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Sir Kenneth MacMillan
A product of the Royal Ballet organisation, schooled in what is regarded always as an establishment art, he used his choreographic genius to illuminate in dance themes of great contemporary significance fear and oppression in The Burrow (1958), sexual abuse in The Invitation (1960), the waste of war in Gloria (1980), the tragedies of Romeo and Juliet (1965), Isadora (1981) and Mayerling (1978), which I consider his greatest work. In this way he extended enormous influence upon younger choreographers van cleef turquoise necklace fake who followed him, upon audiences and upon the German Opera Berlin and American Ballet Theatre, where he worked as well as in Britain. He was the greatest choreographic communicator of his time in classical ballet.
This position developed out of a personal struggle of many kinds. Growing up in poor circumstances in Scotland, he escaped from a background he hated by guile and by a letter to Ninette de Valois, seeking an audition at Sadler's Wells School. He became one of the original members of Sadler's Wells Theatre Ballet when it was created in 1946, moved two years later to Sadler's Wells Ballet at Covent Garden, then returned to the Theatre Ballet in 1952. I met him there through the company's director, Peggy van Praagh, who was the first to encourage his choreographic talents. My own first MacMillan memory is of a tall, obviously talented dancer with a terrific jump who was notable also as a convincing Sherlock Holmes in Margaret Dale's The Great Detective, a moving actor dancer in John Cranko's The Lady and the Fool and other ballets in the early 1950s. I remember, too, a set design he created for a ballet, I think by Peter Darrell, at Ballet Workshop, the first and fruitful attempt by the Rambert family to create a platform for new choreography at the Mercury Theatre in Notting Hill Gate, west London. MacMillan had the talent of a visual artist as well as a choreographer.
The first proof of choreographic talent, Somnambulism, was presented at a dancers' choreographic group at Sadler's Wells Theatre in 1953. It introduced to us a new choreographer, seemingly ready formed, without any long induction of trial and error. The choreography was clear cut, precise, highly original in construction and very demanding on the dancers. Straightaway, he joined his friend John Cranko as a maker of ballets for Sadler's Wells Theatre Ballet and for Covent Garden. It was an extraordinary event that the comparatively young British ballet should produce within a short time two choreographers who would achieve international stature as major artists.
MacMillan's early work showed the theme he would pursue most often: the outsider, the rebel, the downtrodden and the unhappy. His choice of jazz music by Stan Kenton for Somnambulism, unique at the time as ballet music, indicated also that his creative practice would depart from accepted norms. So it turned out. The Invitation (1960) was the first time sex and sexuality were treated so openly in classical ballet. He collaborated with Gillian Freeman as librettist for Mayerling and Isadora, where most choreographers nowadays insist on devising the plot as well as the choreography. He translated his inheritance of Petipa's three and four act ballets of princes and princesses into evening long dramas of human characters appropriate to today's world.
This went down well in Europe, less well in the United States; and was a source of argument and friction at Covent Garden. Everybody, I am sure, will point out the coincidence that MacMillan died on a night when Birmingham Royal Ballet was presenting his Romeo and Juliet in Birmingham, and when Mayerling, the finest example of achievement in his three act genre, was revived at Covent Garden after a long break.
MacMillan's emphasis on the human state, though, goes back to the beginning, often mixing the zany, eccentric or fantastic. Somnambulism's three characters apparently suffer from anxiety, monotony and premonition, but wake up to find they have been dreaming. Five years later, The Burrow, recently revived by the Birmingham Royal Ballet, explored the tensions of persecuted people in a situation resembling the story of Anne Frank. Its many characters imprisoned in one room are defined precisely in the choreography although the effect is of improvisation. Their sudden outbursts of fear, temper, arise from the tension of their situation.
MacMillan is, therefore, a poet of the oppressed whose expose of polite society, or establishment morals, is presented not in words but in movement drawn from his classical training. The academic dance is his resource van cleef turquoise necklace imitation and inspiration so that, parallel with his social concern, runs also a concern for movement, exploring the possibilities of the human body. Early on in his career, in Agon (1958) and Le baiser de la fee (1960, to Stravinsky's music) the movements were angular, astringent and abstract. Gradually, as his own attitudes matured, they acquired a more plastic quality. 'In The Invitation,' he said to me in 1960, 'the movement is not nearly so broken, angular or sharp as it used to be, not sharp at all for the principals.'
In Romeo and Juliet, in Manon (1974), his great Gloria about the stupidity of war, in Song of the Earth (1965), Mayerling and other later works, the line of the body became more used, running unbroken time and again through the whole length of stretched arms, legs and feet. The images flowed unhurriedly one from another. The vocabulary became economical and self assured.
For me, this became apparent first in MacMillan's The Rite of Spring in 1962. The ballet had none of the sharpness and spikiness of his earlier movements, however angular its sculptural effects. The assault was on the mind rather than the heart, indicating an intellectual quality underpinning the emotion in his work. Intellect and emotion seemed to run side by side in his creative process and his assessment of the outside world. 'There is a class system,' he said in an interview on BBC 2 in April 1990, 'an old boy network to which I've never belonged and I never will . . . I'm very interested in people . . . in portraying the dilemma of people living and working with each other. That was not a very popular approach to ballet in the 1950s.'
Consequently, when MacMillan succeeded Ashton as Director of the Royal Ballet in 1970 he found his ideas resisted not only within the Royal Ballet and some British audiences, but by American audiences in the United States. Perhaps he recalled then the reception the board of Covent Garden gave in 1964 to his idea for a ballet to Mahler's Das Lied von der Erde. It was rejected. He took it to John Cranko in Stuttgart, where there emerged in November 1965 Song of the Earth, among MacMillan's finest works and one of the ballets which caught best the changing mood of post war Europe.
'I prefer to explore the human psyche', he continued to the BBC, 'I try to make people sometimes feel uncomfortable in the theatre. . . I have always been drawn to the narrative, to real people and what they feel.' This means addressing reality head on, a collision course particularly with the Thatcher philosophy of the 1980s and its lack of concern for those who lose out, the underdogs and, as MacMillan said, 'people at odds with the world'.
Such attitudes were not immediately apparent when you met him. The tall, shy figure with hair prematurely grey and a fey voice did not suggest the artist who could be brutal when necessary with dancers who did not measure up to professional standards. As director of the Royal Ballet from 1970 to 1976 he was my van cleef mother of pearl necklace replica boss at the beginning of this time when I was running the Royal Ballet's Ballet for All group. I saw and learned from the way he handled dancers and noted also, incidentally, the effect on his creative work of having to direct a large company as well as be its principal choreographer. He made the right decision to return to full time choreography in 1977.
At work, almost with whatever ballet, he started with the principal pas de deux. This would set the tone of what he planned and be the emotional climax, influencing what came before and what would come after. Always he was inspired by dancers' bodies as well as by the music, by what dancers themselves could contribute. 'I like my artists to find themselves in their roles.' Consequently, early on he did not dictate to the dancers. Lynn Seymour, for example, his muse and the dancer he worked with most closely, contributed greatly in the creation of her roles. So, too, did Christopher Gable with Seymour in Romeo and Juliet and David Wall in Mayerling. It was the same with his other collaborators, Nicholas Georgiadis especially for design and Richard Rodney Bennett for the music of Isadora. He drew on their ideas and shared ideas. Ideas came from many other sources too, not only music but reading and films and just talking with friends. Yet fundamentally it was the dancers and their bodies which counted. 'As a choreographer,' he said once to Clement Crisp and Mary Clarke, 'I look in the main for musicality and expressiveness of the body rather than a great technique, though I am grateful if it is there of course.'
Attitudes manifest in the rehearsal studio were replicated outside in his concern for dancers and their work. 'He used to come out to see us on tour,' said Werdon Anglin, general manager of Ballet for All. 'He would ask me always how things were with our dancers. And he was generous in letting us use his work 'if the dancers can use it'.' As always, standards came first.
People say he was a master of pas de deux and of dances for small numbers, less good in orchestrating large numbers of corps de ballet. To a point this is true. I was never impressed by the crowd scenes of his Romeo and Juliet. Then I think of the crowd scenes, the corps, in Mayerling, his extraordinary portrait of the corrupt Austrian court around the Emperor Franz Josef and Crown Prince Rudolf of Austria Hungary. On a smaller scale I think of The Burrow, also a remarkable orchestration of group movement. It was not true he could not orchestrate a corps. What moved him was the idea.
The idea, the importance of content and communication, dominated his creative process. Either he started with the music which suggested an idea or, as in The Invitation, Solitaire (1956) and Anastasia (1966) he found the music to fit and realise the idea. He might draw from any source, including popular culture, as he did in Elite Syncopations (1974) to Scott Joplin music. Thus he was classical ballet's effective answer to those trends in post modern dance which emphasised movement over content.
One can be moved greatly by an evening of works by Merce Cunningham, the leading exponent of these trends, and by Cunningham's mastery of human movement shown recently in the present Dance Umbrella festival. Such works, though, seem unlikely to remain long after their creator, however profound his influence on other choreographers. More to the point, they rarely illuminate the human condition, move the soul or inflame the mind, not to my mind anyway. MacMillan's mastery of movement and penetration of human emotion does just that. I feel often that he pours the emotions of humanity into his pas de deux, strengthened by the experience and success of his marriage. Certainly they will live after him, and as long as classical ballet.
His exploration of emotions and human relationships, those areas of communication which cannot be expressed in words, pushed back the boundaries of dance art and strengthened its place in contemporary society. He was not alone in doing this. Others like Martha Graham and Cunningham, or dancers from other cultures like Shobana Jeyasingh, have done so in other ways. MacMillan did so for classical ballet. In doing so he challenged the established forms and ideology of classicism.
Kenneth MacMillan's legacy of a deep humanity expressed through the beauty of human movement changed the nature of classical ballet and is his lasting memorial.
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A product of the Royal Ballet organisation, schooled in what is regarded always as an establishment art, he used his choreographic genius to illuminate in dance themes of great contemporary significance fear and oppression in The Burrow (1958), sexual abuse in The Invitation (1960), the waste of war in Gloria (1980), the tragedies of Romeo and Juliet (1965), Isadora (1981) and Mayerling (1978), which I consider his greatest work. In this way he extended enormous influence upon younger choreographers van cleef turquoise necklace fake who followed him, upon audiences and upon the German Opera Berlin and American Ballet Theatre, where he worked as well as in Britain. He was the greatest choreographic communicator of his time in classical ballet.
This position developed out of a personal struggle of many kinds. Growing up in poor circumstances in Scotland, he escaped from a background he hated by guile and by a letter to Ninette de Valois, seeking an audition at Sadler's Wells School. He became one of the original members of Sadler's Wells Theatre Ballet when it was created in 1946, moved two years later to Sadler's Wells Ballet at Covent Garden, then returned to the Theatre Ballet in 1952. I met him there through the company's director, Peggy van Praagh, who was the first to encourage his choreographic talents. My own first MacMillan memory is of a tall, obviously talented dancer with a terrific jump who was notable also as a convincing Sherlock Holmes in Margaret Dale's The Great Detective, a moving actor dancer in John Cranko's The Lady and the Fool and other ballets in the early 1950s. I remember, too, a set design he created for a ballet, I think by Peter Darrell, at Ballet Workshop, the first and fruitful attempt by the Rambert family to create a platform for new choreography at the Mercury Theatre in Notting Hill Gate, west London. MacMillan had the talent of a visual artist as well as a choreographer.
The first proof of choreographic talent, Somnambulism, was presented at a dancers' choreographic group at Sadler's Wells Theatre in 1953. It introduced to us a new choreographer, seemingly ready formed, without any long induction of trial and error. The choreography was clear cut, precise, highly original in construction and very demanding on the dancers. Straightaway, he joined his friend John Cranko as a maker of ballets for Sadler's Wells Theatre Ballet and for Covent Garden. It was an extraordinary event that the comparatively young British ballet should produce within a short time two choreographers who would achieve international stature as major artists.
MacMillan's early work showed the theme he would pursue most often: the outsider, the rebel, the downtrodden and the unhappy. His choice of jazz music by Stan Kenton for Somnambulism, unique at the time as ballet music, indicated also that his creative practice would depart from accepted norms. So it turned out. The Invitation (1960) was the first time sex and sexuality were treated so openly in classical ballet. He collaborated with Gillian Freeman as librettist for Mayerling and Isadora, where most choreographers nowadays insist on devising the plot as well as the choreography. He translated his inheritance of Petipa's three and four act ballets of princes and princesses into evening long dramas of human characters appropriate to today's world.
This went down well in Europe, less well in the United States; and was a source of argument and friction at Covent Garden. Everybody, I am sure, will point out the coincidence that MacMillan died on a night when Birmingham Royal Ballet was presenting his Romeo and Juliet in Birmingham, and when Mayerling, the finest example of achievement in his three act genre, was revived at Covent Garden after a long break.
MacMillan's emphasis on the human state, though, goes back to the beginning, often mixing the zany, eccentric or fantastic. Somnambulism's three characters apparently suffer from anxiety, monotony and premonition, but wake up to find they have been dreaming. Five years later, The Burrow, recently revived by the Birmingham Royal Ballet, explored the tensions of persecuted people in a situation resembling the story of Anne Frank. Its many characters imprisoned in one room are defined precisely in the choreography although the effect is of improvisation. Their sudden outbursts of fear, temper, arise from the tension of their situation.
MacMillan is, therefore, a poet of the oppressed whose expose of polite society, or establishment morals, is presented not in words but in movement drawn from his classical training. The academic dance is his resource van cleef turquoise necklace imitation and inspiration so that, parallel with his social concern, runs also a concern for movement, exploring the possibilities of the human body. Early on in his career, in Agon (1958) and Le baiser de la fee (1960, to Stravinsky's music) the movements were angular, astringent and abstract. Gradually, as his own attitudes matured, they acquired a more plastic quality. 'In The Invitation,' he said to me in 1960, 'the movement is not nearly so broken, angular or sharp as it used to be, not sharp at all for the principals.'
In Romeo and Juliet, in Manon (1974), his great Gloria about the stupidity of war, in Song of the Earth (1965), Mayerling and other later works, the line of the body became more used, running unbroken time and again through the whole length of stretched arms, legs and feet. The images flowed unhurriedly one from another. The vocabulary became economical and self assured.
For me, this became apparent first in MacMillan's The Rite of Spring in 1962. The ballet had none of the sharpness and spikiness of his earlier movements, however angular its sculptural effects. The assault was on the mind rather than the heart, indicating an intellectual quality underpinning the emotion in his work. Intellect and emotion seemed to run side by side in his creative process and his assessment of the outside world. 'There is a class system,' he said in an interview on BBC 2 in April 1990, 'an old boy network to which I've never belonged and I never will . . . I'm very interested in people . . . in portraying the dilemma of people living and working with each other. That was not a very popular approach to ballet in the 1950s.'
Consequently, when MacMillan succeeded Ashton as Director of the Royal Ballet in 1970 he found his ideas resisted not only within the Royal Ballet and some British audiences, but by American audiences in the United States. Perhaps he recalled then the reception the board of Covent Garden gave in 1964 to his idea for a ballet to Mahler's Das Lied von der Erde. It was rejected. He took it to John Cranko in Stuttgart, where there emerged in November 1965 Song of the Earth, among MacMillan's finest works and one of the ballets which caught best the changing mood of post war Europe.
'I prefer to explore the human psyche', he continued to the BBC, 'I try to make people sometimes feel uncomfortable in the theatre. . . I have always been drawn to the narrative, to real people and what they feel.' This means addressing reality head on, a collision course particularly with the Thatcher philosophy of the 1980s and its lack of concern for those who lose out, the underdogs and, as MacMillan said, 'people at odds with the world'.
Such attitudes were not immediately apparent when you met him. The tall, shy figure with hair prematurely grey and a fey voice did not suggest the artist who could be brutal when necessary with dancers who did not measure up to professional standards. As director of the Royal Ballet from 1970 to 1976 he was my van cleef mother of pearl necklace replica boss at the beginning of this time when I was running the Royal Ballet's Ballet for All group. I saw and learned from the way he handled dancers and noted also, incidentally, the effect on his creative work of having to direct a large company as well as be its principal choreographer. He made the right decision to return to full time choreography in 1977.
At work, almost with whatever ballet, he started with the principal pas de deux. This would set the tone of what he planned and be the emotional climax, influencing what came before and what would come after. Always he was inspired by dancers' bodies as well as by the music, by what dancers themselves could contribute. 'I like my artists to find themselves in their roles.' Consequently, early on he did not dictate to the dancers. Lynn Seymour, for example, his muse and the dancer he worked with most closely, contributed greatly in the creation of her roles. So, too, did Christopher Gable with Seymour in Romeo and Juliet and David Wall in Mayerling. It was the same with his other collaborators, Nicholas Georgiadis especially for design and Richard Rodney Bennett for the music of Isadora. He drew on their ideas and shared ideas. Ideas came from many other sources too, not only music but reading and films and just talking with friends. Yet fundamentally it was the dancers and their bodies which counted. 'As a choreographer,' he said once to Clement Crisp and Mary Clarke, 'I look in the main for musicality and expressiveness of the body rather than a great technique, though I am grateful if it is there of course.'
Attitudes manifest in the rehearsal studio were replicated outside in his concern for dancers and their work. 'He used to come out to see us on tour,' said Werdon Anglin, general manager of Ballet for All. 'He would ask me always how things were with our dancers. And he was generous in letting us use his work 'if the dancers can use it'.' As always, standards came first.
People say he was a master of pas de deux and of dances for small numbers, less good in orchestrating large numbers of corps de ballet. To a point this is true. I was never impressed by the crowd scenes of his Romeo and Juliet. Then I think of the crowd scenes, the corps, in Mayerling, his extraordinary portrait of the corrupt Austrian court around the Emperor Franz Josef and Crown Prince Rudolf of Austria Hungary. On a smaller scale I think of The Burrow, also a remarkable orchestration of group movement. It was not true he could not orchestrate a corps. What moved him was the idea.
The idea, the importance of content and communication, dominated his creative process. Either he started with the music which suggested an idea or, as in The Invitation, Solitaire (1956) and Anastasia (1966) he found the music to fit and realise the idea. He might draw from any source, including popular culture, as he did in Elite Syncopations (1974) to Scott Joplin music. Thus he was classical ballet's effective answer to those trends in post modern dance which emphasised movement over content.
One can be moved greatly by an evening of works by Merce Cunningham, the leading exponent of these trends, and by Cunningham's mastery of human movement shown recently in the present Dance Umbrella festival. Such works, though, seem unlikely to remain long after their creator, however profound his influence on other choreographers. More to the point, they rarely illuminate the human condition, move the soul or inflame the mind, not to my mind anyway. MacMillan's mastery of movement and penetration of human emotion does just that. I feel often that he pours the emotions of humanity into his pas de deux, strengthened by the experience and success of his marriage. Certainly they will live after him, and as long as classical ballet.
His exploration of emotions and human relationships, those areas of communication which cannot be expressed in words, pushed back the boundaries of dance art and strengthened its place in contemporary society. He was not alone in doing this. Others like Martha Graham and Cunningham, or dancers from other cultures like Shobana Jeyasingh, have done so in other ways. MacMillan did so for classical ballet. In doing so he challenged the established forms and ideology of classicism.
Kenneth MacMillan's legacy of a deep humanity expressed through the beauty of human movement changed the nature of classical ballet and is his lasting memorial.
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SpartanNash Co SPTN
Mr. Dennis Eidson is Chairman of the Board of the Company. He is no longer Chief Executive Officer of the Company, with effect from May 23, 2017. He has been a director of SpartanNash since October 2007, Chief Executive Officer since October 2008, President of SpartanNash since October 2007, and was our Chief Operating Officer from February 2007 to October 2008, and our Executive Vice President Marketing and Merchandising from March 2003 to February 2007. Prior to joining SpartanNash, Mr. Eidson served as the Divisional President and Chief Executive Officer of A Midwest region from October 2000 to July 2002, as the Executive Vice President Sales and Merchandising of A Midwest region from March 2000 to October 2000, and as the Vice President of Merchandising of A Farmer Jack division from June 1997 to March 2000.
Mr. David M. Staples has been appointed as President, Chief Executive Officer, Chief Operating Officer, Director of the Company, with effect from May 23, 2017. He has served as Executive Vice President Chief Operating Officer since March 2015. Prior to his promotion, Mr. Staples served as Executive Vice President since November 2000 and Chief Financial Officer since January 2000. Mr. Staples also served as Vice replica van cleef perlee bangle President Finance from January 2000 to November 2000. Mr. Staples oversees the Company's Food Distribution, Retail, and Military segments. In addition, he oversees information technology, real estate, finance, treasury, and risk management. From December 1998 to January 2000, Mr. Staples served as Divisional Vice President Strategic Planning and Reporting of Kmart Corporation and from June 1997 to December 1998 he served as Divisional Vice President Accounting Operations. He is a certified public accountant.
Mr. Christopher P. Meyers is Chief Financial Officer, Executive Vice President of the Company, effective 11 April 2016. Mr. Meyers was Chief Financial and Development Officer at KeHE Distributors, a leading distributor of natural and specialty products, since 2007. At KeHE, Mr. Meyers was responsible for executive oversight of mergers and acquisitions, pricing, purchasing, supply chain, vendor management, and shared services. From 2001 to 2007, Mr. Meyers served in positions of increasing responsibility for Navigant Capital Advisors, the corporate finance and restructuring practice of Navigant Consulting, a global consulting and professional services firm. Mr. Meyers is a Certified Public Accountant.
Ms. Kathleen M. Mahoney is Executive Vice President, Chief Legal Officer, Secretary of the Company. She previously served as Executive Vice President General Counsel from the Merger to November 2015. Ms. Mahoney oversees the Company's legal, aviation, corporate communications, community development, and government relations functions. Prior to the Merger, Ms. Mahoney served as Executive Vice President General Counsel and Secretary for Nash Finch, where she oversaw legal, aviation, risk management, asset protection, safety, environmental, and insurance procurement and claims management. Ms. Mahoney served in several executive and managerial positions with Nash Finch since joining the company in 2004. Prior to working at Nash Finch, she was the Managing Partner of the St. Paul office of Larson King, LLP. Previously, she spent 13 years with the law firm of Oppenheimer, Wolff Donnelly, LLP, where she served in a number of capacities including Chair of the Labor and Employment Practice Group and Managing Partner of the St. Paul office. Ms. Mahoney served as Special Assistant Attorney General in the Minnesota Attorney General's office for six years. She clerked for the Honorable Douglas K. Amdahl, Minnesota Supreme Court Justice and the Honorable Neal P. McCurn, United States District Court Judge for the Northern District of New York.
Mr. Theodore C. Adornato is Executive Vice President Retail Operations of the Company. Mr. Adornato served as Executive Vice President Wholesale Operations, as part of an effort to promote bracelet fake van cleef alhambra a greater exchange of knowledge and perspective between the Company's retail and distribution operations, and provide new leadership opportunities for members of its executive team. Before joining the Company, Mr. Previously, Mr. Adornato held various management positions with Tops Markets and Acme Markets, Inc.
Mr. Edward L. Brunot is Executive Vice President, President MDV of the Company. Mr. Brunot served with Nash Finch as Executive Vice President and President and Chief Operating Officer of MDV since March 2012. Mr. Brunot served as Nash Finch's Senior Vice President and President and Chief Operating Officer of MDV from February 2009 to March 2012. Mr. Brunot joined Nash Finch in July 2006 imitation van cleef perlee bangle as Senior Vice President, Military. Mr. Brunot previously served as Senior Vice President, Operations for AmeriCold Logistics, LLC from December 2002 to May 2006, where he was responsible for 29 distribution facilities in the Western Region. Before that, Mr. Brunot was Vice President of Operations for CS Integrated from 1999 to 2002. Mr. Brunot served as a Captain in the United States Army and holds a BS degree from the United States Military Academy, West Point and an MS degree from the University of Scranton.
Mr. Tom Lee is Senior Vice President Supply Chain of the Company. He will be responsible for developing and implementing strategies for supply chain management, with a focus on enhancing and expanding the company's network to support customers' growth initiatives while improving efficiency and reducing cost. Mr. Lee will oversee SpartanNash's supply chain, logistics, transportation and inventory management departments, From 2015 to 2017, Mr. e Commerce for Walmart. In the role, he built out supply chain and merchandising operational functions for the global e commerce division, overseeing the planning and replenishment for both owned and drop ship vendors with more than 10,000 suppliers and 26 million unique SKUs across a $1 billion inventory. Prior to that, Mr. Lee served as Vice President, Supply Chain Innovations, Global e Commerce for Walmart. He has also held supply chain leadership positions for Henry Schein and Office Depot and has been a senior level consultant for both Ernst Young and KPMG. Mr. Lee holds a master's degree in executive managerial business administration from Vanderbilt University and a bachelor's degree in economics from Emory University.
Mr. David DeS. Couch is Chief Information Officer, Vice President of the Company. Mr. Couch was our Director of Information Technology. Prior to joining SpartanNash in 1987, Mr. Couch was a Product Manager for the Colorado Telecommunication Division of Hewlett Packard Corporation, Technical Services Manager for the Loveland Instrument Division of Hewlett Packard Corporation, and Manager of Computer Services at General Foods Corporation in Battle Creek Michigan, and on the Processing Facilities Design Team for General Foods in White Plains, New York. Mr. Couch has taught college classes in communications and data center management. He holds a BS degree in Business Administration and a MS degree in Computer Science from University of Arizona.
Mr. Timothy J. O'Donovan is Lead Independent Director of the Company. Mr. O'Donovan is the retired Chairman of the Board and Chief Executive Officer of Wolverine Worldwide, Inc., a footwear and apparel company. Mr. O'Donovan served as Chairman of the Board of Wolverine from 2005 through 2009. In April 2007, Mr. O'Donovan retired as Chief Executive Officer of Wolverine, a position which he held since April 2000. Mr. O'Donovan also previously served as a director of Kaydon Corporation until it was acquired in October 2013.
Ms. M. Shan Atkins, CPA, is Independent Director of the Company. She is an independent business executive with extensive experience in finance, private investment, and retail strategy. Ms. Atkins is a director of Darden Restaurants, Inc., an owner and operator of full service restaurant brands, where she serves on the Audit Committee. She is also a director of SunOpta, Inc., a manufacturer of healthy beverages and snacks, where she chairs the Compensation Committee. She was previously a director of The Pep Boys Manny, Moe and Jack, until 2015, Tim Hortons, Inc. until 2014, and Shoppers Drug Mart until 2012. Ms. Atkins also serves as a director of True Value Company, a retailer owned hardware cooperative. Ms. Atkins previously served as a partner in the global consumer and retail practice at Bain Company, an executive with Sears Roebuck Company, and an accountant with Price Waterhouse. She has been a member of the Canadian Institute of Chartered Accountants since 1981 and is a certified public accountant.
Mr. Mickey P. Foret is Independent Director of the Company. Mr. Foret served as a director of Nash Finch since 2005. Mr. Foret served until 2002 as Executive Vice President and Chief Financial Officer of Northwest Airlines, Inc., an airline company, and Chairman and Chief Executive Officer of Northwest Airlines Cargo, Inc., a transportation and logistics company. Mr. Foret previously served as President and Chief Operating Officer of Atlas Air Cargo, Inc. and as President and Chief Operating Officer, as well as in other management positions, at Continental Airlines, Inc. Mr. Foret has served as a director of Delta Air Lines, Inc. since October 2008, and as a director of the URS Corporation, an engineering design services firm, from March 2003 to October 2014.
Dr. Frank M. Gambino is Independent Director of the Company. Dr. Gambino is a Professor of Marketing and the Director of the Food Consumer Packaged Goods Marketing Program at Western Michigan University. He has been on the WMU faculty since 1984. Prior to joining WMU, he had over 15 years of experience in the retail food industry. Dr. Gambino remains active within the food and consumer packaged goods industries at both the national and regional level. He is a frequent speaker, trainer and consultant to a diverse group of industry organizations. Currently, he serves on the Retail Site Development Committee for Wakefern Food Corporation (a grocery retailer cooperative). Dr. Gambino is the current Chair of the Food Industry University Coalition for the National Grocers Association and a member of the Higher Education Council for the Category Management Association.
Mr. Douglas A. Hacker is Independent Director of the Company. Mr. Hacker is currently an independent business executive and formerly served as Executive Vice President, Strategy for UAL Corporation, an airline holding company, from December 2002 to May 2006. Prior to this position, he served with UAL Corporation as President, UAL Loyalty Services from September 2001 to December 2002, and as Executive Vice President and Chief Financial Officer from July 1999 to September 2001. Mr. Hacker also serves as a director and member of the compensation committee of Aircastle Limited, a commercial aircraft leasing company, and Travelport Worldwide Ltd., where he chairs the Compensation Committee and serves on the Audit Committee.
Ms. Yvonne R. Jackson is Independent Director of the Company. Ms. Jackson is President and Principal of BeecherJackson, Inc., a human resources management consulting firm that she co founded in 2006. From 2002 to 2005, she served as Senior Vice President, Corporate Human Resources of Pfizer, Inc. From 2006 to 2012, Ms. Jackson served as a director of Winn Dixie Stores, Inc., a regional grocery retailer, including service as chairperson of Winn Dixie's Compensation Committee. Ms. Jackson is a former director and member of the Compensation and Nominating and Corporate Governance Committees of Best Buy Co., Inc. Ms. Jackson has over 30 years of experience in human resources, including experience as the most senior human resources executive.
Ms. Elizabeth A. Nickels is Independent Director of the Company. Ms. Nickels is an accomplished senior executive and board member with extensive leadership experience in both emerging and mature business segments. Ms. Nickels served as Executive Director of Herman Miller Foundation from 2012 to 2014. From February 2000 to May 2012, Ms. Nickels served as an executive at Herman Miller, Inc., an office furniture manufacturing company. Ms. Nickels served as Chief Financial Officer of Herman Miller from February 2000 to August 2007 and President of Herman Miller Healthcare from 2007 to 2012. Since October 2015, Ms. Nickels has served as a director of Principal Funds, a leading provider of mutual funds. Ms. Nickels served as a director of PetSmart, Inc. from November 2013 to March 2015, and was a director for Charlotte Russe from November 2013 until April 2016, a clothing retailer,. Ms.
Maj. Gen. (Retd.) Hawthorne L. Proctor is Independent Director of the Company. Major General (Ret.) Proctor currently serves as Managing Partner of Proctor Boone LLC Consulting, and Senior Logistics Consultant in the Department of Defense Business Group of Intelligent Decisions, Inc., where he has worked since 2006. Major General (Ret.) Proctor served for nearly 35 years in the United States Army, where he performed with distinction in numerous senior logistics management roles including Commander, Defense Personnel Support Center and later Commander, Defense Supply Center, Philadelphia, 46th Quartermaster General of the United States Army, and J3, or Chief Operating Officer (COO) Defense Logistics Agency.
Mr. William R. Voss is Independent Director of the Company. Mr. Voss was the Chairman of the Nash Finch Board of Directors since 2006. Mr. Voss has served for more than 10 years as Managing Director of Lake Pacific Partners, LLC, a private equity investment firm specializing in consumer products and services. He previously served as Chairman and Chief Executive Officer of Natural Nutrition Group, Inc., a food processor; as Chief Executive Officer of McCain Foods, Inc.; and as President and a Director of Pilgrim's Pride Corporation.
Mr. Dennis Eidson is Chairman of the Board of the Company. He is no longer Chief Executive Officer of the Company, with effect from May 23, 2017. He has been a director of SpartanNash since October 2007, Chief Executive Officer since October 2008, President of SpartanNash since October 2007, and was our Chief Operating Officer from February 2007 to October 2008, and our Executive Vice President Marketing and Merchandising from March 2003 to February 2007. Prior to joining SpartanNash, Mr. Eidson served as the Divisional President and Chief Executive Officer of A Midwest region from October 2000 to July 2002, as the Executive Vice President Sales and Merchandising of A Midwest region from March 2000 to October 2000, and as the Vice President of Merchandising of A Farmer Jack division from June 1997 to March 2000.
Mr. David M. Staples has been appointed as President, Chief Executive Officer, Chief Operating Officer, Director of the Company, with effect from May 23, 2017. He has served as Executive Vice President Chief Operating Officer since March 2015. Prior to his promotion, Mr. Staples served as Executive Vice President since November 2000 and Chief Financial Officer since January 2000. Mr. Staples also served as Vice replica van cleef perlee bangle President Finance from January 2000 to November 2000. Mr. Staples oversees the Company's Food Distribution, Retail, and Military segments. In addition, he oversees information technology, real estate, finance, treasury, and risk management. From December 1998 to January 2000, Mr. Staples served as Divisional Vice President Strategic Planning and Reporting of Kmart Corporation and from June 1997 to December 1998 he served as Divisional Vice President Accounting Operations. He is a certified public accountant.
Mr. Christopher P. Meyers is Chief Financial Officer, Executive Vice President of the Company, effective 11 April 2016. Mr. Meyers was Chief Financial and Development Officer at KeHE Distributors, a leading distributor of natural and specialty products, since 2007. At KeHE, Mr. Meyers was responsible for executive oversight of mergers and acquisitions, pricing, purchasing, supply chain, vendor management, and shared services. From 2001 to 2007, Mr. Meyers served in positions of increasing responsibility for Navigant Capital Advisors, the corporate finance and restructuring practice of Navigant Consulting, a global consulting and professional services firm. Mr. Meyers is a Certified Public Accountant.
Ms. Kathleen M. Mahoney is Executive Vice President, Chief Legal Officer, Secretary of the Company. She previously served as Executive Vice President General Counsel from the Merger to November 2015. Ms. Mahoney oversees the Company's legal, aviation, corporate communications, community development, and government relations functions. Prior to the Merger, Ms. Mahoney served as Executive Vice President General Counsel and Secretary for Nash Finch, where she oversaw legal, aviation, risk management, asset protection, safety, environmental, and insurance procurement and claims management. Ms. Mahoney served in several executive and managerial positions with Nash Finch since joining the company in 2004. Prior to working at Nash Finch, she was the Managing Partner of the St. Paul office of Larson King, LLP. Previously, she spent 13 years with the law firm of Oppenheimer, Wolff Donnelly, LLP, where she served in a number of capacities including Chair of the Labor and Employment Practice Group and Managing Partner of the St. Paul office. Ms. Mahoney served as Special Assistant Attorney General in the Minnesota Attorney General's office for six years. She clerked for the Honorable Douglas K. Amdahl, Minnesota Supreme Court Justice and the Honorable Neal P. McCurn, United States District Court Judge for the Northern District of New York.
Mr. Theodore C. Adornato is Executive Vice President Retail Operations of the Company. Mr. Adornato served as Executive Vice President Wholesale Operations, as part of an effort to promote bracelet fake van cleef alhambra a greater exchange of knowledge and perspective between the Company's retail and distribution operations, and provide new leadership opportunities for members of its executive team. Before joining the Company, Mr. Previously, Mr. Adornato held various management positions with Tops Markets and Acme Markets, Inc.
Mr. Edward L. Brunot is Executive Vice President, President MDV of the Company. Mr. Brunot served with Nash Finch as Executive Vice President and President and Chief Operating Officer of MDV since March 2012. Mr. Brunot served as Nash Finch's Senior Vice President and President and Chief Operating Officer of MDV from February 2009 to March 2012. Mr. Brunot joined Nash Finch in July 2006 imitation van cleef perlee bangle as Senior Vice President, Military. Mr. Brunot previously served as Senior Vice President, Operations for AmeriCold Logistics, LLC from December 2002 to May 2006, where he was responsible for 29 distribution facilities in the Western Region. Before that, Mr. Brunot was Vice President of Operations for CS Integrated from 1999 to 2002. Mr. Brunot served as a Captain in the United States Army and holds a BS degree from the United States Military Academy, West Point and an MS degree from the University of Scranton.
Mr. Tom Lee is Senior Vice President Supply Chain of the Company. He will be responsible for developing and implementing strategies for supply chain management, with a focus on enhancing and expanding the company's network to support customers' growth initiatives while improving efficiency and reducing cost. Mr. Lee will oversee SpartanNash's supply chain, logistics, transportation and inventory management departments, From 2015 to 2017, Mr. e Commerce for Walmart. In the role, he built out supply chain and merchandising operational functions for the global e commerce division, overseeing the planning and replenishment for both owned and drop ship vendors with more than 10,000 suppliers and 26 million unique SKUs across a $1 billion inventory. Prior to that, Mr. Lee served as Vice President, Supply Chain Innovations, Global e Commerce for Walmart. He has also held supply chain leadership positions for Henry Schein and Office Depot and has been a senior level consultant for both Ernst Young and KPMG. Mr. Lee holds a master's degree in executive managerial business administration from Vanderbilt University and a bachelor's degree in economics from Emory University.
Mr. David DeS. Couch is Chief Information Officer, Vice President of the Company. Mr. Couch was our Director of Information Technology. Prior to joining SpartanNash in 1987, Mr. Couch was a Product Manager for the Colorado Telecommunication Division of Hewlett Packard Corporation, Technical Services Manager for the Loveland Instrument Division of Hewlett Packard Corporation, and Manager of Computer Services at General Foods Corporation in Battle Creek Michigan, and on the Processing Facilities Design Team for General Foods in White Plains, New York. Mr. Couch has taught college classes in communications and data center management. He holds a BS degree in Business Administration and a MS degree in Computer Science from University of Arizona.
Mr. Timothy J. O'Donovan is Lead Independent Director of the Company. Mr. O'Donovan is the retired Chairman of the Board and Chief Executive Officer of Wolverine Worldwide, Inc., a footwear and apparel company. Mr. O'Donovan served as Chairman of the Board of Wolverine from 2005 through 2009. In April 2007, Mr. O'Donovan retired as Chief Executive Officer of Wolverine, a position which he held since April 2000. Mr. O'Donovan also previously served as a director of Kaydon Corporation until it was acquired in October 2013.
Ms. M. Shan Atkins, CPA, is Independent Director of the Company. She is an independent business executive with extensive experience in finance, private investment, and retail strategy. Ms. Atkins is a director of Darden Restaurants, Inc., an owner and operator of full service restaurant brands, where she serves on the Audit Committee. She is also a director of SunOpta, Inc., a manufacturer of healthy beverages and snacks, where she chairs the Compensation Committee. She was previously a director of The Pep Boys Manny, Moe and Jack, until 2015, Tim Hortons, Inc. until 2014, and Shoppers Drug Mart until 2012. Ms. Atkins also serves as a director of True Value Company, a retailer owned hardware cooperative. Ms. Atkins previously served as a partner in the global consumer and retail practice at Bain Company, an executive with Sears Roebuck Company, and an accountant with Price Waterhouse. She has been a member of the Canadian Institute of Chartered Accountants since 1981 and is a certified public accountant.
Mr. Mickey P. Foret is Independent Director of the Company. Mr. Foret served as a director of Nash Finch since 2005. Mr. Foret served until 2002 as Executive Vice President and Chief Financial Officer of Northwest Airlines, Inc., an airline company, and Chairman and Chief Executive Officer of Northwest Airlines Cargo, Inc., a transportation and logistics company. Mr. Foret previously served as President and Chief Operating Officer of Atlas Air Cargo, Inc. and as President and Chief Operating Officer, as well as in other management positions, at Continental Airlines, Inc. Mr. Foret has served as a director of Delta Air Lines, Inc. since October 2008, and as a director of the URS Corporation, an engineering design services firm, from March 2003 to October 2014.
Dr. Frank M. Gambino is Independent Director of the Company. Dr. Gambino is a Professor of Marketing and the Director of the Food Consumer Packaged Goods Marketing Program at Western Michigan University. He has been on the WMU faculty since 1984. Prior to joining WMU, he had over 15 years of experience in the retail food industry. Dr. Gambino remains active within the food and consumer packaged goods industries at both the national and regional level. He is a frequent speaker, trainer and consultant to a diverse group of industry organizations. Currently, he serves on the Retail Site Development Committee for Wakefern Food Corporation (a grocery retailer cooperative). Dr. Gambino is the current Chair of the Food Industry University Coalition for the National Grocers Association and a member of the Higher Education Council for the Category Management Association.
Mr. Douglas A. Hacker is Independent Director of the Company. Mr. Hacker is currently an independent business executive and formerly served as Executive Vice President, Strategy for UAL Corporation, an airline holding company, from December 2002 to May 2006. Prior to this position, he served with UAL Corporation as President, UAL Loyalty Services from September 2001 to December 2002, and as Executive Vice President and Chief Financial Officer from July 1999 to September 2001. Mr. Hacker also serves as a director and member of the compensation committee of Aircastle Limited, a commercial aircraft leasing company, and Travelport Worldwide Ltd., where he chairs the Compensation Committee and serves on the Audit Committee.
Ms. Yvonne R. Jackson is Independent Director of the Company. Ms. Jackson is President and Principal of BeecherJackson, Inc., a human resources management consulting firm that she co founded in 2006. From 2002 to 2005, she served as Senior Vice President, Corporate Human Resources of Pfizer, Inc. From 2006 to 2012, Ms. Jackson served as a director of Winn Dixie Stores, Inc., a regional grocery retailer, including service as chairperson of Winn Dixie's Compensation Committee. Ms. Jackson is a former director and member of the Compensation and Nominating and Corporate Governance Committees of Best Buy Co., Inc. Ms. Jackson has over 30 years of experience in human resources, including experience as the most senior human resources executive.
Ms. Elizabeth A. Nickels is Independent Director of the Company. Ms. Nickels is an accomplished senior executive and board member with extensive leadership experience in both emerging and mature business segments. Ms. Nickels served as Executive Director of Herman Miller Foundation from 2012 to 2014. From February 2000 to May 2012, Ms. Nickels served as an executive at Herman Miller, Inc., an office furniture manufacturing company. Ms. Nickels served as Chief Financial Officer of Herman Miller from February 2000 to August 2007 and President of Herman Miller Healthcare from 2007 to 2012. Since October 2015, Ms. Nickels has served as a director of Principal Funds, a leading provider of mutual funds. Ms. Nickels served as a director of PetSmart, Inc. from November 2013 to March 2015, and was a director for Charlotte Russe from November 2013 until April 2016, a clothing retailer,. Ms.
Maj. Gen. (Retd.) Hawthorne L. Proctor is Independent Director of the Company. Major General (Ret.) Proctor currently serves as Managing Partner of Proctor Boone LLC Consulting, and Senior Logistics Consultant in the Department of Defense Business Group of Intelligent Decisions, Inc., where he has worked since 2006. Major General (Ret.) Proctor served for nearly 35 years in the United States Army, where he performed with distinction in numerous senior logistics management roles including Commander, Defense Personnel Support Center and later Commander, Defense Supply Center, Philadelphia, 46th Quartermaster General of the United States Army, and J3, or Chief Operating Officer (COO) Defense Logistics Agency.
Mr. William R. Voss is Independent Director of the Company. Mr. Voss was the Chairman of the Nash Finch Board of Directors since 2006. Mr. Voss has served for more than 10 years as Managing Director of Lake Pacific Partners, LLC, a private equity investment firm specializing in consumer products and services. He previously served as Chairman and Chief Executive Officer of Natural Nutrition Group, Inc., a food processor; as Chief Executive Officer of McCain Foods, Inc.; and as President and a Director of Pilgrim's Pride Corporation.
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Scientists discover 'world's oldest fossils' in Canada
Remains of microorganisms at least 3.77 billion years old have been found encased in quartz layers in northern Quebec's Nuvvuagittuq Supracrustal Belt, in Canada.
The research team behind the discovery is made up of international scientists and led by a team at University College London (UCL).
UCL's Matthew Dodd said the tiny fossils half the width of a human hair and up to half a millimetre in length lived near a vent in the seafloor where water was heated by a volcano.
The fossils could be older than the 3.7 billion years assigned to some other rock features found in fake van cleef and arpels bracelet Greenland, which were proposed to be fossils in August last year.
The key question with fossil discoveries is whether the rock features were produced by living organisms.
Some scientists are sceptical about the imitation van cleef & arpels bangle latest discovery.
Martin J Van Kranendonk, of the University of New South Wales in Australia, who reported the Greenland findings, said that the UCL findings are "not fossils".
He added that the paper's evidence for a biological origin fell short.
NASA geologist Abigail Allwood said the study was "one of the most detailed cases yet made" for evidence of life in rocks older replica van cleef and arpels bangle than 3.5 billion years but added that it was "an extraordinary claim to make and you do need extraordinary evidence".
Remains of microorganisms at least 3.77 billion years old have been found encased in quartz layers in northern Quebec's Nuvvuagittuq Supracrustal Belt, in Canada.
The research team behind the discovery is made up of international scientists and led by a team at University College London (UCL).
UCL's Matthew Dodd said the tiny fossils half the width of a human hair and up to half a millimetre in length lived near a vent in the seafloor where water was heated by a volcano.
The fossils could be older than the 3.7 billion years assigned to some other rock features found in fake van cleef and arpels bracelet Greenland, which were proposed to be fossils in August last year.
The key question with fossil discoveries is whether the rock features were produced by living organisms.
Some scientists are sceptical about the imitation van cleef & arpels bangle latest discovery.
Martin J Van Kranendonk, of the University of New South Wales in Australia, who reported the Greenland findings, said that the UCL findings are "not fossils".
He added that the paper's evidence for a biological origin fell short.
NASA geologist Abigail Allwood said the study was "one of the most detailed cases yet made" for evidence of life in rocks older replica van cleef and arpels bangle than 3.5 billion years but added that it was "an extraordinary claim to make and you do need extraordinary evidence".
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Clock a bargain in antique watches
Emma Wall explains how to invest in cartier chain love imitation the buoyant market for second hand watches and why steel timepieces can be worth more than gold
When Sotheby's held its first wristwatch sale in New York in 1980, it was a trial auction. After the success of the quartz watch, the mechanical type was on the decline and the market in second hand watches had not yet developed.
How wrong the sceptics were. Since that auction the market has continued to grow: Sotheby's sales in New York, Hong Kong and Geneva hit an all time high last year and sales in the first half of 2008 reached those for the whole of 2007. So much for the credit crisis.
Even in those early days, though, there were clear front runners in the market. Patek Philippe and Rolex dominated, and still do today. Although there are many differences between the makes style and production numbers being the most important the two manufacturers are as popular fake love cartier pendant now as they were 30 years ago.
While Rolex has a much larger modern production run, 800,000 a year to Patek's 50,000, vintage watches from these two brands, particularly from the 1920s to 1960s, are the most sought after and the most valuable.
When the second hand market began in the early 1980s, a Patek Philippe Perpetual Calendar sold for around $10,000 (about 5,000); now you wouldn't get much change from $350,000. This is not a market affected by economic turmoil the average watch collector is male and 35 to 65 years of age, with the cash to indulge his passions.
In fact Alexander Barter, a Sotheby's specialist, believes that anxiety in the financial industry has had a positive effect on the wristwatch market. "The extraordinary thing is that the market is very buoyant," he says. "My feeling is that clients are very reluctant to put their money in stocks and shares, and watches are a tangible asset."
Contrary to what you may assume, gold watches are not necessarily copy chain cartier love more valuable than steel ones. When people bought watches in the 1920s to 1940s they usually bought a special timepiece as a luxury item. The idea of the wristwatch as an indulgent purchase meant that they were traditionally cased in a precious metal. But now, as with all collectables, rarity defines price, and steel is the less common casing for many watch types.
Yellow gold is most common, followed by pink gold then white gold, with steel and platinum the rarest. In difficult economic times, such as after the Wall Street Crash in 1929 and in the period following the Second World War, watches were cased in steel because the price of gold was so high. Now, with sought after watches easily reaching 250,000 at auction, the base value of the metal is no longer relevant.
Barter gives an example: "A Reference 1518 Patek, a very complex hand wound watch from the 1940s which displays the day, date, month and has a stopwatch, was made in a limited run of 281 pieces. Most of these were in yellow gold and would reach around 100,000 in a sale today. Two or three of the watches were made in steel and would now be worth between 800,000 and 1.2m."
But watches' rarity value depends on more than their metal. Generally, the more complications a watch has, the more valuable it is. A complication is any function in addition to telling the time. Complications include displaying the date, day and month; with the addition of a stopwatch function the timepiece is known as a chronograph.
While it is always advisable to buy something only if you really like it, there is no denying the financial returns possible in the watch market. In the past 20 years Patek Philippe and Rolex watches have outperformed a number of other investment sectors and there has been a surge in new buyers entering the market recently, particularly from Asia, which makes for a promising future.
The typical watch collector being male, there is a gap in the market for female vintage watches. You can buy a female vintage watch, even from the more sought after brands, for a fraction of the price of the male version. Their relative cheapness makes them a good investment opportunity as experts believe they will grow in popularity in the future with the rest of the market.
Other investment opportunities in the market lie in bucking fashion trends. Particularly popular at the moment are large round faced gold watches, so it is advisable to pick up a piece with a square or barrel shaped face now in the hope of future appreciation when fashion changes. Lot 73 in the Sotheby's sale on Wednesday, a 1938 Patek Philippe yellow gold rectangular wristwatch with a 3,000 5,000 estimate, is a good example of this.
Lot 91 in the same sale, another Patek, is a particularly fine example of a wristwatch. Although with a higher estimate of 12,000 18,000, this limited edition, pink gold, barrel faced watch is a "jump hour" timepiece, meaning that it has only one hand, the minute hand, and displays the hour in an aperture.
While the market is dominated by Patek and Rolex, there are other brands that perform well at auction and are worth having valued before arranging contents insurance. Cartier, well known for producing luxury goods, does well, particularly copy cartier mens jewelry its watches from the 1920s to 1950s.
The less well known Audemars Piguet is also particularly sought after; its watches from 1920 to 1960 are the most popular.
There is also demand for products from independent watchmakers such as FP Journe, who makes all his own movements and has unusual complications. His design layout is unique and quite different from traditional makers and he does well in a niche market.
It is difficult to predict how independents will fare in the future, however, as they are relatively new to the market by comparison with the big brands.
As with any vintage item, it is important to ensure that any watch you buy is in good condition. Scratched glass can be replaced without too much loss in value, while the crown which you turn to adjust or wind the watch and can often get quite worn can also be replaced, although this can affect the working of the watch. Over polishing can wear down angular watches, changing the shape of the setting, which can result in a loss of value.
The good news is that Patek will always restore and repair any watch it has ever made; for other brands watch repairer Steven Hale of SHWR (33 St George Street, London W1) will make the part you need himself if he can't source it elsewhere.
If you do decide to invest in a watch, always ask for a certificate of authenticity and a history of any restorative work. If you want to know the value of a watch you already own, the in house specialists at an auction house will value it free of charge.in regards to cartier bracelet stainless steel screw knockoff up-to-date mode Administrivia suggest give
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Emma Wall explains how to invest in cartier chain love imitation the buoyant market for second hand watches and why steel timepieces can be worth more than gold
When Sotheby's held its first wristwatch sale in New York in 1980, it was a trial auction. After the success of the quartz watch, the mechanical type was on the decline and the market in second hand watches had not yet developed.
How wrong the sceptics were. Since that auction the market has continued to grow: Sotheby's sales in New York, Hong Kong and Geneva hit an all time high last year and sales in the first half of 2008 reached those for the whole of 2007. So much for the credit crisis.
Even in those early days, though, there were clear front runners in the market. Patek Philippe and Rolex dominated, and still do today. Although there are many differences between the makes style and production numbers being the most important the two manufacturers are as popular fake love cartier pendant now as they were 30 years ago.
While Rolex has a much larger modern production run, 800,000 a year to Patek's 50,000, vintage watches from these two brands, particularly from the 1920s to 1960s, are the most sought after and the most valuable.
When the second hand market began in the early 1980s, a Patek Philippe Perpetual Calendar sold for around $10,000 (about 5,000); now you wouldn't get much change from $350,000. This is not a market affected by economic turmoil the average watch collector is male and 35 to 65 years of age, with the cash to indulge his passions.
In fact Alexander Barter, a Sotheby's specialist, believes that anxiety in the financial industry has had a positive effect on the wristwatch market. "The extraordinary thing is that the market is very buoyant," he says. "My feeling is that clients are very reluctant to put their money in stocks and shares, and watches are a tangible asset."
Contrary to what you may assume, gold watches are not necessarily copy chain cartier love more valuable than steel ones. When people bought watches in the 1920s to 1940s they usually bought a special timepiece as a luxury item. The idea of the wristwatch as an indulgent purchase meant that they were traditionally cased in a precious metal. But now, as with all collectables, rarity defines price, and steel is the less common casing for many watch types.
Yellow gold is most common, followed by pink gold then white gold, with steel and platinum the rarest. In difficult economic times, such as after the Wall Street Crash in 1929 and in the period following the Second World War, watches were cased in steel because the price of gold was so high. Now, with sought after watches easily reaching 250,000 at auction, the base value of the metal is no longer relevant.
Barter gives an example: "A Reference 1518 Patek, a very complex hand wound watch from the 1940s which displays the day, date, month and has a stopwatch, was made in a limited run of 281 pieces. Most of these were in yellow gold and would reach around 100,000 in a sale today. Two or three of the watches were made in steel and would now be worth between 800,000 and 1.2m."
But watches' rarity value depends on more than their metal. Generally, the more complications a watch has, the more valuable it is. A complication is any function in addition to telling the time. Complications include displaying the date, day and month; with the addition of a stopwatch function the timepiece is known as a chronograph.
While it is always advisable to buy something only if you really like it, there is no denying the financial returns possible in the watch market. In the past 20 years Patek Philippe and Rolex watches have outperformed a number of other investment sectors and there has been a surge in new buyers entering the market recently, particularly from Asia, which makes for a promising future.
The typical watch collector being male, there is a gap in the market for female vintage watches. You can buy a female vintage watch, even from the more sought after brands, for a fraction of the price of the male version. Their relative cheapness makes them a good investment opportunity as experts believe they will grow in popularity in the future with the rest of the market.
Other investment opportunities in the market lie in bucking fashion trends. Particularly popular at the moment are large round faced gold watches, so it is advisable to pick up a piece with a square or barrel shaped face now in the hope of future appreciation when fashion changes. Lot 73 in the Sotheby's sale on Wednesday, a 1938 Patek Philippe yellow gold rectangular wristwatch with a 3,000 5,000 estimate, is a good example of this.
Lot 91 in the same sale, another Patek, is a particularly fine example of a wristwatch. Although with a higher estimate of 12,000 18,000, this limited edition, pink gold, barrel faced watch is a "jump hour" timepiece, meaning that it has only one hand, the minute hand, and displays the hour in an aperture.
While the market is dominated by Patek and Rolex, there are other brands that perform well at auction and are worth having valued before arranging contents insurance. Cartier, well known for producing luxury goods, does well, particularly copy cartier mens jewelry its watches from the 1920s to 1950s.
The less well known Audemars Piguet is also particularly sought after; its watches from 1920 to 1960 are the most popular.
There is also demand for products from independent watchmakers such as FP Journe, who makes all his own movements and has unusual complications. His design layout is unique and quite different from traditional makers and he does well in a niche market.
It is difficult to predict how independents will fare in the future, however, as they are relatively new to the market by comparison with the big brands.
As with any vintage item, it is important to ensure that any watch you buy is in good condition. Scratched glass can be replaced without too much loss in value, while the crown which you turn to adjust or wind the watch and can often get quite worn can also be replaced, although this can affect the working of the watch. Over polishing can wear down angular watches, changing the shape of the setting, which can result in a loss of value.
The good news is that Patek will always restore and repair any watch it has ever made; for other brands watch repairer Steven Hale of SHWR (33 St George Street, London W1) will make the part you need himself if he can't source it elsewhere.
If you do decide to invest in a watch, always ask for a certificate of authenticity and a history of any restorative work. If you want to know the value of a watch you already own, the in house specialists at an auction house will value it free of charge.
then axed 87 without pay 14 days later
Acuman Services Management workers in Swords said they were "shocked and bitterly disappointed" to discover their jobs were being axed just days after the cartier mens jewelry replica positive e mail was circulated.That e mail, issued on October 10 by director Wilton Farrelly, said the firm had recruited new staff, revamped its structures and begun special training to help grow the operation."Just a quick update e mail to keep you informed about the exciting love bracelets for her replica developments that have happened in Acuman over the last number of weeks.," it read."Our work together between our businesses has only just started and I appreciate the support and enthusiasm that everyone has shown to date.""We are all looking forward to continuing to develop and grow our business."The Swords based firm provided corporate support to other companies and clients included Bus Eireann, Asda and TK Maxx.A subsidiary of Belfast based H Martin, replica cartier love white gold bracelet it closed last Friday with the loss of all 87 jobs.Tom Kavanagh of Deloitte has now been appointed as liquidator."The news that the firm was going into liquidation came out of the blue it was a total shock," Maria Clarke told the Herald."We had absolutely no inkling that Acuman was going to close. There is one girl here who left a job of eight years to join the firm at the end of September. She hasn't even been paid yet," she said.Some staff have been with the firm for almost 10 years.Maria said it was particularly disappointing that the closure was confirmed on Friday when only a skeleton staff were present due to the Bank Holiday weekend.She claimed some employees are still awaiting formal notification that their jobs are gone.The October payroll has not been issued and workers have no idea if they will ever receive wages for their work this month up to the firm's closure.Another employee, Sarah Skeffington, said staff felt they had been treated in an insulting fashion and left without a job and income just weeks before Christmas."It is a terrible way to treat a loyal and dedicated workforce," she said."People are very upset over the way in which the whole thing was handled. Workers here depended on those wages."Acuman Facilities Management was established in 1997 before being acquired by the H Martin Group in 2009.H Martin, which was founded in 1840, said it had invested in the company during the economic downturn and restructured senior management.Belfast based director Wilton Farrelly was out of the office and could not be contacted by the Herald. A company spokesman declined to comment on the October 10 e mail.H Martin said they had decided to appoint a liquidator because Acuman was "unsustainable and unable to continue trading"."The appointment of a liquidator to Acuman Facilities Management is regrettably unavoidable given the collapse of the business's finances in recent years," Derek Martin, joint managing director, said."Despite significant investment of over 2m ( in the business by its parent company and a recent restructuring of its senior management, the business is simply not economically viable."Belfast Telegraph economist John Simpson revealed earlier this year that annual turnover at H Martin had nearly doubled in the last six reported years. Following a fall in turnover in 2006, there had been a series of year on year increases until the total stabilised in 2012.The company has worked on high profile projects including the construction of a media centre for the London Olympics gold love bangle and refurbishment of the Guildhall and Ebrington Barracks for Derry's 2013 City of Culture.in relation to cartier bracelet plating gold nail imitation
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Acuman Services Management workers in Swords said they were "shocked and bitterly disappointed" to discover their jobs were being axed just days after the cartier mens jewelry replica positive e mail was circulated.That e mail, issued on October 10 by director Wilton Farrelly, said the firm had recruited new staff, revamped its structures and begun special training to help grow the operation."Just a quick update e mail to keep you informed about the exciting love bracelets for her replica developments that have happened in Acuman over the last number of weeks.," it read."Our work together between our businesses has only just started and I appreciate the support and enthusiasm that everyone has shown to date.""We are all looking forward to continuing to develop and grow our business."The Swords based firm provided corporate support to other companies and clients included Bus Eireann, Asda and TK Maxx.A subsidiary of Belfast based H Martin, replica cartier love white gold bracelet it closed last Friday with the loss of all 87 jobs.Tom Kavanagh of Deloitte has now been appointed as liquidator."The news that the firm was going into liquidation came out of the blue it was a total shock," Maria Clarke told the Herald."We had absolutely no inkling that Acuman was going to close. There is one girl here who left a job of eight years to join the firm at the end of September. She hasn't even been paid yet," she said.Some staff have been with the firm for almost 10 years.Maria said it was particularly disappointing that the closure was confirmed on Friday when only a skeleton staff were present due to the Bank Holiday weekend.She claimed some employees are still awaiting formal notification that their jobs are gone.The October payroll has not been issued and workers have no idea if they will ever receive wages for their work this month up to the firm's closure.Another employee, Sarah Skeffington, said staff felt they had been treated in an insulting fashion and left without a job and income just weeks before Christmas."It is a terrible way to treat a loyal and dedicated workforce," she said."People are very upset over the way in which the whole thing was handled. Workers here depended on those wages."Acuman Facilities Management was established in 1997 before being acquired by the H Martin Group in 2009.H Martin, which was founded in 1840, said it had invested in the company during the economic downturn and restructured senior management.Belfast based director Wilton Farrelly was out of the office and could not be contacted by the Herald. A company spokesman declined to comment on the October 10 e mail.H Martin said they had decided to appoint a liquidator because Acuman was "unsustainable and unable to continue trading"."The appointment of a liquidator to Acuman Facilities Management is regrettably unavoidable given the collapse of the business's finances in recent years," Derek Martin, joint managing director, said."Despite significant investment of over 2m ( in the business by its parent company and a recent restructuring of its senior management, the business is simply not economically viable."Belfast Telegraph economist John Simpson revealed earlier this year that annual turnover at H Martin had nearly doubled in the last six reported years. Following a fall in turnover in 2006, there had been a series of year on year increases until the total stabilised in 2012.The company has worked on high profile projects including the construction of a media centre for the London Olympics gold love bangle and refurbishment of the Guildhall and Ebrington Barracks for Derry's 2013 City of Culture.
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