DOCSLIB.ORG

Presentation Is Intended for Informational Purposes Only and to Present Ti22 Tokens to Potential Holders of Ti22

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Presentation Is Intended for Informational Purposes Only and to Present Ti22 Tokens to Potential Holders of Ti22 THE ART ECOSYSTEM TOKEN Table of Contents • Investing in Bluechip Art 03 • Problems 04 • Why Titan ? 05 • Titan Investment 06 • Assets 07 • Titan Ti22 17 • Ti22 Token ERC1400 Protocol 18 • Tokenomics 19 • Ti22 Token Distribution 20 • Sale Process Flow 21 • Investment Rounds 22 • Financial Model 28 • Titan Projected Profit & Loss Chart 30 • Titan Projected Revenue Chart 31 • Titan Investment Limited Projected EBIT Chart 32 • Titan Investment Road Map 33 • Titan Investment Team 34 • Ecosystem 35 • Disclaimer 36 Investing in Bluechip Art Comparison between Art Price & the stock market index. Art Price 100© S&P 500 Reference Link Blue Chip Art as an asset class has significantly outperformed many major indices S&P 500 over the past 20 Years 03 Despite the size and attractiveness of fine art as an asset class, only a small group of elite investors have had the resources necessary to overcome the obstacles of investing in blue-chip art. Problems Tool Solutions 1. NOT EVERYONE CAN OWN A HIGH 1. FRACTIONAL OWNERSHIP ALLOWS VALUE ARTWORK: EVERYONE TO OWN PART OF A • Expensive. Millions & more. HIGH VALUE ARTWORK. • Can only be owned by one person. • High barriers to entry. 2. TOKENS ARE EASILY TRADED. 2. HARD TO TRADE : • Illiquid Asset. 3. LOWER COST OF OWNING A • Only 2% of Fine Arts are traded annually. FINE ART PAINTING ASSET. 3. EXPENSIVE TO OWN : • High Insurance Charges, Storage/ 4. CAN GENERATE A PROFIT & MULTIPLY Transportation Fees, & Valuation Fees. YOUR ROI. • High premium Seller/Buyer cost at ( SEE THE ROI CHART ) auctions. 04 Why Titan ? Titan Investment Ltd. is well-positioned for the following reasons: 1 2 3 Titan’s parent company & Strategic We have established top-tier Titan is leveraging part of its own Partner ALPHASEED TECHNOLOGY partnerships & Joint ventures with blue-chip proprietary Art portfolio LIMITED is a recognized FINTECH the likes of Polymath, Equa, Prime to be tokenized ensuring exclusive firm active in the crowdfunding & Trust, Propel by Deloitte, and investment opportunities from day tokenization space, based in Dubai Artory. one. International Financial Center (DIFC), Dubai. 05 Titan Investment Titan Investment Limited (TITAN) is a limited company by shares, incorporated in the British Virgin Islands (BVI). TITAN officially owns the title of 2 fine art paintings & a digital art platform (marketplace) 1. Vincent Van Gogh “Ginger Jar Filled with Chrysanthemums” 2. Sir Peter Paul Rubens “Diana Hunting with her Nymphs” 3. ARTEMOS - Art & Collectible Wealth private sales and related asset Tokenization platform. Titan investment is the only investment platform known to exist that is backed by blue-chip Art assets as well as an art private sales and Tokenization platform all represented by tokens issued on the Ethereum blockchain. It is a hybrid solution of owning a physical asset & NFT at the same time. VINCENT VAN GOGH (1853 - 1890) OWNED BY Ginger Jar Filled with Chrysanthemums TITAN Deutsch: Ingwertopf mit Chrysantemen Vincent van Gogh Ginger Jar Filled with Chrysanthemums September, 1885, Neuron / Amsterdam 07 Provenance • The work of: 1900 Exhibitions of Vincent Van Gogh , 1904 painting collections Vincent Van Gogh Private Collection of one of the most famous & influential H Tutein Nolthenius 1928 figures in the history of Western art. Property of Art Gallery d'Audretsch, 1929 The Hague / Netherlands Private collection of Adrianus Goekoop, • Owner: Titan Investment Limited Hague/ Netherlands 1953 Private collection of • Value: USD 25,000,000 1956 J. Duquet Basel/ Switzerland Property of Hammer • Valuation report date: January 2021 Galleries/New York 1967 • Examined by: The Van Gogh Museum American collector 1979 Howard I. Lepow (Label of the museum is still on the Swiss private collection back of the painting.) 1990 Exclusive collection of Intl • Insurance: UNIQA Insurance Group AG, Austria. art Stuttgart/Germany 2015 • Storage: Int’l Security House Hasenkamp Private collection of Berlin, Germany. Bernd Hergeröder 2019 Private collection of Feras Kiaewe Oil on canvas on panel Painted in 1885 / 1886 2021 40 x 29.5 cm TITAN is providing an opportunity for everyone to own part of the artwork. 08 VINCENT VAN GOGH ARTWORK HISTORICAL RETURNS $6,000,000 $5,000,000 $4,000,000 $3,000,000 $2,000,000 $1,000,000 $- YEAR 0 YEAR 1 YEAR 2 YEAR 3 YEAR 4 YEAR 5 YEAR 6 YEAR 7 YEAR 8 YEAR 9 YEAR 10 YEAR 11 Weaver Facing Right 1884 La maison de Vincent à Arles 1888 Pollard Willow 1882 Planteuse des betteraves 1885 09 PROFESSIONAL OPINION OF VALUE Curator Mr. Ulrich Mayer Dr. Bernhard A. Boehler “Scandinavian Fine Art Ltd” Art Historian, and Lawyer Mr. Bernhard Richter Int’l Fine Art Advisor, Examined by the “Rechtsanwalt” Ind. Curator Museum Director (Retd.) Van Gogh Museum & Certified Art Appraiser the label of the museum – Member of International is still on the back Fine Art Appraisers, New York of the painting. 10 SIR PETER PAUL RUBENS (1577 - 1640) OWNED BY Diana Hunting with her Nymphs TITAN Sir Peter Paul Rubens Diana Hunting with her Nymphs 1636 , the Torre de la Parada 11 Provenance • The work of: 1636 Commissioned by King Philip IV of Spain Sir Peter Paul Rubens, 1661 the most influential artist of the King Charles II of Spain 1683 Flemish Baroque tradition. King Philip V of Spain 1713 King Ferdinand VI of Spain 1768 • Owner: Titan Investment Limited Joseph Bonaparte, Older brother of Napoleon Bonaparte. 1838 • Value: USD 35,000,000 Alexander Baring, 1st Baron Ashburton 1866 London • Valuation report date: 2019 Francis Denzil Edward Baring, 5th Baron Ashburton, London • Exhibited: The Louvre, Sotheby’s & Christie’s. 1907 Asher Wertheimer, London 1912 • Insurance: Lloyd's of London. Benjamin Thaw, Pittsburgh 1932 • Storage: Sotheby’s, London, UK. Owen Smith, purchased at Christie’s Auction. 1955 • The extremely horizontal composition is one of the Mrs E. Hugh Smith, London peculiarities of this work, which belongs to an important sect of 1989 Don Carlos Porras Munoz, sketches made by Rubens for the pictorial decoration of the Torre de 2017 purchased at Christie’s Auction. la Parada.It is to a royal commission and has a superior, royal NorthCapital Fine Arts, Denmark provenance. 2018 ISN Consulting GmbH, Denmark 2019 Oil on canvas Painted in Private collection of Feras Kiaewe 183 x 386 cm 1636 / 1638 2021 TITAN is providing an opportunity for everyone to own part of the artwork. 12 SIR PETER PAUL RUBENS ARTWORK HISTORICAL RETURNS $20,000,000 $18,000,000 $16,000,000 $14,000,000 $12,000,000 $10,000,000 $8,000,000 $6,000,000 $4,000,000 $2,000,000 $- YEAR 0 YEAR 1 YEAR 2 YEAR 3 YEAR 4 YEAR 5 YEAR 6 YEAR 7 YEAR 8 YEAR 9 YEAR 10 Portrait of a Venetian Nobleman 1620 The massacre of the innocents 1612 Nude Study of Young Man with Raised Arms 1608 13 ON DISPLAY AT THE LOUVRE, 2013 14 ON DISPLAY AT SOTHEBY’S, 2019 15 OWNED BY TITAN Digital Art Platform ARTEMOS is a next-generation digital marketplace for transacting, tokenizing, and monetizing art & collectible wealth & NFT globally. With complete price transparency and seamless online trading experience for fine artworks and collectibles, ARTEMOS offers clients access to prized gallery inventory, with many artworks coming directly from the artist’s studio & important private art collections. Project: Artemos Art Tokenization & Marketplace Sector: E-commerce & Marketplace Services Asset Ownership: Titan Investment limited Cumulative EBIT Artemos: $ 45,159,345 Circa. Value @ 5Y: $50,625,000 Yearly ROI: 70% Cumulative 5Y ROI: 352% www.artemos.net 16 Titan Token Introduction Ti22 tokens are designed to reflect the investment ecosystem of Titan investment. In particular, holders of Ti22 tokens will receive a boost on the appreciation of the two art asset holdings, Vincent Van Gogh & Sir Paul Peter Rubens. The boost will be reflected in the performance of ARTEMOS, and Art Sales and Tokenization Marketplace. By Purchasing Ti22 tokens, Titan holders will be able to take advantage of the global trend of asset digitalization and fast track their way to generate further wealth. 17 Ti22 Token ERC1400 Protocol Titan Invest limited token offering is built on the Ethereum Blockchain utilizing Ethereum protocol ERC1400 ERC1400 enforces regulation for Security Tokens by applying jurisdictional laws from across the globe. It can even apply offchain data to transactions to include necessary real-world input and authorization. With these elements engineered into your Security Token smart contract, issuers experience: 1 2 3 4 INCREASED STREAMLINED DUE EXPANDED RANGE OF IMPROVED USER TRANSPARENCY : DILIGENCE : SUPPORTED ASSETS: EXPERIENCE: The ability to reverse, force, Standardization ensures that Support for a broad range of Investors can easily and check the status of stakeholders like exchanges current and new financial understand why traders fail transfers makes the journey and custodians no longer assets such as publicly-traded and what’s needed to remain of tokens totally transparent. have the onus to complete equity & bonds, real estate, or compliant. technical due diligence prior artwork, etc. to onboarding the asset. 18 TOKENOMICS Token Name Titan Token Symbol Ti22 Blockchain Ethereum Token Standard ERC1400 Token Type Equity Total Token Supply 1,250,000 Token Price ($) 56 Hard Cap ($) 70 Mil Seed Circulating Supply 2% of total token supply ( 25,000 Ti22 ) Seed Cap ($) 1,400,000 Seed Discount 50% Early Community Token Allocation 8% of total token supply ( 100,000 Ti22 ) Early Community Cap ($) 5,600,000 Early Community Discount 12% Public Listing Token Allocation 39% of total token supply ( 487,500 Ti22 ) Public Listing Cap ($) 27,300,000 19 Ti22 TOKEN DISTRIBUTION 10% 15% 49% 26% Tokens for Sale Treasury Team Founders 20 SALE PROCESS FLOW Sign SSA Transfer of Tokens Share Certificate Share Agreement between Titan Investment BVI sends Equa Cap Table Management Titan Investment BVI the tokens to investor wallet sends a share certificate and the investor, is signed.
Load more

Recommended publications
  • Art from the Ancient Mediterranean and Europe Before 1850
    Art from the Ancient Mediterranean and Europe before 1850 Gallery 15 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 a.m. - 5 p.m. Sun 1 p.m. - 5 p.m. 2nd Fridays 10 a.m. – 9 p.m. Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve Christmas Day, & New Year’s Day. 1 Domenichino Italian, 1581 – 1641 Landscape with Fishermen, Hunters, and Washerwomen, c. 1604 oil on canvas Ackland Fund, 66.18.1 About the Art • Italian art criticism of this period describes the concept of “variety,” in which paintings include multiple kinds of everything. Here we see people of all ages, nude and clothed, performing varied activities in numerous poses, all in a setting that includes different bodies of water, types of architecture, land forms, and animals. • Wealthy Roman patrons liked landscapes like this one, combining natural and human-made elements in an orderly structure. Rather than emphasizing the vast distance between foreground and horizon with a sweeping view, Domenichino placed boundaries between the foreground (the shoreline), middle ground (architecture), and distance. Viewers can then experience the scene’s depth in a more measured way. • For many years, scholars thought this was a copy of a painting by Domenichino, but recently it has been argued that it is an original. The argument is based on careful comparison of many of the picture’s stylistic characteristics, and on the presence of so many figures in complex poses.
    [Show full text]
  • In the Schools of Law, Economics, and Humanities. in the School Of
    various universities, particularly in Mexico and in the United States. Only 5 percent of the professors held graduate degrees, either master's or doctor's. ( 7 ) The number of students per full-time professors or full-time equivalent (profesor de tiempo cornpleto equivalente) is lowest in the schools of Medicine, Dentistry, and Veterinary Medicine: an average of 8.93 students; the number of students per professor falls in the intermediate range in the schools of Agronomy, Architecture, Chemistry and Pharmacy, and Engineering, with an average of 26.0; and it is highest-44.6 students in the schools of Law, Economics, and Humanities. In the School of General Studies (which, until 1969, included all students during the first and second years in the university) the average was 46.8 students per professor or full-time equivalent. ( 8 ) The production of university graduates is very low. During the period 1950-1965 an average of 143 students per year received their degrees. Thus the cost per graduate was very high. ( 9 ) The production of graduates during this 15-year period was greatest in law and medicine (57.4 percent of the total). The professional F zhools in the sociohumanistic field produced 41.23 percent of the total number of graduates; those in the technical and engineering area pro- duced 21.53 percent. (10) The preparation of students in San Carlos is largely theoretical and the students have little direct contact with the national reality. This may be a reason why graduates are concentrated in the two major cities of the country. The education of students in the various schools of the university is also carried on in an isolated manner, and students in any one school receive a very incomplete view of the society which they will serve.
    [Show full text]
  • Spaniards in America
    Spaniards in America In 1492, Christopher Columbus found a new world on his search for a shorter sea route to India. Although there is strong evidence that the Vikings arrived some 500 years before Columbus on the American Continent, the latter is commonly credited as discoverer of the Americas, because his voyages lead to permanent colonization and inhabitation by people of other cultures in historic times. Soon after the discovery, the Spaniards conquered the new territories. During the 16th century numerous missionaries followed to bring Christianity. This changed the life of the native population decisively. Henceforth it lived in new, Spanish-dominated kingdoms: in 1543, the viceroyalties of New Spain (Mexico, Guatemala as well as parts of the USA) and Peru (all the Spanish colonies in South America plus Panama) were founded. In 1717, the viceroyalty of Peru was divided and the viceroyalty of New Granada (Ecuador, Columbia, Venezuela and Panama) was formed. Eventually, in 1776, followed the viceroyalty of Río de la Plata (Bolivia, Argentina, Paraguay and Uruguay). 1 von 10 www.sunflower.ch Viceroyalty of New Spain, Philip V (1700-1746), Doubloon of 8 Escudos (Onza), 1737, Lima Denomination: Doubloon (Onza) Mint Authority: King Philip V of Spain Mint: Lima Year of Issue: 1737 Weight (g): 27.18 Diameter (mm): 30.0 Material: Gold Owner: Sunflower Foundation In 1538 the Spanish King Charles I enacted a law that forbade the minting of gold coins in the Spanish colonies of South America. This law was seriously followed and repealed only in 1675. In Lima, Peru, the first gold coin was struck in 1696.
    [Show full text]
  • Holey Dollars Twelve of the Very Best
    Presents Holey Dollars twelve of the very best coinworks.com.au AboutCoinworks Coinworks Coinworks has long been regarded as the Buying through Coinworks leader in its field and enjoys an enviable Coinworks clients are informed. Through worldwide reputation. The Company is the myriad of articles posted on our website situated in Toorak Road, South Yarra. and by way of our newsletters. Coinworks Coinworks reputation mirrors the ideals aims to inform and educate clients enabling and principles of Managing Director them to make learned buying decisions. Belinda Downie, who has been involved Coinworks inventory is hand-picked, personally in the numismatic industry for more than inspected by Coinworks to ensure that it meets 44 years. our quality standards. The provenance also Testimony to her business skills and is well established. All Coinworks inventory is credentials, Belinda was appointed individually and professionally photographed. President of the Australasian Numismatic We do not use generic photographs. And each Dealers Association Inc. (ANDA) in 2016. piece is individually described and presented in its historical context. Recent Company achievements include collaborating with the Macquarie Group Selling through Coinworks in 2013 in an exhibition that celebrated Coinworks has a long and successful history the 1813 Holey Dollar and Dump. of brokering private sales for its clients. Coinworks maximises the return to vendors Appointed sole agent in 2014 to sell the by showcasing each coin and banknote on very first banknote of the Commonwealth of our web site or in specialised catalogues. Australia. And again in 2015, appointed sole We also buy back coins and banknotes. agent to sell the banknotes from the personal In fact, a major source of our stock comes collection of Prime Minister Andrew Fisher.
    [Show full text]
  • Fernando VI Y Bárbara De Braganza, Una Historia De Amor Ferdinand VI of Spain and Barbara of Braganza, a History of Love
    RINCÓN DE LA HISTORIA Fernando VI y Bárbara de Braganza, una historia de amor Ferdinand VI of Spain and Barbara of Braganza, a history of love Ignacio Jáuregui-Lobera Instituto de Ciencias de la Conducta y Universidad Pablo de Olavide de Sevilla. España * Autor para correspondencia. Correo electrónico: [email protected] (Ignacio Jáuregui-Lobera). Recibido el 20 de junio de 2018; aceptado el 27 de junio de 2018. JONNPR. 2019;4(2):210-223 DOI: 10.19230/jonnpr.2543 Como citar este artículo: Jáuregui-Lobera I. Fernando VI y Bárbara de Braganza, una historia de amor. JONNPR. 2019;4(2):210-223 DOI: 10.19230/jonnpr.2543 This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License La revista no cobra tasas por el envío de trabajos, ni tampoco cuotas por la publicación de sus artículos. Resumen Don Fernando VI, Rey de España entre 1746 y 1759, fue un monarca que dio a España un largo periodo de paz, justicia y progreso. Siendo un Rey enfermizo, encontró en su esposa, Dña. Bárbara de Braganza, apoyo y amor para mantener un equilibrio en su salud que permitió tales avances para España. Sin amor en su infancia, encontró en su esposa el amor de una madre que no pudo tener, el calor de una esposa y la discreción y sentido común de una gran Reina. La muerte de Doña Bárbara llevó al Rey a un año de dolor y alteraciones mentales que pusieron fin a su vida para llevarle al encuentro con su amada, lo que más anhelaba.
    [Show full text]
  • Corrado Giaquinto's Critical Fortune
    03-Stefano Pierguidi:Maquetación 1 26/08/16 13:13 Página 255 ARCHIVO ESPAÑOL DE ARTE, LXXXIX, 355 JULIO-SEPTIEMBRE 2016, pp. 255-268 ISSN: 0004-0428, eISSN: 1988-8511 doi: 10.3989/aearte.2016.17 CORRADO GIAQUINTO’S CRITICAL FORTUNE IN ROME AND THE REASONS FOR HIS DEPARTURE FOR MADRID STEFANO PIERGUIDI Sapienza Università di Roma [email protected] Around 1751, Cochin pointed out that the best painters then in Rome were Masucci, Mancini, Battoni and “le chevalier Corado”. Cochin’s statement would seem to be one of the most meaningful indications of the artist’s fame. Modern criticism, however, tends not to distinguish between the nature of Giaquinto’s and Masucci, Mancini and Batoni’s success: while the latter three artists had definitively established themselves as history painters in oil and could work for international patrons without leaving Rome, Giaquinto never succeeded in asserting himself in that capacity and in this medium. Indeed, in his letter Cochin mistook Corrado for the more famous and well-known knight Sebastiano Conca. Being summoned to Madrid was certainly a great achievement for Giaquinto, but leaving Rome was somehow a forced choice because in the 25 years he had spent there since 1727, the painter had never achieved the success to which he aspired. Key words: Corrado Giaquinto; Giambattista Tiepolo; Francesco De Mura; Francesco Algarotti; Baroque painting; painting in Rome. LA FORTUNA CRÍTICA DE CORRADO GIAQUINTO EN ROMA Y LOS MOTIVOS DE SU PARTIDA POR MADRID Alrededor de 1751 Cochin indicaba a los que eran considerados los mejores pintores de Roma en la época: Masucci, Mancini, Battoni y “le chevalier Corado”.
    [Show full text]
  • Quaestio Iuris
    Q uaestio Iuris vol. 14, nº. 02, Rio de Janeiro, 2021. pp. 758-778 DOI: 10.12957/rqi.2021.57578 LA POLISEMIA DEL CONCEPTO DE GOBIERNO ENTRE DOS REINOS. UN PERIODO DE INFLEXIÓN (1739-1748). FELIPE V Y FERNANDO VI DE ESPAÑA THE POLYSEMY OF THE CONCEPT OF GOVERNMENT BETWEEN TWO KINGDOMS. A PERIOD OF INFLECTION (1739-1748). FELIPE V AND FERDINAND VI OF SPAIN Esteban Gómez Gaitán1 RESUMEN El presente artículo tuvo como finalidad analizar la multiplicidad de sentidos del concepto de gobierno en los reinos de Felipe V y Fernando VI de España, en el periodo comprendido entre 1739 a 1748. En esta investigación se usó como método de estudio la idea de la historia conceptual de Reinhart Koselleck y la interpretación de Svampa María Lucila respecto al término de crisis, propuesta en donde se vislumbró el surgimiento de un horizonte político que emergió desde la crisis en la que se encontraba su propia estructura. En este trabajo de investigación se puede concluir que las diversas acepciones del concepto de gobierno fueron una expresión de la ruptura de una época, de la existencia de fuerzas externas relacionadas con la relación n los conflictos de España con las otras potencias políticas en Europa que trastocaron uno de los elementos internos del concepto como lo era el “modo” para regir” o la “disposición” de las cosas a un fin. En cuanto a las consideraciones finales, se puede afirmar que, durante el reinado de Felipe V se reiteraron de forma constante los movimientos circulares en situaciones ya superadas, en este proceder el concepto de gobierno oscilo entre el indicar una realidad basada en la inseguridad, la desgracia de un cuerpo político enfermo.
    [Show full text]
  • The Versailles Model by Thomas Höpel
    The Versailles Model by Thomas Höpel This article discusses the extent to which, and the areas in which, it is possible to speak of a French Europe in the late-17th and 18th centuries. To answer this question, it investigates the extent and breadth of the transfer of aspects of French "absolutism" to other European states. This transfer included the new ways of representing royal power which were associated with Versailles. Other central institutions of the French system of rule which were developed during the reforms of Louis XIV and his de facto "First Minister" Jean-Baptiste Colbert also served as examples for other states to follow. TABLE OF CONTENTS 1. Introduction 2. The State Reforms of Louis XIV 3. Versailles as a Site of Representation and Integration 4. France as a Model? 1. Adoption of Elements of the Military Reforms 2. Versailles as a Model 3. The Institutions of Science and Propaganda as Models 4. Was There a French Europe? 5. Appendix 1. Sources 2. Bibliography 3. Notes Indices Citation Introduction As a result, Europe is today the most pleasant place in the world. Here, I no longer find those thorn bushes, those barren heaths, those swamps, those chasms which offended the eyes and made the traveller despair. I see the richest meadows, the most delightful pleasure gardens, the most beautiful views and the most pleas- ant streets, and France has done more than any other country to contribute to this happy transformation. … Inhabitants of the various parts of Europe – if this book comes into your hands, then say to yourselves: it would not exist if we had not made it possible.
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-1-107-63980-5 - Spain: its Greatness and Decay (1479–1788) Martin A. S. Hume Index More information 429 INDEX. Aben Humeya, 153, 154 tillage, 84 ; thriving state of, 85 \ Acuna, Antonio de, Bishop of Za- ruin of, 195, 247, 271, 297 mora, leads a revolt, 36, 40; en­ Aguila, Don Juan del, 189; in­ throned as Archbishop by the vades Ireland, 204 mob, 41; aids Padilla's widow, Aguilar, Count, 324, 339, 341 42; flees and is captured, ib. Aigues-Mortes, meeting of Charles I Administration under Ferdinand and Francis I at, 71 and Isabella, 22-24; division of Aix-la-Chapelle, Treaties of,in 1688, the Royal Council, 22; see Coun­ 288; in 1748, 384* 392 cils Alba, Duke of, sails against Algiers, Admiral, Grand, loses all import­ 73; defends Perpignan, 74, 103; ance, 13 besieges Metz, 92; at Miihlberg, Adrian of Utrecht, tutor to Charles 93; Neuburg intended for, ib. ; I, 32; coadjutor in the Spanish Charles' character of, 105, 106; regency, ib.; protests against sent to Spain, 109; his advice to foreign intruders, 33 ; appointed Philip, no; sent to Italy by regent, 35; attacks Segovia, 36; Philip, iai; represents Philip at is deposed, ib. ; his retirement Cateau-Cambr£sis, 123; leads the demanded, 39; sent to Valencia war-party, 124; marries Eliza­ to take the oath for Charles, 43 ; beth of France for Philip II, 126; reviews the armed trades of furious at the Fleming nobles, Valencia, ib.; elected Pope, 50; 144; hated in the Netherlands, at disaccord with Juan Manuel, 147; overbears Gomez and the ib.\ will not join the alliance peace-party, ib.; leaves Spain, against France, ib.
    [Show full text]
  • Portugal Royal Ancestry
    GRANHOLM GENEALOGY PORTUGUESE ROYAL ANCESTRY INTRODUCTION This booklet describes our genealogical relationship to the royalty of Portugal. Of special interest to me is Portugal’s history as Europe’s most influential marine explorer of the “New World” from the European standpoint. In some respect the Vikings parallel the Portugal exploration as far as how far they could reach, but as far as taking advantage of the explorations, Portugal was able to take the economical advantage of their explorations. Just imagine what the Vikings could have done with some business experience after they discovered North America – all for themselves! A difference of course was the availability of guns at the time for the Vikings. Portugal was able to settle vast areas all over the globe. The following pages cover some of these achievements from when Portugal was established to the last royal ruler of Portugal. One of the ancestors of Afonso I, the first king of Portugal is his great grand father Robert II the Pious, King of France. He is also my 30th great grand father. Thus Robert II’s descendant are my cousins. The list on the next page shows these cousins. Those which are highlighted are further described here, in abbreviated version from Internet, with reference to the links. Other descendants, not Portuguese, highlighted in this list are some historical, common relatives; Isabella who paid for Columbus, Marie Antoinette, who lost her head and Franz Ferdinand, whose assassination started World War I. This presentation also shows how, in my genealogy, the Portuguese royalty descended in one case from a Viking, who also is one of my ancestors.
    [Show full text]
  • Farinelli's Impact on Opera in 18Th Century Spain
    Rare Libretti for operas in Spain under Farinelli’s Directions Farinelli, original name Carlo Broschi, (born Jan. 24, 1705, Andria, Kingdom of Naples [Italy]—died July 15, 1782, Bologna), celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera. Farinelli, original name Carlo Broschi, (born Jan. 24, 1705, Andria, Kingdom of Naples [Italy]—died July 15, 1782, Bologna), celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera th Farinelli’s impact on Opera in 18 Century Spain The importance of Farinelli’s role as “impresario” in bringing serious opera to Madrid is made clear from several sources: During the nearly 25 years Farinelli lived at the Spanish court, he produced a “long series of sumptuously staged Italian opera. Overall, the Farinelli productions in Madrid anticipated tendencies that surfaced only later elsewhere in Europe.” His departure from Madrid ended “what was surely the most brilliant chapter for Italian opera in eighteenth century Spain” (DelDonna and Polzonetti, 260). “In 1747, [Farinelli] was appointed artistic director of the theatres at Buen Retiro and Aranjuez marking the beginning of a decade of extraordinary productions and extravaganzas in which he collaborated extensively with Metastasio.” Here he produced 23 operas and serenatas between 1747 and 1756. After the death of his patron Ferdinand VI in 1759, he was asked to leave Spain (Macy, 151). “The man responsible for raising the profile of Spanish music at the courts of Philip V and Ferdinand VI was none other than Carlo Broschi (popularly known as Farinelli) perhaps the most famous castrato singer of the Baroque.
    [Show full text]
  • From Pillar Dollars to Eagle Piasters – the History of the Peso
    From Pillar Dollars to Eagle Piasters – the History of the Peso The Spanish peso was one of the most important trade coins of all times – if not the most important ever. Minted in the American colonies in large quantities, the peso can be found all over the world under different names up to this day. In some countries of the Ottoman Empire, it was minted under the name "piaster." The Chinese yuan is modeled after the Spanish peso, and so is the American dollar. And in many Latin American countries, the peso still is the national currency. Already in the 17th, 18th and 19th centuries, Spanish pesos have been circulating under many different names. Their official name was "real de a ocho," since the coins equaled 8 reales. In America, however, people called them merely peso, and later also dollar. Sometimes, the coins were also referred to as pillar dollars or Carolus piasters after their motifs – in 1772, the Spanish King Charles III decreed that all pesos, whether minted in Spain or in America, had to show his portrait. And sometimes, pesos were called Spanish milled dollars after the way they were manufactured. In the course of the 19th century, the pillar and Carolus dollars were gradually replaced by eagle dollars. These were the pesos minted in large quantities after the foundation of the Republic of Mexico in 1823. The Mexican peso was actually made from silver until well into the 20th century. The peso coins of many other Latin American countries became worthless pieces of nonferrous metal already throughout the 19th century, however.
    [Show full text]