The Donal C. O'Brien, Jr. Collection of Important American Sporting Art and Decoys | Session III

THE DONAL C. O’BRIEN, JR. COLLECTION

OF IMPORTANT AMERICAN SPORTING ART AND DECOYS SESSION III

J U LY 1 9

THE SPORTING SALE 2018

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“I happened to come at decoys from all sides - a love of waterfowl, an ardent interest in gunning and decoy making, and an admiration for the decoy as an art form.

The result is an irrevocable intertwining that makes it impossible for me to separate or quantify what pleases me in decoys.�1 -Donal C. O’Brien, Jr

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THE DONAL C. O’BRIEN, JR. COLLECTION

OF IMPORTANT AMERICAN SPORTING ART AND DECOYS SESSION III

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THE DONAL C. O’BRIEN, JR. COLLECTION

OF IMPORTANT AMERICAN SPORTING ART AND DECOYS

“If I were to pick a pair of decoys to illustrate the art of decoy making, I would pick the Ward Brothers 1936 canvasbacks.”

- Donal C. O’Brien, Jr.

DCOB 4

JR

All lots in this catalog bear the O’Brien Collection ink stamp featuring a silhouette of a Ward Brothers 1936 model canvasback. This stamp is exclusive to lots in the O’Brien Collection auction sessions.

THE SPORTING SALE SCHEDULE OF EVENTS

Auction to be held at Hotel 1620 | 180 Water Street | Plymouth, Massachusetts Wednesday, July 18 Dealer Exhibition Cocktail Preview

3:30PM - 5:30PM 5:30PM - 7:30PM

Thursday, July 19 Dealer Exhibition 9:00AM - 5:00PM Auction Preview 10:00AM - 12:00PM Auction Session III of The Donal C. O’Brien, Jr. Collection 1:00PM Friday, July 20 Dealer Exhibition 9:00AM - 2:00PM Auction Preview 8:30AM - 10:00AM Auction, Day II 10:00AM

CONTACTS THE DAY OF SALE On Site: 617.536.0030

Cinnie O’Brien: 617.501.7544

ABSENTEE & TELEPHONE BIDS Please visit copleyart.com to leave absentee and telephone bids or use the bid forms found in the back of this catalog.

ONLINE BIDDING Live online bidding through Copley Live and Bidsquare

Please review the Terms and Conditions of Sale of page 202 and Important Notices on page 6 of this catalog.

For further information please contact us at 617.536.0030.

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THE SPORTING SALE IMPORTANT NOTICES 1

lease be advised that all persons wishing to bid at this auction P should read, and be familiar with the Terms and Conditions of Sale in this catalog prior to bidding.

2 Buyer’s premium A buyer’s premium of 20% (23% for online bidding) of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the Buyer to Copley Fine Art Auctions, LLC as part of the purchase price.

9 Additional images For lots with multiple items and only one shown, please visit copleyart.com for additional images.

10 Stands Please be aware that stands are not included with items purchased.

11 Condition description of wear or gunning wear

3 Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for our Winter Sale 2019. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com.

4 Pre-registration Although you may register at the time of sale, we strongly encourage pre-registration to save you time at check-in. PreRegistration forms are available online, as well as in the back of this catalog.

5 Absentee and telephone bidding If you plan to place absentee bids or to bid by telephone, please make sure that we receive your Absentee/Telephone Bid form at least 24 hours before the start of the sale. It is possible that any bids received after this time may not be accepted. You will receive confirmation of your absentee bid(s) within 24 hours of receipt. If you do not receive confirmation, please call our office at 617.536.0030.

6 Sales tax

12 Condition description of “As found” The “as found” designation denotes that condition issues are not listed. It is the responsibility of the buyer to determine condition. The item is sold with any faults and imperfections that may exist.

All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate, or copy thereof while registering. Failure to do so will subject the bidder to a mandatory 6.25% Massachusetts sales tax on purchases.

13 Auction results

7 Inspection of items offered at this auction

14 Pick up and shipping

All items are sold as is and should be inspected either personally or by agent before a bid is placed. Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. Although condition reports may be given on request, such reports are statements of opinion only.

Regardless of whether or not a condition report is given, all property is sold as is. The absence of a condition report does not imply that the property is in good condition. Copley Fine Art Auctions, LLC reserves the right at its sole discretion to refuse condition requests.

Buyers wishing to pick up items at the sale must do so on the day of the sale. Buyers wishing to pick up items after the auction at our office may do so only by appointment starting five days after the sale. If you would like your items shipped, please complete and return the Authorized Shipping Release form found in the back of this catalog.

On site: 617.536.0030 Cinnie O’Brien: 617.501.7544

8 Flat art dimensions

Auctioneer Peter J. Coccoluto MA License #2428

Please be aware that all flat art dimensions are approximate and are rounded to the nearest quarter inch.

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ear or gunning wear may include all types of wear and W damage that can be inflicted, and may be expected from hunting, handling, use, or time. This may include, but is not limited to, paint wear, flaking, dings, scratches, checks, cracks, craquelure, age lines, dents, chips, rubs, blunts, broken eyes, shot scars, seam separations, raised grain, rust, filler loss, sap, discoloration, and altered rigging or stick holes, and eyes. The condition of the undersides may not be listed.

Clear coats such as varnish, shellac, and oil may not be listed. Repairs and restorations may include new material.

Paint listed as “working” or “old” is likely not original. Repairs and construction features that are original to the work, including but not limited to putty, bungs, plugs, patches, and stabilization, may not be mentioned. Replaced and repaired bills may include touch-up near insertion point and extend through back of head, if applicable. Radiographs, or X-Ray images, may be available by request for select lots. Please submit additional condition report requests at least ten days prior to the sale date.

Unofficial auction results will be available online approximately one week after the auction at copleyart.com.

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THE SPORTING SALE

THE DONAL C. O’BRIEN, JR. COLLECTION

OF IMPORTANT AMERICAN SPORTING ART AND DECOYS

Donal C. O’Brien, Jr. in his decoy room, New Canaan, CT, c. 1985.

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Front Cover: Lots 14, 54, 12, 39, and 9 Back Cover: Lots 2, 66, 20, 27, 33, 21

Catalog by: Stephen B. O’Brien, Jr. Cinnie O’Brien Colin McNair Leah Tharpe Chelsie Olney Amy Lunderville Jim Parker Special thanks to: Bob White Glenn Olson Bill Taylor Katie O’Brien Donal C. O’Brien, III Connan Ashforth Kit Rohn Carrie Thomas Color photography by: Amy Lunderville (decoys) Gavin Ashworth (home interior) Design by: Stephen B. O’Brien, Jr. Amy Lunderville Colin McNair Cinnie O’Brien Printed in the USA on recycled paper

© 2018 Copley Fine Art Auctions, LLC. All rights reserved.

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Donal C. O’Brien, Jr. fly fishing in Canada, 1941.

TABLE OF CONTENTS

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Schedule of Events

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Important Notices

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A Tribute to a Gentleman

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Introduction

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The Life of Donal C. O’Brien, Jr.

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Session III: Decoys

194

Carving Results

195

Conservation Organizations

196

Endnotes

197

Bibliography

198

Index of Artists & Makers

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Buyer Pre-Registration Form

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Absentee/Telephone Bid Form

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Terms and Conditions of Sale

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Authorized Shipping Release Form

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Gunning rig of divers made by Donal C. O’Brien, Jr. 10

A TRIBUTE TO A GENTLEMAN AND A COLLECTOR

by Bob White

I first met Donal at a decoy show out on Long Island, New York, in a town called Babylon. That was back in 1965, so I am proud to say that he and I were friends for a good part of our lives. If I were asked to describe Donal, I could do that with one word. He was a gentleman. It was always clear to me that his attributes of being a courteous, gracious man with a strong sense of honor would fit well with the definition of a gentleman. That was Donal.

He was also a fine decoy carver and he had many blue ribbons to prove it. In my opinion, when he was carving, he was as good as anybody at that time. As time went on, he moved away from competition carving, but continued to make great decoys for his own gunning rigs.

Donal really loved duck hunting, especially shooting black ducks. He used to shoot black ducks in thirty feet of water off the breakwaters. The ducks would fly right to the walls and drift down with the dropping tide, feeding on marine life that was found in and on the breakwaters. It was a highly successful and exciting form of shooting. He never used a blind, just sat in dark clothes in front of the breakwaters. The ducks never saw him. He was the real thing when it came to carving and shooting. I always respected him for that.

As one of the early collectors, he was there when Mackey, Johnson, and Earnest were all picking. Many times he would pick right from the source. Because of his passion for decoys, he went on to assemble one of the best collections in the world and he enjoyed every minute spent doing it. He really loved the old decoys.

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Donal and Katie O’Brien, c. 1976.

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INTRODUCTION

by Stephen B. O’Brien, Jr.

My uncle, Don, was a force. He was a sportsman, a birder, a conservationist, and a collector. He was a mentor, a friend, and a strong leader who never walked into a meeting that he did not want to run.

Don flourished in virtually every arena he entered. An avid duck hunter, he was a crack shot as well as a master dog trainer. Don shot driven grouse on the moors of Scotland and he hunted quail with Presidents. He and his wife, Katie, went birding around the globe, including Costa Rica, Antarctica, Africa, and the Galapagos. He was an observant student of the natural world and put his keen senses to use in the artistry of his bird carving, twice winning the US National Amatuer Championship.

A world-class angler, in 1982 Don set an IGFA world record, landing a forty-seven pound Atlantic Salmon on the Grand Cascapedia. Concerned about the decline of Atlantic salmon stocks, he went on to chair the Atlantic Salmon Federation for over a decade. Fittingly, over twenty years later, Don landed and released an even larger salmon on the very same river.

An artist through and through, Don’s mediums were numerous and varied, ranging from the realism of family photography to the vernacular realm of decoy carving. Don and Katie utilized the interior of their house as their greatest canvas. Anyone who has visited the O’Brien home is immediately struck by not only the depth of their collection, but also the tasteful manner in which it is displayed. Carefully selected objects grace their daily living spaces in a down-to-earth fashion. Their historic home, tucked away in the woods along the Mill River in New Canaan, proved to be the ideal counterbalance for Don, away from the pressures of practicing law at Rockefeller Center.

During the early days of decoy collecting, Don was amongst the first to recognize decoys as a true American art form, rather than simply utility objects. Following in Joel Barber’s footsteps, he was one of the most important early source collectors. He acquired many carvings from their original context, ensuring impeccable provenance. Consequently his collection, built and curated over six decades, is virtually unrivaled in its breadth and quality. At the time of his passing, the collection totaled over 500 objects and constituted a remarkably complete array of classic sporting art and decoys. Considered by many to be the finest decoy and American sporting art collection ever assembled, this marks the first time that many of these objects have been been shown publicly since 1981, when selections of the collection were exhibited at the Museum of American Folk Art in Manhattan.

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One of the truly unique things about my uncle was his longevity in the field. By 1944, before the age of ten, he felt compelled to cut a decoy out of his grandfather’s rig and display it on the shelf. Throughout the 1960s, O’Brien was at the epicenter of the field’s formation, along with his friends William J. Mackey, Jr. (1915-1972) and Adele Earnest (1901-1993), and thus the number of decoys in the O’Brien Collection carrying the Mackey or Earnest provenance is astounding. Don never stopped to rest on his laurels; his collection was always improving and he continually sought out opportunities to make it better, constantly upgrading.

Over the years, I have learned a tremendous amount from Don about decoys, hunting, fishing, art, and life in general. During my travels I have been fortunate to meet titans of industry, top of the field collectors, highly competent sportsmen, passionate conservationists, and accomplished artists. However, I have never met anyone who meshed together all these callings as seamlessly as Don. He was a transformative figure in many realms and the collecting field was no different. Copley’s Sessions I & II of the O’Brien Collection set 19 world records. The O’Brien Collection was 100% sold by lot and soared well over its high estimate. The average price per decoy lot was a staggering $27,000, shattering the previous mark set at the McCleery sale in 2000.

Copley is once again thrilled to honor this Renaissance sportsman. This sale, featuring some of the finest carvings known to exist, will be the final session of O’Brien waterfowl decoys to cross the auction block. These objects will move on to their next destinations and become key pieces in other important collections. We, at Copley, are privileged to host this historic sale.

Stephen B. O’Brien, Jr. nephew of Donal C. O’Brien, Jr. owner, Copley Fine Art Auctions, LLC

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“I like the whole thing, feeling the cold, picking up the decoys, and when I come home on Sunday and think about what I did on Saturday, I’m revitalized and prepared to go back to the office to be civilized for days.”2 -Donal C. O’Brien, Jr. on his love of duck hunting

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THE LIFE OF DONAL C. O’BRIEN, JR.

by Chelsie Olney

In 1934, New Yorker Joel Barber published the

Donal Sr. introduced his four boys to fishing and

seminal book Wild Fowl Decoys. On May 16 of

hunting at an early age. It was during his summers

the same year Donal C. O’Brien, Jr. (1934-2013),

in West Hampton that Donal Jr.’s love for the

one of the world’s greatest sportsmen, collectors,

natural world began to take shape. When Donal

and conservationists, was born. Donal lived an

was five years old he received a Wendell Gilley

extraordinary life dedicated to his passions, and

miniature duck carving as a Christmas gift from

chief amongst his passions was his family (see

his parents. In the 1930s and 1940s Gilley

Family section on page 41). Donal enthusiastically

sold his miniature carvings through Abercrombie

involved his wife and children in his outdoor

& Fitch in New York City for $5 each.

pursuits, especially hunting and fishing which run

Thereafter, on his birthdays and every Christmas,

deep in the O’Brien family.

Donal would ask his parents for a Gilley duck

The eldest son of Donal C. O’Brien, Sr. (1901-1976) and Constance Booty O’Brien (1907-1990), Donal was raised in Manhattan, but spent his childhood summers in West Hampton, Long Island. Along with his three brothers, Dave, Jon, and Steve, he explored the vast bays, beaches, and marshes of eastern Long Island. The sharp contrast between these two distinctly different landscapes played a critical role in Donal’s life. He learned to navigate the fast-paced world of Manhattan, while at the same time pursuing the bounty found in the marshlands and still-wild spaces of the Hamptons.

Donal C. O’Brien, Jr. grew up enjoying many of the same outdoor pursuits as his father and grandfather. Donal Sr. spent his summers in East Quogue where he remembers, “We spent most of our time on the bay sailing to Tiana Beach for ocean swimming, trolling for snappers, crabbing, and when I became old enough I would go snipe shooting.”3 Postcard from Donal C. O’Brien, Sr. to his father, Dr. Henry L. O’Brien, discussing shorebird hunting, April 17, 1920.

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Donal recalls, “I would cut them [decoys] out of my grandfather’s [Henry L. O’Brien’s sink-box] shooting rig and then take them into my bedroom‑they were my toy trucks and teddy bears.” 6 Dr. Henry Lewis O’Brien (1864-1923) was a turnof-the-century sportsman and collector, as well as a family man. Henry shared his love of hunting and fishing with his nine children, which cultivated Donal C. O’Brien, Sr. teaching Donal (left), and his younger brother Dave (right) how to row, West Hampton, 1939.

his grandson Donal’s appreciation of both the natural world and strong family connections.

Henry served in World War I, lived in Brooklyn for

carving until he had collected all the duck species Wendell carved. In the 1960s, when legal work brought Donal to Maine, he introduced himself to Wendell and they became very close friends, hunting ducks, grouse, and woodcock together.

They also carved and painted together, and Gilley showed O’Brien how to make superior carving knives out of hacksaw blades.

According to a 1971 Sports Illustrated profile, Donal Jr. “became interested in ducks when he was five and by the time he was ten and began shooting with his father, he could identify every duck he saw.”4 In the book The Birding Life, O’Brien reflects, “I just loved the way they flew, the way

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Childhood sketch.

they looked, the different habits they exhibited.

over fifty years, and worked as a dental surgeon.

I’ve been watching them for so long I can identify

Always fascinated with history and archeology, Dr.

every species of duck in North America from a half

Henry L. O’Brien put together one of the largest

mile away, just by looking at the way the move

collections of Indian relics ever assembled on Long

through the air.”5 In addition to sporting pursuits,

Island. Henry would often gather his many children

Donal developed a passion for art at a young

to walk Long Island’s potato fields after a heavy

age, often drawing plover, yellowlegs, curlew,

rain to collect Indian arrowheads and other relics

and the various waterfowl found in the surround-

that were recently exposed. By 1923 this collection

ing marshes. O’Brien also discovered his love of

had been gifted by Henry to the Huntington Art

decoys early in life. In the book The Sporting Life,

Museum, now the Heckscher Museum of Art.

the wife of Dr. O’Brien of 217 Ninth Street, Brooklyn has shot the largest deer of the season at Blue Pond in the Adirondacks and since winning this proud distinction she has been a favorite topic of conversation among guides and huntsmen, who praise her coolness and courage without stint.”7 The article fails to note that at the time of her famous shot Mrs. O’Brien was the mother of four children and pregnant with her fifth. Henry and May Ella passed their love of fishing and hunting on to their nine children, including their son Donal C. O’Brien, Sr. When Donal C. O’Brien, Jr. was sixteen, his family Dr. Henry L. O’Brien hunting out of his sink-box, c. 1900.

moved from Manhattan out to New Canaan, Connecticut, and began to take family trips to

An avid fly fisherman and a hunter, Henry L. O’Brien

Nantucket Island. Similar to West Hampton, the

was a New York state champion clay bird shooter,

vast beaches and marshes of Nantucket provided

on several occasions breaking one hundred straight.

the teen with plenty of new fishing and hunting

In 1897 he entered the fly casting competition at the

opportunities. While living in New Canaan in

prestigious National Sportsmen’s Show at Madison Square Garden and earned second place.

Henry was also the president of the Quogue Gun Club, founded in 1902 by summer cottagers who were fond of hunting. The club leased 2,000 acres of surrounding farmland and hunted quail and other game birds. In August he shot shorebirds and then, with the onset of winter, Henry would turn his attention to waterfowling on Long Island’s Great South Bay. Henry’s wife and Donal’s grandmother, May Ella Thall (1870-1927), also shared her husband’s passion for outdoor pursuits. May Ella shot a fourteen-point buck in the Adirondacks which was chronicled on the front page of the New York Journal on November 9, 1896: “Mrs. H. L. O’Brien,

May Ella Thall O’Brien, with record fourteen-point buck.

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At Hotchkiss Donal had the benefit of learning from studio art teacher Thomas P. Blagden (19112010) of the famed artistic family. Tom was a superior teacher who had a great influence on many outstanding young artists, including his sons, Allen Blagden and Thomas Blagden, Jr. In addition to excelling at writing and studio art, Donal also was an active member of the Hunt and Fish Club, the co-editor of Fur, Feather, and Fin, the captain of the undefeated football team, and the Upson Prize winner, “awarded to that student who is distinguished in scholarship, athletics, and citizenship combined.”8 Donal’s 1949 sketch of a great horned owl done at age fifteen.

the 1950s, Donal befriended the artist Roland Clark (1874-1957), then in his mid-70s. An artist himself, the young O’Brien was no doubt impressed by the highly accomplished waterfowl painter.

Donal would bring black ducks that he shot on Long Island Sound to the artist to use as models.

After attending the Buckley School in Manhattan, Donal went on to attend the Hotchkiss School in Lakeville, CT. There O’Brien earned the reputation of being an animal enthusiast, caring for several unusual pets, including a red fox, a baby woodchuck named “Mighty Stumps,” and “Hoots-Babe,” a great horned owl. At one point during his high school career, Donal entered a school speech competition, entitling his speech “Great Horned Owls.” Donal admitted that his speech was going only fair until a friend standing in back of the auditorium released “Hoots-Babe” who flew over the audience and landed on Donal’s forearm. The crowd went wild and Donal was declared the winner of the competition.

O’Brien on right, standing in front of a Georges Bank fishing trawler, c. 1953.

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When he was nineteen, Donal crewed on a

commented to the young O’Brien that he should

Georges Bank fishing trawler. The ninety-two foot

consider going into the art or museum field.

boat sailed out of Stonington, Connecticut, setting its

However, it was a chance encounter in 1954 with

nets and hauling up ground fish for several days at a

visiting Smith College student Katherine Louise Slight that would set his course for the rest of his life; O’Brien had met his match. The couple wed in 1956 and were married for fifty-seven years.

After graduating from Williams, Donal and Katie headed south to the University of Virginia School of Law. Charlottesville, Virginia, in the late ‘50s was a pastoral landscape that still held wild quail and a perfect setting for the nature-loving

Oil painting titled Dressing Fish, Sable Island Bank by Jack Lorimer Gray.

time before returning to port. The long, hard days at sea suited Donal and he loved the thrill of seeing the various kinds of fish the net would bring in. Fueled by his fond remembrances of his time at sea, later in life Donal collected the Jack Lorimer Gray (1927-1981) oil depicting a similar fishing vessel.

A member of Williams College class of 1956, O’Brien took every art history course he could since Williams didn’t offer any studio art classes at that time. During his Williams years, professors

O’Briens. It was during his time at law school that Donal first started to create bird carvings.

In 1959 Donal launched a successful law career, working for the next fifty-two years as an attorney with the New York firm Milbank, Tweed, Hadley & McCloy, where he would become a senior partner.

During this long, impressive career with a single firm, Donal served the Rockefeller family for five decades and acted as their chief legal council, working with five generations of the family. O’Brien also served as the president of the Rockefeller Trust Company. Through this work O’Brien became involved with numerous charitable organizations that the Rockefeller family supported, such as the New York Blood Center and the National Urban League, continually using his strong writing and communication skills to affect positive change.

Additionally, O’Brien was instrumental in helping to build Peggy and David Rockefeller’s decoy collection.

Long-billed Curlew after John James Audubon, lot 130.

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Top left: Training Labrador retrievers. Top right: Donal with a bonefish. Bottom: Setting out a rig of decoys.

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SPORTSMAN

While his professional life flourished, Donal

National Open Retriever Field Championship, one of

never lost touch with his passion for fishing,

only a handful of retrievers to win it more than once.

hunting, and the natural world. He was an ardent

Donal was a man of few regrets, but occasionally

and accomplished fly fisherman who introduced

he would say that selling Coot was one of them.

Joe Brooks (1901–1972), a fly fisherman and a popular fly fishing writer, to Lee Wulff (1905-1991),

Donal hunted ducks on Long Island Sound

also a fly fisherman and an author, along with

every weekend he could, mostly out of New

being an artist, filmmaker, and conservationist. In

Haven, Stratford, Norwalk, and Stamford, CT.

1963, Donal caught a near-world-record brook trout

When the broadbill special hunting season opened

at 10 lbs 8 oz on a fly on the Broadback River in

in January in Connecticut, Donal would often keep

Quebec. He also appeared on an episode of

his duck hunting gear at his Rockefeller Center

the original American Sportsman on ABC Sports

office and sometimes bring his Labrador retriever

fly fishing for large brook trout in Argentina.

in to work with him. A phone call from gunning companion and artist Chet Reneson or fellow

In addition to fishing, Donal loved many varieties,

carver Kenneth Gleason and Donal would vacate

and all aspects of bird shooting, including driven

his seat at the desk to meet up with his friends and

grouse, ruffed grouse, woodcock, and bobwhite

stake out along the breakwaters of the Connecticut

quail. He loved to watch dogs work in the field and

shoreline on his way home from work.

the connection between a good working dog and hunter. Competitive by nature, he began actively training his dogs and competing in local retriever field trials, winning many of them.

He became “training friends” with Richard Wolters, famous author of Gun Dog and Water Dog. In 1962 Donal raised and trained a puppy which he named “Whygin Cork’s Coot.” Coot possessed size, speed, explosive energy, and was an excellent marker.

After Coot won numerous local trials, Donal knew Coot had the ability to win a national championship.

Donal couldn’t afford to campaign him on a young lawyer’s salary so he sold Coot to George Murnane in the mid-1960s for $10,000, more than his annual salary at the time. In 1966 and 1969 Coot won the

Broadbill hunting on the CT coast with Chet Reneson and Kenneth Gleason.

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Donal’s diver gunning rig nearing completion.

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CARVER

won the U.S. National Championship for his carvings (see page 210 for Competition Carving Results). His daughter Kit remembers, “No matter how long Dad’s day had been, there he would be in the evening, carving and sanding his decoys.”10 In addition to impressing the critical eye of carving show judges, such as decoy collector William Mackey and artist Milton Weiler, his decoys also proved effective with the birds themselves Donal being awarded Best in Show in the Amateur class, working decoy division for his goldeneye at the U.S. National Decoy Show, March 22-23, 1969, Babylon, NY.

in both the hunting and conservation realms.

Donal continually shot over the working decoys

Donal’s early fascination with birds, decoy collecting, and hunting gave him an intimate knowledge of avian anatomy which he put to use first drawing and then carving decoys.

A 1971 profile in Sports Illustrated states, “While in law school, O’Brien, who had a fondness for painting but no time, seriously started carving decoys because he could whittle away at a head between classes.” In the same article Donal

that he carved and his Atlantic puffin carvings were used to decoy migratory birds back to their ancestral nesting grounds. Biologist Stephen W. Kress explains how the Audubon-funded project successfully reintroduced puffins off the coast of Maine after a century-long absence: “Typically, puffins spend their first two or three years at sea. When they do come ashore in midsummer, they usually land on the loafing ledges of existing

describes his carving process: “‘The first thing I do in making a decoy is to draw the duck I have in mind.

I’m working on a black duck now, and I decided I wanted a low head. I sketch to scale, and I may make 20 or 30 sketches, all freehand, and usually without a model in front of me. When I get something that appeals to me, I’ll cut it out for my pattern.’”9 Originally between

Donal

carved

miniature

and

six-inch-long life-size.

birds,

Once

he

moved to New Canaan in 1966, he began carving life-size working decoys to use for hunting on Long Island Sound. O’Brien twice

Donal’s merganser drawings on an envelope with his Rockefeller Center mailing address label.

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CONNECTICUT CARVER TIMELINE Albert Davids Laing (1811-1886)

Charles E. “Shang” Wheeler

(1872-1949)

Willard Clinton Baldwin

(1890-1979)

Louis C. Rathmell

(1898-1974)

Donal C. O’Brien, Jr. (1934-2013)

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The Barber-Dudley ruddy duck. In addition, Marshall taught O’Brien how to hunt broadbills out of layout boats. Many of the corkbodied broadbill decoys they used were made by Wheeler. On one very cold winter day, Marshall tossed into the water a hen broadbill decoy made

by Wheeler. When its aging cork body hit the water, it split into two pieces. Without hesitation, Marshall then turned to O’Brien and said, “Shang made these decoys to hunt over.” Tom and Donal were probably the last hunters to gun over Wheeler’s decoys.

Marshall also introduced O’Brien to Louis Rathmell.

Donal’s carving was influenced by Rathmell, who not only made some of Connecticut’s finest decoys, but also was an excellent duck hunter. Rathmell’s Donal’s larger-than-life-size puffin carving used on Egg Rock, Maine, 1992.

outstanding handmade working rig of black duck

colonies...But Egg Rock had no puffin colony to lure

decoys inspired Donal to make his first working

them in. To solve that problem, we carved and

rig of black ducks and mallard decoys. Shortly

hand-painted some larger-than-life puffin decoys

thereafter he would make rigs of widgeon,

and set them out on prominent rock outcrops

broadbill, canvasback, and redhead. Eventually,

where returning puffins would be sure to see

O’Brien collected eleven of Rathmell’s exceptional

them.”11 These decoys worked so well that decoys

black ducks (lots 40 and 41). Thus, Donal’s carving,

are now employed throughout the world by wildlife

hunting, and collecting worlds were always

conservationists trying to restore populations of

inextricably linked.

other native bird species.

O’Brien was fortunate to befriend Connecticut carver Thomas C. Marshall, who was a hunting companion of Joel Barber’s, a friend of “Shang” Wheeler’s, and the executor of Wheeler’s estate. Tom was also a source collector of many Connecticut decoys, including works by Albert Laing, Ben Holmes (1843-1912), Shang Wheeler, and Louis Rathmell. O’Brien and Marshall became close hunting friends and Donal ended up purchasing a

O’Brien gunning canvasback pair, c. 1975.

good portion of Marshall’s top decoys, including

27

28

COLLECTOR

“The first of the decoy collectors was Joel Barber, but he was shortly followed by a group of New Jersey collectors... who were extremely persistent and competitive with each other. This group consisted of Bill Mackey, King Hemming, Lloyd Johnson and, slightly later, Sommers Headley. The other major post-World War II collectors were George ‘Doc’ Starr, Rab Staniford, and Adele Earnest. We all knew each other, traded decoys back and forth, and had a great time collecting, visiting hunting clubs and lobster shanties up and down the coast.”

-Donal C. O’Brien, Jr.’s correspondence with a fellow decoy collector, 1993

The O’Brien Collection, built and curated over

admiration for local professional carvers. Donal

the span of a lifetime, is the last of the great source

often source collected from the makers themselves

collections to come to auction. O’Brien was an avid

or, if the carver was deceased, he would purchase

collector in numerous fields his entire life. Donal’s

rigs directly from the family.

wife Katie reflects, “Don always had a collector’s mentality. He collected books, hats, elephants,

As the decoy market matured, O’Brien acquired

and every interest he had was 120%.” O’Brien’s

exceptional decoys from other early collectors,

collecting predisposition, along with his passion

such as Malcolm J. Fleming, Hal Sorenson,

for carving, hunting, fishing, and all things wild,

Joseph B. French, Lloyd Johnson, Dr. George Ross

inspired him to create a world-class collection of

Starr, Jr., Anthony A. Waring, Winsor White,

decoys and sporting art.

O’Brien often acquired works directly from the artists. He was good friends with Ogden Pleissner (1905-1983), who would stop and see O’Brien on his way to New York galleries, giving him the opportunity to purchase some of the artist’s best works before they hit the broader market.

In the pursuit of decoys, O’Brien possessed a carver’s sensibility and developed an informed

Louis Rathmell black duck, lot 41.

29

many hollow shorebirds as did Nantucket. They were popular here because they were easier to carry over long distances.”13 It was this type of informed observation that made Donal an extremely knowledgeable collector.

O’Brien was no doubt influenced by Joel Barber’s ground-breaking book Wildfowl Decoys published in 1934. In addition, he had special relationships with

two

of

the

field’s

most

prominent

figures, Adele Earnest and William J. Mackey, Jr. Earnest was one of the six original founders of the Museum of American Folk Art in Manhattan Folger rig of hollow eskimo curlew and golden plover, Nantucket, MA, c. 1850.

and the author of two important books, Folk Art In America and The Art of the Decoy. Discussing Earnest in the foreword of The Art of the Decoy,

Harold Evans, Robert Congdon, Robyn Hardy,

Mary Black, past director of the Museum of Early

William H. Purnell, Jr., Robert White, Thomas C.

American Folk Arts (the original name of the

Marshall, Paul Brisco, Ronald Swanson, Alan Haid,

Museum of American Folk Art), states, “I have

Joseph Tonelli, King Hemming, and Harold Haertel,

come to rely on her extensive knowledge and

among others.

artistic judgements. Her qualifications as an authority on folk art are impressive. She has

An article about the O’Brien Collection states

for fifteen years been the leading source for

that Donal “brings a most practiced eye to

museums and collectors of American folk

decoy collecting. The art of decoy making is almost

sculpture.”14 O’Brien recognized Earnest’s gifted

entirely American, which is one of the attractions

eye early on and was a frequent visitor to her

to O’Brien.” Donal’s expertise also extended to the

Stony Point Art Gallery. Over the years he became

early Nantucket decoy makers. In the 1960s, Donal

very good friends with Adele and they completed

and Katie were sourcing Nantucket shorebirds

numerous trades and transactions.

12

by going door to door. While driving around the

30

island’s cobblestoned streets at slow speeds,

Donal also had a good working relationship

O’Brien would look in the windows for possible

with

finds. Around the same time Nantucket native

William J. Mackey, Jr. Known to be an astute and

Allan Royal was picking up shorebird decoys at the

shrewd decoy trader, Mackey found a formidable

Nantucket dump and O’Brien realized that it was a

opponent in O’Brien. In one of his decoy entries

race to save these treasures of the past. He once

O’Brien describes a major trade with Mackey that

told The Nantucket Journal, “No area produced as

involved ”...an Eskimo Curlew; 5 Isaac Campbell

pioneer

decoy

collector

and

author

his presence further known to a burgeoning decoy collecting field when he acquired the MackeyWheeler goose for $8,000, a world-record price for a waterfowl decoy at the time.

According to his wife Katie, “When Don recognized a great decoy example, he went after it. He was always trading and upgrading.” This is not to say that O’Brien bought or bid on objects with reckless Joseph Lincoln, long-tailed duck pair, lot 39, acquired through a trade with the Shelburne Museum.

shorebirds and 6 Plovers from the Webster

abandon. Donal was simply confident enough to go after pinnacle works knowing that he could always sell lesser works to fund these premier acquisitions.

Collection; I received this Gelston, a Crowell Sanderling, a Burr feeding plover, a Crowell

An example of Donal’s upgrading is the way

Lesser Yellowlegs on a clam shell and a Brodson

in which he came to acquire the only known

Plover.”

Samuel Fabens (1814-1899) merganser pair. On one of his many trips up to Mount Desert Island, Maine,

The publication of two important books in 1965

Donal befriended a man who owned a gas station

by Mackey and Earnest would permanently

along the way. The gentleman also happened to be

alter decoy collecting. As rival collectors,

a decoy collector. Donal was immediately attracted

they possessed two distinct approaches to

to a racy, hollow pair of mergansers with ship-like

decoy collecting. Mackey’s book, American Bird Decoys, an overview of regions, styles, and makers, contrasts with Earnest’s, The Art of the Decoy, which focuses on history, species, and the decoy as folk art. O’Brien, a competitor by nature, realized that these two major books would open up the field to new collectors. The seven years following the books’ publications proved to be a golden collecting period that would come to a close following Mackey’s death in 1972.

In 1973, the first of the eight session sales of the Mackey Collection by Richard A. Bourne Co.,

Inc.

would

change

the

way

decoys

were valued and marketed. Donal, already a major figure among decoy collecting circles, made The Mackey-Wheeler goose on the cover of Bourne’s catalog.

31

keels. On each subsequent visit Donal attempted

from among several comparable fine decoy

to get the gentleman to sell him the birds, but to

collections because it had a high percentage of

no avail. Never one to be deterred, one day Donal

‘classics’ and was most representative of the

filled the back of his jeep with fifteen good decoys

art of the decoy as practiced along the principal

and headed up to Maine. After completing the

wildfowl flyways. And we can assume that some

long journey, he pulled into the gas station and

of the decoys appeared in both exhibitions as the

asked the gentleman to come out to his jeep.

O’Briens acquired some of the best decoys in the Mackey collection.”15

Whereupon he lowered the tailgate and asked the man, “Hypothetically, would you be willing to

The guest curator of the exhibit, folk art collector

trade the merganser pair for the birds here?” The

and author Jeff Waingrow, reflects in The Clarion,

gentleman looked quizzically at Donal and asked,

“Often the loveliest carvings are also the best

“All of them?” “Yes, all of them,” said Donal. “Why

preserved...These are among the finest shorebird

sure!” was the gentleman’s reply. Donal then stated,

decoys in existence.”16 That exhibition was the last

“Great, so we have established that the mergansers

time that the O’Brien Collection was displayed to

are for sale. Take whatever you think is a fair deal.”

the public until these auction sessions.

The gentleman then proceeded to pull out several Ward Brothers, Masons, and other good decoys to

O’Brien’s knowledge in the collecting field was

complete the trade. To underscore the equity of the

widely recognized among his peers. In 1983 he was

transaction, the gentleman left several of O’Brien’s

asked to write the introduction for Clune Walsh,

offered trade birds in the jeep.

Jr.’s book Waterfowl Decoys of Michigan and the Lake St. Clair Region and in 1988 he was asked to

In the fall of 1981, seventy-three classic decoys

write the foreword for Barney Crandell’s book

from the O’Brien Collection were chosen to be

Decoying: St. Clair to the St. Lawrence.

displayed at the Museum of American Folk Art in

32

a special exhibition entitled The American Decoy:

O’Brien’s connoisseurship led him to collect some

Folk Sculpture from the Collection of Mr. and Mrs.

of the finest American bird decoys. He considered

Donal C. O’Brien, Jr. In response to the exhibit, North

the Dovetailed goose (lot 12) the best of the three

American Decoys raved: “Not since a selection of the

that Earnest discovered, and he bid accordingly

best of William J. Mackey’s great decoy collection

when the decoy came to auction in 1979. The

went on public display at the old IBM building in

Gilley-Wilson eider (lot 54), with the strongest

New York City in 1966, has there been as fine and

paint and provenance of any of the maker’s sea

important a personal collection as that of Donal

ducks, is one of Maine’s greatest decoys. Though

and Katherine O’Brien, at the Museum of American

not a sea duck, the exceptional Blum wood duck

Folk Art on 49 West 53rd Street. The Mackey

(lot 21), might vie for that title as well. The Ward

collection was chosen because it was the biggest

pintail pair (lot 33) are perfect mates, and are

and the best. The O’Brien collection was selected

considered the brothers’ most regal works. The

exalted Graham canvasback pair (lot 9) sit high atop the Upper Bay region’s examples with few challengers. The Phillips Rig Crowell black duck (lot 14), the maker’s favorite species, is arguably his finest. Many of the Midwest decoy sages have labeled the Earnest Schoenheider Canada goose (lot 20) “the best.” The Lincoln long-tail pair (lot 39), with their exceptional condition and Shelburne Museum provenance, are second to none.

Lot 12.

Lot 54.

Lot 33.

Lot 9.

Lot 14.

33

O’Brien with a gyrfalcon.

34

CONSERVATIONIST

depth and breadth of his passion for conservation, “Birds are my passion, but I care about everything from blue claw crabs to African elephants, and I want to protect them all.”18 As a result, O’Brien’s conservation work spanned decades and involved a myriad of non-profit organizations, including Henry David Thoreau once wrote, “In wildness is

twenty-three years of public service for the

the preservation of the world.” A similar mindset

state of Connecticut’s conservation councils (see

seems to have guided O’Brien’s life. Whether he

Conservation Organizations on page 195).

was caring for young wild animals, carving decoys,

fishing, hunting black ducks on frigid mornings,

Always leading by example, O’Brien’s tireless

or bird watching with his family, communing with

efforts on behalf of the National Audubon Society

nature in some form was a constant throughout

have made a profound lasting impact. Donal began

Donal’s life. Though O’Brien was an ardent hunter,

a twenty-five-year involvement with Audubon by

he also understood the need for conservation.

joining the National Board of Directors in 1976,

American folk art expert Robert Shaw writes:

becoming the Chairman of the Board in 1983. After being re-elected to the Board of Directors in 1991,

“Mr. O’Brien’s love of hunting and preserving

Donal again became Chairman of the Board in

natural habitats went back to the roots of the

1994. He acted as Chairman for fifteen years in all.

American conservation movement. There was

so much slaughter going on in the late 1800s

While on the Board, Donal served as the

and early 1900s in commercial and sport

chair of Audubon’s Capital Campaign for the

hunting. That’s where conservation started —

renovation of the new headquarters building

to try to save birds. Like Theodore Roosevelt,

and the co-chair of Audubon’s monumental

Mr. O’Brien was somebody who moved in

Strategic Planning Committee of 1995, tasked with

the high tiers of society but his play time

“connecting people with nature.” To fulfill this goal,

was in the outdoors and he wanted to

O’Brien led the effort to establish a network of

ensure that such experiences were available to

Audubon state offices, made up of twenty-seven

future generations.”17

new state programs and forty-three new Audubon

co-

centers, to bridge the gap between the national by

level and Audubon’s 465 grassroots, community-

his steadfast determination and enthusiasm,

based chapters. One of these centers, the Pine

have done a tremendous amount to protect the

Island Audubon Center and Sanctuary on North

natural world. Donal’s own words illustrate the

Carolina’s Outer Banks, was named in his honor.

O’Brien’s

conservation

efforts,

propelled

35

The story of how the Pine Island Audubon

Areas (IBAs). IBAs are the vital places where birds

Center came to be illustrates Donal’s strength

winter, nest, and refuel along their migratory paths.

as a leader. The Pine Island Club was one of

O’Brien understood that protecting these spots

the great duck clubs on Currituck Sound in

was critical to bird conservation. Donal, an early

North Carolina. Donal became friends with the

supporter of global conservation, raised people’s

owner of the Pine Island Club, Earl Slick, who was

awareness of the four main migratory flyways

planning to sell the club. Mr. Slick, who owned

in order to promote the concept of Important

Slick Airways, ended up donating the club, and

Bird Areas. David Yarnold, President and CEO

its 5,000 acres of marshlands and two miles

of the National Audubon Society, observes in

of beachfront, to Audubon thanks to Donal’s

Donal’s obituary, “Birds don’t know about state

persuasion. Mr. Slick kept a life estate on the

boundaries. Donal was always urging Audubon to

club, but graciously offered Audubon the use

think the way birds see the world – to think about

of the club, along with its guides, housekeepers,

large-scale conservation.”19

cooks, and staff, for fundraising purposes. Donal and Glenn Olson brought many future Audubon

“Donal was peerless. His vision for Audubon to

donors there, including David Packard, founder

organize itself by the ‘flyways’ that birds’ use

of Hewlett Packard, Stephen Bechtel of The

was an idea that was ahead of its time. It’s not

Bechtel Corp, Morris Doyle, Chairman of the Irvine

now; it’s the heart of our strategy and Donal

Foundation, and many others.

will always be its champion.”20 - David Yarnold, President and CEO of the

Donal’s most impactful conservation effort at

National Audubon Society

Audubon was the creation of Important Bird

So far Audubon has identified and protected over 2,800 IBAs, which encompass 400 million acres in the United States, thanks in large part to Donal’s visionary efforts. When asked about his most important contribution to Audubon, Donal responded: “From an organizational standpoint, supporting our strategic plan’s goal to create state offices in all fifty states. From a programmatic standpoint, leading the effort to create Important Bird Areas (IBAs) across the United States.”21

Hunting at the Pine Island Club on the Currituck Sound, now the 5,000-acre Donal C. O’Brien, Jr. Sanctuary and Audubon Center in Corolla, North Carolina.

From left to right: Donal, Glenn Olson of Audubon, Norman “Ike” Livermore (Secretary of Resources in California under Governor Ronald Reagan), Sherman Chickery (former President of California’s Fish & Game Commission), David Packard, and Morris Doyle.

36

O’Brien recognized that Audubon’s organizational expansion and the IBA program would both need significant resources to be successful. In order to accomplish this, he and his wife Katie turned

Audubon’s annual bird-counting Birdathon into a legendary fundraising event. Like many of Donal’s endeavors, this event aligned with his own natural passion. He and Katie were always astute observers and recorders of birds; any family trip was always a birding trip. In a 2003 tribute speech to Donal, natural resources lawyer Donald Carr quipped, “Only John James Audubon ever compiled a combined life list of birds seen, and birds shot, greater than Donal O’Brien!”22 The Birdathons are a way to connect people with nature and other birders, while raising money for the birds’ preservation all at the same time.

The 2010 Audubon Medal Presentation Ceremony. From left to right: National Audubon’s CEO, David Yarnold, Audubon’s Chairman of the Board, Holt Thrasher, and Donal C. O’Brien, Jr.

In

2010

one

of

the

highest

conservation

For thirty-five consecutive years The O’Brien

accolades was bestowed upon O’Brien when he

Family Birdathon, led by Donal and Katie’s efforts,

was named the 51st recipient of the Audubon

has been a major Audubon fundraising event,

Medal. The Audubon Medal has been awarded

bringing in over 3 million dollars. Donal once

to only fifty-four past recipients, including

reflected, “Katie and I have a secret to our successful

Rachel Carson, Walt Disney, Robert Redford, Aldo

Birdathons. Our leader is always a member of

Leopold, Jimmy Carter, Ted Turner, Dan Lufkin,

Audubon’s field staff. They are the real heroes of

Paul Tudor Jones II, Louis Bacon, and Laurance S.

our Birdathons.”23 The O’Brien family continues to

Rockefeller. At the presentation ceremony O’Brien’s

participate in this annual event.

tireless efforts were lauded, “Donal is a true hero

of American conservation. He persuades through

In 2003 he concluded fifteen years as Chairman

passion and leads through action.”24 Donal acted as

of Audubon’s National Board of Directors. To

a mentor to many people and helped them embrace

commemorate his years of dedication, O’Brien’s

conservation.

friends and colleagues raised $5 million in order to create the Donal C. O’Brien, Jr. Chair in Bird

“What matters most is two things: your

Conservation and Public Policy. This chair

passion and your leadership. Your passion

promotes Audubon’s bird conservation mission

because you made all of us around you care

throughout the United States and the Western

more than we ever thought we could, and

Hemisphere. The fully-endowed chair operates

commit more than we ever intended. Your

independently of the national chapter in order to

leadership because with you at the helm we

ensure that Audubon always maintains a public

all achieve things that we never thought,

policy program.

never dreamt were possible.”25 - Paul Tudor Jones II, 2010 Audubon Medal Presentation

37

Of

the

many

conservation

organizations

that Donal has championed over the years, the Atlantic Salmon Federation was especially dear to his heart. In 1982, Donal set an IGFA fly fishing world record, landing a forty-seven pound Atlantic salmon on sixteen-pound-test tippet on the Grand Cascapedia River, in Quebec, Canada. Concerned with the critical status of the Atlantic salmon species, Donal, in his typical fashion, rolled up his sleeves and got directly involved in the fight for its preservation.

In 1979 O’Brien was first elected to the Atlantic Salmon Federation’s Board of Directors. He became the Chairman of the Board in 1994, stepping

The organization focuses on community-based

down eleven years later in 2005. In 2002

conservation,

biodiversity

protection,

and

promoting local cultural heritage in Canada and around the globe. Donal served as the U.S. Board Chair for twenty-five years and was recognized for his contributions by being named Chairman Emeritus and Honorary Director. At QLF O’Brien displayed his talent for assessing people’s skills and then delegating the appropriate person to take on specific projects. For example, James N. Levitt, 2014 Chairman of the Board of Directors recalls, “In 1985, I was honored to be asked to join the U.S. Board, and then O’Brien was honored for his contributions to

summoned

salmon conservation when he received the

(“Don”)

O’Brien,

Atlantic Salmon Federation’s T.B. “Happy” Fraser

of

for

Award, “the federation’s top conservation award

strategic planning effort that led to the appointment

created in 1975 in memory of T.B. Fraser, who was

of Larry Morris as QLF president.”27

and

by

U.S. nature,

Board

Chair

himself to

a

Donal force

coordinate

past president and general manager of Atlantic “Donal’s love of birds is abundantly manifested

Salmon Association.”26

in the flock of people for whom he served as O’Brien was also very passionate about the

a mentor. I was one of those lucky birds. He

Quebec-Labrador

transformed me from a fledgling into an adult,

Foundation,

founded

by

one of his best friends, Robert “Bob” A. Bryan.

passionate advocate.”28 - Lucy R. Waletzky, M.D., Board Member Emerita of National Audubon Society

38

a

FAMILY Audubon Connecticut’s Board of Directors for well over a decade, serving as Chairman from 20082010. When Donal was the National Audubon Chairman, Katie was actively involved as well, accompanying him to the quarterly meetings around the country.

In Donal’s New York Times obituary his daughter Connan comments on her father’s ability to balance his work and love of the outdoors with his devotion to family life: Donal, Katie, and their four children on the porch at their Nantucket house, 1980.

“Somehow everyone felt like they were getting

Together Donal and Katie raised four children,

his undivided attention. It wasn’t always

Don, Connan, Kit, and Carrie, and have eleven

about carrying the gun or carrying the rod. It

grandchildren. Their house in New Canaan, with the

was having a pair of binoculars and having a

Mill River flowing beside it, provided an ideal place

flower book and identifying flowers, or reading

for Donal and Katie to pass along their love of nature

a book and maybe having a little nap along

to their children. They devoted almost all vacations

the way and just being present.”30

as a young family to fishing, hunting, and birdwatching excursions, first with their children

Donal often involved his whole family in his

and over time with grandchildren as well. In The

pursuits. For example, his carving was always

Sporting Life Donal explains, “It taught our children

done right in the midst of the family, either at

both self-reliance and teamwork and values­ —it

the kitchen table or in the cellar. Their 1740

gave them an environmental ethic as it exposed

colonial-era house has cracks in the floorboards.

them to the wonders of nature.”

As a result of

Through these cracks, the children would look

their upbringing, all four children are passionate

down into the cellar where their father was

conservationists as well.

carving and drop notes to him.

Katie’s unwavering support enabled Donal to lead

Donal and his son, Don, went upland shooting or

two careers at the same time, that of a lawyer and

duck hunting most fall and winter weekends. Don

a conservationist, in addition to being an involved

reflects: “What impressed me most about my

father and an avid outdoorsman. A remarkable

father was his keen eye. He was an observant

conservationist in her own right, Katie has been on

person. Whether it was training a dog, rigging

29

39

decoys, hunting preparation or going trout or salmon fishing, he did so many different things well. He was very much a person that lived in the present and looked towards the future. I can never really remember him talking about past trips or past adventures. It was always the activity that we were engaged in at the time and the incredible sense of enthusiasm that he injected into that activity.”32 Don’s sister Connan recalls, “Don was such a pal to his dad. They developed a special relationship because they had so many of the same

O’Brien’s painting class with some of his grandchildren, Nantucket, MA, c. 2006.

interests. Dad got so much joy from being a father

One of Donal and Katie’s greatest conservation

and sharing that father/son bond with Don.”

impacts has been nurturing four children who would become environmental stewards as well.

Lovingly referred to as “Pop” by his eleven

The enthusiasm and passion that they brought to

grandchildren, Donal derived tremendous happiness

conservation causes shaped their children’s

from being a grandfather. Donal’s youngest

interests. Their eldest daughter Connan is currently

daughter Carrie remembers: “Dad’s enthusiasm

serving as the Chairman of the Board of Audubon

for the natural world and the art world was

Connecticut in her mother’s footsteps. Don is a

undeniably great, and watching the pleasure he

longtime Board member of the National Wildlife

got from blending those two worlds was infectious.

Refuge Association and has served as Vice-

When the grandchildren were involved it was that

Chairman and Chairman. Kit dedicates countless

much more strongly felt! One memory that stands

hours to bird banding every spring and fall to further

out is a ‘painting class’ he gave on the screened porch

avian research efforts. Carrie worked for the Trustees

in Nantucket to various grandchildren. Everyone

of Reservation on Nantucket for years, helping to

got two canvases, one for a snowy owl perched on

preserve the island so dear to her father and the

a post and one for a mallard flying into the marsh.

rest of her family.

It was a magical moment: grandkids, family, nature, mixing paints. It didn’t get much better than that

Donal’s conservation work was tireless right up

for him. He loved it all so much. Anything involving

until the end. Glenn Olson, the Donal C. O’Brien, Jr.

the grandchildren made him beam with happiness.

Chair in Bird Conservation and Public Policy, who

He encouraged all of us to see the beauty in the

continued to work with Donal on Audubon issues

natural world and capture it in some medium. Our

until his dying days recounts, “He lived a very full

etchings, monoprints, carvings, silkscreens, and art

life. He never lost his belief that he could influence

projects are all scattered throughout the house in

outcomes.”33 By following his passions with

Nantucket. He inspired this love of nature and art

seemingly boundless energy throughout his life,

in all of us.”

Donal made a tremendous contribution to the world.

40

“There were always fish, birds, and ducks. These three animals, along with the dogs, came hand in hand with the name O’Brien. They came in every form: painted, photographed, live, stuffed, frozen, cooked, but mostly wood! I think by the age of five or six, we could probably identify the species’ name of every decoy in the house.

Our education in birds, wildlife, and nature pretty much continued wherever Dad led us. Our family’s love for nature is just part of who we are and it is woven into the fabric of each day.”31 -Kit Rohn, Donal’s daughter

41

42

THE DONAL C. O’BRIEN, JR. COLLECTION

OF IMPORTANT AMERICAN SPORTING ART AND DECOYS

SESSION III JULY 19 | 1PM

43

44

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

“Elmer used to decorate Wenham Camp with all sorts of mythical looking birds, whittled out and suspended from the ceiling so that they revolved solemnly around if you blew a puff of smoke their way.”

-Dr. John C. Phillips, Jr., A Sportsman’s Scrapbook

45

A. ELMER CROWELL 1862-1952 | EAST HARWICH, MA

1 Important Calling Tern

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1925 20 1⁄2 in. wide, 12 in. long

46

This curvaceous early work renders the aerial beauty of the species to perfection. It was Crowell’s interpretive ability to capture the likeness of birds and waterfowl that defined him as the father of American bird carving.

a detailed open bill. Many consider this Crowell carving among his finest flying creations. Original paint with even wear, minor touch-up on back around hanging eye, putty seams, and to a reset left foot.

Crowell used this soaring, one-of-a-kind tern as one of his most elaborate canvases. The anatomy of the bird is nearly flawless with a full body, gently curved wings, and a forked tail. Crowell used all four surfaces of the broad wings to display his exceptional wet-on-wet feather blending. The fanned tail features incised feather carving on both the top and bottom surfaces, the rarity of which cannot be overstated. The bird is finished with carved inset feet and

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Dr. John C. Phillips, A Sportman’s Scrapbook, Boston, MA, 1928, p. 33.

Stephen B. O’Brien, Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2018, exact bird illustrated.

$15,000 - $25,000

1

47

48

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

2

2 Dowitcher with Raised Primaries A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1915 11 1⁄4 in. long

An important, early, working Crowell dowitcher decoy displaying finely painted detail and intricate incised wing-tip carving. It is difficult to find early examples of this species by Crowell as he concentrated primarily on black-bellied plover and yellowlegs during the first quarter of the 20th century.

While several related examples have surfaced over the years, this early decoy is one of the very few that features the maker’s “dust jacket” style carving.

This decoy shows little wear, suggesting it was promptly retired to the shelf. Excellent original paint, minimal touch-up to hairline neck crack and very end of wing tips.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Robert H. Boyle, “With a Quack, Quack Here,” Sports Illustrated, September 27, 1971, p. 51, exact decoy illustrated.

Stephen B. O’Brien, Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2018, exact decoy illustrated.

Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, back cover and p. 161, rigmate illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

80, exact decoy illustrated.

$40,000 - $50,000

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A. ELMER CROWELL 1862-1952 | EAST HARWICH, MA

3

3 Semipalmated Sandpiper A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1900 7 1⁄2 in. long

This important peep was selected as the model for Milton C. Weiler’s watercolor A. Elmer Crowell in the Classic Shorebird Decoys portfolio. Original paint with gunning wear, some old touch-up to sides along wings and around replaced bill.

PROVENANCE: William J. Mackey, Jr. Collection Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: Milton C. Weiler and William J. Mackey, Jr., Classic Shorebird Decoys: A Portfolio of Paintings by Milton C. Weiler, New York, NY, 1971, pl. 6, exact decoy illustrated.

$4,500 - $6,500

50

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

4

4 Golden Plover in Winter Plumage A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1910 10 in. long

An early and plump gunning decoy. The yellow-gold in Crowell’s confident paint identifies this rare species for the maker. The bill is perfectly rendered. Excellent original paint with light gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: John M. Levinson and Somers G. Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centreville, MD, 1991, dust jacket and p. 59, pl. 4-13, related decoy illustrated.

$7,000 - $10,000

51

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

5 Greater Yellowlegs

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1890 12 1⁄2 in. long

This grand example represents Lincoln’s best and largest yellowlegs shorebird model with pronounced raised wings and split-tail carving. Original paint with even gunning wear and very minimal touch-up at bill insertion.

PROVENANCE: William J. Mackey, Jr. Collection Donal C. O’Brien, Jr. Collection LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 87, pl. 67, exact decoy illustrated.

Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1989, dust jacket, rigmate illustrated.

Jeff Waingrow, “The American Decoy,” The Clarion: America’s Folk Art Magazine, New York, NY, Fall 1981, p. 30, exact decoy illustrated.

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Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys Magazine, Spanish Fork, UT, Spring/Summer 1982, pp. 3435, exact decoy illustrated.

Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Hyannis, MA, Session III, 1973, lot 322, exact decoy illustrated.

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3-November 8, 1981.

EXHIBITED:

$3,500 - $4,500

5

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6 Golden Plover

MASSACHUSETTS, C. 1890 10 3⁄4 in. long

A full-bodied golden plover in winter plumage with the “F. P. SMITH” rig stamp on the underside. It features three-piece construction and a metal bill.

Winsor White, the prior owner of this decoy, was a collector from Duxbury, Massachusetts, and a contemporary of Dr. George Ross Starr, Jr. Golden and blackbellied plover, historically and today, arrive like clockwork the first week of August along Duxbury’s six-mile barrier beach.

Original paint with even gunning wear and minor touch-up to bill.

6

PROVENANCE: Winsor White Collection Donal C. O’Brien, Jr. Collection

$2,500 - $3,500

7 Tucked-Head Redhead Hen

HENRY KEYES CHADWICK (1865-1958) OAK BLUFFS, MARTHA’S VINEYARD, MA, C. 1900 15 1⁄2 in. long

A rare Chadwick decoy showcasing his early, long body carving style. Original paint with gunning wear, touch-up to flaking.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: John and Shirley Delph, New England Decoys, Exton, PA, 1990, pp. 67 and 70, rigmate illustrated.

$1,000 - $2,000

7

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BENJAMIN D. SMITH

1866-1946 | OAK BLUFFS, MARTHA’S VINEYARD, MA

8

8 Black Duck

BENJAMIN D. SMITH (1866-1946) OAK BLUFFS, MARTHA’S VINEYARD, MA, C. 1890 17 1⁄2 in. long

This decoy ranks as one of the top black duck decoys from the region. It is prominently featured in Stanley Murphy’s 1978 book Martha’s Vineyard Decoys.

Very few Smith or Vineyard birds survive in original paint.

Decoys from the Island were often heavily gunned due to the long gunning seasons afforded by the relatively temperate climate and brackish waters.

This decoy has also been attributed to fellow Martha’s Vineyard carver Benjamin W. Pease (1866-1938). The bottom of the decoy bears a “J.P.” stamp in the lead weight.

In Martha’s Vineyard Decoys, Stanley Murphy discusses Benjamin Smith: “Most of the great names of American decoy carving were professionals each of whose lifetime production amounted to hundreds and even thousands of

examples. Their work was appreciated in their own time and they had many incentives to improve technique and refine style over a long period. Smith, on the other hand, was a loner who made his decoys for the ducks only, not for men, yet his carvings are a distillation of great natural talent, the keenest powers of observation, and superb technique.”

Original paint with gunning wear, an age line on right wing, and repair to small tail chip.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, pp. 103, 136, pl. 113, exact decoy illustrated.

$5,000 - $7,000

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JOHN B. GRAHAM

1822-1912 | CHARLESTOWN, MD

“There are very few decoys from the Upper Chesapeake that rise to the level of artistic genius achieved by John Black Graham in this incredible pair of Canvasbacks. While most Upper Bay decoy makers were producing vast numbers of working decoys to be used as mere tools of the waterfowl hunters, John Graham created these masterpieces of art. Never destined to float alongside the deadly sinkboxes of the Susquehanna Flats, these were made to grace the mantlepiece of a special home. These Canvasbacks set the standard against which others can be judged.�

-C. John Sullivan C. John Sullivan is an authority on the history of the Upper Chesapeake Bay and its decoys. He has served as a consultant to the Maryland Historical Society, the Ward Museum of Wildfowl Art, the Havre de Grace Decoy Museum, and the Chesapeake Bay Maritime Museum. His books include Waterfowling: The Chesapeake Legacy, Robert F. McGaw: A Chronicle of Letters, Old Ocean City, and, most recently, Waterfowling on the Chesapeake, 1819-1936. He also co-authored the Havre de Grace Decoy Museum Collection book and has authored numerous articles.

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57

JOHN B. GRAHAM

1822-1912 | CHARLESTOWN, MD

9 Canvasback Pair

JOHN B. GRAHAM (1822-1912) CHARLESTOWN, MD, C. 1880 15 in. long

John Black Graham, along with John Holly (1819-1892), are considered the pioneers and pinnacle makers from the Upper Bay region. The Susquehanna Flats and its canvasbacks required rigs of hundreds of decoys for successful hunting and very few early decoys survived in their original condition. This incredible pair, with their painted “angel wing” backs and S-curve heads, graced the mantle of a Charlestown home and were spared the exposure of the hunting grounds. Original paint with light wear from handling, touch-up around age lines in necks and to tails.

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PROVENANCE: Private Collection, Charlestown, Maryland Donal C. O’Brien, Jr. Collection LITERATURE: C. John Sullivan, “The Grahams of Charlestown,” Decoy Magazine, July/August 1997, front cover, exact decoys illustrated.

Loy S. Harrell, Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 118-119, exact decoys illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, pp.

92-93, exact pair illustrated.

$125,000 - $175,000

9

59

10 Canvasback Wing Duck

UPPER CHESAPEAKE BAY, MD, C. 1900 15 in. long

A cast-iron sinkbox weight with raised eyes and bill detail. These heavy decoys were used on the “wings” of sinkboxes to balance them at the water level. Traces of original paint with gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$700 - $900 10

11 Canvasback Pair

CAPT. JOHN C. SCHWEIKART (1870-1954) DETROIT AND STRAWBERRY ISLAND, MI, C. 1910 17 in. long

A hollow canvasback pair acquired on Belle Isle, Michigan, by collectors Michael and Julie Hall in 1974. The Halls exhibited them at the Sheldon Memorial Art Gallery in Lincoln Nebraska and Schweikart was canonized when the pair was illustrated in Paul A. Johnsgard’s corresponding 1976 book The Bird Decoy.

John Schweikart lived and worked in Detroit. He and his brother Carl were motorboat and racing yacht builders.

In addition to serving as the president of Schweikart Boat Works, John would sail his own boat, The Huntress, to victory in regattas and to his camp on Strawberry Island on Lake St. Clair to hunt and fish.

This rigmate pair of hollow decoys exhibits two variations of the maker’s head positions, each displaying his signature bull neck. Schweikart’s construction is meticulous and unique; the wing tips are aluminum, a two-piece copper bottom plate provides a winged keel, and even the heads are hand hollowed. Original paint with gunning wear including some flaking. Hen has touch-up to breast, around tail, and to wing-tip edge.

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PROVENANCE: John Schweikart Rig Julie and Michael Hall Collection, acquired from the family of the above, 1974 Donal C. O’Brien, Jr. Collection, acquired from the above

Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 109, pl. 118, exact pair illustrated.

Jackson Parker, “O’Brien Classic Decoys on Display,” Maine Antiques Digest, November 1981, p. 34-B, exact decoy illustrated.

Julie Hall, “John Schweikart,” North American Decoys Magazine, Spanish Fork, UT, Part One, 1977, pp. 24-25 and back cover, exact pair illustrated three times.

LITERATURE:

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3– November 8, 1981.

EXHIBITED:

$12,000 - $18,000

CAPT. JOHN C. SCHWEIKART

1870-1954 | DETROIT AND STRAWBERRY ISLAND, MI

11

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EARNEST-GREGORY DOVETAILED GOOSE C. 1870

12 Earnest-Gregory Dovetailed Goose MASSACHUSETTS OR PENNSYLVANIA, C. 1870 29 1⁄2 in. long, 17 1⁄2 in. high

Few, if any, decoys conjure the imagination more than the three elegant Canada goose creations by this unknown maker. They were sourced over sixty years ago, in 1954, by famed collector and author Adele Earnest (1901-1993) in Columbia, Pennsylvania, and she credits these exact birds for inspiring her “subsequent devotion to the decoy as an art.”

Upon first impression the decoy’s presence is commanding.

Quickly, the subtle refinements present themselves and invite the viewer to enjoy its features from tip to tail. The artist’s rendering of the bill perfectly captures the nuances of the species, starting with delicate mandible, nostril, and incised carving at the face connection. The head is carefully sculpted with pronounced cheeks and eye grooves that finish at the back of the crown. The bead-glass eyes are carefully inset in perfect symmetry. The graceful S-shaped neck flares at its dovetailed base, fashioned for easy removal when transporting the decoy to and from the field. The bottom of the dovetail reveals a two-tone painted “4” that corresponds to a matching number inside the joint within the body. In addition, both head and body sections have a matching incised ∆.

The maker’s construction techniques and wood selection were meticulous. The maker retained the strength of his wood through the long neck and forward-reaching head by joining two pieces at a complex lap joint. The decoy, sculpted in a swimming pose, shows intricate detail carving behind the head, and the full body

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features a subtle chine that runs along the length of the bird’s back. The maker went to great lengths finishing the underside of the thin paddle tail with fastidious gauge carving rarely seen on the underside of any decoy. The bottom of the decoy was then fitted for a cross-shaped inset weight. True to his craft, the maker’s diligent work is further revealed in x-rays, most notably in the painstakingly hand-carved hollowing of the body.

Two of the three Earnest dovetailed goose decoys were acquired by iconic folk art collector Stewart E. Gregory (1913–1976) of Wilton, Connecticut. Gregory was the Chairman of the Board of the Wilton Historical Society, in addition to serving as both the vice president and a trustee for the American Folk Art Museum during the 1960s and 70s.

Gregory’s collection contained numerous pieces acquired from early and noted dealers, including Mary Allis (1899-1987) and Adele Earnest. His prominent folk art collection featured works

by Ammi Phillips (1788-1865) and Erastus Salisbury Field (18051900), in addition to decoys, hooked rugs, weathervanes, and tinware. The American Folk Art Museum exhibited Gregory’s collection in the 1972 exhibition titled An Eye on America: Folk Art from the Stewart E. Gregory Collection.

Seven years later, this decoy and its mate were both sold at the Stewart E. Gregory Sale at Sotheby Parke Bernet in 1979. It was at this auction that O’Brien acquired the bird.

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EARNEST-GREGORY DOVETAILED GOOSE C. 1870

According to American Folk Art Museum Director Gerard C. Wertkin, the Gregory Sale “is often considered a watershed in the field because of the widespread public interest that it engendered and the high prices that it realized. Indeed, many of the finest works acquired by Gregory are now in the collections of important American museums.”

The decoy was next displayed publicly at the American Folk Art Museum in the fall of 1981 as part of an exhibit titled The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr. The exhibition featured seventy-three classic decoys from the couple’s collection.

Specialists in the decoy collecting world have long heralded the Gregory dovetailed birds as the very best the field has to offer. Antiques and the Arts Weekly reported that the McCleery sale’s decoy specialists, Frank Schmidt and Gary Guyette, both deemed the Gregory-McCleery goose to be their “favorite” lot in the auction.

O’Brien’s love for these decoys was also widely known. He judged his iconic carving to be not only “the finest bird in his collection,” but also “the best of the two Gregory geese,” due to its highly detailed paint pattern. Excellent original paint with minor darkening to flaking and chipping at base of head.

PROVENANCE: Adele Earnest, acquired in Columbia, Pennsylvania, 1954 Stewart E. Gregory Collection, acquired from the above Donal C. O’Brien, Jr. Collection, acquired at the Gregory Sale, 1979 LITERATURE: Sotheby Parke Bernet Inc., Important American Folk Art and Furniture: The Distinguished Collection of the Late Stewart E. Gregory, Wilton, Connecticut, Sale 4209, New York, NY, January 27, 1979, lot 149, exact decoy illustrated.

Loy S. Harrell, Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 176-177, exact decoy illustrated.

Rita Reif, “Carved Birds Captured by a Connoisseur’s Eye,” The New York Times, January 9, 2000, p. 49, rigmate illustrated.

Adele Earnest, Folk Art In America, Exton, PA, 1984, p. 125.

Jackson Parker, “O’Brien Classic Decoys on Display,” Maine Antiques Digest, November 1981, p. 32-B, exact decoy illustrated.

Adele Earnest, The Art of the Decoy, New York, NY, 1965, pp.

8-9, rigmate illustrated.

“Decoys and Records: The Dr. James M. McCleery Collection,” Antiques and Arts Weekly, February 4, 2000, reprinted in Ronald J. Gard and Robert Shaw, eds., The McCleery Auction, Dallas, TX, 2001, p. 150.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, pp.

78, 80, exact decoy illustrated.

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3– November 8, 1981.

EXHIBITED:

$500,000 - $800,000

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12

65

THE ART OF

THE GOOSE

The goose has long been an intriguing species to artists, decoy makers, hunters, and collectors alike. Their grand size, adaptability, ubiquity across North America, and dynamic poses have led to a myriad of interpretations over the years. No other species has been represented with such variation, and the Earnest-Gregory geese, with their removable heads featuring dovetail and lap joints, their meticulously hollow design, and their dynamic detailed paint patterns, stand among the greatest goose carvings ever created.

Top makers have been compelled to address a number of challenges before designing a Canada goose decoy, such as the selection of materials and construction techniques for the body, head, and neck.

A. Elmer Crowell’s (1862-1952) geese were typically solid and he used several pieces of wood to create dynamic head positions (fig. 3 and 4). Nathan Cobb Jr.’s (1825-1905) approach was fundamentally different; he hollowed out his bodies and employed a single twisted myrtle roothead. Charles Schoenheider, Jr. (1854-1924) created his birds with multiple laminations, going so far as to cast removable metal feet (lot 20).

As anyone who has spent time observing geese knows, a gaggle on the water or on land will nearly always display multiple head positions simultaneously. For instance, when one sentinel’s head goes down to eat, a feeder’s head comes up to look out. Both the individuals and groupings remain perpetually dynamic. Additionally, many poses can be represented in a rig. These choices were often contingent on whether the decoys were used as floaters (fig. 1, 2, 3, and 4), stick-ups (fig. 1 and 2), or even flyers (lot 48).

Representations of plumage on geese also varied tremendously, from the simple paint application of Nathan F. Cobb, Jr. (fig. 2) to the meticulous blended feathering of A. Elmer Crowell as seen in the Long Collection geese (fig. 3 and 4). The half-dozen paint techniques seen on the Earnest-Gregory geese are impressive and distinguish these decoys as some of the finest ever painted.

after John James Audubon (1785-1851), Canada Goose (detail)

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fig. 1, Earnest-Gregory Dovetailed Goose

fig. 2, Nathan Cobb, Jr., Canada Goose

fig. 3, A. Elmer Crowell, Nesting Canada Goose

fig. 4, A. Elmer Crowell, Preening Canada Goose 67

DOVETAILED BLACK-BELLIED PLOVER C. 1870

13 Dovetailed Black-Bellied Plover

MASSACHUSETTS OR PENNSYLVANIA, C. 1870 11 in. long

This hollow plover is an expertly crafted decoy. It was created by the same maker as lot 12 in this sale. The inside surfaces of the neck joint are stamped with a corresponding numeral “3.” The body was carefully hand hollowed, creating the lightest practical decoy possible. In addition to the dovetail, the form, paint, and construction feature a number of fine details virtually unseen in other makers’ works.

While the talented creator of this bird and the dovetailed goose decoy remain a mystery, their origins have been attributed to Massachusetts and Pennsylvania, where the dovetailed shorebirds and geese have been found, respectively. Original paint with minimal even gunning wear, a small expertly crafted repair to back left corner of head joint.

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PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Loy S. Harrell, Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 176-177, exact decoy illustrated.

Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, pp. 74-75 and pl. 20, rigmate illustrated.

Milton C. Weiler and William J. Mackey, Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 20, related willet illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

79, exact decoy illustrated.

$30,000 - $50,000

13

69

A. ELMER CROWELL 1862-1952 | EAST HARWICH, MA

Elmer Crowel at John C. Phillips’ Oldham Pond Camp, c. 1920.

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71

A. ELMER CROWELL 1862-1952 | EAST HARWICH, MA

14 Phillips Rig Preening Black Duck A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1912 13 in. long

This decoy is a rigmate to the Dr. John C. Phillips (18761938) preening pintail that has set the world record for a decoy on three separate occasions. A testament to the standard Crowell set for his major patron, this Phillips rig black duck also holds the distinction of setting the world record for any decoy at auction when it was last offered for sale in 1986. The similarities of form, raised wing carving, and exceptional paint execution between the Phillips rig pintail and this black duck are striking and showcase the maker’s fine skills as “the father of American bird carving.”

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This early carving conveys Crowell’s complete understanding of the species, with the full-bodied duck exhibiting perfect proportions, clean lines, and a head that fully extends back over the left side. The head reveals meticulously blended paint and refined carving details.

The wingtips are both crossed and raised, and the tail showcases the carver’s very best incising. The body displays the maker’s exceptional wet-on-wet dry brush feathering and is perhaps the best paint seen on any Crowell black duck. While the extreme refinement of the carving and paint initially suggests that this bird was made as a decorative, the rigging marks on the bottom attest to its use on the water as a hunting decoy.

14

Black duck decoys were Crowell’s signature species with hundreds carved in typical straight-head positions. His preening models are indeed rare and reside in the country’s top private and museum collections. The Magazine Antiques cemented the iconic status of the Crowell preening black duck when they chose a related example for their September 1989 cover. Outstanding original paint with minor touch-up.

PROVENANCE: Dr. John C. Phillips Rig Donal C. O’Brien, Jr. Collection LITERATURE: William Doyle Galleries, Waterfowl and Shorebird Decoys, New York, New York, April 16, 1986, front cover and lot 81, exact decoy illustrated.

Robert H. Boyle, “The Art of Deception,” Audubon Magazine, May/June 2002, p. 44, exact decoy illustrated.

Stephen B. O’Brien, Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2018, exact decoy illustrated.

David S. Webster and William Kehoe, Decoys at Shelburne Museum, Burlington, VT, 1961, p. 23, no. D-43-W, similar decoy illustrated.

Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 172, pl. 148, similar decoy illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, pp.

82-83, exact decoy illustrated. $200,000 - $300,000

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Dr. John C. Phillips (1876-1938) Dr. John C. Phillips was the son of a prosperous shipping merchant and his great-grandfather was the first mayor of Boston. He grew up in Boston, summered on Wenham Lake in Beverly, and graduated from Harvard and then Harvard Medical School around the turn of the century. In addition to serving as a surgeon in World War I, Phillips made significant contributions to science, including the discovery of eleven previously unknown bird species.

A true Renaissance man, Phillips was also a prolific author.

He published over 200 books and articles on a myriad of subjects. In the mid-1920s, Phillips published his fourvolume opus, A Natural History of The Ducks, illustrated by the top artists of the day: Frank W. Benson (1862-1951), Allan Brooks (1869-1946), and Louis Agassiz Fuertes (18741927). The hunting world owes Phillips a debt of gratitude for his 1929 Shooting Stands of Eastern Massachusetts, illustrated by Aiden L. Ripley (1896-1969), which chronicles classic gunning stands that have now all disappeared.

One of the featured stands was his own Wenham Lake camp. In addition to being an excellent location to shoot at passing waterfowl, this two-hundred-and-fifty-acre lake once held crystal-clear water renowned for its purity.

Beginning in the early 1840s, blocks of Wenham Lake ice, packed in sawdust, travelled by ship to New Orleans, Cuba, Jamaica, England, India, Sri Lanka, Singapore, and other ports all over the world. Queen Victoria (1819-1901) demanded Wenham Lake ice; author Rudyard Kipling (18651936) describes the startling experience of swallowing Wenham Lake ice for the first time in far-off Bombay.

Although three-quarters of the cargo typically melted before arriving to its final destination, the venture was still profitable thanks to the high prices buyers were willing to pay for the remaining ice. To wit, The Kipling Journal states, “By 1845, no dinner party in London, England, of social consequence, was considered complete without ice shipped 3,000 miles from Wenham Lake.”1 This famous lake provided Phillips with an ideal setting to cultivate his love of the natural world.

Beginning in his early teenage years, Phillips was keenly interested in hunting wildfowl, and black ducks in particular.

He shared this passion with the young carver from East

Harwich. As a lad of twelve or thirteen armed with a twelve gauge, Elmer Crowell recalls shooting his first black duck in Eugene V. Connett’s, Duck Shooting Along the Atlantic Tidewater.2 He reports that shortly thereafter his father purchased a large tract of lakeside property from which he shot ninety-seven black ducks the following fall. These impressive statistics indicate that the maker quickly became a masterful black duck guide. His familiarity, prowess, and focus on this species accounts for the breathtaking renderings of these truly wild and wary ducks. It also might be the reason that Phillips sought out Crowell and hired him to run his hunting camps on Wenham Lake and Oldham Pond.

The role that John C. Phillips played in promoting Crowell’s carving career cannot be overstated. By hiring him as a gunning stand manager, the doctor provided the young carver with a steady job that offered ample downtime to carve as well as a ready market for his wooden creations.

In addition to buying some of Crowell’s earliest working decoys, Phillips commissioned a set of Crowell miniatures around 1902, according to a 1914 Boston Globe article on the carver.3 These turn-of-the-century acquisitions make Phillips one of the earliest collectors of bird carvings. The decoys that Crowell made for Phillips, including this world-recordsetting black duck, the world-record-setting pintail, and the McCleery red-breasted merganser and wood duck, are not only some of the maker’s finest, but they are considered among the greatest decoys ever carved.

Postcard of John C. Phillips at Oldham Camp, photo courtesy of Heritage Museum and Gardens.

1. The Kipling Journal, No. 154, London: the Kipling Society, June 1965, p. 6. 2. A. E. Crowell, “Cape Cod Memories,” Duck Shooting Along the Atlantic Tidewater, ed. Eugene V. Connett (New York: William Morrow and Company, 1947), p. 56. 3. “Master Decoy Maker,” The Boston Globe, September 20, 1914, p. 61.

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DR. JOHN C. PHILLIPS RIG

Phillips Rig Preening Black Duck, Lot 14.

Phillips Rig Preening Pintail, c. 1912.

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A. ELMER CROWELL 1862-1952 | EAST HARWICH, MA

15 Goldeneye Drake

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1905 15 1/2 in. long, 6 1/2 in. wide

Hollow Crowell decoys are exceedingly rare. This example with its stunning paint is one of only a handful known to exist. Subtle intricacies of Crowell’s best paint show multiple painting techniques employed, including blending to the head, pouncing to the shoulders, and cut-brush stippling to the sides, among others.

This early decoy is in a rare content or tucked-head posture.

The back displays Crowell’s refined raised and carved primaries and fluted tail. The head reveals subtle rasping detail. The bottom board bears the Smith family “S” brand with “SW” representing Stanley W. Smith, Esq. (1869-1941) and “AP” representing his brother Albert P. Smith.

The Smiths were descendents of the Mayflower and their decoys are closely linked to the Willard rig of decoys found with the “JWW” brand on the bottom. The “JWW” rig was commissioned by John Ware Willard (1859-1914) who was the grandson of famous clock maker Simon Willard

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(1753-1848). Decoy historians Linda and Gene Kangas, in their well-researched article, “Connecting the Dots: Exploring the Provenance of Elmer Crowell’s Decoys,” discovered that the two owners of this decoy, Stanley Smith and Albert Smith, were close to Willard, who mentions the brothers by name in his will. Excellent original paint with light gunning wear, some touch-up around body seam, and a reset bill.

PROVENANCE: Stanley W. Smith, Esq. and Albert P. Smith Rig Donal C. O’Brien, Jr. Collection LITERATURE: Stephen B. O’Brien, Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2018, exact bird illustrated.

Linda and Gene Kangas, “Connecting the Dots: Exploring the provenance of Elmer Crowell’s decoys,” Decoy Magazine, March/April 2010, front cover, pp. 30-35, related example.

$25,000 - $35,000

15

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78

LOTHROP T. HOLMES

1824-1899 | KINGSTON, MA

16

16 Running Golden Plover

LOTHROP TURNER HOLMES (1824-1899) KINGSTON, MA, C. 1860 10 in. long

Unlike many professional carvers who earned a living selling their decoys, Lothrop Turner Holmes only carved decoys for his own use along the marshes of the Jones River and Duxbury Bay. Holmes is one of the earliest documented shorebird makers from any region and is widely considered the top decoy maker of the nineteenth century.

This singular decoy is believed to be the only known Holmes golden plover in original paint to have surfaced, making it even more rare than the maker’s coveted ruddy turnstones.

At least two other rigmate black-bellied plover are known to exist. One of those is featured in Shorebirds: The Birds, The Hunters, The Decoys by Levinson and Headley, and hailed from the Grant Nelson Collection. The other example

resides in a private California collection and also displays the maker’s best paint.

This one-of-a-kind golden plover displays spectacular blended feather paint, the maker’s signature split-tail carving, and remarkable condition. Outstanding original paint with light gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: John M. Levinson and Somers G. Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centreville, MD, 1991, p. 57, pl. 4-11, rigmate illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

83, exact decoy illustrated.

$25,000 - $35,000

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17 Feeding Robin Snipe ACCOMACK, VA, C. 1850 9 in. long

A small and charming red knot from a rig which features raised wings, incised eyes, and thin necks. In working paint with gunning wear.

PROVENANCE: Malcolm Fleming Collection Donal C. O’Brien, Jr. Collection, acquired from the above

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LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 158, pl. 131, rigmates illustrated.

Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, pp.

123-124, pl. 221-222, rigmates illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 80, exact decoy illustrated.

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3–November 8, 1981.

EXHIBITED:

$1,000 - $2,000

18 Root-Head Dowitcher CAPE HATTERAS, NC, C. 1890 9 1/4 in. long

An early North Carolina shorebird decoy with a root-head and unusual twisted wire legs. The head is removable with a mortise-and-tenon joint. Old paint with gunning wear and a check down the right side.

PROVENANCE: William J. Mackey, Jr. Collection Donal C. O’Brien, Jr. Collection

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LITERATURE: William J. Mackey Jr., American Bird Decoys: The Paine Art Center Exhibition Catalog, St. Paul, MN, December 1967, lot 37, exact decoy illustrated.

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 176, pl. 144, exact decoy illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 80, exact decoy illustrated.

St. Paul, Minnesota, American Bird Decoys, The Paine Art Center, December 1967.

EXHIBITED:

$1,500 - $2,500

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IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

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19 Dowitcher

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1910 9 3/4 in. long

This sandpiper represents one of Hudson’s earliest and most stylish models. It features the maker’s deeply carved and curved wing tips. The reaching head has fat cheeks and sharp eye brows. This rig was originally sourced by William J. Mackey, Jr. Original paint with gunning wear, a replaced bill, and a small old tail chip repair.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Milton C. Weiler and William J. Mackey, Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 10, related example illustrated.

$8,000 - $12,000

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CHARLES S. SCHOENHEIDER, SR. 1854-1924 | PEORIA, IL

20 Standing Canada Goose

CHARLES S. SCHOENHEIDER, SR. (1854-1924) PEORIA, IL, C. 1918 22 1/2 in. long, 22 in. tall

While Schoenheider produced very few decoys, the carver’s impact on the region’s decoy portfolio was significant. He made floating decoys, as well as “ice decoys,” in the forms of mallards, pintails, and Canada geese, which were balanced on one metal foot.

Schoenheider built this large hollow body with five-piece construction. He applied a similar laminate technique when creating the head and neck. This decoy includes the maker’s original cast-metal foot which can be mounted on a sturdy base that accompanies the lot.

Adele Earnest featured this exact decoy in her 1984 book, Folk Art in America: A Personal View. In the mid-1960s, Earnest collected four prime examples from the standing goose rig via Joe French and Joe Tonelli, who had acquired them directly from Charles Schoenheider, Jr. The rig was originally commissioned by Daniel W. Vorhees in 1918 and consisted of ten standing and two floating goose decoys.

Receiving a call from his good friend Earnest, O’Brien acquired not one, but two exemplary goose decoys by the Midwest maker. In 1986 O’Brien traded one of his Schoenheider geese to the Shelburne Museum. That goose most recently graced the cover of the Museum’s 2017 book, Birds of a Feather where it is described as “one of the crown jewels of the collection.”

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Never previously offered at public auction, this decoy, with its grand presence, excellent condition, original foot, and royal provenance, is perhaps the finest Schoenheider goose to ever cross the auction block. Excellent original paint with minimal wear, slight darkening to minor flaking on head, and a slight seam lift above tail.

PROVENANCE: Charles Schoenheider, Jr., by descent in the family Joseph Tonelli Collection, acquired from the above Adele Earnest Collection, acquired from the above Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: Adele Earnest, Folk Art In America, Exton, PA, 1984, p. 132, exact bird illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 246-247, rigmate decoys illustrated.

Loy S. Harrell, Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 184-185, rigmate illustrated.

Kory W. Rogers, Birds of a Feather, Shelburne, VT, 2017, front cover and pp. 132-133, rigmate illustrated.

$100,000 - $150,000

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DR. BARTON M. BLUM STANDING WOOD DUCK C. 1890

21 The Blum Standing Wood Duck MAINE, C. 1890 17 in. long

The drake wood duck form has appealed to decoy acquisitors since the inception of decoy collecting over a century ago. It was for this reason that author Loy Harrell chose a standing wood duck form for the cover of his One Hundred Greatest book. The Blum Standing wood duck, with its striking lines, original surface, singularity, and provenance, embodies all that collectors seek.

Few wood duck carvings have excited decoy or folk art collectors over the last fifty years as much as this perching duck. The one-of-a-kind decoy was source collected by Dr. Barton M. Blum of East Holden, Maine. Dr. Blum, along with William J. Mackey, Jr., was a part of New Jersey’s “old guard” collecting group. In 1959, Blum moved to Maine where he continued to put together a diverse decoy collection from all regions. His Maine birds included fine examples by Gus Wilson, Willie Ross, Eben Weed Eaton (attr.), and this standing wood duck drake.

In 1983 the Blum Collection was auctioned off at Oliver’s first auction, held in Bangor, Maine. The standing wood duck was acquired at the auction by Bud Ward on behalf of Dr. James M. McCleery, MD, as the top lot in the auction.

Describing the Blum Collection auction and this exact decoy, the May-June 1983 edition of The Decoy Hunter Magazine reports, “They came from everywhere. Over 700 decoy collectors arrived at Kennebunk, Maine on March, 6th to participate in the decoy sale of the Bart Blum collection. Bart Blum was from East Holden, Maine and his collection was by many who attended one of the finest...An outstanding wood duck drake with original paint, possibly used as a stickup decoy, stole the show with the top price...”

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The decoy exhibits exceptionally fine form with raised wing tips and a dramatic turned head. The bird was fashioned as both a floater and a stick-up. At the time the decoy sold in 1983, Jackson Parker of Decoy Magazine wrote, “Blum had illustrated this rare bird in the DCG [Decoy Collectors Guide] article with the caption that referred to his seeing a similar black duck stick-up decoy near Reed State Park, which should become a popular area for decoy collectors after this sale.”

The graceful head fits the body with a round mortiseand-tenon joint. This allows it to be displayed in multiple positions and to be removed for easy transport to and from the field.

Original paint with even gunning wear, some chipping to neck base and right wing tip, and the bill appears to be an early replacement.

PROVENANCE: Dr. Barton M. Blum Collection, acquired c. 1965 Dr. James M. McCleery, MD, Collection, acquired from the sale of the above, 1983 Donal C. O’Brien, Jr. Collection LITERATURE: Barton M. Blum, “Maine Coast Decoys,” Decoy Collector’s Guide, Jan-Mar 1965, p. 3, exact decoy illustrated.

The Decoy Hunter, May-June 1983, p. 9, exact decoy illustrated.

Jackson L. Parker, “Maine decoy auction makes history,” Decoy Magazine, Spring 1983, p. 25, exact decoy illustrated.

$40,000 - $60,000

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22 Ruddy Turnstone NEW JERSEY, C. 1900 8 1/4 in. long

“Never difficult to identify is a decoy of the ‘busy’ and beautiful Ruddy Turnstone. Even its popular name ‘Calicoback,’ has a pleasant connotation. It was rather common along the whole coast from Canada on south to Florida, but its decoys are decidedly rare. Why one locality made and used the great majority is hard to explain. Almost all known in collections today originated along the lower half of the Jersey coast.” -William J. Mackey, Jr., 1965, referring to this exact decoy

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Several copies of this unknown maker’s popular design have surfaced, making this Mackey-O’Brien “Calico-back” all the more revered. Excellent original paint with light gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 47, pl. 26, exact decoy illustrated.

$5,000 - $7,000

CAPT. J. LEWIS BARKALOW 1875-1960 | FORKED RIVER, NJ

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23 Peep Pair

CAPT. J. LEWIS BARKALOW (1875-1960) FORKED RIVER, NJ, C. 1890 6 1/4 and 6 1/2 in. long

These small shorebird decoys, made for Barkalow’s own rig, display through-splined bills, stippled paint, and the maker’s stamped “L B” signature on the side of one bird.

PROVENANCE: J. Lewis Barkalow Gunning Rig William J. Mackey, Jr. Collection, acquired from the above Donal C. O’Brien, Jr. Collection

William J. Mackey, Jr. in Classic Shorebird Decoys: A Portfolio of Paintings, discusses the Barkalow decoys, “It was a rounded rig that included sanderling, least sandpipers, yellowlegs, pectorals and a few black-bellied plover. Captain Barkalow made the decision to sell his birds without any pressure on my part. After all, this took place when...no one else showed the slightest interest in such artifacts...Finally Lou stood up, pointed to them and said, ‘You owe me eight dollars and ten cents. They’ll cost you ten cents a piece.’ The deal was consummated, and I have treasured them ever since.”

William J. Mackey, Jr. American Bird Decoys, New York, NY, 1965, p. 120, pl. 102, rigmate illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p.171, pl. 374, rigmates illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 71, rigmate illustrated.

Milton C. Weiler and William J. Mackey, Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 1, rigmate illustrated.

Mackey credited these decoys with an unmatched “charm,” and also used them as currency for his legendary trades that often included Dr. George Ross Starr, Jr. and Donal C. O’Brien, Jr. Original paint with gunning wear; each has a shot scar.

LITERATURE:

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3– November 8, 1981, one shown.

EXHIBITED:

$5,000 - $8,000

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OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

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24 Rare Running Red Knot

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 9 1/2 in. long

A running robin snipe with S-curve wings, a red breast, and red and black stippled paint. Original paint with gunning wear and a replaced bill.

PROVENANCE: William J. Mackey, Jr. Collection Tom Marshall Collection, acquired from the above Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 102, pl. 85, exact decoy illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 92, exact decoy illustrated.

$5,000 - $7,000

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OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

25

25 Sanderling

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 8 1/4 in. long

An excellent Verity peep decoy with S-curve wings and an upright pose. This carving showcases the maker’s very best tight black stippling with accents of red feathering on the back. Original paint with gunning wear, minor discoloration on left wing, replaced bill.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Jeff Waingrow, “The American Decoy,” The Clarion: America’s Folk Art Magazine, New York, NY, Fall 1981, p. 28 and p. 31, exact decoy illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 92, exact decoy illustrated.

$5,000 - $7,000 89

OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

26

26 Running Peep

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 6 1/4 in. long

This plump peep with S-curve wings is one of the smallest decoys known to exist. Original paint with gunning wear and a replaced bill.

PROVENANCE: Nina Fletcher Little Collection Donal C. O’Brien, Jr. Collection, acquired from the sale of the above, 1994 LITERATURE: E. Jane Townsend, Gunners Paradise: Wildfowling and Decoys on Long Island, Stony Brook, NY, 1979, p. 133, pl.

231, related decoy illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 92, exact decoy illustrated.

$5,000 - $7,000

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“Verity’s most distinctive form is a feeding shorebird, with its bulbous head bent down and forward, its fixed eyes seemingly intent on some choice morsel before it. The outline of the bending form is a series of graceful unbroken curves that extend from the tip of the tail over and around all sides of the body, neck, and head.”

-Robert Shaw, Bird Decoys of North America

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OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

27 The Earnest Verity Plover

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 10 1/2 in. long

This rare feeding plover was acquired directly from Adele Earnest. O’Brien noted this bird was Verity’s “best style, best position.” The bold design displays a deep feeding pose that perfectly captures the probing nature of the species.

Highly unusual for the maker, the head is slightly turned to the right. The bird features everything that seasoned collectors look for in a Verity: carved eyes, raised S-curve wings, V-shape primaries, the maker’s best stippled paint, and impeccable provenance. Original paint with traces of old working paint, gunning wear, some darkening to breast, replaced bill, and some old patches and fill to bottom.

PROVENANCE: Adele Earnest Collection Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys Magazine, Spanish Fork, UT, Spring/Summer 1982, p.

30, exact decoy illustrated.

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Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 180.

Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1989, p. 42.

Milton C. Weiler and William J. Mackey, Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 19, related example illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p.

92, exact decoy illustrated.

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3-November 8, 1981.

EXHIBITED:

$35,000 - $45,000

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OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

28

28 Black-Bellied Plover

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 10 3/4 in. long

A plump plover with distinct beetle-head carving. It is difficult to find Verity plover decoys that do not have repainted breasts, as these rigs of decoys were typically hunted heavily. Original paint with gunning wear, areas of touch-up to head and left wing, and a replaced bill.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Timothy R. Sieger, The Decoys of Long Island, Water Mill, NY, 2010, p. 31, similar decoy illustrated.

E. Jane Townsend, Gunners Paradise; Wildfowling and Decoys on Long Island, Stony Brook, NY, 1979, p. 33 and pp. 115-117, fig. 188-194, similar decoys illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p.

92, exact decoy illustrated.

$3,000 - $5,000

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WILLIAM H. SOUTHARD 1874-1940 | SEAFORD, LONG ISLAND, NY

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29 Running Yellowlegs

WILLIAM H. SOUTHARD (1874-1940) SEAFORD, LONG ISLAND, NY, C. 1900 12 in. long

This racy bird from Seaford has S-curve wings and nice stippled paint. Original paint with gunning wear to the wood in places and a replaced bill.

PROVENANCE: George W. Coombs, Jr. Collection Donal C. O’Brien, Jr. Collection LITERATURE: Milton C. Weiler and William J. Mackey, Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 20, related example illustrated.

Timothy R. Sieger, The Decoys of Long Island, Water Mill, NY, 2010, p. 37, related decoys illustrated.

$5,000 - $7,000

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JOHN DILLEY

QUOGUE, LONG ISLAND, NY

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30 Robin Snipe

JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1890 9 3/4 in. long

Regarding the rig of six Dilley shorebirds that he first acquired, William J. Mackey, Jr. recounts in Classic Shorebird Decoys: A Portfolio of Paintings, “These decoys had real class and were envied by fellow collectors such as Joel Barber and Edgar Burke, who left my house walking on air because I had given them each a snipe.”

When referring to Dilley shorebirds in American Bird Decoys, Mackey states, “There is no question that the detailed, stylized painting is unsurpassed. They are beautiful examples from the hand of a fastidious workman.” Starting with clean lines and a solid form, Dilley applied some of the finest representations of plumage ever demonstrated. Using a two-tiered paint technique, he was able to imply detail without carving or painting every feather. This decoy shows the best Dilley model with carved wings. Original paint with gunning wear, repair to end of tail.

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PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Milton C. Weiler and William J. Mackey, Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 7.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p.

95, exact decoy illustrated.

$7,000 - $10,000

JOHN DILLEY

QUOGUE, LONG ISLAND, NY

31 Golden Plover

JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1890 10 1/4 in. long

The underside of this plover is stamped “Henry C. Squires, N.Y.” and is signed “Dilley.”

Squires was a New York City sportsmen’s supply store on Broadway. Its impressive 1890 catalog had several decoy varieties listed for sale, such as “Snipe decoys, hand-made, shaped and painted from life; the finest decoys ever produced; can be furnished only in limited quantities.” Their $12 per dozen price was 300% higher than Squires’ alternative “Snipe decoys.” Very few Dilleys have either the stamp or signature, which amount to most of the documentation on this celebrated, but elusive, maker. Original paint with gunning wear, and an old tail chip.

PROVENANCE:

31

Donal C. O’Brien, Jr. Collection

LITERATURE: Henry C. Squires, Descriptive Catalogue and Price-list of Sportsmen’s Supplies, New York, NY, 1890, p. 52, snipe decoys listed.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 80, exact decoy illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 95, exact decoy illustrated.

$3,000 - $5,000

32 Red Knot

JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1890 10 1/4 in. long

The underside of this well-documented robin snipe decoy is signed “Dilley.” Original paint with even gunning wear and flaking.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

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LITERATURE: Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p.

60, pl. 41 and 156, exact decoy illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 80, exact decoy illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 95, exact decoy illustrated.

$3,000 - $5,000

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THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

“Stephen W. Ward (1895-1976) and his brother Lemuel Travis Ward (1896-1984) of Crisfield, Maryland were by far the most prominent Chesapeake Bay carvers of the twentieth century and among the greatest and most influential bird carvers of all time. The brothers worked closely together throughout their lives, combining the complementary talents of Steve’s hand carving and Lem’s brushwork to create works of extraordinary grace and realism.”

-Robert Shaw, Bird Decoys of North America: Nature, History, and Art

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THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

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WHITE MALLARD GUN CLUB BUTTE SINK, CA

“The Ward Brothers made pintails early on in their craft and they were made in a variety of designs and forms...There is no finer work done in decoys than that which is exhibited in the 1932 Pinched Breast Pintails, or the 1936 Classic Pintails.”

-Ron Gard and Brian McGrath, Ward Brothers’ Decoys 101

THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

33 Pinch-Breast Pintail Pair

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1932 18 in. long

The Ward Brothers captured the likeness of species in their carvings as well as any decoy makers in history, and their White Mallard Gun Club rig of pinch-breast pintails are among their pinnacle works. O’Brien, in his notes, believed the birds to be “the best of the White Mallard Club rig” and “the finest pair of ‘Pinch Breast’ pintails the Ward Brothers made – a perfect matched pair.” He was so taken by them that he “chased this pair of birds for 3 years.”

The drake in this lot is closely related to a rigmate featured as the cover lot of Session IV of the Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey. That decoy would end up being the top lot of the session. Acquired by singer Andy Williams, the carving was described as “one of the finest and best preserved examples of the Ward Brothers...one of the best Ward decoys ever made.”

These decoys were hunted on the club’s freshwater marshes of the Butte Sink in California’s Sacramento Valley. In describing the White Mallard birds, Ward authorities Gard and McGrath state, “The design is considered the best in Ward pintails…” and further note that “the pintail was Lem Ward’s favorite bird and he shows this preference in the painting of his pintails.” Indeed, the lively and textured stippling on the sides and back of the drake is as good as seen on any decoy.

This rare and distinctive style is associated with the 1932 model-year, and is named for Steve’s stylish carving of pronounced breasts that dramatically flare into the broad

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wings. The bodies are long and angular with a ridge running the length of the back to the tip of the lifted tail. This pair, with slightly turned heads and high crowns, highlights the species’ long and thin necks, with the drake’s head additionally cocked to the side. Their undersides bear the horseshoe-shape weight patterns associated with the rig.

Excellent original paint with even gunning wear, a few age lines, some touch-up mostly around neck seams, and a shallow tail chip repair to hen.

PROVENANCE: White Mallard Gun Club, Butte Sink, California Donal C. O’Brien, Jr. Collection LITERATURE: Richard A. Bourne Co. Inc., Rare American Decoys & Bird Carvings, Hyannis, MA, August 1986, cover and lot 39, rigmate illustrated.

Richard A. Bourne Co. Inc., Very Rare and Important American Bird Decoys From the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Hyannis, MA, Session IV, October 20, 1973, front cover and lot 283, rigmate illustrated.

Ronald J. Gard and Brian J. McGrath, Ward Brothers’ Decoys: A Collector’s Guide, Wolf City, TX, 1989, pp. 57-60, rigmates illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 203.

Robert H. Boyle, “The Art of Deception,” Audubon Magazine, May/June 2002, p. 49, no. 12, exact pair illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

83, exact decoys illustrated.

$200,000 - $300,000

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33

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THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

Photo courtesy of AAubreyBodine.com

The Ward Brothers’ hometown of Crisfield, Maryland, is on the Eastern Shore of the Chesapeake Bay, just miles north of the Virginia border and due west of Chincoteague Island.

Under the tutelage of their father Travis Ward (1873-1926), a boatbuilder, decoy carver, and barber, Lem and Steve began carving decoys in their teenage years. Around the time of their father’s passing in the 1920s, the brothers, both barbers, formed a decoy carving partnership that would last a lifetime.

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Their reputation for producing fine decoys spread across the country, and the brothers continually worked to advance their carving and painting skills as “wildfowl counterfeiters in wood.” They were fortunate enough to enjoy some of their popularity in the mid-twentieth century when decoy collecting was a growing field. In 1968 The Ward Foundation was started and in 1975 The Ward Museum of Wildfowl Art at Salisbury University was established. The museum is now the largest of its kind dedicated to the subject.

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34 Canvasback Hen

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1932 16 1/2 in. long

Signed on the bottom “L.T. Ward - Bro, Crisfield, Md., Lem -Steve Ward, 1932.” While they are dated 1932, these birds have been canonized as the 1936 model. This decoy is a rigmate to the following lot.

The Ward Brothers captured the likeness of species in their carvings as well as any maker before or after their remarkable careers. This superb example has a turned head and excellent bill carving. Of the highly coveted 1936 model canvasbacks the Wards produced, it is rare to find one with its original bill intact as the long and delicate bills were prone to breakage. The full body, refined head carving, exceptional paint, original condition, and provenance of this example place it among the finest hens known.

In his notes O’Brien writes, “If I were to pick a pair of decoys to illustrate the art of decoy making, I would pick the Ward Brothers 1936 canvasbacks.” He searched “high and low” for “the widest, most flaring bills” and owned six different pairs as a result.

The O’Brien family selected a Ward ‘36 canvasback to be used as the model for the O’Brien Collection stamp. Original paint with even gunning wear and touch-up around neck putty.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Ronald J. Gard and Brian J. McGrath, Ward Brothers’ Decoys: A Collector’s Guide, Wolf City, TX, 1989.

Robert H. Boyle, “The Art of Deception,” Audubon Magazine, May/June 2002, p. 48, no. 10, related decoy illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

80, exact decoy illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p.

95, exact decoy illustrated.

$20,000 - $30,000

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THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

35 Canvasback Drake

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1932 16 ½ in. long

Inscribed on the bottom “L.T. Ward - Bro., Crisfield, Md, Lem - Steve Ward, 1932.” This decoy is a rigmate to the previous lot.

This superb example has a turned head and exceptionally flared bill. Of the highly coveted 1936 model canvasbacks the Wards produced, it is rare to find one with its original bill intact as the long and delicate bills were prone to breakage.

The full body, refined head carving, exceptional paint, and provenance place this decoy among the finest drakes known. Original paint with even gunning wear, some flaking and touch-up around neck putty, and a minor repair to left edge of tail.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Byron Cheever, Ward Bros., Heber City, UT, 1966, pictorial insert, pl. 6, similar decoy illustrated.

Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 18, pl. 15, similar decoy illustrated.

Robert H. Boyle, “The Art of Deception,” Audubon Magazine, May/June 2002, p. 48, no. 10, exact decoy illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

80, exact decoy illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p.

95, exact decoy illustrated.

$20,000 - $30,000

106

35

107

R. MADISON MITCHELL 1901-1993 | HAVRE DE GRACE, MD

36

36 Preening Canvasback Pair R. MADISON MITCHELL (1901-1993) HAVRE DE GRACE, MD, C. 1950 13 1/2 in. long

A matched pair of presentation-grade canvasbacks.

Original paint with minimal wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$400 - $600

108

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

37

37 Long-Billed Dowitcher IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1900 13 1/4 in. long

Ira Hudson was born in Maryland and grew up in Delaware.

He and his wife Eva moved to the island of Chincoteague in Virginia to raise their nine children. A multi-talented craftsman, Hudson designed and built his own home on Chincoteague. He also designed and built boats, including many flat-bottomed scows used for hunting and oyster farming. In 1897, Hudson added decoy carving to the lengthy list of occupations he would pursue over the years; the 1900 and 1910 census records identify Hudson as a “waterman” and “oysterman.” In order to support his family, Hudson also built chicken coops, gunstocks, and even clothespins when there was a demand for these items during World War II.

This is a classic Hudson snipe carving with a thin neck and a very long bill. Mix of original and working paint worn to wood with gunning wear, age lines, a crack in the bill, and a reset tail chip.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 161, pl. 134, rigmate illustrated.

Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 36, rigmate illustrated.

$7,000 - $10,000

109

NATHAN F. COBB, JR. 1825-1905 | COBB ISLAND, VA

110

111

NATHAN F. COBB, JR. 1825-1905 | COBB ISLAND, VA

112

38

38 Black Duck

NATHAN F. COBB, JR. (1825-1905) COBB ISLAND, VA, C. 1880 15 1/2 in. long

In American Bird Decoys, William J. Mackey, Jr. proclaims that “[the Cobbs] were determined to produce the best decoys possible, and their work excellently served the needs of both the nineteenth-century hunter and the modern collector.”

This hollow black duck with an inletted head is one of the finest Cobb Island ducks known. In addition to Cobb’s standard eye-groove carving and classic tail cut, this bold model features a well-proportioned and full body, and a pronounced breast that rises upward under the bill.

The underside bears Nathan Cobb, Jr.’s incised, and reversed, “и” and the Mackey Collection ink stamp. It is rare that decoy carvers are regarded for their signatures; however, in his passionate account of the Cobbs, Mackey notes that “the skill and artistry with which the initials are carved indicate the dedication and talent that Nathan Cobb lavished on his work.”

In 1893, low-lying Cobb Island was washed over and largely wrecked by the sea. This was the first of several catastrophic storms that contributed to the rarity of Cobb decoys.

Excellent original paint with gunning wear, including rub on back, age line in top of head, and touch-up at left base of bill and two points of inlay seam.

PROVENANCE: Nathan F. Cobb, Jr. Rig William J. Mackey, Jr. Collection Donal C. O’Brien, Jr. Collection LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 152.

$14,000 - $18,000

113

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

Joseph Lincoln at work, photo courtesy of Cap Vinal.

114

115

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

39

116

39

39 Long-Tailed Duck Pair

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900 15 1/2 in. long

O’Brien’s notes regarding the drake assert that it is the “best of all Lincoln’s Old Squaw; very delicate in construction & paint; subtle and varied pattern on head showing much more shading than usual; Joe Lincoln gave this decoy to Joel Barber; it was part of the Shelburne Collection and bears the Museum’s number; I traded one of my Schoenheider geese for it; also gave Museum an Elliston canvasback and a Graves black duck.”

Regarding the hen, Donal’s notes reveal that he “traded a [Bunn/] Bowman yellowlegs and a pair of Ward balsa teal for the hen.” Excellent original paint with minimal gunning wear.

PROVENANCE: Joel Barber Collection, acquired from Joseph Lincoln Shelburne Museum Collection, acquired from the above Donal C. O’Brien, Jr. Collection, acquired from the above

David S. Webster and William Kehoe, Decoys at Shelburne Museum, Shelburne, VT, 1961, p. 68, exact decoys illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1990, p. 132, exact decoys illustrated.

Robert H. Boyle, “The Art of Deception,” Audubon Magazine, May/June 2002, p. 44, no. 8, exact decoys illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

82, exact decoys illustrated.

LITERATURE:

$150,000 - $250,000

117

118

LOUIS C. RATHMELL 1898-1974 | DANBURY, CT

40

40 Sleeping Black Duck

LOUIS C. RATHMELL (1898-1974) DANBURY, CT, C. 1941 16 in. long

According to O’Brien, “Rathmell was probably the best hunter of those who hunted the Stratford marshes. He not only made beautiful decoys, but stood alone as a wing shot and duck caller. His presence in the marsh was feared by the other hunters.” O’Brien continues, “When I showed Bill Mackey and Adele Earnest these decoys, they thought they were Shang Wheeler’s.” As the two makers’ carvings were virtually indistinguishable, Rathmell’s were often sold as Wheeler’s. O’Brien explains, “Rathmell was the most unappreciated of the Stratford carvers. A shame, because he was a great maker.”

In the 1960s, O’Brien acquired twelve of these cork black ducks from the rig of fellow Connecticut hunter and carver, Louis Rathmell. O’Brien remarks in his notes, “His decoys are difficult to distinguish from Shang Wheeler’s when both were at their best. He won several contests from 19391943, beating Wheeler and other top makers. He made one exquisite rig of shooting decoys, black ducks, all with different head positions.” Supporting O’Brien’s assertion, the author of Shang proclaimed the group is “...one of the best gunning rigs ever made.” O’Brien traded away the majority

of his Rathmells to other top collectors, including Dr. Lloyd Griffith, Dr. George Ross Starr, Jr., and George Thompson.

Excellent original paint with even gunning wear.

PROVENANCE: Louis Rathmell Rig Donal C. O’Brien, Jr. Collection, acquired from the maker, c.

1962 LITERATURE: Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 99, exact decoy illustrated.

Peter Johnson and Alf Wannenburgh, The World of Shooting, Lausanne, Switzerland, 1987, pp. 259-261, exact decoy illustrated.

Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys: Wildfowl Carvers and Collectors News, Spanish Fork, UT, Spring/Summer 1982, p. 37, exact decoy illustrated.

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3 – November 8, 1981.

EXHIBITED:

$18,000 - $24,000 119

LOUIS C. RATHMELL 1898-1974 | DANBURY, CT

41 High-Head Black Duck Hen LOUIS C. RATHMELL (1898-1974) DANBURY, CT, C. 1941 17 1/2 in. long

The maker’s refined head carving, dynamic poses, and exceptional scratch and feather paint place him in the ranks of Stratford’s finest carvers, alongside Charles E. “Shang” Wheeler. This black duck hen with a high and turned head and exquisite paint shows Rathmell at his best. “...one of the best gunning rigs ever made.” -Dixon Merkt Excellent original paint with even gunning wear, and a small repair to right bill tip.

PROVENANCE: Louis Rathmell Rig Donal C. O’Brien, Jr. Collection, acquired from the maker, c. 1962

120

LITERATURE: Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 98, exact decoy illustrated.

Cliff Alexander, “Lou Rathmell: A Decoy Maker Who Lived in a Castle,” Decoy Magazine, November/December 2015, p.

25 and front cover, rigmates illustrated.

Peter Johnson and Alf Wannenburgh, The World of Shooting, Lausanne, Switzerland, 1987, pp. 259-261, exact decoy illustrated.

Dixon Merkt, “Gentleman Carvers of Connecticut”, The Clarion, Spring 1980, p. 50, rigmate illustrated.

$18,000 - $24,000

41

121

ALBERT DAVIDS LAING

1811-1886 | NEW YORK, NY AND STRATFORD, CT

42 Preening Black Duck

ALBERT DAVIDS LAING (1811-1886) NEW YORK, NY AND STRATFORD, CT, C. 1855 13 1/4 in. long

“Among collectors today, no name is held in higher esteem than Albert Laing.” - Henry Chitwood, Connecticut Decoys An exceptional hollow preening decoy by the father of the Stratford school. Laing, originally from New York City, is one of the earliest documented carvers in North America.

This decoy was used in the famous gunning rig belonging to Charles E. “Shang” Wheeler.

Well ahead of his time, Laing’s innovative carving style incorporated several design insights into his craft, including positioning the seam line of his hollow carved decoys above the waterline to prevent water from seeping into the seam.

His decoys are carved with long, sleek bodies and a full proud breast. Perhaps Laing’s greatest contribution was adding a lifelike quality to his decoys by utilizing a variety of head positions. In working Wheeler paint with gunning wear.

Like many of the decoys in Wheeler’s collection, this black duck was owned by Joel Barber. Upon Barber’s passing it was acquired by the family of Electra Havemeyer Webb (1888-1960) and presented to the Shelburne Museum.

Having acquired two nearly identical rigmates, the museum deaccessioned this decoy in 1985, selling it at the Bourne Auction Company where it set the world-record price for a Laing. The underside bears the museum’s collection stamp.

PROVENANCE: Albert D. Laing Rig Charles E. “Shang” Wheeler Rig Joel Barber Collection Electra Havemeyer Webb Family, acquired from the estate of the above Shelburne Museum Collection, acquired from the above Donal C. O’Brien, Jr. Collection

There is no evidence that Laing ever sold decoys commercially, and it is believed that at the time of his death the one hundred eleven decoys from his gunning rig constituted the majority of his entire output. According to Chitwood, Laing’s entire hunting rig was sold after his passing in 1886 for $45.

LITERATURE: Richard A. Bourne Co., Inc., Rare American Decoys & Bird Carvings, December 6 & 7, 1985, p. 43, lot 233, exact decoy illustrated.

David S. Webster & William Kehoe, Shelburne Museum Decoys, Shelburne, VT, 1961, p. 16, rigmate illustrated.

H. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p.

27, rigmate illustrated.

$25,000 - $35,000

122

42

123

ALBERT DAVIDS LAING

1811-1886 | NEW YORK, NY AND STRATFORD, CT

43

43 Black Duck

ALBERT DAVIDS LAING (1811-1886) NEW YORK, NY AND STRATFORD, CT, C. 1835 15 1/4 in. long

The underside retains a large “LAING” brand and Thomas Marshall’s signed label. In working Wheeler paint with even gunning wear.

PROVENANCE: Albert D. Laing Rig Charles E. “Shang” Wheeler Rig Thomas C. Marshall Collection Donal C. O’Brien, Jr. Collection LITERATURE: Adele Earnest, The Art of the Decoy, New York, NY, 1965, pl. 153, exact decoy illustrated.

$6,000 - $9,000

124

CHARLES E. “SHANG” WHEELER 1872-1949 | STRATFORD, CT

44

44 Canvasback Pair

CHARLES E. “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1940 16 1/4 in. long

A rare, full-bodied pair of cork canvasbacks. The hen is in a sleeping pose. With their animated heads and deeplycarved wing separation, these birds work beautifully together to create a perfect pair.

Original paint with gunning wear, including some touch-up, both heads have a tight age lines, and the drake has a bill repair to the tip.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Jackson Parker, “O’Brien Classic Decoys on Display,” Maine Antiques Digest, November 1981, p. 34-B, exact decoy illustrated.

Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 53, rigmates illustrated.

Dixon M. Merkt, “Shang: A Biography of Charles E. Wheeler,” Spanish Fork, UT, 1984, p. 184, exact pair illustrated.

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3– November 8, 1981.

EXHIBITED:

$10,000 - $15,000

125

JOHN ENGLISH

1852-1915 | FLORENCE, NJ

45

45 Black Duck

JOHN ENGLISH (1848-1915) FLORENCE, NJ, C. 1890 16 in. long

Author Kenneth L. Gosner remarks, “The work of John English set a standard against which other Delaware River makers have been measured and compared ever since. Indeed, for many collectors, the English style is the Delaware River style.”

One of the finest Delaware River decoys known to exist, this exact decoy was selected for the back dust-jacket cover of Fleckenstein’s 1983 book, New Jersey Decoys. Original paint with gunning wear.

PROVENANCE: John Holloway Collection Donal C. O’Brien, Jr. Collection LITERATURE: Henry A. Fleckenstein, Jr. New Jersey Decoys, Exton, PA, 1983, back dust-jacket cover, pl. XXXIX, exact decoy illustrated.

Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1984, pp. 89-91.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

80, exact decoy illustrated.

$10,000 - $15,000 126

New Jersey Decoys, back of dust jacket, exact decoy illustrated.

ROBERT FREIRICH

1911-1971 | TULLYTOWN, PA

46

46 Rare Pintail Drake

ROBERT FREIRICH (1911-1971) TULLYTOWN, PA, C. 1940 18 3/4 in. long

Only one rig of Freirich decoys are known, including just three pintail drakes. The maker’s last name is incised into the weight. Original paint with even gunning wear, touch-up along white sides, and a replaced tail.

PROVENANCE: Robert “Bob” White Collection Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: The Decoy Hunter, July-August 1995, p. 13, rigmate illustrated.

Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1984, p. 134, pl. 11A, rigmate illustrated.

$6,000 - $9,000

127

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

47

47 Redhead Drake

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1880 14 1/2 in. long

A classic New Jersey decoy. This early and hollow example exhibits the thin neck, high crown, and fat cheeks that Shourds collectors look for. Original paint with light gunning wear and minor touch-up to a spot on back right of neck.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Loy S. Harrell, Jr., Decoys North America’s One Hundred Greatest, Iola, WI, 2000, p. 38, related decoy illustrated.

Henry A. Fleckenstein, Jr. New Jersey Decoys, Exton, PA, 1983, p. 37, pl. XI, related decoy illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, pp. 49-51, pl. 65-73, related decoys illustrated.

$18,000 - $24,000

128

BEN MAXWELL

1879-1954 | WADING RIVER, NJ

48 Flying Brant

BEN MAXWELL (1879-1954) WADING RIVER, NJ, C. 1900 32 1/2 in. long, 28 1/2 in. wingspan

Early collectors, such as William J. Mackey, Jr., attributed these exceptional and rare brant to Harry V. Shourds (1861-1920) of Tuckerton, New Jersey, because of their fine craftsmanship and close resemblance.

This long-reaching body is perhaps the most rare of Jersey brant and has two canvas-over-wire wings attached. This decoy is out of a rig commissioned by the market gunner Delane Doughty of Leeds Point, New Jersey. Doughty is credited with releasing this decoy down a zipline into his rig when a flock of birds approached. Describing a rigmate, William J. Mackey, Jr. points out that “the rarity of flying Brant decoys indicates that they did not work out as expected.” The wire attachments in the back were thus removed and filled, and a hole was drilled in the bottom for use as a stick-up. Of the few that were made, most did not

survive with their canvas wings intact, making this prime example all the more rare.

An old collection tag “50” is attached by one wing. Original paint with gunning wear and a tail repair.

PROVENANCE: Gordon and Virginia Hayes Collection Donal C. O’Brien, Jr. Collection LITERATURE: Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Session IV, October 20, 1973, lot 150, rigmate illustrated.

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 128, pl. 108, rigmate illustrated.

$7,000 - $10,000

48

129

THOMAS GELSTON

1851-1924 | QUOGUE, LONG ISLAND, NY

49

49 High-Head Red-Breasted Merganser THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1890 17 3/4 in. long, 8 1/2 in. tall

A rare Gelston duck decoy from his personal gunning rig. Branded “THG” on both sides of the keel. Gelston is celebrated for his varied head positions in shorebird decoys, this high-head merganser exhibits that same dynamic style in one of his rare floaters. This is one of the highest merganser heads seen on a decoy from any region. Original paint with even gunning wear, touch-up to reset neck.

130

PROVENANCE: Thomas H. Gelston Rig Donal C. O’Brien, Jr. Collection LITERATURE: Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 68, pl. 110, rigmate illustrated.

Timothy R. Sieger, The Decoys of Long Island, Water Mill, NY, 2010, p. 29, rigmate illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p.

22, exact decoy illustrated.

$10,000 - $15,000

THOMAS GELSTON

1851-1924 | QUOGUE, LONG ISLAND, NY

50 Dowitcher

THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1890 8 3/4 in. long

A rare Gelston species and one of the maker’s most petite models. Original paint with gunning wear, a replaced bill, and touch-up to reset neck area.

PROVENANCE: Adele Earnest Collection Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: Timothy R. Sieger, The Decoys of Long Island, Water Mill, NY, 2010, p.

29, similar decoy illustrated.

$4,000 - $7,000 50

51 Greater Yellowlegs

THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1900 12 in. long

A full-bodied yellowlegs with carvedeye grooves. Original paint with gunning wear, touch-up to reset neck, a one-half bill repair, and old white wash on underside.

PROVENANCE: William J. Mackey, Jr. Collection Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: Timothy R. Sieger, The Decoys of Long Island, Water Mill, NY, 2010, p.

30, related decoys illustrated.

E. Jane Townsend, Gunners Paradise; Wildfowling and Decoys on Long Island, Stony Brook, NY, 1979, p. 110, pl. 176178, related decoys illustrated.

$4,000 - $7,000

51

131

THOMAS GELSTON

1851-1924 | QUOGUE, LONG ISLAND, NY

52

52 Long-Billed Curlew

THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1880 17 1/2 in. long

Thomas Gelston shorebird decoys in original paint are prized by collectors. In fact, among all of the exceptional shorebirds and waterfowl from Long Island, it is a Gelston curlew that holds the region’s auction record. This well-documented, full-bodied, long-billed curlew displays an alert pose, raised wings, and bold paint patterns. Original paint with light gunning wear and minor touch-up at base of reset bill.

132

Folk Art Magazine, New York, NY, Fall 1981, p. 31, exact decoy illustrated.

Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys Magazine, Spanish Fork, UT, Spring/Summer 1982, p. 30, exact decoy illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 54, exact decoy illustrated.

PROVENANCE: William J. Mackey, Jr. Collection Donal C. O’Brien, Jr. Collection, acquired from the above

EXHIBITED:

LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 47, pl. 82, exact decoy illustrated (image reversed).

Jeff Waingrow, “The American Decoy,” The Clarion: America’s

$15,000 - $25,000

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3-November 8, 1981.

THOMAS GELSTON

1851-1924 | QUOGUE, LONG ISLAND, NY

53

53 Hudsonian Curlew

THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1880 15 in. long

Original paint with gunning wear, an old reset neck, a tail chip, and a replaced bill.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Timothy R. Sieger, The Decoys of Long Island, Water Mill, NY, 2010, p. 29, related decoys illustrated.

E. Jane Townsend, Gunners Paradise; Wildfowling and Decoys on Long Island, Stony Brook, NY, 1979, p. 110, pl. 176-178, similar decoys illustrated.

$5,000 - $8,000

133

134

AUGUSTUS “GUS” AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

Wilson was born on Mount Desert Island, Maine. Though he is foremost remembered as a carver, he was also a boatbuilder, a waterman, an outdoorsman, and a lighthouse keeper. He was an attendant to a number of Maine’s lighthouses, including Great Duck Island Light off Mount Desert Island, Goose Rocks Station off North Haven, Two Lights Station on Cape Elizabeth, Marshall Point Light at Port Clyde, and, lastly, Spring Point Ledge Light in Casco Bay. According to art historian Gene Kangas, “His job as a lighthouse keeper provided financial security and ample time to facilitate rapid artistic advancements. Imaginative decoys and wildlife carvings began being shaped in an incredible variety of poses.”

Kangas describes Wilson as an esteemed fixture of Americana. Early regional traditions and requirements drove carvers to produce big, solid decoys with modest paint patterns. “Seaworthiness, durability, practicality, effectiveness and affordability were essential considerations...Wilson’s genius is demonstrated by his ability to work within those existing traditions, yet elevate the Maine decoy to a higher level of artistic achievement.”

Wilson’s carving interests were not limited to decoys. He carved a variety of songbirds, decoratives, weathervanes, and big cats. A pair of Wilson’s tigers are featured in the American Identities exhibit, on display as a part of the permanent collection of the Brooklyn Museum, Brooklyn, New York.

135

AUGUSTUS “GUS” AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

54 The Gilley-Wilson Eider

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1900 17 1/2 in. long

Epitomizing the decoy as art, this boldly fashioned eider is one of the finest traditional Maine carvings to ever be offered at public auction. Eider decoys have always held a special place amongst carvers and collectors of decoys and folk art with their beautiful contrasting plumage and bold forms lending themselves to artistic designs and interpretations. From the earliest carvers of wooden decoys centuries ago to present-day carvers, makers have long been captivated by these sea ducks.

Executed in a breast-preening posture, Wilson’s attention to anatomy is superb, capturing the essence of the eider cleanly and efficiently. It features an exceptionally rendered head with raised upper bill carving and the maker’s signature incised eyes. The inset head is fastened to a twopiece body. The cocked-back head curves fluidly into its pinched breast. The body expands into the broad wings and finishes with an uplifted tail.

One of very few Wilson decoys with impeccable provenance, the decoy was sourced by fellow Maine bird carver Wendell Gilley (1904-1983) directly from Wilson’s nephew. This marks the first time that this decoy has been offered for sale since O’Brien acquired it in 1975, and the first time it has ever been offered at public auction.

Taken with the bird the very first time he laid eyes on it, Gilley wrote to O’Brien on September 10, 1975, and told him that this eider was the “best decoy” he had ever seen. A gifted maker with a keen eye, Gilley would eventually see a museum erected honoring his carving in Southwest Harbor, Maine.

This grand eider measures over seventeen inches in length, nine inches in width, and eight and one-quarter inches in height. The two-piece construction features a prodigious four and one-half inch by six and one-half inch inletted head. An old fence staple on the bottom was used to attach the decoy to the anchor cord.

Though Wilson is widely celebrated for his vast decoy output, numbering well into the hundreds, this Monhegan style eider with its exceptional lines, clean surface, and provenance is perhaps the best to ever come to light. In excellent original paint with light even gunning wear, an age line in the head with original stabilizing nail, an age line and seam lines in body, and very minimal touch-up to small tail chips.

PROVENANCE: Agustus “Gus” Aaron Wilson, acquired by the makers nephew Donal C. O’Brien, Jr. Collection, acquired from the above through Wendell Gilley, 1975 LITERATURE: Jackson Parker, “O’Brien Classic Decoys on Display,” Maine Antiques Digest, November 1981, p. 32-B, exact decoy illustrated.

Robert H. Boyle, “The Art of Deception,” Audubon Magazine, May/June 2002, p. 47, no. 5, exact decoy illustrated.

Gene Kangas, “Gus Wilson, Folk Artist,” Decoy Magazine, Lewes, DE, November/December 1994, pp. 8-13.

James Reginato, “Folk Art’s Old Guard,” Town & Country, January 1990, p. 161, exact decoy on mantel (center).

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3– November 8, 1981.

EXHIBITED:

$200,000 - $300,000

136

54

“Gus had a broadness of interest and artist’s eye that allowed him to come up with birds of such merit that they rivaled the best of the others...Gus Wilson looked at waterfowl much the way the Ward brothers did. There was a similarity in their ability to capture an unusual pose and to produce a decoy that continues to enthrall even the seasoned gunners who have spent their lives observing waterfowl.”

-Captain John Dinan, The Great Book of Wildfowl Decoys

137

55 Goldeneye Drake

AMOS WHEATON (1853-1921) SEAVILLE, NJ, C. 1890 13 3/4 in. long

These folky decoys have long been celebrated for the artist’s unique take on the goldeneye’s pronounced head shape.

Original paint with gunning wear.

PROVENANCE:

55

Donal C. O’Brien, Jr. Collection

LITERATURE: Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 64, related example illustrated.

Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, p. 32, pl. III, and p.

142, pl. 326, related examples illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 166, pl. 351, related example illustrated.

$3,000 - $5,000

56 Feeding Willet

EVERETT CARTER (1840-1910) SOUTHAMPTON, LONG ISLAND, NY, C. 1890 16 in. long

A large fully extended decoy with deeply carved wings, an applied oak head, and scratched feather paint. Original paint with gunning wear.

PROVENANCE: Adele Earnest Collection Donal C. O’Brien, Jr. Collection, acquired from the above

$5,000 - $7,000

56

138

57 Canvasback Pair

WALTER M. STRUBING (1897-1967) MARINE CITY, MI, C. 1930 19 in. long

A pair of hollow oversize St. Clair decoys with deep weighted keels and additional swing-arm weights. In a second coat of Strubing paint with gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Clune Walsh, Jr. and Lowell G. Jackson, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Detroit, MI, 1983, p. 106, rigmate illustrated.

$600 - $900

58 Canvasback Pair

BENJAMIN SCHMIDT (1884-1968) CENTERLINE, MI, C. 1940 17 in. long

57

A rigmate pair of canvasbacks. Original paint with gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 58, similar decoys illustrated.

$1,000 - $2,000

58

139

140

FERDINAND BACH 1888-1967 | DETROIT, MI

59

59 Canvasback Drake

FERDINAND BACH (1888-1967) DETROIT, MI, C. 1926 15 in. long, 8 in. wide

One of the finest Bach examples to ever come on the market, it is rare to find Bach decoys in exceptional original paint.

This decoy was made for Bach’s personal gunning rig. The underside is incised “FB.” Bach was a professional draftsman in the automotive industry and expertly applied his talents to decoy making. The resting head and wide body feature intricate carving. The head is perhaps the best of any by the maker, finished with a stunning marbleized style of paint, blended in red and black. A lead weight is dovetailed into the keel. Original paint with light gunning wear.

PROVENANCE: Ferdinand Bach Rig Donal C. O’Brien, Jr. Collection LITERATURE: Gene and Linda Kangas, Great Lakes Decoy Interpretations, Concord, OH, 2011, p. 160, exact decoy illustrated.

Clune Walsh, Jr. and Lowell G. Jackson, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Detroit, MI, 1983, pp.

43-45, pl. 54, 55, and 57, related decoys illustrated.

$25,000 - $35,000

141

CHARLES H. PERDEW 1874-1963 | PEORIA, IL

60

60 Duck Call

CHARLES H. PERDEW (1874-1963) PEORIA, IL, C. 1940 6 in. long

Three mallards and the initials “BM” are carved into the call.

Original paint with light gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

61 Pintail Drake

CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1925 16 3/4 in. long

With its graceful head and pronounced cheeks, the carving of this pintail ranks near the top of any Perdew decoy. Finished with Edna Perdew’s best paint, it features her delicate primary feather treatment and extensive combed vermiculation. The underside retains its original “..PERDEW..” weight. Original paint with light gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

Jackson Parker, “O’Brien Classic Decoys on Display,” Maine Antiques Digest, November 1981, p. 32-B, exact decoy illustrated.

LITERATURE:

Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 73, similar decoy illustrated.

Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys Magazine, Spanish Fork, UT, Spring/Summer 1982, p. 38, exact decoy illustrated.

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3-November 8, 1981.

EXHIBITED:

$20,000 - $30,000

142

CHARLES H. PERDEW 1874-1963 | PEORIA, IL

61

143

ROBERT ELLISTON 1847-1925 | BUREAU, IL

62

62 Canvasback Drake

ROBERT ELLISTON (1847-1925) BUREAU, IL, C. 1890 16 in. long

Canvasbacks are a rare species for Elliston and this decoy features Catherine Elliston’s best feather swirls, blending, and vermiculation. The underside is branded “JHD” and “J.D.M.” and stenciled “49.” Original paint with gunning wear, touch-up to tight neck seam, and a few spots on white sides.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 38, similar decoy illustrated.

Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 114, similar decoys illustrated.

$8,000 - $12,000

144

ROBERT ELLISTON

1847-1925 | BUREAU, IL

63

63 Pintail Drake

ROBERT ELLISTON (1847-1925) BUREAU, IL, C. 1890 17 1/4 in. long

A hollow decoy painted by the region’s best painter, Catherine Elliston. Finding Elliston pintails with their original bills, necks, and tails in tact is extremely difficult. Retains its original “THE ELLISTON DECOY” lead-strip weight. Original paint with gunning wear, some touch-up, and traces of white wash on sides.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 34, related decoy illustrated.

$5,000 - $7,000

145

CARRIAGE HOUSE RIG C. 1880 | LACON, IL

64

64 Alert Broadbill Drake CARRIAGE HOUSE RIG LACON, IL, C. 1880 13 1/2 in. long

An early hollow decoy with tack eyes and raised wing carving.

This celebrated rig was found in a carriage house on the Ernest Lehmann estate, in Lake Villa, Illinois. Like other birds from this rig, the hollow construction is superb and the body seam remains tight. Birds from this rig are known for their animation in form and this bluebill shows nice attitude. In early working paint with gunning wear, including minor chips to tail and back of neck.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$3,000 - $4,000

146

JUDGE GLENN J. CAMERON

1882-1958 | CHILLICOTHE, IL

65

65 Canvasback Drake

JUDGE GLENN J. CAMERON (1882-1958) CHILLICOTHE, IL, C. 1910 15 1/4 in. long

A hollow decoy with a Mackey Collection ink stamp and the maker’s “GJC” initials branded in the underside. Regarding the Cameron rig, William J. Mackey, Jr. reveals that “all the usual ducks were included but the Canvasback deserve a special word. These birds, all in fine condition, show an excellent combed paint pattern and a fine proud head that reflects the look of this handsome bird. They are excellent examples of good handmade decoys of the area.” Original paint with even gunning wear, early touch-up to reset neck and a spot on left cheek.

PROVENANCE: William J. Mackey, Jr. Collection Donal C. O’Brien, Jr. Collection

Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr., of Belford, New Jersey, Hyannis, MA, Sessions I-II, July 17-18, 1973, lot 546, exact decoy listed.

Paul W. Parmalee and Forrest D. Loomis, Decoys and Decoy Carvers of Illinois, DeKalb, IL, 1969, p. 299, pl. 249, related decoys illustrated.

LITERATURE:

$2,000 - $3,000

147

LEE DUDLEY

1860-1942 | KNOTTS ISLAND, NC

66 Canvasback Drake

LEE DUDLEY (1860-1942) KNOTTS ISLAND, NC, C. 1890 13 1/2 in. long

Dudley decoys have been held in the highest regard since the earliest days of decoy collecting. In fact, two seminal books on decoy collecting, William J. Mackey, Jr.’s American Bird Decoys and Joel Barber’s Wild Fowl Decoys, both begin their first chapter with stories of Dudley decoys and the authors’ reverence for them. Barber’s particular love of Dudleys is illustrated in the initial three plates of his book; the first of which depicts two Dudley decoys prominently displayed top and center on a collection wall. In 1981, a panel of experts reviewing the decoy collection at the Shelburne Museum declared a Dudley decoy of Barber’s to be the best of the collection.

This decoy is one of the finest examples of a Dudley canvasback ever to be offered at auction. It is believed to have been made for use at the Dudley’s Island Club, which was owned by Lee’s twin brother, Leonard V. Dudley (18601932). The underside of the bird retains the original weight and a faint brand that appears to be “F R.,” possibly for Frank Reese from Currituck, North Carolina. The body is long and graceful and the raised wing tips are carved in a sharp V-shape. This bird has sophisticated head carving with a refined bill, pronounced crown, and full cheeks. William J. Mackey, Jr. was so impressed with Dudley’s work that he proclaimed “the heads on Dudley’s decoys are the finest the writer has ever seen.”

This rare example carries excellent provenance and is in very good condition by Dudley and regional standards. These two points cannot be overstated when considering Dudley decoys. The provenance leads directly from the Mackey Collection, to the Megargee Collection, to the O’Brien Collection. Additionally, it was illustrated in the July/August 1988 issue of Decoy Magazine for winning ‘Best in Show’ among other awards at the Mid-Atlantic Wildfowl Festival in Virginia Beach. Joe French illustrated this exact decoy in the Megargee Collection as part of his Decoy Magazine series “Early Decoy Days.”

Though it is likely that Lee Dudley made hundreds of birds over the course of his career, very few of his decoys survived. Their popularity among collectors has led to numerous contemporary copies, and re-headed or re-bodied examples.

148

The Dudley decoy has always been known for its bold, singular form and this carving exemplifies all of the desirable attributes one looks for. To draw from Gene and Linda Kangas’ Decoys: A North American Survey: “A visual study of the complete Dudley bird form, whatever the species, reveals an uninterrupted flow from bill tip to tail’s end.

The successful manner in which the bill fits into the lower cheeks, the cut of the neck-base, sweeping powerful chest, and smooth, curved body combine into one of the finer sculptural solutions in the decoy world.”

Finding Dudley decoys with their original head and bill, as seen on this canvasback, is extremely difficult. The form, execution, rarity, condition, and provenance of this canvasback place it among the finest North Carolina decoys to ever be offered for sale at auction. Mix of original and working paint with heavy gunning wear and reset head and neck with age lines.

PROVENANCE: William J. Mackey, Jr. Collection Megargee Collection, acquired from the above in the early 1960s Donal C. O’Brien, Jr. Collection LITERATURE: Joe French, “Early Decoy Days: Traveling Man,” Decoy Magazine, Lewes, DE, March/April 2005, p. 25, exact decoy illustrated.

William J. Mackey, Jr., American Bird Decoys, New York, 1965, pp. 168-170.

Joel Barber, Wild Fowl Decoys, New York, NY, 1954, pp. 1-5, pl. 1-3, related decoys illustrated.

Dick McIntyre, “The Dudley Decoy,” Decoy Magazine, Burtonsville, MD, March/April 1994, cover story, pp. 8-14.

Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, pp. 215-219.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, pp. 3-4.

Copley Fine Art Auctions, The Sporting Sale 2011, Plymouth, MA, July 2011, lot 629, exact decoy illustrated.

Joe Engers, ed., “’Old Decoys’ Compete for Ribbons,” Decoy Magazine, Ocean City, MD, July/August 1988, p. 29, exact decoy illustrated.

$30,000 - $50,000

66

149

67

67 Swan

CURRITUCK SOUND, NC, C. 1920 29 1/2 in. long

A large, graceful swan decoy with a high head and a long body. In old repaint with gunning wear, this decoy was at some point re-headed, and there is a one-inch repair to top of bill tip.

Deterioration to wood on underside.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$7,000 - $10,000

150

THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

68

68 Swimming High-Head Broadbill

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD 15 1/2 in. long

Lem and Steve carved together for over fifty years and this cedar swimming broadbill is among their most animated decoys. Signed on the bottom “L.T. Ward- Bro- 1936 - Lem Ward, Steve Ward” and marked with a Richardson collection ink stamp. This broad decoy exhibits excellent head carving and position with a forward-reaching and turned-head posture. Lem finished the carving with excellent stippled white lead paint.

O’Brien’s notes state that this was Bud Ward’s “favorite Ward decoy—a Broadbill which had landed short of the rig and was swimming away.” Original and working Ward paint with gunning wear.

PROVENANCE: Robert H. Richardson Collection Donal C. O’Brien, Jr. Collection LITERATURE: Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 78, exact decoy illustrated.

Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Wolfe City, TX, 1989, p. 46, pl.

38, related decoys illustrated.

$8,000 - $12,000

151

69 Self-Bailing Brant

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900 19 in. long

An innovative hollow design. Original paint with gunning wear including two scrapes on back, touch-up to reset neck, and bill repair.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Jackson Parker, “O’Brien Classic Decoys on Display,” Maine Antiques Digest, November 1981, exact decoy illustrated.

George Ross Starr, Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 155, fig. 76, similar decoy illustrated.

New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3–November 8, 1981.

EXHIBITED:

69

$2,000 - $3,000

70 Pintail Pair

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920 19 1/2 and 16 1/4 in. long

An excellent pair of cork decoys with wooden heads and sprig tails. The wooden bottom boards are marked with Crowell’s crisp oval brand and a “F. WINTHROP” brand. Original paint with minimal wear.

PROVENANCE: Fred Winthrop Rig, acquired from the artist, c. 1920 Robert Winthrop, by descent from the above Donal C. O’Brien, Jr. Collection, acquired from the above.

70

LITERATURE: Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p.

56, related example illustrated.

$6,000 - $8,000

152

BENJAMIN D. SMITH

1866-1946 | MARTHA’S VINEYARD, MA

71

71 Swimming Merganser Hen BENJAMIN D. SMITH (1866-1946) MARTHA’S VINEYARD, MA, C. 1900 17 1/2 in. long

A racy merganser with deep wing separation and a hollow body. The back of the high head has remnants of an inserted crest. Discussing the “x” shaped weight on the bottom of this exact decoy New England Decoy authors John and Shirley Delph note, “Typical weight found on Smith round bottom decoys.” In mix of original and working paint with gunning wear including a tail chip and a tight line in neck.

PROVENANCE: John and Shirley Delph Collection Donal C. O’Brien, Jr. Collection LITERATURE: John and Shirley Delph, New England Decoys, Exton, PA, 1990, p. 154, exact decoy illustrated.

$5,000 - $8,000

153

DR. JOHN C. PHILLIPS RIG DOWITCHER C. 1890

72 Dowitcher

NORTH SHORE, MA, C. 1890 12 1/4 in. long

Dr. John C. Phillips (1876-1938), was a prominent sportsman, a member of Boston society, a prolific author, and an important patron of A. Elmer Crowell (1862-1952).

In addition to hunting over some of the greatest Crowell decoys ever created, the Phillips rig included exceptional shorebirds by several unknown makers, including the carver of this fine dowitcher. This decoy was carved by the same hand as the famous Philips-Teiger running curlew, which set the world record for any decoy at auction in 1997. Only a handful of decoys from this highly accomplished maker have ever surfaced. Original paint with even gunning wear and a replaced bill.

Dr. John C. Phillips shorebird hunting.

154

PROVENANCE: Dr. John C. Phillips Rig Donal C. O’Brien, Jr. Collection LITERATURE: Richard A. Bourne Co., Inc., North American Decoys & Waterfowl Art, Hyannis, MA, July 11-12, 1989, cover, exact decoy illustrated.

$30,000 - $50,000

72

155

ARTHUR POLAND NEW HARBOR, ME | C. 1915

73 Eider Drake

ARTHUR POLAND NEW HARBOR, ME, C. 1915 18 1/2 in. long

An exceptionally well-conceived decoy. Subtle carving nuances include raised and incised bill carving, a doublelength inletted head, a hollow body, an inset tail, and an inlayed bottom board. This singular decoy is the only one of its kind known to exist.

The lightly glazed green paint on the head is expertly applied and the simple, clean black lines of the head accentuate the gracefully carved body. Few eider decoys are as charming as this content sleepy-eye drake. Original paint with even gunning wear and minor chips to bill tip.

156

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 108, pl. 179, exact decoy illustrated.

$18,000 - $24,000

73

157

74 Wigeon Drake

TOM WILSON (1863-1940) IPSWICH, MA, C. 1890 13 1/2 in. long

Early New England wigeon decoys are difficult to find. In 1951, folk art collector Nina Fletcher Little discovered thirteen unused shorebirds, duck, and goose decoys at a hunting camp on Massachusetts’ North Shore. Among the baker’s dozen were at least two wigeon decoys.

74

As a steadfast hunter and observer of shorebirds and ducks, Wilson’s ability to capture species’ attitudes and nuances was quite astute. This drake shows the telltale stipple and loop feather paint application that Wilson is known for.

His carvings are considered among a distinguished group of turn-of-the-century Massachusetts decoys by makers such as Joseph Lincoln, Elmer Crowell, and Henry Keyes Chadwick. In early working Wilson paint with wear over a reset bill.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Rob Moir and Jackson Parker, “Massachusetts Waterfowl Decoys,” The Magazine Antiques, September 1989, p.

524.

Decoy Magazine, September/October 1989, cover and p. 25, Wilson decoys illustrated.

$2,500 - $3,500

75 Long-Tailed Duck CONNECTICUT, C. 1880 18 1/2 in. long

75

An early, hollow Connecticut decoy with pronounced raised wings and an exceptionally long inset tail. The bottom board is attached with nails that have a five-point star design on the head.

In his notes, O’Brien mentions that he found only one other example of this maker’s work, a hen that was stolen. Paint is worn to wood with gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$1,000 - $1,500

158

76 Eskimo Curlew

CHATHAM, CAPE COD, MA, C. 1880 12 1/4 in. long

A very hollow shorebird with a scribe-line body seam that turns upward to resolve above the tail. The underside has the Starr Collection wood duck ink stamp.

Old working repaint with gunning wear and restoration, mostly along body seam.

PROVENANCE: Dr. George Ross Starr, Jr. Collection Donal C. O’Brien, Jr. Collection LITERATURE: George Ross Starr, Jr., M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 97, fig. 42, exact decoy illustrated.

Paul A. Johnsgard, “The Bird Decoy: An American Art Form,” Lincoln, NE, 1976, p. 158, exact decoy illustrated.

76

$3,000 - $5,000

77 Yellowlegs

LONG ISLAND, NY, C. 1840 9 1/2 in. long

A very early Long Island decoy with a through-splined bill and a body resembling a small boat hull with a stringing hole at the tail. Original paint with gunning wear worn to bare wood in places, some chipping, and original bill is blunted.

PROVENANCE: Adele Earnest Collection Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 80, exact decoy illustrated.

$1,000 - $2,000 77

159

78 Dowitcher

THOMAS HEWLETT HEWLETT HARBOR, LONG ISLAND, NY, C. 1900 9 1/4 in. long

A plump dowitcher with unusual turned wing and tail tips. Original paint with light gunning wear, minor touch-up to wing and tail tips, and a reset bill.

PROVENANCE: Bud Ward Collection Donal C. O’Brien, Jr. Collection, acquired from the above LITERATURE: Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 95, exact decoy illustrated.

$2,000 - $3,000

78

79 Rare Hudsonian Godwit CAPT. JESS HEPRON TOWNSEND’S INLET, NJ, C. 1915 15 in. long

William J. Mackey, Jr. reported on decoys from this rig as being used “...by South Jersey market hunters for the Hudsonian Godwit or ‘marlin.’” James R. Doherty identifies the maker of this rare species in his Classic New Jersey Decoys book.

Original paint with even gunning wear and a tail chip.

PROVENANCE:

Donal C. O’Brien, Jr.

Collection

79

LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 63, rigmate illustrated.

Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Hyannis, MA, Session I, 1973, lot 163, rigmate illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 181, rigmate illustrated.

$2,500 - $3,500

160

80 Red Knot

EASTERN SHORE, VA, C. 1900 8 1/2 in. long

An alert robin snipe with a thin dropped tail. Stamped “McCLEERY” on the underside. Original paint with light gunning wear.

PROVENANCE: Dr. James M. McCleery Collection Donal C. O’Brien, Jr. Collection LITERATURE: Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, lot 37, exact decoy illustrated.

$2,000 - $3,000 80

81 Lapwing Plover SPAIN, C. 1910 9 1/2 in. long

A rare European shorebird decoy. The carving reveals tack eyes, raised wings, wire legs, and an original leather crest.

O’Brien admired this decoy in Dr. Starr’s office for years before acquiring it. Original paint with gunning wear.

PROVENANCE: Dr. George Ross Starr, Jr. Collection Paige Starr Collection Donal C. O’Brien, Jr. Collection, acquired from the above

$2,000 - $3,000

81

161

ALBERT DAVIDS LAING

1811-1886 | NEW YORK, NY AND STRATFORD, CT

82 Sleeping Surf Scoter

ALBERT DAVIDS LAING (1811-1886) NEW YORK, NY AND STRATFORD, CT, C. 1850 14 in. long

An exceptional, hollow, turned-head decoy by the father of the Stratford School. Beginning its life in the gunning rigs of three of the most important decoy makers and hunters from Connecticut, this bird decoy was then collected by four of the country’s most prominent decoy collectors.

Laing, originally from New York City, is one of the earliest documented carvers in North America. The underside bears a large “LAING” rig brand.

Laing has been revered for adding a lifelike quality to his rigs with a variety of head positions, such as this elegant sleeper. There is no evidence that Laing ever sold decoys commercially, and it is believed that at the time of his death the one hundred eleven decoys from his gunning rig constituted the majority of his entire output. According to Chitwood, Laing’s entire hunting rig was sold after his passing in 1886 for $45. Carefully taken down to mostly original paint with some touch-up, partial restoration to bill.

162

PROVENANCE: Albert D. Laing Rig Charles E. “Shang” Wheeler Rig Tom Marshall Rig and Collection Dr. George Ross Starr, Jr. Collection Ronald S. Swanson Collection Peter Brams Collection Donal C. O’Brien, Jr. Collection LITERATURE: D. Webster & W. Kehoe, Shelburne Museum Decoys, Shelburne, VT, 1961, p. 75, rigmate illustrated.

Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 65, Shelburne Museum rigmate illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p.

22, exact decoy illustrated.

$10,000 - $15,000

82

163

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

83

83 Flying Pintail Drake

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1930 20 1/4 in. long, 26 in. wingspan

Ira Hudson’s flying waterfowl carvings represent some of the finest examples of American folk art. Their strong appeal has helped to vault Hudson’s work to the forefront of Americana from Virginia.

Original paint with some touch-up mostly at seams and top wing tip. Some chipping at wing base, top foot professionally replaced, age line in tail.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Hyannis, MA,

164

Session III, 1973, lot 251, related decoy illustrated.

Henry H. Stansbury, Ira D. Hudson and Family, Chincoteague Carvers, Lewes, DE, 2002, p. 146, similar carving illustrated.

Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 75, pl. 91 and 92, related carvings illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 95, related examples illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p.

84, exact decoy illustrated. $15,000 - $25,000

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

84 Flying Red-Breasted Merganser with Fish IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1935 19 1/2 in. long, 20 1/4 in. wingspan

“Ira Hudson, the great decoy maker of Chincoteague, was the most prolific carver from Virginia. Despite his working steadily to fill orders to support his wonderful family, he took time to make these fanciful decorations. His record stands that he always produced a most collectible work of art.”

-Quintina Colio, American Decoys, 1974 This example’s open bill with fish, lively crest, turning motion, and stylish paint places it among the Hudsons’ best flyers. While all of Ira Hudson’s (1863-1949) children were involved in the family’s carving business, his sons Norman and Delbert (1928-1981) would go on to distinguish

themselves as skilled artists. This merganser shows characteristics of Delbert’s work. Original paint with light wear, touch-up at wing seam, a crack in lower bill, and a small chip to left wing tip.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Hyannis, MA, Session I & II, 1973, lot 573, related example illustrated.

$10,000 - $15,000

84

165

85

85 Sharp-Shinned Hawk C. 1925 13 1/2 in. long, 22 in. wingspan

An extremely rare, stick-up hawk decoy with moveable flapping wings that was most likely used for crow hunting.

The decoy features an open beak and incised feather carving on both the top and bottom of the tail. Original paint with gunning wear including flaking.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$3,000 - $4,000

166

THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

86

86 Wigeon Hen

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1932 14 3/4 in. long

A rare early wigeon decoy with a turned head. The body has a sharp chine down the back to the uplifted paddle tail.

The decoy is finished with Lem’s best feather paint and white-lead stippling. Original paint with light gunning wear and touch-up to reset bill.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Ward Museum of Wildfowl Art, Timeless Treasures: Ward Brothers Decoys, Salisbury, MD, 2007, pp. 58 and 60, rigmate pair illustrated.

Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Wolfe City, TX, 1989, p. 4, pl. 3, and p. 93, pl. 81, related decoys illustrated.

$20,000 - $30,000

167

LOTHROP T. HOLMES 1824-1899 | KINGSTON, MA

87 Goldeneye Drake

LOTHROP TURNER HOLMES (1824-1899) KINGSTON, MA, C. 1880 14 in. long

An exceedingly rare decoy from the personal rig of one of New England’s most respected decoy carvers. Only two examples of this species by Holmes have ever surfaced.

This bird exhibits a gently sloped breast, a finely sculpted body and tail, and a well-patterned head with glass eyes.

The bottom of the decoy displays the maker’s seldom seen “L.T. HOLMES” rig brand, applied twice. A “TWD” brand for the later rig of T. W. Douglas, also from Kingston, Massachusetts, and a “Q” brand for the Quandy collection also appear on the bottom. A mixture of original and working paint with touch-up, even gunning wear. Lower one-third of the bill has been professionally restored.

168

PROVENANCE: Lothrop T. Holmes Rig T. W. Douglas Rig Quandy Collection Donal C. O’Brien, Jr. Collection LITERATURE: George Ross Starr, Jr., M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 173, fig. 87, rigmate illustrated.

$8,000 - $12,000

87

169

PHINEAS REEVES 1833-1896 | LONG POINT, ON

88

88 Mallard

PHINEAS REEVES (1833-1896) PORT ROWAN, ONTARIO, CANADA, C. 1880 14 1/4 in. long, 7 1/2 in. wide

An early, hollow mallard carving with a thin bottom board stenciled “P. REEVES.” Branded “G.BH” on the bottom and left side for the rig of George B. Harris, a member of the Long Point Company (est. 1866) from 1877 to 1896. The tail has fine incised carving, a feature observed in this rig, but seldom seen in the region.

After emigrating from England, Phineas settled in St. Williams and Port Rowan, Ontario, where he was employed as a carriage and furniture painter. He also took up duck hunting in the marshes around Long Point

170

and developed a strong enough reputation to be hired as the first punter (guide) of the newly founded Long Point Company in 1866. Original paint with gunning wear.

George B. Harris Rig Donal C. O’Brien, Jr. Collection PROVENANCE:

LITERATURE: Bernard W. Crandell, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, p. 185, rigmate illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p.

92, exact decoy illustrated.

$4,500 - $6,500

PHINEAS REEVES

1833-1896 | LONG POINT, ON

89

89 Pintail

PHINEAS REEVES (1833-1896) PORT ROWAN, ONTARIO, CANADA, C. 1870 16 1/2 in. long

An early hollow decoy with an elegant drawn-back head design.

the year it was established, until 1885. Original paint with gunning wear, a few age lines, replaced bill.

Describing a rigmate, Ontario decoy authority Bernard Crandell writes, “Phineas Reeves pintails were his best decoys. The graceful lines and superb painting make this hollow decoy a classic.”

David Tisdale Rig William B. Hunton Rig Donal C. O’Brien, Jr. Collection

A branded “DT” and a painted “WBH” on the bottom of this decoy denotes that it once belonged to founding member of the Long Point Company David Tisdale, and later William B. Hunton, who was a member from 18671885. Reeves was the head guide at the club from 1866,

PROVENANCE:

LITERATURE: Bernard W. Crandell, “The Reeves of Long Point Company,” North American Decoy Magazine, Summer 1976, p. 12, exact decoy illustrated.

Bernard W. Crandell, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, p. 187, rigmate illustrated.

$3,000 - $4,000

171

PHINEAS REEVES 1833-1896 | LONG POINT, ON

90 Canvasback

PHINEAS REEVES (1833-1896) LONG POINT, ONTARIO, CANADA, C. 1870 15 1/2 in. long

Branded “G.BH” on the left and underside.

George B. Harris was a member of the Long Point Company from 1877-1896.

Original paint with gunning wear, tail chip, and age lines.

PROVENANCE: George B. Harris Rig Donal C. O’Brien, Jr. Collection LITERATURE: Bernard W. Crandell, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, p. 97, exact decoy illustrated.

Bernard W. Crandell, “The Reeves Family,” Decoy Magazine, Lewes, DE, May/June 1992, p. 10, exact decoy illustrated.

90

$3,000 - $5,000

91 Canvasback

CHARLES P. REEVES (1872-1941) LONG POINT, ONTARIO, CANADA, C. 1900 15 1/4 in. long

An alert, hollow decoy with a painted “WW” on the bottom. Charles followed the template set by his father, Phineas Reeves (1833-1896). Original paint with even gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Bernard W. Crandell, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, p. 87, exact decoy illustrated.

Bernard W. Crandell, “The Reeves of Long Point Company,” North American Decoys Magazine, Summer 1976, p. 10, exact decoy illustrated

$2,000 - $3,000 91

172

GEORGE WARIN 1830-1905 | TORONTO, ON

92

92 Redhead Drake

GEORGE WARIN (1830-1905) TORONTO, ONTARIO, CANADA, C. 1880 14 1/4 in. long

A hollow, tucked-head decoy with thick blended paint.

The bottom bears a large “C. S. BLACK” rig brand and is stamped “JEFF.” In original paint with gunning wear and minor touch-up to rubs on breast.

PROVENANCE: C. S. Black Rig Donal C. O’Brien, Jr. Collection

Clune Walsh, Jr. and Lowell G. Jackson, Waterfowl Decoys of Michigan and the St. Clair Region, Detroit, MI, 1983, p. 93, pl. 119, related decoy illustrated.

Bernie Gates, Ontario Decoys, Kingston, ON, 1982, p. 45, related decoy illustrated.

LITERATURE:

$3,000 - $5,000

173

93 Canvasback Drake

IVAR GUSTAV FERNLUND (1881-1933) HAMILTON, ONTARIO, CANADA, C. 1910 14 3/4 in. long

A high-head, hollow carved decoy with a “KWR” brand, and small “GSW” stamps on the bottom.

Ivar Gustav Fernlund was raised in Michigan where he began his career as a patternmaker. He was promoted to foreman and transferred to Hamilton, Ontario, where he took up waterfowling.

As a professional patternmaker, some of his earliest decoys, like this one, were finer than most carvers would ever accomplish.

Original paint with gunning wear, including rub on left shoulder.

93

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Bernard W. Crandell, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, p. 196.

$3,000 - $5,000

94 Redhead Pair

T. HARRY MARTIN (1870-1938) WALLACEBURG, ONTARIO, CANADA, C. 1900 16 1/4 in. long

“These finely carved redheads are probably Martin’s best,” writes Paul Brisco in Waterfowl Decoys of Southwestern Ontario.

They were exhibited in the Ontario display at the North American Vintage Decoy and Sporting Collectibles Show in St. Charles, Illinois, 2008. Branded with the maker’s conjoined “HM” initials. Original paint with gunning wear and age lines.

PROVENANCE: Paul Brisco Family Collection Donal C. O’Brien, Jr. Collection

94

LITERATURE: R. Paul Brisco, Waterfowl Decoys of Southwestern Ontario, Erin, ON, 1986, p.

103, exact pair illustrated.

$1,500 - $2,500

174

JOHN F. ZACHMANN

1929-2017 | DETROIT, MI

95

95 Oversize Canvasback Drake JOHN F. ZACHMANN (1929-2017) DETROIT, MI, C. 1958 29 in. long

A hollow decoy with carved bill detail and wing separation.

William J. Mackey, Jr. called the four oversized decoys from this rig the largest of their kind he had ever seen.

Measuring twenty-nine inches in length, this decoy and three others were used as the lead birds in a rig with fifty to sixty standard-size divers, consisting mostly of canvasbacks.

It is reported that Zachmann liked the way that ducks approached them and that he “would make more if he could come up with the time and material.” Original paint with even gunning wear.

PROVENANCE: John F. Zachmann Rig Donal C. O’Brien, Jr. Collection

LITERATURE: North American Decoys Magazine, Spanish Fork, UT, Oct-Dec 1968, p. 19, rigmate illustrated.

Richard A. Bourne Co. Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Boston, MA, Session I, 1973, lot 239, rigmate illustrated.

Gene and Linda Kangas, Great Lakes Decoy Interpretations, Concord, OH, 2011, p. 151, rigmates illustrated.

Clune Walsh, Jr. and Lowell G. Jackson, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Detroit, MI, 1983, pp.

118-119, rigmate illustrated.

$2,000 - $3,000

175

JOHN F. ZACHMANN 1929-20178 | DETROIT, MI

96

96 Oversize Goldeneye Drake JOHN F. ZACHMANN (1929-2017) DETROIT, MI, C. 1960 19 1/2 in. long

A large hollow decoy with raised wings and detailed feathering. Several paper labels are affixed to the bottom, including the maker’s “a custom made decoy from the work bench of JOHN F. ZACHMANN.” Another label reads “Maker Zachmann, 1961- First Place DiverMidwest Contest- First Goldeneye I Made.” Original paint with gunning wear and touch-up to a reset bill chip.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$2,000 -$3,000

176

97 Redhead Drake MICHIGAN, C. 1920 14 in. long

A nicely-carved decoy with slightly turned head and raised wing carving.

The head is beautifully sculpted with eyes grooves, pronounced cheeks, and a delineated crown. A testament to the maker’s attention to detail, he created a wider body by laminating two pieces to each side of the decoy. The paint is well suited for the species with “cut brush” pouncing on the wings. Original paint with gunning wear.

PROVENANCE:

Donal C. O’Brien, Jr.

Collection $600 - $900 97

98 Canvasback Drake

JAMES R. KELSON (1888-1968) MOUNT. CLEMENS, MI, C. 1940 15 in. long

A tucked-head decoy with a weighted keel and balsa body. Working paint with gunning wear and minor touch-up.

PROVENANCE:

Donal C. O’Brien, Jr.

Collection LITERATURE: Clune Walsh, Jr. and Lowell G. Jackson, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Detroit, MI, 1983, p. 33, pl. 43, similar decoys illustrated.

Bernard W. Crandell, Decoying: St. Clair to St. Lawrence, Erin, ON, 1988, pp. 3132, related decoys illustrated. $600 - $900 98

177

99 Root-Head Dowitcher NORTH CAROLINA, C. 1870 8 1/2 in. long

The head on this early decoy is removable with a mortise-and-tenon joint. Old paint, mostly worn to wood, gunning wear, age lines, and a chip out of tail.

99

PROVENANCE: Lloyd Johnson Collection Mort Hansen Collection, acquired from the above Donal C. O’Brien, Jr. Collection, acquired from the above

$600 - $900

100 Dowitcher

DAVID S. GOODSPEED (1862-1943) DUXBURY, MA, C. 1890 10 in. long

A bright shorebird in breeding plumage acquired from Dr. George Ross Starr, Jr. Original paint with gunning wear, age lines on left side, replaced bill, and a small area of touch-up under tail tip.

PROVENANCE: Dr. George Ross Starr, Jr. Collection Donal C. O’Brien, Jr. Collection, acquired from the above

$600 - $900

101 Red Knot 100

CAPE MAY, NJ, C. 1860 10 3/4 in. long

This bold decoy is from a distinct rig of iron-bill shorebirds.

The red knot flies over 3,500 miles from Brazil to feed on the shores of the Delaware Bay as part of a 9,000-mile journey from Tierra del Fuego to the Arctic. This decoy resembles a plump red knot after fueling up on its favorite food, horseshoe crab eggs.

Original paint with gunning wear.

PROVENANCE: Donal C. O’Brien, Jr. Collection, acquired from Bud Ward LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 135, pl. 114, rigmate illustrated.

$1,000 - $1,500

101

178

102 Mermaid

C. 1880 27 in. tall including base

The early carving shows tremendous attention to detail with flowing hair, a beautifully sculpted face, layered robe, and intricate scale treatment. The shield reveals a red Phoenix with red, blue, black, yellow, and white elements.

The piece was made to hang from the ceiling and the hands were likely meant to hold candles. Original paint with even wear, flaking, and some touch-up.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: The Magazine Antiques, Shelburne Museum edition, February 1988, cover, related example illustrated.

$5,000 - $8,000

102

179

WILLIAM J. KOELPIN, SR. 1938-1996 | WISCONSIN

103

103 William J. Koelpin (1938-1996) Winnebago Sleigh Ride, 1993 signed and dated “Wm. Koelpin ‘93” on base bronze, 13 by 23 1/2 by 8 1/2 in. inscribed “26 of 32” on lower front side edition 26 of 32 William Koelpin was an avid hunter and fisherman from Wisconsin. He went on to become a celebrated sporting artist who excelled in a number of mediums, including bronze, paint, and wood. Throughout his career, Koelpin displayed his passion for the outdoors in his accurate and detailed works. His first sold-out exhibit was at the Midwest Decoy Collectors’ annual show in the mid-1970s.

Koelpin enjoyed many honors in his time, including the “Best in World” award from the Ward Museum in Salisbury,

180

Maryland, and being named “One of America’s Premier Artists” by the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin.

Winnebago Sleigh Ride, along with Storm Warning, is considered among Koelpin’s top duck hunting bronzes. They also reside atop the list of any bronze of this subject by any artist.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$4,000 - $6,000

104 Dan Ostermiller (b. 1956) Bear, 2003 signed and inscribed “Dan Ostermiller 6/20 2003” on lower side of sculpture bronze, 9 by 9 1/4 by 8 1/4 in. edition 6 of 20 PROVENANCE: Donal C. O’Brien, Jr. Collection $500 - $800

104

105 Ronnie Wells (b. 1944) Phantom of the Orchard, 2002 signed and inscribed “Wells 3/50 02” bronze, 21 by 20 by 13 in. edition 3 of 50 PROVENANCE: Donal C. O’Brien, Jr. Collection $1,000 - $2,000

105

106 Kent Ullberg (b. 1945) Equipoise signed “Ullberg NA 5/30” on base bronze, 14 by 9 3/4 by 6 in. edition 5 of 30 PROVENANCE: Donal C. O’Brien, Jr. Collection 106

$500 - $800

181

107

107 Lamb Carving C. 1890 19 3/4 in. long

This hand-carved lamb showcases a high level of skill by a master craftsman. The anatomy and proportions are well executed with a nice paint treatment. Original paint with some wear, some flaking and touch-up, and the left leg has been reset.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$2,000 - $3,000

108 Miniature Eskimo Curlew GEORGE H. BOYD (1873-1941) SEABROOK, NH, C. 1920 4 1/4 in. long

An exceedingly rare species for the maker, this is the exact miniature from the Philip S. Drake Collection that sold in 1977. The Drake collection consisted of over 150 of the finest George Boyd carvings. Jim Cullen, in his thorough book on the artist titled Finely Carved & Nicely Painted: The Life, Art and Decoys of George H. Boyd, features a related longbilled curlew. The absence of any Eskimo curlew illustrations in this definitive book speaks volumes to the rarity of this stunning mini. “Eskimo Curlew” is written in pencil by the maker on the bottom of the base. Original paint with a few rubs and minor darkening.

PROVENANCE: Philip S. Drake Collection Donal C. O’Brien, Jr. Collection LITERATURE: M.D. Straw, Jr. & Emory Sanders Auctioneers, Important Auction Boyd Miniature Decoys, Wentworth-bythe-Sea, NH, October 17, 1977, lot 18, exact bird illustrated.

Jackson Parker, “Boyd Miniature Decoys Bring High Prices At Auction,” North American Decoys Magazine, Spanish Fork, UT, Summer 1978, p. 39, exact bird illustrated.

$3,000 - $5,000

182

108

110

109

111

109 Miniature Black Duck

110 Miniature Woodcock

This turned-head miniature hails from the Philip S. Drake Collection that was sold in 1977. The collection consisted of over 150 of the finest George Boyd carvings. Original paint with light wear and minimal touch-up to neck seam.

With its perfect proportions, this is one of the finest miniature woodcock carvings to have surfaced. The carving is signed by the maker on the top of the base.

O’Brien and Gilley spent quite a bit of time together hunting in the Maine woods in pursuit of grouse and woodcock. On the last day of his upland hunting career spent trudging through the pouring rain, Gilley pulled a drenched woodcock out of his vest, rested it on the tailgate of their jeep, and pronounced to O’Brien, “I’m done woodcockin’!” Original paint with minimal wear.

GEORGE H. BOYD (1873-1941) SEABROOK, NH, C. 1920 3 3/4 in. long

PROVENANCE: Philip S. Drake Collection Donal C. O’Brien, Jr. Collection LITERATURE: M.D. Straw, Jr. & Emory Sanders Auctioneers, Important Auction Boyd Miniature Decoys, Wentworthby-the-Sea, NH, October 17, 1977, lot 38m, exact bird illustrated.

Jackson Parker, “Boyd Miniature Decoys Bring High Prices At Auction,” North American Decoys Magazine, Spanish Fork, UT, Summer 1978, p. 40, exact bird illustrated.

$500 - $800

WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, C. 1960 2 1/2 in. long

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$300 - $500

111 Miniature Black Duck

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1910 5 1/2 in. long

Black ducks were one of O’Brien’s favorite bird species.

An extremely well-executed, early Crowell miniature.

Original paint with minor wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$1,000 - $2,000

183

112

114

113

115

112 Miniature Heron and Bittern

114 Miniature Woodcock and Quail

A great blue heron and an American bittern each identified by species, initialed “HNG,” and dated 1955 on the bottom. Original paint with wear and reset legs with minimal touch-up.

The bobwhite is faintly signed by the maker on the bottom of the base. Original paint with minor wear.

HAROLD N. GIBBS (1886-1970) BARRINGTON, RI, 1955 4 in. tall

PROVENANCE:

Donal C. O’Brien, Jr. Collection

113 Miniature Wigeon Hen and Red Breasted Merganser

AL GLASSFORD (B. 1927) SCARBOROUGH, ONTARIO, CANADA, 1969 5 1/2 in. long

Each is signed by the maker on the bottom. Signature on wigeon is faint. Original paint with minimal wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$300 - $500

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1940 2 1/2 in. tall

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$300 - $500

115 Miniature Pheasant Pair and Ruffed Grouse A.J. DITMAN (1884-1974) NEW YORK, NY, C. 1940 6 1/2 in. long

Each carving bears the maker’s conjoined “AJD” signature on its base. Ditman attended the Hotchkiss School, graduating in 1904, before heading on to Yale. His carvings were sold through Abercrombie and Fitch and Brooks Brothers in New York. Original paint with minor wear, touch-up to pheasant’s tail tips and the grouse’s bill.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$300 - $500

184

116

118

117

119

116 Miniature Loon Pincushion MAINE, C. 1890 4 3/4 in. long

A very old and highly unusual Maine carving with an inletted head and a fabric pincushion inset in its back.

Original paint with wear, including a chip to bill tip.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Adele Earnest, Folk Art in America, Exton, PA, 1984, p. 173, related full-size decoy illustrated.

118 Miniature Shorebird and Whistle A.J. DITMAN (1884-1974) NEW YORK, NY, C. 1970 2 1/2 in. long

A well-executed sandpiper by A.J. Ditman with his conjoined “AJD” initial signature on the base and a shorebird whistle with an English hallmark impressed on the underside. Original paint with light wear, replaced bill, and chips to tail and wing tips. Whistle is in good used condition.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$300 - $500

117 Miniature White-Winged Scoter Pair RUSS E. BURR (1887-1955) HINGHAM, MA, C. 1940 8 1/2 in. long

This pair of sea ducks features the maker’s best carving and painting and bears his ink stamp signature on the bottom.

Original paint with minor wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

119 Miniature Black Lab C. 1980 3 1/4 in. high

A well-executed carving capturing the species perfectly.

Original paint with minor wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$300 - $500

185

OSCAR W. PETERSON 1887-1951 | CADILLAC, MI

120 Brown Trout Decoy

OSCAR W. PETERSON (1887-1951) CADILLAC, MI, C. 1930 9 1/2 in. long

Original pint with fishing wear, touch-up along underside and to gills and mouth.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$1,500 - $2,500

121 Salmon Decoy

OSCAR W. PETERSON (1887-1951) CADILLAC, MI 6 in. long

Original paint with fishing wear, including some flaking to fins.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 84, exact decoy illustrated.

$3,000 - $5,000

122 Trout Decoy

OSCAR W. PETERSON (1887-1951) CADILLAC, MI, C. 1930 6 in. long

Original paint with heavy fishing wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$1,000 - $1,500

123 Rainbow Trout Decoy

OSCAR W. PETERSON (1887-1951) CADILLAC, MI, C. 1930 9 in. long

Original paint with fishing wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$1,000 - $2,000

186

120

121

122

123

187

124 Brook Trout Decoy

LAKE CHAUTAUQUA, NY, C. 1890 10 in. long

Original paint with fishing wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$3,000 - $5,000

125 Sucker Decoy

PINE RIVER, MN, C. 1900 7 3/8 in. long

Original paint with fishing wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$1,200 - $1,600

126 Brown Trout Decoy

LAKE CHAUTAUQUA, NY, C. 1890 6 1/2 in. long

Appears to be original paint with even fishing wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$1,500 - $2,500

127 Brown Trout Decoy

LAKE CHAUTAUQUA, NY, C. 1890 7 1/2 in. long

Original paint with touch-up and fishing wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$1,000 - $2,000

128 Brook Trout Decoy MINNESOTA 5 in. long

Original paint with fishing wear.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

$800 - $1,200

188

124

125

126

127

128

189

JOHN JAMES AUDUBON 1785-1851

129

129 after John James Audubon (1785-1851) Canvas-backed Duck (No. 61, Plate CCCI), 1836 hand-colored engraving and aquatint, sheet size 25 3/8 by 37 1/4 in.

“Drawn from Nature by J.J. Audubon. F.R.S.F.I.S.” lower left “Engraved, printed and coloured by R. Havell 1836” lower right on J. Whatman watermarked paper Regarding the Canvas-Backed Duck, Audubon explains, “In the Plate are represented two Males and a Female. In the background is a view of Baltimore, which I have had great pleasure in introducing, on account of the hospitality which I have there experienced, and the generosity of its inhabitants...” Additionally, he writes that the canvasbacked duck “...is found in much greater numbers on the Chesapeake and the streams that flow into it, than anywhere else.” He also prophetically reports, “The quantity of fowl of late years has been decidedly less than in times gone by; and I have met with persons who have assured me that the number has decreased one-half in the last fifteen years.”

190

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Christoph Irmscher, ed. John James Audubon: Writings & Drawings, New York, NY, 1999.

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838.

$30,000 - $50,000

JOHN JAMES AUDUBON 1785-1851

130

130 after John James Audubon (1785-1851) Long-billed Curlew (No. 47, Plate CCXXXI), 1834 Hand-colored engraving and aquatint, sheet size 26 by 38 1/2 in.

“Drawn from nature by J.J. Audubon F.R.S. F.L.R” lower left “Engraved, Printed and Coloured by R. Havell 1834” lower right on J. Whatman watermarked paper Of the Long-Billed Curlew with the city of Charleston on display in the background, Audubon writes, “This bird is the largest of the genus found in North America. The great length of its bill is of itself sufficient to distinguish it from every other...It is well known by the inhabitants of Charleston that it breeds on the islands on the coast of South Carolina; and my friend the Reverend John Bachman has been at their breeding grounds.”

PROVENANCE:

Donal C. O’Brien, Jr. Collection

LITERATURE: Christoph Irmscher, ed. John James Audubon: Writings & Drawings, New York, NY, 1999.

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838.

$40,000 - $60,000

191

131-139

131 Shang

PROVENANCE:

PROVENANCE:

Murphy, Stanley. Boston, MA: David R. Godine, 1978. Slipcased limited edition #28/55.

Merkt, Dixon M. Spanish Fork, UT: Hillcrest Publications, 1984.

Slipcased limited edition #326/550.

Donal C. O’Brien, Jr. Collection

132 Upland Gamebird Shooting in America

Connett, Eugene V. ed. New York: The Derrydale Press, 1930.

Edition of 850.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

133 The Art of Ogden M. Pleissner

Bergh, Peter. Boston, MA: David R. Godine, 1984. Slipcased limited edition #10/400.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

134 The Songless Aviary

Cullity, Brian. Sandwich, MA: Heritage Plantation of Sandwich, 1992.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

135 Two Books

Folk Art in America Earnest, Adele. Exton, PA: Schiffer Publishing, 1984.

American Decoys Colio, Quintina. Ephrata, PA: Science Press, 1972. #303/550.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

136 Waterfowl Decoys of Michigan and the Lake St. Clair Region Walsh Jr., Clune and Jackson, Lowell. Detroit, MI: Gale Group, 1983. Slipcased collector’s edition #75/400.

192

Donal C. O’Brien, Jr. Collection

137 Martha’s Vineyard Decoys

PROVENANCE:

Donal C. O’Brien, Jr. Collection

138 Two Decoy Books

Decoys and Decoy Carvers of Illinois Parmalee, Paul and Loomis, Forrest. DeKalb, IL: Northern Illinois University Press, 1969.

Chesapeake Bay Decoys Richardson, Robert. Cambridge, MD: Tidewater Publishers, 1973.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

139 Two Deluxe Decoy Books Decoys of The Mid-Atlantic Fleckenstein, Henry. Exton, PA: Schiffer Publishing, 1979. Slipcased limited edition #30/95.

Floating Sculpture Huester, H. Harrison and Knight, Doug. Spanish Fork, UT: Hillcrest Publications, 1982. Slipcased limited edition #16/150.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

140 A Natural History of The Ducks: Vol. I-IV (not pictured) Phillips, John C. Cambridge, MA: The Riverside Press, 1922.

PROVENANCE:

Donal C. O’Brien, Jr. Collection

193

DONAL C. O'BRIEN, JR.'S DECOY CARVING COMPETITION RESULTS* The U.S. National Decoy Show, March 10-11, 1966, Babylon, NY.

Best in Show in the Amateur class, decorative miniature division The U.S. National Decoy Show, March 11-12, 1967, Babylon, NY.

Best in Class in the Amateur class, working decoy division for his whistler The U.S. National Decoy Show, March 16-17, 1968, Babylon, NY.

Best in Class in the Amateur class, working decoy division for his whistler The U.S. National Decoy Show, March 22-23, 1969, Babylon, NY.

Best in Show in the Amateur class, working decoy division for his goldeneye

Best in Class in the Amateur class, decorative miniature division for a pair of flying black ducks

Best in Class in the Amateur class, working decoy division for his bufflehead

Best in Class in the Amateur class, working decoy division for his goldeneye

Second place in the Amateur class, working decoy division for his old squaw The 1969 Maine Decoy Contest

Best in Show in working decoy division for his pair of buffleheads

Best in Class in diving duck division for his pair of buffleheads

Second place in miniature division for his grouse

Second place in working decoy marsh duck division for his pair of black ducks The 1970 Maine Decoy Contest

Best in Show in working decoy division The U.S. National Decoy Show, March 6-7, 1971, Babylon, NY.

Best in Show in the Amateur class, working decoy division for his blue-winged teal

Best in Class in the Amateur class, working decoy division for his blue-winged teal

Best in Class in the Amateur class, working decoy division for his black duck

Second place in the Amateur class, working decoy division for his wood duck The International Decoy Carving Contest at the 1971 Great Mississippi Valley Fair, Davenport, Iowa.

Best in Class in the final judging of the Amateur class, working decoy pairs division

marsh duck division

Best in Class in the Amateur class, working decoy marsh duck division for his mallard

Best in Class in the Amateur class, working decoy marsh duck division for his black duck

Best in Class in the Amateur class, working decoy marsh duck division for his widgeon

Second place in the Amateur class, working decoy marsh duck division for his green-winged teal

Second place in the Amateur class, working decoy marsh duck division for his blue-winged teal

Second place in the Amateur class, working decoy marsh duck division for his wood duck

diving duck division

Best in Class in the Amateur class, working decoy diving duck division for his merganser

Best in Class in the Amateur class, working decoy diving duck division for his ruddy duck

pairs division

Best in Class in the Amateur class, working decoy pairs division for his ruddy duck

Best in Class in the Amateur class, working decoy pairs division for his marsh ducks, geese,

and brant The U.S. National Decoy Show, April 8-9, 1972, Babylon, NY.

Second place in the Professional class, working decoy division for his American merganser34

*Some of Donal's competion results. Third place and Honorable Mention awards not listed.

194

CONSERVATION ORGANIZATIONS American Bird Conservancy, Founding Director, Chairman Emeritus American Museum of Natural History, Board member Atlantic Salmon Federation, Board member, Chairman BirdLife International, Founding Chairman Delta Waterfowl Foundation, Board member Jackson Hole Preserve, Inc., Board member National Audubon Society, Board member, Chairman Save-the-Redwoods League, Council member The Atlantic Flyway Council for the North American Waterfowl Management Plan, Board member The Connecticut Waterfowlers Association, Board member The Cornell Laboratory of Ornithology, Board member The International Council for Bird Preservation, President The Nature Conservancy, former Vice-Chairman of the Board of Governors The Quebec-Labrador Foundation, US Board Chairman, Chairman Emeritus The Shelburne Museum, Board member The Theodore Gordon Flyfisheries, Board member The Trustees of Reservations, Board member Waterfowl Research Foundation, Board member

CT PUBLIC SERVICE: Governor Lowell Weicker’s Task Force on Hunting and Public Safety, Chairman Connecticut State Board of Fisheries and Game, Commissioner, named by Governor Thomas Meskil In 1971. When the Fish and Game Commission was merged into the Department of Environmental Protection, Governor Meskill appointed Mr. O’Brien as a member of the newly created Council on Environmental Quality.

State of Connecticut Council of Environmental Quality, Chairman and served over 23 years by appointment of four Connecticut governors. Donal was the longest serving member of Connecticut’s CEQ, past and present.

195

ENDNOTES 1.

Donal C. O’Brien, Jr., Introduction, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Clune Walsh, Jr. and Lowell G. Jackson, eds. (Detroit, MI: Gale Graphics, 1983), p. xvii.

17.

“Donal O’Brien, 79, Audubon Leader, Dies,” The New York Times, September 11, 2013, p. B17.

18.

“Audubonview,” Audubon, September 2003, p. 9.

2.

Robert H. Boyle, “With a Quack Quack Here,” Sports Illustrated, September 27, 1971, p. 51.

19.

The New York Times, p. B17.

3.

Elizabeth Eschmann Whittemore, “Our Ancestors: Some Facts, Figures, and Fancies,” 1993, p. 18.

20.

“A Tribute to Donal C. O’Brien, A Conservationist for the Ages,” Audubon.org, National Audubon Society, September 9, 2013.

4.

Boyle, p. 50.

5.

Laurence Sheehan, The Birding Life (New York, NY: Clarkson Potter Publishers, 2011), p. 93.

21.

Frank Graham, Jr., “A Conservationist to His Core,” Audubon, September 2003, p. 95.

6.

Laurence Sheehan, The Sporting Life (New York, NY: Clarkson Potter Publishers, 1992), p. 76.

22.

“Donald Carr’s Speech in Honor of Donal C. O’Brien,” September 6, 2003.

23.

Audubon.org, September 9, 2013.

7.

“She Bagged the Deer,” The New York Journal, November 9, 1896, p. 1.

8.

The Mischianza (Lakeville, CT: Hotchkiss’s Annual Yearbook, 1952), p. 54.

9.

Boyle, p. 50.

24.

“Donal O’Brien, 51st recipient of the Audubon Medal,” Audubon video, 9:04, September 6, 2003, http://nc.audubon.org/news/meet-donal-obrien 25.

“Donal O’Brien, 51st recipient of the Audubon Medal,” 2003.

26.

“Don O’Brien Wins Happy Fraser Award,” Atlantic 10.

“Donal O’Brien, 51st recipient of the Audubon Medal,” Salmon Journal, Summer 2002, p. 29-30.

Audubon video, 9:04, September 6, 2003, http://nc.audubon.org/news/meet-donal-obrien 27.

James N. Levitt, “Annual Report,” QLF Waypoint

Progress Report 2013-2014, p.1.

11.

Stephen W. Kress, “From Puffins to Petrels,” Audubon Magazine, Spring 1992, p. 15.

28.

“Donal O’Brien, 51st recipient of the Audubon

Medal,” 2003.

12.

Boyle, p. 51.

29.

Sheehan, The Sporting Life, p. 76.

13.

Joann Pochron Neath, “Island Decoys & Decorative

Shorebird Carvings,” Nantucket Journal, Winter 30.

The New York Times, p. B17.

1993-1994, p. 53.

31.

“Donal O’Brien, 51st recipient of the Audubon 14.

Mary Black, Foreword, The Art of the Decoy, Adele Medal,” Audubon video, 2003.

Earnest (New York, NY: Bramhall House, 1965), p. ii.

32.

“Donal O’Brien, 51st recipient of the Audubon 15.

Jackson Parker, “O’Brien Classic Decoys on Display at Medal,” Audubon video, 2003.

Museum of American Folk Art,” North American

Decoys: Wildfowl Carvers and Collectors News, Spring/ 33.

Audubon.org, September 9, 2013.

Summer 1982, p. 30.

34.

Byron and Maureen Cheever, North American 16.

Jeff Waingrow, “The American Decoy: Folk Sculpture Decoys: Wildfowl Carvers and Collectors News,

from the Collection of Mr. and Mrs. Donal C.

Oct-Dec 1967, July-Sept 1968, Spring 1969,

O’Brien, Jr.,” The Clarion: America’s Folk Art Magazine, Winter 1970, Summer 1971, Autumn 1971, and

Fall 1981, p. 31.

Summer 1972.

196

BIBLIOGRAPHY “A Tribute to Donal C. O’Brien, A Conservationist for the Ages.” Audubon, September 9, 2013.

Neath, Joann Pochron. “Island Decoys & Decorative Shorebird Carvings.” Nantucket Journal, Winter 1993-1994.

“Audubonview.” Audubon, September 2003.

“Obituary: Donal O’Brien Jr., 79, Connecticut conservationist leader, longtime resident.” New Canaan Advertiser, September 11, 2013.

Barber, Joel. Wild Fowl Decoys. New York: Windward Books, 1934.

Boyle, Robert H. “With a Quack Quack Here.” Sports Illustrated, September 27, 1971.

Cheever, Byron and Maureen. North American Decoys: Wildfowl Carvers and Collectors News, Oct-Dec 1967, July-Sept 1968, Spring 1969, Winter 1970, Summer 1971, Autumn 1971, and Summer 1972.

“Donal O’Brien, 51st recipient of the Audubon Medal.”

Audubon video, 9:04, September 6, 2003, http:// nc.audubon.org/news/meet-donal-obrien “Donal O’Brien, 79, Audubon Leader, Dies.” The New York Times, September 11, 2013.

“Don O’Brien Wins Happy Fraser Award.” Atlantic Salmon Journal, Summer 2002.

Earnest, Adele. The Art of the Decoy. New York: Bramhall House, 1965.

Graham, Jr., Frank. “A Conservationist to His Core.”

Audubon, September 2003.

Kress, Stephen W. “From Puffins to Petrels.” Audubon Magazine, Spring 1992.

Levitt, James N. “Annual Report.” QLF Waypoint Progress Report 2013-2014.

Mackey, Jr., William J. American Bird Decoys. New York: Bonanza, 1965.

Parker, Jackson. “O’Brien Classic Decoys on Display at Museum of American Folk Art.” North American Decoys: Wildfowl Carvers and Collectors News, Spring/Summer 1982.

Sheehan, Laurence. The Birding Life. New York: Clarkson Potter Publishers, 2011.

Sheehan, Laurence. The Sporting Life. New York: Clarkson Potter Publishers, 1992.

“She Bagged the Deer.” The New York Journal, November 9, 1896.

Sotheby's and Guyette & Schmidt, Inc. American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery. New York, 2000.

The Mischianza: Hotchkiss’s Annual Yearbook. Lakeville, CT, 1952.

Waingrow, Jeff. “The American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien, Jr.” The Clarion: America’s Folk Art Magazine, Fall 1981.

Walsh, Jr., Clune and Lowell G. Jackson, eds. Waterfowl Decoys of Michigan and the Lake St. Clair Region. Detroit: Gale Graphics, 1983.

Whittemore, Elizabeth Eschmann. “Our Ancestors: Some Facts, Figures, and Fancies,” 1993.

197

INDEX

198

Ahearn, James Joseph: 114

Goodspeed, David S.: 100

Shourds, Harry V.: 47

Audubon, John James: 129, 130

Graham, John B.: 9

Smith, Benjamin D.: 8, 71

Bach, Ferdinand: 59

Hepron, Capt. Jess: 79

Southard, William H.: 29

Barkalow, Capt. J. Lewis: 23

Hewlett, Thomas: 78

Strubing, Walter M.: 57

Boyd, George H.: 108, 109

Holmes, Lothrop Turner: 16, 87

The Ward Brothers: 33-35, 68, 86

Burr, Russ E.: 117

Hudson, Ira D.: 19, 37, 83, 84

Ullberg, Kent: 106

Cameron, Judge Glenn J.: 65

Kelson, James R.: 98

Verity, Obediah: 24-28

Carriage House Rig: 64

Koelpin, William J.: 103

Warin, George: 92

Carter, Everett: 56

Laing, Albert Davids: 42, 43, 82

Wells, Ronnie: 106

Chadwick, Henry Keyes: 7

Lincoln, Joseph W.: 5, 39, 69

Wheaton, Amos: 55

Cobb, Jr., Nathan F. Cobb: 38

Martin, T. Harry: 94

Wheeler, Charles E. "Shang": 44

Crowell, A. Elmer: 1-4, 14, 15, 70, 111

Maxwell, Ben: 48

Wilson, Augustus "Gus" Aaron: 54

Dilley, John: 30-32

Mitchell, R. Madison: 36

Wilson, Tom: 74

Ditman, A.J.: 115, 118

Ostermiller, Dan: 104

Zachmann, John F.: 95, 96

Dudley, Lee: 66

Perdew, Charles H.: 60, 61

Elliston, Robert: 62,63

Peterson, Oscar W.: 120-123

English, John: 45

Poland, Arthur: 73

Fernlund, Ivar Gustav: 93

Rathmell, Louis C.: 40, 41

Freirich, Robert: 46

Reeves, Charles P.: 91

Gelston, Thomas: 49-53

Reeves, Phineas: 88-90

Gibbs, Harold N.: 112

Schmidt, Benjamin: 58

Gilley, Wendell: 110

Schoenheider, Sr., Charles S.: 20

Glassford, Al: 113

Schweikart, Capt. John C.: 11

Lot 20 199

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Date: 203

O. Pleissner |

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$345,000

J. English |

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$246,000

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E. Osthaus |

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$235,750

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A.E. Crowell | $546,250

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$270,000

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204 WR

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