Beiträge von Tambok

delete

So eine Offene Hausse macht verletzlich;

erhöht aber gleichzeitig die Aufmerksamkeit

für Gefahren.

Bis jetzt habe ich diese Woche rein garnichts

am Depot (siehe oben) gemacht.



Tambok

Richtiger Standort mit Offener Hausse;

zur Auswahl

-Afrika, RSA oder andere

-Americas, Nord oder Süd

-Australien

-Russland

-Südostasiatische Inseln

-Südostasien und China


divsersifiziert ist immer richtig


In der darauffolgenden SansCulottes-Phase sind oft die

scheinbar exotischsten Plätze die sichersten.

In Neuguinea ist bis heute nicht überall bekannt,

daß der II. Weltkrieg stattgefunden hat.

Wem das gefällt, der kann z. B. in Highlands Pacific HIG.ASX

investieren.


Wer die Despoten mag für den ist Russland ein Eldorado.

Gestern noch CEO, heute schon Kettensträfling (Chodorkowski) .

Überall ist Wunderland.

Bei der Tante umterm Strumpfenband

Und irgendwo daneben.

Tambok

Am 28.09.06 um 22.30 MEZ ist die

Hausse bei 468 USD weiterhin offen.

Gestern wurde Brett Kebble erschossen.


Vielleicht wird sich das auswirken.

Nicht heute, aber nachdem die SansCulotten

eingreifen werden.


Es wird Nacht am Längengrad

Eldo,

wir sind fundamental unterschiedlicher Meinung

was der Zweck des Tötens von Kebble war.

Für dich waren die Täter Straßengangster und

für mich Handlanger im "Justizauftrag".

Es geht um Handelssachenrichter und Aktienbuch.

Sei´s drum.


Vielleicht können wir uns aber in einem

Detail verständigen. Abertausende Aktien

werden nicht einzeln wie Spielkarten

verbrieft und durch Übergabe verkauft.

Da gibt es ein Aktienbuch.

Die Übertragung erfolgt durch Umschreibung.

Verschwundene abertausende Aktien

kann man nicht finden wie verlorene Glasmurmeln.

Gruss

Tambok

Ulfur,

gute Idee, für die HIG.ASX einen Thread zu eröffnen.


Laut Siegel hatten die gestern ein alltime-high.

Ein paar ganz wenige habe ich im Depot.


Die sind so klug, daß die einheimische Bevölkerung mit

ins Boot genommen wird; z. B. als Arbeitnehmer.

Der Staat Neuguinea hält 30%, was ebenfall vernünftig ist.


Gruss

tambok

"Nothing was taken from the car. "


Damit andere Wissen, was ihnen blüht, sollten sie reden.


Ein großer Fehler war, Brett Kebble in RSA zu töten.

Da wurde schon erzählt, der lebe in der Karibik auf großem Fuß.

Und dann Johannesburg. Keine Fahnenflucht.


Da hatten die Auftraggeber mächtig Druck.


Die Handelsrichter werden die Aktienbücher vorher

"geführt" haben und dann ging´s los.


Justizmord ist die wahrscheinliche Variante.

Natürlich tobe ich mich hier nur als Verschwörungstheoretiker aus.

Tambok

@Eldo,

es wäre mir sehr Recht wenn Brett Kebble nicht

nach Johannisburg zurückkehren würde.

Ich fürchte aber, der wird alsbald dort auferstehen.

Und dann ist er unsterblich.

Ist schließlich ein Minenforum, da sollte man über

so naheliegende Dinge reden.


Gruss


Tambok

@Eldo,

zum Erschiessen von Brett Kebble, weiß ich wenig anzumerken.

M. E. hat dieser spezielle Mord nichts mit den Lebensverhältnissen

in RSA zu tuen. Der Auftrag wäre genausogut in Las Vegas oder auf den

Fidschijs ausgeführt worden.



Kebble hielt in RSA weiter auf und sogar in Johannisburg.

Ob ihn das bei den Schwarzen oder bei sonstwem zum

Märtyrer machen wird, kann ich nicht beurteilen.

Darauf sollte man schauen.



Kebble war vor seinem Tod schon weg.

Es ist eher die Frage, ob er jetzt wiederkommt.

Gruss

Tambok

meinetwegen

KRY sagt heute sie brauchen ca. 300 Mio USD zum Aufbau Las Cristinas

da ich die Aktie nicht halte, sondern nur beobachte ; ohne Kommentar

26-09-05

Crystallex Announces Capital and Operating Costs for Expansion of Las Cristinas to a 40,000 tpd Operation

TORONTO, Sept. 26 /CNW/ -- Crystallex International

Corporation (TSX: KRY) (Amex: KRY) announced today that SNC-Lavalin Engineers
and Constructors ("SNCL") has substantially completed a study for increasing
production at Las Cristinas to 40,000 tonnes per day ("tpd") after a 20,000
tpd facility is successfully commissioned. The study, referred to as the
"20,000 to 40,000 tpd Expansion Plan," provides capital and operating cost
estimates, and a project schedule. In addition, Mine Development Associates
("MDA") increased the Las Cristinas reserve estimate as a result of the lower
operating costs projected for the 40,000 tpd expansion. All dollar figures are
in US Dollars unless otherwise indicated.
For the purposes of estimating the capital and operating costs, the SNCL
Expansion Plan assumes completion of the $293 million, 20,000 tpd facility at
Las Cristinas, for which Crystallex released updated cost and reserve
estimates on August 31st, 2005. Engineering design is planned to commence on
the 40,000 tpd expansion project approximately six months after completion of
the 20,000 tpd plant. It is assumed that construction of the expansion
project will commence one year after the start-up of the 20,000 tpd facility
and the expanded plant will be commissioned approximately two years after
completion of the 20,000 tpd facility. However, it is important to note that
the 40,000 tpd expansion project could commence either earlier or later than
these projections, depending on market circumstances.
As a result of lower operating costs associated with the 40,000 tpd
operation, MDA has raised its estimate of reserves for Las Cristinas to 316.5
million tonnes of ore grading 1.27 grams per tonne for a total reserve of 12.9
million ounces of gold calculated at a price of $350 per ounce. Based on the
revised reserves, the mine life of the combined 20,000/40,000 tpd operation is
estimated at some 23 years. The capital cost for the expansion from the
initial 20,000 tpd plant to the expanded 40,000 tpd plant is estimated to be
$153 million. This is incremental to the $293 million forecast to complete
the initial 20,000 tpd operation.
Operating costs for the expanded facility are estimated to be $6.91 per
tonne of ore over the 23-year life of the project as compared with $7.63 per
tonne for the 41-year life of the 20,000 tpd project.
Total cash operating costs per ounce, (inclusive of royalties and
exploitation taxes) are estimated to be approximately $208 per ounce over the
life of the project, as compared with $221 per ounce over the life of the mine
in the 20,000 tpd scenario.
At full production of 40,000 tpd, gold production is expected to average
approximately 500,000 ounces per year.

About Crystallex
Crystallex International Corporation is a Canadian based gold producer
with significant operations and exploration properties in Venezuela. The
Company's principal asset is the Las Cristinas property in Bolivar State that
is currently under development and which is expected to commence commercial
gold production in the first quarter of 2007 at an initial annualized rate of
approximately 300,000 ounces. Other assets include the Tomi Mine and the
Revemin Mill. Crystallex shares trade on the TSX (symbol: KRY) and Amex
(symbol: KRY) Exchanges.

For Further Information:
Investor Relations Contact: A. Richard Marshall, VP at (800) 738-1577
Visit us on the Internet: http://www.crystallex.com or Email us at:
infocrystallex.com

@Hpoth,

zu JCI hatte ich Dir in diesem Thread (vorige Seite)

am 20.09. geantwortet. Mehr weiß ich nicht.


Gruss

Tambok

"zum Beispiel in Wien, Tübingen oder Bielefeld"

@Eldo,

jetzt weiß ich wenigstens wo ich auf der Hut sein muß.

In Bielefeld habe ich mal 5 Alben mit Fotos

aus der Dt. Kolonialzeit in Afrika (hauptsächlich Tansania

und Sansibar ersteigert).

Damals gab es eine kleine Notiz in einer Fachzeitschrift

mit dem ungefähren Tenor. Mindestens 2 Bekloppte waren am Samstag

gleichzeitig in Bielefeld,

sonst hätte der Müll nicht einen solchen Preis erzielt.


Gruss


Tambok

Hit and miss at Chinese art auctions
=============================

By Souren Melikian International Herald Tribune

SATURDAY, SEPTEMBER 24, 2005


NEW YORK Suddenly, the growing rarity of works of art so noticeable across the board is making itself felt in the Chinese art market. Combined with soaring numbers of newcomers from China, many of them buyers with no experience, this now gives Chinese art auctions a very strange profile.

Extravagantly high prices are paid in sessions where scores of other works fail to sell. Utter mediocrities and occasional duds appear in larger numbers than in the past and, as in Western art auctions, the outcome is increasingly unpredictable.

As Christie's opened the round of Asian auctions on Tuesday, even the jade works of art, traditionally dear to the Chinese heart, went through ups and downs. Surprises began with the first lot. The greenish white vase imitating a Han shape of the second or first century B.C. seemed doomed. Christie's did not give it a date, meaning that the specialists saw it as an object of recent make.

That did not stop it from jumping to $24,000, unaccountably tripling Christie's high estimate, which seemed optimistic enough. The love of the material and white color may perhaps be invoked to explain the success of an 18th-century piece in the form of a finger citron, which sold for a whopping $84,000, or of an incense burner of ill-determined style, which inexplicably climbed to $126,000.

Other lots, at least as good, merely sold as predicted. A pair of chrysanthemum bowls, probably of the early to mid-19th century, seemed underpriced by comparison as they made a modest $7,200.

Kitsch objects better suited to the lobbies of hotels eager to strike a deluxe note were included in the sale, and some were enthusiastically received. A "rare imperial jade, bone, glass, gilt metal and wood jardinière of narcissus," which, Christie's experts assured, dates from the Qianlong reign (1735-1796), brought $33,600 courtesy of a Chinese dealer.

Not even the prices of rhinoceros horn wine cups for which Chinese traditionalists have a passion followed a clear price pattern. A cup carved in the late 17th century with low relief blossoms inspired five Chinese bidders to jump into the fray. Eventually it went to a Japanese professional. Two lots down, a Taiwan dealer saved face for China. His choice was a Ming cup very finely carved toward the end of the 16th century, which cost him a steep $72,000.

Baubles followed. There was even a delightful brush pot of hexagonal shape carved out of honey-colored burlwood with applied purplish brown zitan wood panels. Lost in this succession of overly ornate pieces, the late 18th-century scholar's object went for a song, $3,600, much to the satisfaction of its buyer, the art historian and specialist in Far Eastern art Martin Lorber.

And then came the first great rarity of the week. The landscape in ink on paper by the famous 14th-century painter Wang Meng showed signs of wear. But it offered rare guarantees of authenticity in a field where authentication is notoriously hazardous.

Copying, in China, was the traditional way of learning or acknowledging admiration for a master.

The handscroll has a poem beautifully calligraphed by the painter. Most importantly, two other inscriptions by contemporaries of the artist mention him by name. Theow-Huang Tow, chairman of Christie's in Asia and America who obtained the consignment from Stephen Junkunc 3rd of Chicago, heir to a fabulous Chinese art collection, and Tina Zonars, head of the Chinese department in New York, made sure that every potential bidder knew about their catch. A furious bidding contest started. Paintings of undisputed authenticity by famous Chinese masters hardly ever appear on the market. The bill, $1.7 million, was settled by Arnold Chang, the New York-based Chinese dealer.

The story repeats itself with the two other stupendously rare objects in Christie's sale. One, a footed porcelain cup inscribed with the reign mark of the Xuande emperor (1426-35), would not have aroused much enthusiasm in earlier times. Marred by cracks and a chip, which used to be deemed unacceptable by Chinese buyers, the cup was estimated to be worth $10,000 to $15,000. It ended up at $374,400. The winner was the British world-renowned expert in Chinese porcelain Julian Thompson, acting on behalf of an "Asian" (meaning "Chinese") collector. Times are changing - and so is China.

Ten minutes later there came the important object of the day, a Ming blue and white vase for a single spray with the mark of the Zhengde emperor (1506-1521) painted on the underside. On the neck and square body that reproduces a bronze model, a Persian couplet written in eight roundels reminds the reader that God's power is beyond the grasp of man's mind.

Zhengde is reported by a contemporary Turkish traveler to have converted to Islam, well entrenched in communities in and around Beijing since the 13th century. It was propagated by Iranian missionaries with Sufi affiliations, hence the Persian verses that crop up on Ming blue and white porcelain.

Acquired in Shanghai in 1902 by Clarence Cary, it was consigned by the estate of a descendant of the collector. Christie's hoped that the vase, matched by only three pieces of related shape (only one with Persian verses), would bring $100,000 to $150,000. Three agents representing American and Chinese collectors sparred over the vase. Giuseppe Eskenazi of London, the world's leading dealer in early Chinese art, won at a cost of $1.7 million. The vase will go to a European collector.

Later, the pendulum swung back to the Far East when a stunning Yongzheng period (1723-1735) vase, of metallic shape reviving the Song tradition of pale gray "ge" porcelain with a broad crackle, shot up to $461,000. Rumor has it that the buyer was a Japanese dealer collector.

With stars such as these and other fine pieces of a lesser caliber, Christie's sale could have been great. Alas, there was too much dross.

Some objects looked like props for kung fu movies. A cloisonné enamel "censer and cover," which Christie's dated from the Qianlong reign (1735-1796), was one. It made $27,600. A cloisonné vase with the Qianlong reign mark was another. It whizzed to a mind-boggling $60,000, seven times its high estimate. Both are believed to be heading for Taiwan. Quite a few pieces of that ilk did not sell. No wonder if failure hit 29 percent of the lots.

Yet Christie's score was good compared with Sotheby's auction Wednesday in which half the works offered crashed unwanted. The problems were the same, only amplified. Several objects looked so silly that you wondered what they were doing at Sotheby's. An "equestrian group," supposedly Han, was badly molded with a hideous glaze. It did not stand a chance in a million.

Here too a few admirable works formed a strange contrast with this underworld of art. A fantastic grayish green vase of the 10th century, with floral roundels molded in low relief on its shoulders, furiously disputed, zoomed to $464,000. A Chinese bidder and Eskenazi fought over a tiny 13th- century brush washer with a broad crackle in the pale grayish glaze. His victory cost the Chinese winner an astronomical $329,600.

But when the week's supreme masterpiece among the objets d'art came up, Eskenazi would not let go. The high-shouldered vase consigned by the estate of Laurance Rockefeller is the most beautiful 15th-century blue and white "meiping" I know, for the flow of its shape and the perfection of its painted sprays. Sotheby's estimate, $300,000 to $400,000, was timid - the end price, $3.94 million, phenomenal. Eskenazi was underbid by John Berwald of New York, presumably acting on behalf of an American client. Chinese punters tried to compete and gave up halfway through.

The Chinese are quick learners, but they have a long way to go. Many still fall for the worst decadent wares of the later periods - or outright duds. Too few have the guts or the market experience required to realize that in today's market, the top of the top is likely to soar to levels no one expected, not even those who end up paying the price.

NEW YORK Suddenly, the growing rarity of works of art so noticeable across the board is making itself felt in the Chinese art market. Combined with soaring numbers of newcomers from China, many of them buyers with no experience, this now gives Chinese art auctions a very strange profile.

Extravagantly high prices are paid in sessions where scores of other works fail to sell. Utter mediocrities and occasional duds appear in larger numbers than in the past and, as in Western art auctions, the outcome is increasingly unpredictable.

As Christie's opened the round of Asian auctions on Tuesday, even the jade works of art, traditionally dear to the Chinese heart, went through ups and downs. Surprises began with the first lot. The greenish white vase imitating a Han shape of the second or first century B.C. seemed doomed. Christie's did not give it a date, meaning that the specialists saw it as an object of recent make.

That did not stop it from jumping to $24,000, unaccountably tripling Christie's high estimate, which seemed optimistic enough. The love of the material and white color may perhaps be invoked to explain the success of an 18th-century piece in the form of a finger citron, which sold for a whopping $84,000, or of an incense burner of ill-determined style, which inexplicably climbed to $126,000.

Other lots, at least as good, merely sold as predicted. A pair of chrysanthemum bowls, probably of the early to mid-19th century, seemed underpriced by comparison as they made a modest $7,200.

Kitsch objects better suited to the lobbies of hotels eager to strike a deluxe note were included in the sale, and some were enthusiastically received. A "rare imperial jade, bone, glass, gilt metal and wood jardinière of narcissus," which, Christie's experts assured, dates from the Qianlong reign (1735-1796), brought $33,600 courtesy of a Chinese dealer.

Not even the prices of rhinoceros horn wine cups for which Chinese traditionalists have a passion followed a clear price pattern. A cup carved in the late 17th century with low relief blossoms inspired five Chinese bidders to jump into the fray. Eventually it went to a Japanese professional. Two lots down, a Taiwan dealer saved face for China. His choice was a Ming cup very finely carved toward the end of the 16th century, which cost him a steep $72,000.

Baubles followed. There was even a delightful brush pot of hexagonal shape carved out of honey-colored burlwood with applied purplish brown zitan wood panels. Lost in this succession of overly ornate pieces, the late 18th-century scholar's object went for a song, $3,600, much to the satisfaction of its buyer, the art historian and specialist in Far Eastern art Martin Lorber.

And then came the first great rarity of the week. The landscape in ink on paper by the famous 14th-century painter Wang Meng showed signs of wear. But it offered rare guarantees of authenticity in a field where authentication is notoriously hazardous.

Copying, in China, was the traditional way of learning or acknowledging admiration for a master.

The handscroll has a poem beautifully calligraphed by the painter. Most importantly, two other inscriptions by contemporaries of the artist mention him by name. Theow-Huang Tow, chairman of Christie's in Asia and America who obtained the consignment from Stephen Junkunc 3rd of Chicago, heir to a fabulous Chinese art collection, and Tina Zonars, head of the Chinese department in New York, made sure that every potential bidder knew about their catch. A furious bidding contest started. Paintings of undisputed authenticity by famous Chinese masters hardly ever appear on the market. The bill, $1.7 million, was settled by Arnold Chang, the New York-based Chinese dealer.

The story repeats itself with the two other stupendously rare objects in Christie's sale. One, a footed porcelain cup inscribed with the reign mark of the Xuande emperor (1426-35), would not have aroused much enthusiasm in earlier times. Marred by cracks and a chip, which used to be deemed unacceptable by Chinese buyers, the cup was estimated to be worth $10,000 to $15,000. It ended up at $374,400. The winner was the British world-renowned expert in Chinese porcelain Julian Thompson, acting on behalf of an "Asian" (meaning "Chinese") collector. Times are changing - and so is China.

Ten minutes later there came the important object of the day, a Ming blue and white vase for a single spray with the mark of the Zhengde emperor (1506-1521) painted on the underside. On the neck and square body that reproduces a bronze model, a Persian couplet written in eight roundels reminds the reader that God's power is beyond the grasp of man's mind.

Zhengde is reported by a contemporary Turkish traveler to have converted to Islam, well entrenched in communities in and around Beijing since the 13th century. It was propagated by Iranian missionaries with Sufi affiliations, hence the Persian verses that crop up on Ming blue and white porcelain.

Acquired in Shanghai in 1902 by Clarence Cary, it was consigned by the estate of a descendant of the collector. Christie's hoped that the vase, matched by only three pieces of related shape (only one with Persian verses), would bring $100,000 to $150,000. Three agents representing American and Chinese collectors sparred over the vase. Giuseppe Eskenazi of London, the world's leading dealer in early Chinese art, won at a cost of $1.7 million. The vase will go to a European collector.

Later, the pendulum swung back to the Far East when a stunning Yongzheng period (1723-1735) vase, of metallic shape reviving the Song tradition of pale gray "ge" porcelain with a broad crackle, shot up to $461,000. Rumor has it that the buyer was a Japanese dealer collector.

With stars such as these and other fine pieces of a lesser caliber, Christie's sale could have been great. Alas, there was too much dross.

Some objects looked like props for kung fu movies. A cloisonné enamel "censer and cover," which Christie's dated from the Qianlong reign (1735-1796), was one. It made $27,600. A cloisonné vase with the Qianlong reign mark was another. It whizzed to a mind-boggling $60,000, seven times its high estimate. Both are believed to be heading for Taiwan. Quite a few pieces of that ilk did not sell. No wonder if failure hit 29 percent of the lots.

Yet Christie's score was good compared with Sotheby's auction Wednesday in which half the works offered crashed unwanted. The problems were the same, only amplified. Several objects looked so silly that you wondered what they were doing at Sotheby's. An "equestrian group," supposedly Han, was badly molded with a hideous glaze. It did not stand a chance in a million.

Here too a few admirable works formed a strange contrast with this underworld of art. A fantastic grayish green vase of the 10th century, with floral roundels molded in low relief on its shoulders, furiously disputed, zoomed to $464,000. A Chinese bidder and Eskenazi fought over a tiny 13th- century brush washer with a broad crackle in the pale grayish glaze. His victory cost the Chinese winner an astronomical $329,600.

But when the week's supreme masterpiece among the objets d'art came up, Eskenazi would not let go. The high-shouldered vase consigned by the estate of Laurance Rockefeller is the most beautiful 15th-century blue and white "meiping" I know, for the flow of its shape and the perfection of its painted sprays. Sotheby's estimate, $300,000 to $400,000, was timid - the end price, $3.94 million, phenomenal. Eskenazi was underbid by John Berwald of New York, presumably acting on behalf of an American client. Chinese punters tried to compete and gave up halfway through.

The Chinese are quick learners, but they have a long way to go. Many still fall for the worst decadent wares of the later periods - or outright duds. Too few have the guts or the market experience required to realize that in today's market, the top of the top is likely to soar to levels no one expected, not even those who end up paying the price.

"WAR Western Areas und BTV Batavia sind größte Positionen"

Es ist nunmal so.

Für KRY reicht mein Verstand nicht.

Depot per 24.09.05
===============

Vergangene Woche nur GFI und Equigold verkauft

zugunsten Barreserve

kleine Positionen in Klammern

WAR Western Areas und BTV Batavia sind größte Positionen

-Batavia

-Caledonia Min.

-Croesus

-Dominion

-(DSM)

-DRD, die herrliche

-Equigold -verkauft-

-(GFI) -verkauft-

-Harmony

-(High River)

-(Highlands Pacific)

-JCI

-Kinross

-(Metex)

-(North Americ. Palladium)

-Nustar Min.

-(Pan Palladium)

-Perilya

-Perseverance Corp.

-Queenstake

-(Range)

-(Richmont)

-Silly Sally

-Sino Gold

-(Twin Mining)

-Western Areas WAR

Offene Hausse intakt

[Blockierte Grafik: http://www.srcf.ucam.org/~drd24/polyester.gif]

[Blockierte Grafik: http://www.fr-aktuell.de/_img/_cnt/_dpa/chodorkowski_9839274_onlinebild.jpg]

Entweder in 3 Jahren tot oder Regierungschef in Rußland

Normalerweise poste ich nicht zu Aktien,

von denen ich keine habe wie KRY.


Der Gaul ist mit mir nur durchgegangen,

weil ich vor ca. 3 Jahren zu 0,80€ gekauft

hatte, als ein Konkurrenzunternehmen

gegen KRY geklagt hatte. Die Konkurrenz reklamierte

die Minenlizens für sich. Zusätzlich gab es den

Vorwurf KRY habe sein Hedge-Book falsch

bilanziert. Der Kurs war für ein paar Wochen ausgesetzt.

Danach habe ich alle gut verkauft.


Was da jetzt abgeht, ist mir eindeutig zu heiß.

Olle Kamellen

NMC kündigte gestern 22.09.05 umfangreiche

Drills in Trucking Distance zur Verarbeitungs-

anlage an.

Interessant war das obiter dictum.

Im Sept. Quartal hat die neue Anlage

18.000 Unzen AU produziert.

Die Produktion war im Juni-Quartal

begonnen worden.


In Australien dauert es seine Zeit bis

sich sowas rumspricht.

Erst wenn die Zeitungen als Packpapier

im Outback gelesen werden, beginnt das

nachdenken. Muß nicht schlecht sein.

KRY: "so bewegt man sich beim Salsa"

Der Kursverlauf sieht aus wie das EEG eines Epileptikers