel, circa 1620, 22 3/4 in. x 17 5/8 in. (578 mm x 447 mm). Purchased 1974. NPG 4980(3). Copyrighted image courtesy of National Portrait Gallery.

Skyscraper OK’d for picturesque St. Petersburg, Russia

Gazprom’s 35-story headquarters, pictured here, is located in Moscow, but the world’s largest extractor of natural gas plans to build a far taller skyscraper in St. Petersburg. Image courtesy of Wikimedia Commons.

ST. PETERSBURG, Russia (AFP) – Authorities in Russia’s former imperial capital of St. Petersburg have given permission to Gazprom to build a skyscraper after its initial plan fell through due to protests.

The gas giant’s controversial plan for the Okhta Center, dominated by a 1,320-foot high-rise, was shot down last year after a series of protests by residents who said the building would ruin the historic city’s vistas.

Gazprom’s new project, Lakhta Center, includes an even higher 1,551-foot-tall building, but a city land use commission “has recommended to authorize the surpassing of height restrictions,” a commission representative told AFP on Thursday.

City regulations in St. Petersburg, whose skyline is protected by UNESCO, limit buildings’ height to less than 90 feet.

The final decision to give permission for the construction of the skyscraper will have to be approved by another committee on architecture.

Critics scoffed at the decision to waive the maximum height requirement for the high-rise to be built near the Neva River in the northwest of the city.

“What is dangerous in this decision is that one can easily obtain permission to surpass the height requirements by nearly twentyfold,” activist for the Living City preservation movement Antonina Yeliseyeva told AFP.

“This could become a precedent,” she said, admitting, however, that the plan was an improvement on the previous project.

The Okhta Center was to tower over the city’s historic center from just across the Neva River, while Lakhta Center is planned for further away and is less likely to spoil the city’s picture postcard views.

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Curtain rises on Round Top’s Marburger Farm show Sept. 27

Image courtesy of Marburger Farm Antique Show, Round Top, Texas.

ROUND TOP, Texas – F. Scott Fitzgerald once quipped that “there are no second acts” in America, but the Marburger Farm Antique Show in Round Top knows better. When the blockbuster show opens Sept. 27- Oct. 1 for its 15th fall edition, the keywords are: repurposing, resilience and continuous renewal. Many of the nearly 400 exhibitors from 38 states and nations will arrive at this reinvented cow pasture with second acts in full bloom, plus plenty of antiques ready to start new acts in new homes.

Nance Harper of Atlanta trained as a chemist and ran a transportation company. On a business trip she found herself buying antiques in France and a new career called.

“You have to have passion for what you are doing,” says Harper. “That’s what I like about the Marburger Farm Show—the customers have just as much passion about antiques as the dealers do. Clients at Marburger like truly old pieces. They are interested in the history of an antique and they want it in its true original condition—not gussied up.”

What will Harper bring this fall? “I save the one-of-a kind pieces for Marburger,” she says. This will include French architectural fragments from the exterior or interior of old buildings. “I’ll have three 18th-century architectural fragments long enough to go over doors or to be reinvented as a console base, in original blue paint, bluer than the sky, close to robin’s egg blue, but deeper.” Also in tow will be an 18th-century carved wood wall bracket, long and wide, with the most beautiful two angels faces that I’ve ever seen. You just want to gaze at it. It’s spellbinding.”

It sounds like the chemist found her passion.

Many dealers at Marburger Farm were educators and lovers of history, such as retired teacher Linda Wilder of A Wilder Place in Time. She can teach you about English ironstone china coming over as ballast in ships and being packed deep in covered wagons moving west.

Or, after viewing Marburger Farm’s herd of Longhorns, you can learn more about cattle from Darvin King of Georgia’s Antiques from Abilene, Texas. When not loading step-back cupboards, King loads his cattle for top cutting horse events. The dealer next to him is upstate New York cowboy Patrick Kenny of South Porch Antiques and chief beef cattle judge for the New York State Fair. Step just across the aisle and retired pastor Jan Orr-Harter won’t have any cows, but she will offer a 1970s Milo Baughman cocktail table in burled wood and stainless steel.

From the Chicago area, Mitch and Marcia Weisz of Ameritiques arrive at each twice-yearly Marburger Farm show with a different mix of eclectic finds from the upper Midwest. “We’re opportunists,” says Mitch, whose first act in life was as an attorney. “We bring the best we can find, whatever it is.” This time they stumbled across a community that amassed religious artifacts and equipment to found churches from about 1920-1960.

“There’s chalices and statues and enough embroidered vestments to outfit 40 priests,” says Mitch. His wife Marcia, a former CPA, will bring Halloween and Thanksgiving postcards circa 1900, plus so much costume jewelry that they are thinking of selling it by the pound. “We find that everything we bring that can be repurposed into something else always sells well in Texas,” reports Mitch. Law and finance may have been more lucrative, he goes on, “but antiques are more fun. And Marburger Farm is the most fun show out there. In the entire country, there is nothing comparable to Marburger Farm.”

Marburger Show co-owner Rick McConn traded in a career trading energy commodities for hosting the tens of thousands of shoppers who visit Marburger Farm’s 10 enormous tents and 12 restored historic buildings, all overflowing with antiques of every style, era and price range. Along with co-owner Ashley Ferguson, whose first act was interior design, McConn works to continuously enhance the mega show. This fall improvements include a new mobile website for smart phones and a new show blog, both accessed from www.roundtop-marburger.com—plus Marburger’s pending appearance on a reality TV show. Even more treats include air-conditioned restrooms, free wifi, three food pavilions and the Blacksmith Bar with wine, cold beer and “Marburitas.”

For the second year, a portion of the fall show ticket sales will benefit the Houston Affiliate of Susan G. Komen for the Cure. “No one knows more about rebuilding lives than the Susan G. Komen organization,” says Ashley Ferguson. “We are thrilled to lend our support and welcome them to the show.” Look for the Race for the Cure sign-up tent at the show.

Among other special events this fall will be a book-signing by Leslie Sinclair of her new book, Segreto – The Secret to Beautiful Finishes, with 300 pages of photographs of homes whose wall finishes have been reimagined to complement antiques, art and a love of texture and patina. Leaving a corporate career in communications 16 years ago, Sinclair founded Segreto Finishes in Houston, now the largest plastering company in the region. Many homes in the book feature antiques found at the Marburger Farm Antique Show.

Suzanne Fox of Santa Monica, Calif., will fill her booth in Marburger’s Silver Dollar Saloon with English antiques and art for homes and gardens. Shoppers will not only take home her transfer-ware, Staffordshire, sterling and garden urns, they will also take inspiration from her display. For 25 years, and still part-time, her first act as a retail store designer led her to tackle some of the biggest luxury shopping venues in Southern California. Look for the Silver Dollar to shine! “I bring my best to Marburger, I pack it in and I design it differently each time,” says Fox. “I’m delighted by Marburger Farm because of loyal customers and because so many new customers in their 20s and 30s are shopping there—families, kids, all ages. The Marburger Farm Antique Show is for everyone.”

So first act, second or third, get yourself to Marburger Farm. Take that, F. Scott Fitzgerald!

The Marburger Farm Antique Show opens Tuesday Sept. 27, for Early Buying from 10 a.m. until 2 p.m. for $25 admission. Regular $10 admission begins at 2 p.m. until 5 p.m. that day. Your admission is good all week and parking is free. Shopping continues on Wednesday, Thursday and Friday from 9 a.m. until 5 p.m. and on Saturday, Oct. 1, from 9 a.m. until 4 pm. For maps, photos and information on tickets, groups, the Marburger Café, on-site shipping and special events, see www.roundtop-marburger.com.

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LiveAuctioneers.com reports booming Q2 results, upsurge in site traffic

NEW YORK (LAPRS) – A stellar second quarter has been reported by LiveAuctioneers.com, the Manhattan-based technology company that provides Internet live-bidding services to more than 1,000 auction houses worldwide.

Quarterly statistics confirmed a dramatic upsurge in bidder signups, unique visitors and catalog page views. Continued interest was noted from European, Asian and Canadian auction houses using LiveAuctioneers.com for the first time.

“Right now, our growth pattern internationally is the strongest it has ever been,” said Scott C. Miles, Senior VP Sales of LiveAuctioneers.com. “Auction houses want to increase their exposure on the international playing field, and they’ve observed how other very successful auction houses do it by using LiveAuctioneers. They want in on it.”

During the second quarter of 2011, there were more than 4.5 million “absolute unique” visitors to LiveAuctioneers.com. This figure reflects a 75.6% increase over the comparable quarter of 2010.

There was also a sizable jump in the number of overall visits to the LiveAuctioneers site, soaring from 4.1 million in Q2 2010 to 7.3 million in Q2 2011 – an increase of nearly 73%.

“During the second quarter, we recorded more than 60 million catalog page views on the site, as compared to 33.7 million in the corresponding quarter of 2010 – a rise of more than 79 percent,” said Julian R. Ellison, CEO of LiveAuctioneers LLC.

Ellison added that a sizable flow of traffic is being redirected to LiveAuctioneers on a regular basis through search engines. “During the months of April, May and June, there were 4.2 million search-engine referrals to LiveAuctioneers – an 82% increase over the comparable quarter of 2010,” Ellison said. Also, during Q2 of 2011 LiveAuctioneers.com attracted an average of 3,061 new-bidder signups per week.

“If our current momentum continues, fall will be an explosive period of growth for us. It may even end up being the biggest third quarter of business we’ve ever seen,” Ellison said. “Clearly, our products and services are netting consistent results for our auction-house clients. We have a very stable and loyal customer base.”

Visit LiveAuctioneers online at www.LiveAuctioneers.com

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Civil War sculpture ‘Brothers’ unveiled at Virginia State Capitol

Now installed at the Historic Virginia State Capitol, Gary Casteel's bronze titled 'Brothers' depicts siblings who fought on opposite sides during the Civil War. Image courtesy of Gary Casteel.

RICHMOND, Va. – Coinciding with many special events surrounding the commemoration of the sesquicentennial (150th anniversary) of Virginia’s participation in the American Civil War, a powerful and poignant commemorative bronze sculpture was installed on July 11, 2011 in Virginia’s historic State Capitol.

Brothers, a life-size sculpture privately commissioned by an anonymous private collector in Fredericksburg, Va., and executed in 2010 by nationally recognized sculptor Gary Casteel is now on public display in the Capitol’s new visitor extension.

The Brothers memorial, a two-figure, life-size tableau in bronze, recalls a harsh reality of the American Civil War. The figures, brother against brother, represent the real possibility of familial recognition by opposing soldiers, one Union, one Confederate, but brothers nonetheless, after the horrific battle that engulfed the countryside near Fredericksburg.

“The very moving statue is meant to mean different things to different people,” said the anonymous collector. “For me, it is a simple and profound tribute to the common, everyday person who answered the call, left home and family and took part in an epic struggle, as warriors have done throughout the ages. The image displays fatigue and grief, but also hope and solace that it is over and that a future lies ahead of hope and promise for a unified country bound together in liberty and individual dreams that is America today.”

Casteel, a West Virginia native with strong Virginia ties, currently resides in Cashtown, Pa., near the Gettysburg Military Park, where his acclaimed equestrian statue of Gen. James Longstreet is installed.

Casteel’s love of history and art is reflected in each of his works, as is most certainly the case with the Brothers sculpture. Casteel’s bronzes have been requested by a wide variety of institutions, including the United States National Park Service, state and local governments, corporations and private enterprises. Other Virginia collections containing Casteel’s work include the Fredericksburg National Battlefield Park, Virginia Military Institute, Museum of the Confederacy, and Pamplin Park.

To contact Gary Casteel, call 717-334-0050 or e-mail garycasteel@comcast.net.

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ADDITIONAL IMAGES OF NOTE

'Brothers,' a bronze by Gary Casteel, is admired by visitors to the artist's Pennsylvania studio prior to being transported to Virginia. Image courtesy of Gary Casteel. — ‘Brothers,’ a bronze by Gary Casteel, is admired by visitors to the artist’s Pennsylvania studio prior to being transported to Virginia. Image courtesy of Gary Casteel.

Another view of 'Brothers,' as seen in its unfinished state. Image courtesy of Gary Casteel. — Another view of ‘Brothers,’ as seen in its unfinished state. Image courtesy of Gary Casteel.

Artist Gary Casteel's marque. Image courtesy of Gary Casteel. — Artist Gary Casteel’s marque. Image courtesy of Gary Casteel.

Official guides give straight story at San Xavier mission

Mission San Xavier del Bac is named for the pioneering Christian missionary and founder of the Society of Jesus. The mission is located about 10 miles south of downtown Tucson.

TUCSON, Ariz. (AP) – For the first time in the 214-year history of Mission San Xavier del Bac, visitors can take guided tours.

“I’m sure in 1791 when the thing was finished somebody gave a tour, but this is the first scheduled, docent-led tour,” said Vern Lamplot, executive director of Patronato San Xavier, the group organizing the tours.

Travel and bus companies have taken groups through the mission for years, but they had no official connection to San Xavier.

“I’ve been at the church … when some of these guides show up, and I don’t really recognize what they’re talking about. They’re saying things I’ve never heard before,” Lamplot said. “We wanted to be able to give people a set of good, factual information about the place. Also, it’s my belief, if we’re going to preserve it in the future, people need to be aware of its cultural and historical importance.”

The free, 45-minute tours are led by about 20 volunteer docents with Patronato San Xavier, a nonsectarian, nonprofit group dedicated to the restoration, maintenance and preservation of the mission. They are held several times each day, except Sundays, to garner interest in preserving the White Dove of the Desert.

“We all do a slightly different one—my interest is history,” said docent Muriel Keegan-Glover, who led Saturday’s 11:30 a.m. tour, pointing out oddities and historical facts.

There’s the cat and mouse carved on the outside wall.

And then there’s the devil who glares from a painting of The Last Supper on the mission’s inside western wall.

When she has students on the tour, Keegan-Glover always asks whether they can find the devil.

“I make sure there’s something for the kids, too,” she said.

The painting was completed by American Indians from what today is called the Tohono O’odham Nation.

The mission is located in the tribal village of Waik, and the tribe’s circular black and white “man in the maze” symbol is prevalent throughout the mission, which was founded by Jesuit priest and explorer Father Eusebio Francisco Kino.

“If you look at the symbol it says that you go through life, you take turns, you make choices and some are good and some are not. If you are fortunate at the end you find tranquility, which is the dot in the middle of the circle,” said Keegan-Glover, an 83-year-old native New Yorker who has been in Tucson for 17 years.

A self-described “compulsive reader,” she is also a docent for the Arizona Historical Society.

So far, she said, most people on her tours have been tourists from outside of Arizona, though she’d like to see more locals learn about the mission.

In 1700, Kino put down the foundations for a church at the village of Bac, on the Santa Cruz River near modern Tucson, to be named after his patron saint, St. Francis Xavier.

Kino’s dream of a church here later was realized by Franciscans and Tohono O’odham Indians, who built San Xavier del Bac.

Construction on the mission began the same year President George Washington gave his farewell speech, Keegan-Glover noted, and it was completed in 1797, the same year President John Adams gave his inaugural address.

San Xavier is a National Historic Landmark.

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Information from: Arizona Daily Star, http://www.azstarnet.com

AP-WF-07-13-11 0807GMT

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Crescent City to auction Spanish Old Master painting, July 23

The undocumented Spanish Old Master painting coming to auction at Crescent City Auction Gallery on July 23 is of St. Joseph and the Infant Jesus. It is of the school of Bartolomé Esteban Murillo and conservatively estimated at $8,000 to $12,000. Image courtesy of Crescent City Auction Gallery.

NEW ORLEANS – A recently discovered and undocumented Old Master painting, St. Joseph and the Infant Jesus, from the school of Bartolomé Esteban Murillo comes to auction in New Orleans at Crescent City Auction Gallery on Saturday, July 23, with Internet live bidding through LiveAuctioneers.com. The baroque painting portrays St. Joseph as a young father and the baby Jesus as a toddler holding a branch of lilies.

According to David J. Goldberg, the appraiser who discovered the painting in a private collection in New Orleans, the oil on canvas bears the characteristics of a 17th-century work of art. It is painted on a fine broad weave canvas, probably better than most of the period. The painting appears to have been relined and the support stretchers replaced sometime during the 19th Century. The overall size of the oil painting is 49 x 32 inches (124.46 cm x 81.28 cm).

Its provenance, as denoted by a label to the stretcher, is Rev. Canon A. Silva-White (possibly of Spanish heritage), St. Peter’s Vicarage, Sunderland, England. It is thought to have been deaccessioned circa 1968 and then purchased by a private collector before passing to the collection of a Mandeville, Louisiana collector in 1985.

St. Joseph and the Infant Jesus carries a conservative presale estimate of $8,000 to $12,000.

The symbolism in the painting – a humble carpenter protective of his earthly son, with broken pillars in the background – resonates with clarity. It is precisely this simplicity in portraying sacred motifs that made Murillo’s works sought after by royal families and wealthy collectors throughout Europe and England during the 17th and 18th centuries.

An icon of Spanish baroque art, Murillo changed the way artists painted religious figures. His works are included in collections of El Prado in Madrid, the Vatican Museum and many other museums throughout the world.

At the time, expertise in the Murillo style was so highly desired by other artists that, in 1660, Murillo helped found a school in Seville, Spain. He served as its first president while continuing to take private commissions. Paintings in all categories by Murillo are collected by museums, Queen Elizabeth’s Royal Art Collection among them, and have sold at major auction houses.

From patron saint of carpenters to patron saint of fathers and the Universal Church, St. Joseph is an important figure in all the Christian faiths. St. Joseph’s Day is celebrated by Anglicans, Lutherans and the Eastern Orthodox Church. It stands in as Father’s Day in Spain, Portugal and Italy.

St. Joseph and the Infant Jesus is an appealing subject for private collectors, museums, churches and hospitals.

The baroque Old Master painting is fittingly featured in a Crescent City Auction sale that contains property from the estate of John W. O’Keefe, vurator of the New Orleans Museum of Art.

St. Joseph and the Infant Jesus is on view at Crescent City Auction Galleries, 1015 Julia Street, New Orleans from Thursday, July 14 through Friday, July 22 between the hours of 10:00 a.m. and 5:00 p.m. There will be a late evening preview on Wednesday, July 20 until 8:00 p.m.

The auction will be conducted on Saturday, July 23, live and online at LiveAuctioneers.com, beginning at 9:00 a.m. Central time.

For more informaton or a condition report, contact Adam Lambert at 504-529-5057 or David Goldberg at 504-282-7611 or by email at mortongoldberg@cox.net.

View the fully illustrated catalog and sign up to bid absentee or live via the Internet at www.LiveAuctioneers.com.

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

ADDITIONAL LOTS OF NOTE

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