Share Name Share Symbol Market Type Share ISIN Share Description
The Artisanal Spirits Company Plc LSE:ART London Ordinary Share GB00BNXM3P96 ORD 0.25P
  Price Change % Change Share Price Shares Traded Last Trade
  0.00 0.0% 88.50 36,713 08:00:20
Bid Price Offer Price High Price Low Price Open Price
87.00 90.00 90.10 88.50 88.50
Industry Sector Turnover (m) Profit (m) EPS - Basic PE Ratio Market Cap (m)
Beverages 62
Last Trade Time Trade Type Trade Size Trade Price Currency
16:38:59 O 25,000 88.58 GBX

The Artisanal Spirits (ART) Latest News

More The Artisanal Spirits News
The Artisanal Spirits Investors    The Artisanal Spirits Takeover Rumours

The Artisanal Spirits (ART) Discussions and Chat

The Artisanal Spirits (ART) Most Recent Trades

Trade Time Trade Price Trade Size Trade Value Trade Type
2021-08-02 15:39:0088.5825,00022,145.00O
2021-08-02 09:46:4887.901,133995.91O
2021-08-02 08:36:1287.0010,0008,700.00O
2021-08-02 07:00:2090.20580523.16UT
View all The Artisanal Spirits trades in real-time

The Artisanal Spirits (ART) Top Chat Posts

The Artisanal Spirits Daily Update: The Artisanal Spirits Company Plc is listed in the Beverages sector of the London Stock Exchange with ticker ART. The last closing price for The Artisanal Spirits was 88.50p.
The Artisanal Spirits Company Plc has a 4 week average price of 84p and a 12 week average price of 84p.
The 1 year high share price is 125.50p while the 1 year low share price is currently 84p.
There are currently 69,605,774 shares in issue and the average daily traded volume is 12,675 shares. The market capitalisation of The Artisanal Spirits Company Plc is £61,601,109.99.
waldron: Https://www.bbc.com/news/world-europe-57536940 THERES AN ART TO THROWING AWAY
waldron: I love these stories Https://www.irishtimes.com/culture/art-and-design/visual-art/the-owners-faces-turned-pale-they-were-speechless-how-a-3m-painting-was-discovered-1.4545686
waldron: Son was helping a friend move Many people use it as an opportunity to throw things out Being a hoarder BY NATURE he came across some unloved easles ready for the dump As a dutiful son he got them for his mum to encourage her to start painting again We bow have a parade of easles DUMPED AT OUR PLACE wife has not taken up painting again as yet but comtemplares another art form FOREST GARDENING
gibbs1: Why art is good for your mental health during Covid-19 Noted French neurologist Pierre Lemarquis explains the mental health benefits of art, never more relevant than during the Covid pandemic 16 February 2021 'Hospital rooms are so empty and impersonal. Having art in them helps' - such as prints of artworks by the likes of Jeff Koons By Connexion journalist Art is vital to our mental health, neurologist Pierre Lemarquis argues in his book L’Art qui Guérit. He is the author of books on the links between ageing and music, and on people with Alzheimer’s and stroke patients who have forgotten how to speak but who can nevertheless recall melodies. Mentally playing music we like in our heads produces the feel-good hormones dopamine and serotonin.
alphorn: Maiden post here! I agree that art is very much what you like. It is also how it fits in with the surroundings and the furniture etc. In the house in Switzerland I would say generally more classical. In the South of France much more lively colours and abstract pictures - plenty of sun and they must make you smile.
maxk: My old art thread is behind a paywall, so I thought to start a new one when I saw this. How I missed it when doing the original thread, I dont know. The eyes have it: Girl with a Pearl Earring – by Johannes Vermeer has fascinated and perplexed art historians for centuries CREDIT: Universal History Archive Contributions very welcome.
sarkasm: Art and Law Another Russian Billionaire Is Suing His Swiss Art Dealer for Allegedly Inflating Prices and Pocketing the Extra The collector says he was inspired to sue after discovering the ongoing legal dispute between Dmitry Rybolovlev and Yves Bouvier. Naomi Rea, July 9, 2018 The Geneva Free Port (Ports Francs) warehouse complex in 2016. Photo by Fabrice Coffrini/AFP/Getty Images. An unnamed Russian billionaire and his son have launched a lawsuit against their art dealer, who helped them build a collection worth an estimated CHF 600 million ($607 million). The family is alleging that the dealer inflated prices to defraud them of millions. The collector, a Baltic industrialist living in Geneva, Switzerland, is accusing the dealer, also based in Geneva, of committing fraud while brokering sales of works by Claude Monet, Pablo Picasso, Breugel the Younger, Joan Miró, and Francis Bacon, according to an investigation by the Tribune de Genève. The dealer in question, who has yet to be named in the press, is apparently not well known to local gallerists. According to documents the Tribune obtained from the Geneva courts, he says he only received a five percent commission on the artworks, totaling CHF 30.8 million ($31 million). The collector said in the legal complaint obtained by the Swiss paper that when he hesitated at the cost of a painting, the dealer offered to forego his commission. The dealer also used multiple offshore shell companies to acquire the paintings, such as Servin International, United Trade Development Company, Finatrading Development, and Wang Tak Trading Development, allegedly to protect the client’s identity. Several of these offshore companies were set up by another local art dealer, Yves Bouvier, also known as the “Freeport King.” Although Bouvier is not named as a party to this lawsuit, he has apparently been heard as a witness in the case. Incidentally, Bouvier is embroiled in a similar legal battle with Russian mining magnate Dmitry Rybolovlev. Both Rybolovlev and the current plaintiffs live in the affluent Geneva neighborhood of Cologny, according to the Tribune de Genève. Bouvier could not be reached for comment. A representative for him told artnet News that they had no knowledge about the present case. The new case also mirrors the ongoing Rybolovlev saga in other ways. Bouvier helped Rybolovlev assemble a staggering collection of art worth more than $2 billion over the course of their 11-year business relationship. But the Russian claims Bouvier defrauded him out of as much as half of that by inflating the prices of 38 works and pocketing the difference. The most notable transaction involved Leonardo da Vinci’s Salvator Mundi, which Bouvier allegedly marked up by $47.5 million. The extensive coverage of the Rybolovlev case in the media alerted this second unnamed Russian art collector that the same thing might have happened during his own collecting. The Public Prosecutor’s Office of Geneva confirmed to artnet News that this investigation was ongoing but declined to comment. The Office of the Attorney General of Switzerland says it is not involved in the case at present. UPDATE, July 10: The Art Newspaper reports that the Russian collector behind the lawsuit is Vladimir Scherbakov, an automobile magnate who has also played a major role in Russian politics. Sources identified the dealer as Thierry Hobaica, who previously worked with the famous Swiss dealer Jan Krugier. Both Scherbakov and Hobaica declined to comment to the newspaper. Follow artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. Share Naomi Rea Associate Editor, London
the grumpy old men: What Geneva’s Art King Lost in Battle With Russian Billionaire By Hugo Miller 7 février 2017 à 08:19 UTC+1 Updated on 7 février 2017 à 19:17 UTC+1 Spat with billionaire Rybolovlev runs from Monaco to Singapore Battle has forced Bouvier to suspend Shanghai free port As he described the two-year legal battle with the man who had been his best client, art dealer Yves Bouvier contemplated the damage that has left him down by nearly $1 billion. “When something like this happens in your life, your outlook on life and on people changes, as do your priorities,” Bouvier said in an interview. “As to the future, I don’t know what I’m going to do.” Yves Bouvier Photographer: Jerome Chatin/EXPANSION/REA/Redux Bouvier, a minority shareholder in the Geneva Free Ports, created a network of tax-free art storage warehouses in Singapore and Luxembourg while discreetly acquiring dozens of works by Pablo Picasso, Claude Monet and Amedeo Modigliani to sell to Russian billionaire Dmitry Rybolovlev. Then, in February 2015, he was arrested on fraud charges by a team of eight Monaco police officers outside a seafront mansion owned by the Russian. The fight between the two men has spurred a debate across the art world about whether Bouvier acted illegally or simply benefited from the lack of transparency in the art market, allowing him to generate enormous profits from his deals with the Russian. In the roughly $60-billion-a-year business of fine art, a central question has become what duty, if any, middlemen have toward collectors or sellers. Rybolovlev, who made his fortune when he sold two Russian fertilizer producers in 2010 and 2011 for almost $7.5 billion, says Bouvier overcharged him by about $1 billion for a series of paintings that now make up one of the world’s great 20th century collections. Rybolovlev contends that Bouvier had a fiduciary duty to act in his clients’ interest, but instead misrepresented the prices at which he was able to secure paintings. That amounted to hidden markups of tens of millions of dollars on several canvases, Rybolovlev says. For a QuickTake explainer on legal battles in the art world, click here Lost Revenue Bouvier says there was no broker-client relationship between the two men and that Rybolovlev was merely a good repeat customer who willingly paid top dollar. Bouvier says that as a result of the hit to his reputation he’s foregone “many hundreds of millions of dollars” in revenue from art deals in each of the past two years as his networks dried up, leaving him with "insignificant" revenue from dealing art. “Today, I can no longer discreetly buy a painting,” said Bouvier, 53, dressed in jeans and a blue-and-gray merino wool hoodie, after tucking into a lunch of leeks, steak tenderloin and fries at Geneva’s Hotel Kempinski. “Before, if I wanted to buy a canvas, people dealt with me normally. Now, after what’s happened, they’re twice as difficult to negotiate with or they don’t even want to negotiate with me because they’re afraid.” In Monaco, the criminal probe is entering its third year and is now under a new investigating magistrate. Ron Soffer, his Paris lawyer, said in a separate exchange that he’s confident Monaco will decide not to formally charge Bouvier and close the case. Rybolovlev also sued the dealer in a civil action in Singapore, where Bouvier is a resident, initially resulting a freeze of as much as $500 million of Bouvier’s assets in March 2015. That injunction was reversed five months later by the Singapore Court of Appeal. Judges there are set to deliberate at the end of this month on whether Singapore is the appropriate jurisdiction for the case. A spokesman for Rybolovlev, who lives in Monaco, declined to comment for this story. Questioned in Monaco Over two days last month at Monaco’s Palais de Justice, across the square from Prince Albert II’s 13th century castle home, Bouvier met with Morgan Raymond, who is leading that probe. Bouvier said it was the first time he had been questioned by a magistrate since he spoke to police at the time of his arrest. “He asked me fair questions and I answered all of them to the best of my knowledge,” Bouvier said. Raymond declined to comment through his clerk. Prosecutors in Geneva also looked into Bouvier’s affairs after Monaco magistrates asked for assistance in early 2015, said Jean-Bernard Schmid, who led the Geneva probe. Bouvier’s offices at his art storage company Natural LeCoultre SA, which is based at the Geneva Free Ports, were searched and his Geneva bank accounts were briefly frozen. However, there wasn’t jurisdiction to pursue a case given the alleged wrongdoing happened elsewhere, nor were there grounds to pursue him for suspected money-laundering in Geneva without proof of wrongdoing, Schmid said. However, there were no grounds to pursue a case against Bouvier for suspected money-laundering, the only possible charge against him in the affair, Schmid said. No matter how things play out, Bouvier’s future in the art business will not be easy, said Karen Sanig, head of art law at Mishcon de Reya London, who isn’t involved in the case. "Given that Bouvier’s reputation may have suffered following a very public spat about art dealing, it could be difficult for him to be considered as the first port of call in a private art deal," she said. Bouvier is a majority shareholder in both the Luxembourg and Singapore free ports. Bouvier declined to say if those businesses have been hurt by the scandal. A few customers had left the Geneva Free-Ports, the facility’s president said last year. Philippe Dauvergne, chief executive officer of the Luxembourg free port, said the scandal cast a shadow over the December 2014 opening of the site. “Right away it had an impact, and so we didn’t begin as we had hoped,” Dauvergne said in an telephone interview. The Luxembourg Free Port is about 75 percent full and should become profitable over time as the loans required to finance its construction are paid off, he said. Suspending Projects Bouvier said his love has always been developing new centers, but he may no longer have that choice. He’s had to suspend other projects including a planned free port in Shanghai. Before their falling out, Bouvier had commissioned art historians and critics to compile a 600-page guidebook to 40 paintings he had sold over the years to Rybolovlev. He said he planned it as a gift to his erstwhile client to celebrate the collection, but it remains ungiven. “The opportunity to buy masterpieces, sell masterpieces, create this collection - that’s something you can only do once in your life,” Bouvier said. Before it's here, it's on the Bloomberg Terminal. LEARN MORE
the grumpy old men: The art market turns ugly By: Simon Wilson 12/06/2016 0 comments Picasso’s Les Femmes d’Alger © Alamy Picasso’s Les Femmes d’Alger fetched $179.4m Art has been a popular and successful investment since the 2008 crisis – but now there are jitters in the market, and not just over the bubbly prices. Simon Wilson reports. Has the art market peaked? Probably. Since the 2008-2009 financial crisis, investing in art has proved a winner – particularly contemporary art, which has doubled in value. Specific segments of the market have boomed beyond all rational explanation and are well into speculative bubble territory. For example, the emerging genre of “zombie formalism” – art that is essentially just shinily attractive and lacking in any representational or narrative content, and is thus perfect for trading as an asset class – saw prices shoot up wildly before deflating last year. We also saw some record auction prices being achieved ($179.4m for Picasso’s Les Femmes d’Alger; $170.4m for Modigliani’s Nu couché), as well as even higher reported prices for (harder to verify) private sales – including a Gauguin and a Willem de Kooning for $300m each, and a Jackson Pollock for $200m. Yet overall in 2015 the art market shrank. How much has it fallen by? According to the most widely cited survey of the global art market, an annual report by The European Fine Art Fair (TEFAF), the global market contracted by 7% in 2015, with worldwide sales of $63.8bn. That’s 7% lower than the record high of $68.2bn achieved in 2014. The figures are compiled for TEFAF by art economist Dr Clare McAndrew, and include auction sales (for which figures are relatively easy to obtain) and sales by dealers (which are self-reported, and therefore less reliable). The main source of continuing strength in the market is America, which accounted for 43% of total sales (up four percentage points on 2014). The next-biggest markets are the UK (21%) and China (19%), but both shrank in 2015. China saw a serious slump of 23% on McAndrew’s figures, while the UK market fell by 9%. And this year? The downward trend seems to be continuing. The big London sales in February saw markedly less bullish trading volumes and prices. And last month, in the most hectic trading week of the art market year, Sotheby’s, Christie’s and Phillips in New York sold $1.1bn worth of Impressionist, Modern and Contemporary art. That might sound a lot, but the equivalent total last year was $2.7bn. The nervousness in the market is being driven, say analysts, not just by jitters over the direction of the global economy – and in particular the collapse of confidence in Brazil and China – but by the growing sense that, more than ever, the opacity of the art market makes it a legalised form of insider trading, where nothing is quite what it seems. Is there insider trading in art? Take the role played by auction houses. Are they merely disinterested market makers facilitating the coming together of sellers and buyers? Or are they market participants – in effect dealers, who use perfectly legal but decidedly opaque tactics to maximise revenues and profits on the paintings they are dealing in? The surge in the number of works being sold in which auction houses have a financial interest, and the use of third-party “guarantees221; to sellers, means that increasingly art market analysts see them as the latter. In order to attract custom at the high end of the market, auction houses – including the big two, Christie’s and Sotheby’s – increasingly pre-accept “guaranteed221; minimum bids from anonymous collectors or dealers. How does that work? Guarantors undertake to a pay an agreed base price, but may also then participate in the public auction, and – under a byzantine fee structure – take a slice of the profit if they don’t end up as the buyer. To complicate things, the auction houses also lay off some of the risk on the most valuable works to dealers or collectors, who put up their capital in return for a fee. All this means that it’s possible, for a sophisticated collector, to get a decent return simply by acting as a guarantor, and relatively easy artificially to prop up the market in a particular artist (and even get a fee for doing so). Why does all this matter? Clearly, it doesn’t much matter to anyone if a billionaire is overcharged a few million for a luxury object whose value depends solely on what someone is willing to pay. That’s the accusation levelled by Russian oligarch Dmitry Ryboloblev against Swiss dealer Yves Bouvier in a notorious long-running legal case, involving claims that Bouvier charged Ryboloblev hundreds of millions pounds more than he paid for 40 major works (Ryboloblev says he thought Bouvier was his agent, charging a 2% commission; Bouvier says he was merely a dealer). And, of course, art auctions have always been partly about smoke and mirrors, notorious for “chandelier bidding” (imaginary bids) and the like. But what does matter is that the opacity of the system – the fact that even at a public auction the published price is not the price actually paid. This makes the entire market vulnerable to price gouging, ramping and outright fraud – and potentially even money laundering and tax evasion. Is art a sound investment? Art is often described as a useful means of diversifying an investment portfolio. In reality, like many other supposedly “uncorrelated” asset classes, it did not live up to that billing during the financial crisis of 2008 and the stockmarket crash of the late 2000s – prices still fell. Moreover, transaction costs are high, at up to 4%, making art a notably expensive (and illiquid) asset to trade. What art has going for it is that it is tangible, easily moveable, and easily storable in modern “free port” warehouses – all attractive qualities for people rich enough to worry about mitigating their tax liabilities in different jurisdictions. But nowhere is the old warning “caveat emptor” more apt. As the artist and critic Walter Robinson – coiner of the phrase “zombie formalism” – puts it: “Since the entire market is entirely irrational, it can’t be rationally interpreted.”
waldron: Rent art from an artothèque Connexion edition: September 2012 IF YOU have an image of the art world as snooty and over-priced, it could be time for a rethink - it is actually becoming easier and cheaper to enjoy art works in your home. The change is spearheaded by websites offering alternatives to visiting galleries to buy art. For example, the French site www.artactif.com was offering 38,624 pieces by 1,497 artists, when we visited. They range from paintings and sculptures to mosaics and tapestries, with prices from tens to thousands of euros. Artists pay a set fee to show off their work. Another site www.arteum.com is more selective in the art it sells. Artistic director Ivan Alvarez said: "We make a selection from artists who send us their portfolios or, in other cases, we invite artists that we like." It also has three Paris shops. "A lot of people prefer to buy online, but others come and look in person and then buy on the net afterwards - if it's a print, for example, we'll have it in all of the shops, though if it's an original we'll arrange for the client to see it in a shop," said Mr Alvarez. Arteum claims that if you do visit in person, its shops are less off-putting than traditional galleries - and cheaper. "We want to make them accessible - not to give the impression you must be rich or a connoisseur to visit - the prices are reasonable. A lot of galleries put speculative price tags on their art but the prices are fictitious. We discuss the price with the artist and fix a price that is reasonable. In particular, for prints we are able to sell more copies than an ordinary gallery, so we can negotiate a lower price." Contemporary art gallery firm www.artgeneration.fr also combines a site and a Paris shop, with around 4,000 works on sale on the site, starting at €60 for original paintings. As an additional guarantee you have two months to decide whether or not you like a purchase - if not, you can return it and receive a credit to use to buy a different artwork. The Boucle d'Art gallery (www.boucledart.fr) has an original approach - it offers to create art to order, for example based on your photographs, and using a variety of different media. It says its in-house artist will create "any work of art, that only exists in your head", including ones in the style of artists you admire. If you would like to be able to hang on your wall an expensive piece of modern art that would otherwise be unaffordable, investing in art at www.myartinvest.com is a possibility. The site allows you to buy shares in a piece of art by a world famous artist, including names like Damien Hirst or Jeff Koons, from one to 100 shares (you own the piece if you have 100 shares). The shares can later be resold on the site if you wish, and from five shares bought in a work you get the chance to keep it at home for a month. An inexpensive option for enjoying art at home - if you do not mind not keeping it for too long - is to use an artothèque; like a library for art. These lend works of art to individuals, firms and schools for a moderate sum. For example the Artothèque de Caen charges individuals €10 per work for two months, or for a yearly subscription of €60, you can have two works every two months. The Médiathèque François Mitterrand in Poitiers charges €16 for locals, €33 for others, for an annual subscription allowing two works of art for 60-day periods. Find one near you at: www.tinyurl.com/Artotheques Art benefits from low capital gains tax - just 5% - which is paid by the dealer for you if you sell to a professional. Art can also be counted among "furnishings" in the case of inheritance (which can be valued at a set 5% of the rest of the estate). It may also be left out of the tally of your property for purposes of French wealth tax.
The Artisanal Spirits share price data is direct from the London Stock Exchange
ADVFN Advertorial
Your Recent History
The Artisa..
Register now to watch these stocks streaming on the ADVFN Monitor.

Monitor lets you view up to 110 of your favourite stocks at once and is completely free to use.

By accessing the services available at ADVFN you are agreeing to be bound by ADVFN's Terms & Conditions

P: V: D:20210803 05:43:38