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Lot 290a
Carl Flick (1904 - 1976) "Back Yard". Signed and dated (1935) lower right. Titled verso. Oil on Board. In response to a letter asking for advice on painting, in 1929, Grant Wood traveled to the Amana religious Colony near Cedar Rapids, Iowa to meet the author of the letter, a struggling young artist named Carl Flick. An account of this meeting was chronicled in a period Cedar Rapids Gazette news article in which was written, "A few months ago, Mr. Wood received a letter from Carl Flick of West Amana. He wished for information concerning proper brushes for painting foregrounds in landscapes. The well-known Iowa artist went down to answer the query personally. There he found, with no art training, no experience that had taken him beyond the peaceful valley where seven old fashion villages sleep, a colonist painting atrocious poster scenes with brushes dipped in genius. Grant pushed aside the vivid copies of gaudy sunsets and Venetian moonlights to show the young man the wealth of painting material that lay around him. ? the corner of the mill, his own backyard, the quaint blue doorways, the picturesque stone homes, and the millrace fringed with pickerel week and willows." The advice Wood gave to Carl Flick to paint what is in your midst was to become one of the rallying cries of regionalism and was of course the lesson Wood himself had learned after so many trips to Europe in his own search of art. In a letter written to an admirer in 1932, Flick wrote of his work, ?It was then he (Wood) opened my eyes to the beauties of my surroundings and showed me how to sketch. Through Mr. Wood?s influence, I learned to see objects around me in a different light.? Sight Size: 13 x 15 in. Overall Size: 19 x 21 in.
Lot 247a
Beautifully done 18K white gold and diamond Victorian Style Bracelet. Having bands set with dual rows of round cut diamonds leading into the 4 baguette cut diamonds with a beautiful Yellow Marquise Cut Center Diamond. Stamped "18k" on clasp. Approx Center Stone Weight: 1.5ct. Approx Total Stone Weight: 2.5ct. (excluding center stone). Overall Weight: 24.75 g. / 0.79 ozt. Overall Length: 7.5 in. All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier's check, no other forms of payment will be accepted.
Lot 175d
Elsa Peretti, 18k Gold Tiffany & Co. Diamonds by the Yard Bracelet and Necklace with original Tiffany & Co bag. Necklace & bracelet each containing 5 round cut diamonds beautifully displayed in open ended bezel setting. Marked "Tiffany & Co." "750" "Elsa Peretti" on clasp. Approx. Total Stone Weight: 1 ct. Lengths: 6.75 / 16 in.
Lot 55
A late Victorian silver Presentation Trowel, by Fenton Brothers Ltd., hallmarked Sheffield, 1898, the shield shaped trowel with presentation inscription 'Presented to Rita Falconer on the occasion of her placing a Memorial Stone of the Wesley Mission Hall Skeldergate, York, Nov. 22nd 1899', with ivory handle, 9in (23cm) long, together with a silver cigarette case, 2.9ozt, two silver handled hand mirror, leather wallet and a small quantity of silver plate (a lot)
Lot 179
A 9ct yellow gold Pendant, of V shape, set with three oval emeralds and two diamond points, on a narrow 9ct trace chain, together with a small ruby and diamond ring set on the cross, mounted in 9ct yellow gold, Size L, a small sapphire and diamond ring in 18ct yellow gold, Size K, a small three stone diamond ring, one stone missing, Size M, a broken 9ct yellow gold trace chain, 3.3g (a lot)
Lot 72
Tom McGuinness (1926-2006) ''Waiting for News'' Signed and dated (19)69, mixed media, 9.5cm by 41cm Provenance: Gallery 2, Darlington Exhibited: Exhibition of Mining Art at the National Trust House, Nunnington, 2006 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Born in 1926 in Witton Park, County Durham Tom McGuinness showed a predilection towards sketching from an early age. After leaving school in 1940, he worked in the Meadow Dairy Grocery shop, and then the timber trade until 1944, when he was signed up to the coal industry, as part of the conscriptions enforced by the Bevin government, to counteract falling labour within the industry during World War II. His path to receiving formal training in art was initiated when his Colliery training officer found Tom sketching in chalk down the mines and suggested he join Darlington School of Art. Like his contemporary Norman Cornish, Tom McGuinness was greatly encouraged in his artistic endeavours by Bill Farrell and the Spennymoor Settlement which he joined in the 1940's. Bill Farrell suggested the two men should ''paint what they knew'' and of course this direction led to the evocative renditions of the mining community which we appreciate today, albeit in two highly distinctive styles. McGuinness exhibited annually at the Darlington Art Society, and held his first solo show in 1958, at the offices of the Coal Industry Social Welfare Organisation in Hobart House, London. His work was also exhibited at the Stone Gallery, Newcastle-upon-Tyne which brought him high critical acclaim. In 1983, he was made redundant from mining and finally turned to painting as a full time occupation. A major retrospective touring exhibition held in 1997 at the Bowes Museum ''Mines a McGuinness'' compounded his significance as a mining artist further. Throughout his career Tom exhibited in over 40 solo and over fifty joint exhibitions.
Lot 77
Norman Stansfield Cornish (1919-2014) ''Solitary Miner'' Signed, watercolour heightened with white, 14cm by 22cm Provenance: The Stone Gallery, Newcastle upon Tyne Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Born in 1919 in Oxford Street, Spennymoor, Norman Cornish began working in the mines on Boxing day in 1933 and not long after he was accepted as a member of the Spennymoor Settlement, at just the age of 15. It was here that he met the author Sid Chaplin and fellow mining artist Tom McGuinness. The artists of the Settlement exhibited regularly at the Laing Art Gallery in Newcastle and directly after the war Cornish held his first solo exhibition at the People's Theatre in Newcastle. The sale of five of his works at the exhibition resulted in him being asked to curate an exhibition on Oxford Street in London ''Art by the Miner''. The exhibition was organised to create awareness of the newly nationalised coalmines and resulted in Cornish being interviewed on television, it transpired that he was a natural speaker and he continued to converse with the media throughout his career. Cornish exhibited throughout the North East and nationally and in 1959 he first exhibited at the acclaimed Stone Gallery in Newcastle upon Tyne. The gallery prided itself on representing artists with local connections such as Sheila Fell and L.S Lowry in addition to many of the internationally acclaimed historical and old master artists. Cornish established a long standing relationship with the gallery which lasted for over twenty years.
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