The Winter Sale 2018

THE WINTER SALE 2018 February 16 | American Theater 446 King Street | Charleston, South Carolina

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COPLEY FINE ART AUCTIONS

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THE WINTER SALE Schedule of Events

The American Theater 446 King Street | Charleston, South Carolina Friday, February 16 Auction Preview 8:30AM - 10:30AM Auction 11:00AM

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 on page 198 and Important Notices on page 6 of this catalog.

For further information please contact us at 617.536.0030.

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Front Cover: Lots 280, 229, 216, 188, 184, 205, 187 Inside Front Cover: Lot 17 Back Cover: Lot 5 Inside Back Cover: Lot 47 detail Left Schedule of Events: Lot 191 Left Table of Contents: Lot 72 detail Right Important Notices: Lot 36 Left Properties Page: Lot 20 detail

Catalog by: Stephen B. O’Brien, Jr. Cinnie O’Brien Colin McNair Leah Tharpe Chelsie Olney Amy Lunderville Courtney Lane Printed in the USA on recycled paper

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

Like us on Facebook Facebook.com/copleyfineartauctions

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TABLE OF CONTENTS

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Schedule of Events

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Important Notices

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Session I: Paintings, Works on Paper, and Bronzes

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Session II: Decoys and Folk Art

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Index of Artists and Makers

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Terms and Conditions of Sale

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Buyer Pre-Registration Form

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Absentee/Telephone Bid Form

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Authorized Shipping Release Form

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THE WINTER SALE Important Notices 1

lease be advised that all persons wishing to bid at this P auction 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.

3 Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for our Sporting Sale 2018. 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.

Pre-Registration 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 an email 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 Purchases picked up at the auction will be subject to the South Carolina state and local tax of 9%. Buyers purchasing for resale and claiming exemption from sales tax must present a properly executed resale certificate prior to the release of property. Purchases delivered to South Carolina after the auction will be subject to the applicable South Carolina state and local taxes and purchases picked up or delivered to Massachusetts after the sale will be subject to the 6.25% Massachusetts sales tax unless exempted by applicable law.

7 Inspection of items offered at this auction 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 notes may be published or given on request, such notes are statements of opinion only. Regardless of whether or not a condition is given, all property is sold as is. The absence of condition 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.

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

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

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

11 Condition description of wear or gunning wear Wear or gunning wear may include all types of wear and 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, to 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.

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.

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

14 Pick up and shipping 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.

15 Auction day contact numbers

On site: 617.536.0030 Cinnie O’Brien: 617.501.7544

Auctioneer Peter J. Coccoluto South Carolina License #4547

THE WINTER SALE February 16, 2018 | 11AM American Theater 446 King Street Charleston, South Carolina

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PROPERTIES FROM Gary Gosdin Collection Richard and Lynn Gove Collection Davison B. Hawthorne Collection Ernest and Carolyn Kramer Collection Blair Ledingham Collection Grant Nelson Collection John T. Ordeman Collection A descendent of Barrie and Bernice Stavis Ronald Swanson Collection A descendent of Emerson and Isabelle Tuttle The Estate of Christopher M. Weld A descendent of Barbara Anne Wiest (Fleckenstein) Private Collection, California Private Collection, Cape Cod Private Collection, Connecticut Private Collection, Florida Private Collection, Illinois Private Collection, Maine Private Collection, Maryland Private Collection, Massachusetts Private Collection, Midwest Private Collection, New Jersey Private Collection, New York Private Collection, North Carolina Private Collection, Pennsylvania Private Collection, Virginia

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THE WINTER SALE 2018 SESSION I PAINTINGS, WORKS ON PAPER, AND BRONZES FEBRUARY 16 | 11AM

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S. EDWIN MEGARGEE, JR. 1883-1958

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1 S. Edwin Megargee, Jr. (1883-1958) English Setter signed “Edwin Megargee” lower left oil on canvas, 15 by 22 in.

Edwin Megargee was born in Philadelphia in 1883.

He studied at Georgetown University, the Drexel Art Institute in Philadelphia, and the Art Students League in New York and specialized in paintings of domestic animals and sporting subjects. Many of his sporting dog scenes appeared in Field & Stream and in his portfolio, Gun Dogs at Work. He is best known as a leading portrayer of prize-winning gun dogs, including pointers, setters, retrievers, and spaniels.

In 1953, Megargee illustrated Julie Campbell Tatham’s World Book of Dogs. In it, he is referred to as “a licensed (and very active) judge of the American Kennel Club and Chairman of its Library Committee. As breeder,

judge and owner of first-class sporting and bench show dogs, he brings to his paintings and illustrations a thorough knowledge of animal structure, color and authenticity of atmosphere.”

This painting was illustrated in a 1940s advertisement for Fleischmann’s Gin. It was reproduced as a color print and sold for ten cents by the gin company.

PROVENANCE:

Davison B. Hawthorne Collection

LITERATURE: Julie Campbell Tatham and Edwin Megargee, illus., World Book of Dogs, Cleveland, OH, 1953, p. 126.

$2,000 - $3,000

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WILLIAM HENRY MACHEN 1832-1911

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2 William Henry Machen (1832-1911) Grouse and Quail signed and inscribed “Machen Toledo” lower center oil on canvas, 27 1⁄4 by 22 1⁄8 in.

Known for his finely rendered sporting still lifes, Machen, along with Alexander Pope, R. LeBarre Goodwin, and George Cope, painted some of the finest game paintings of the nineteenth century.

PROVENANCE:

Davison B. Hawthorne

Collection $2,000 - $3,000

3 William Henry Machen (1832-1911) Wigeon Pair signed “Machen.” lower center oil on canvas, 27 by 22 in.

PROVENANCE:

Davison B. Hawthorne

Collection $2,000 - $3,000

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EDMUND H. OSTHAUS 1858-1928

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4 Edmund H. Osthaus (1858-1928) Two Setters on Point signed “Edmund Osthaus” lower right watercolor, 20 1⁄2 by 29 in.

Edmund Henry Osthaus was born in Hildesheim, Germany, in 1858. He was the son of a prosperous farmer who subsequently immigrated to Toledo, Ohio. Osthaus studied at the Royal Academy of the Arts in Dusseldorf from 1874 to 1882 with Andreas Muller, Peter Jansen, E. von Gebhardt, Ernst Deger, and wildlife and landscape painter Christian Kroner. In 1883, after studying painting for six years, Edmund Osthaus became an instructor at the Toledo Academy of Fine Arts. He served as the director from 1886-1893, refining his painting technique and pursuing his passions: hunting and fishing.

In 1893 Osthaus dedicated his full attention to painting, shooting, and field trials. He was a charter member of the National Field Trial Association, established in Newton, North Carolina, in 1895. “Edmund Osthaus followed field trials from the fall prairie chicken trials in Canada to the important quail trials in the South in mid-winter, judging,

sketching, and sometimes entering his dogs. He was a handsome, powerfully built man.” His artistic talent combined with his love of dogs enabled him to capture the essence of the focused working dog while depicting them in precise anatomical detail.

“Any painter who paints for shooting men had better be a shooting man himself, for no one is more jealously critical of detail than the man who knows guns and dogs and game...

Edmund Osthaus, who trained and shot over his own setters and pointers, transformed oil paint into dog flesh quivering under the stress of a point.”

PROVENANCE: Davison

B. Hawthorne Collection

LITERATURE: Kay and George Evans, “Dogs that Live Forever,” Field & Stream, Vol. LXXV, No. 2, June 1970, pp. 234-240.

$8,000 - $10,000

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LYNN BOGUE HUNT 1878-1960

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LYNN BOGUE HUNT 1878-1960

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5 Lynn Bogue Hunt (1878-1960) Mallards at Sunrise

6 Lynn Bogue Hunt (1878-1960) Hunting Blue Wings

signed “Lynn Bogue Hunt” lower left oil on canvas, 24 by 19 in.

signed “Lynn Bogue Hunt” lower left oil on board, 15 1⁄2 by 11 in.

Lynn Bogue Hunt was born in rural Honeoye Falls, New York, into a family that ran a small sawmill operation. He grew up with modest means, but spent hours outside exploring the natural surroundings in the woods near his home. He often collected birds and practiced taxidermy, a hobby that led to his accurate portrayal of his wildlife subjects. Hunt contributed illustrations to his own articles as well as cover illustrations to magazines, such as Field & Stream, Sports Afield, and Free Press. During his lifetime Hunt painted for private collectors and companies, such as DuPont, illustrated over forty books, and produced roughly two hundred and fifty magazine covers. Though he spent much of his life far from nature in New York City, Hunt had a strong foundation as a knowledgeable outdoorsman, bird hunter, and fisherman, enabling him to accurately capture the essence of the outdoors. With its boldly painted subject, this painting is one of Hunt’s finest mallard paintings to have surfaced.

PROVENANCE:

PROVENANCE:

Davison B. Hawthorne

Collection $3,000 - $5,000

Davison B. Hawthorne Collection

$8,000 - $12,000 15

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MILTON C. WEILER 1910-1974

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7 Davison B. Hawthorne (b. 1924) A Fine Day, 1995

10 American School (20th Century) Hunters with Setters

signed “D.B. Hawthorne” lower left oil on canvas board, 14 by 11 in.

inscribed “Edm. H. Osthaus” lower left oil on canvas, 15 by 21 in.

PROVENANCE:

PROVENANCE:

Davison B. Hawthorne Collection

Davison B. Hawthorne Collection

$300 - $600

$1,000 - $2,000

8 Davison B. Hawthorne (b. 1924) Woodcock

11 Milton C. Weiler (1910-1974) Teal

oil on canvas board, 12 by 9 in.

signed “M.C. Weiler” lower right watercolor, 19 1⁄2 by 26 1⁄2 in.

PROVENANCE:

Davison B. Hawthorne Collection

$300 - $500

PROVENANCE:

Davison B. Hawthorne Collection

$1,500 - $2,500

9 John Clinton Spencer (1861-1919) Catch on The Bank, 1894 signed and dated “J. C. Spencer 1894” lower left oil on canvas, 12 by 22 in.

PROVENANCE:

Davison B. Hawthorne Collection

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DAVID A. MAASS B. 1929

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12 David A. Maass (b. 1929) Canvasbacks signed “Maass” lower right oil on board, 24 1⁄2 by 36 in.

An avid sportsman and ardent contributor to conservation organizations, David Maass has been actively painting game birds for more than thirty years. In the past twenty years, Maass has designed more than thirty conservation stamps and prints, a distinction few artists can claim.

Ducks Unlimited, the National Wild Turkey Federation, and the Minnesota Wildlife Heritage Foundation have each named David Maass their Artist of the Year. Maass’ original paintings and limited edition prints have been exhibited in galleries and shows throughout the country, including

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the Smithsonian American Art Museum in Washington, D.C., the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and the annual Minnesota Wildlife Heritage Foundation Show in Minneapolis, Minnesota. An original Canada goose painting by David Maass is part of the permanent collection of the Minneapolis Institute of Art. PROVENANCE:

Private Collection, Pennsylvania

$8,000 - $10,000

RICHARD E. BISHOP

1887-1975

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13 Richard E. Bishop (1887-1975) Circling In - Canada Geese signed “Richard E. Bishop” lower right oil on canvas, 24 by 27 in. $2.000 - $3,000

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14 Richard E. Bishop (1887-1975) Whistling Swans signed “Richard E. Bishop” lower right oil on board, 12 by 16 in. $2,000 - $3,000

15 Richard E. Bishop (1887-1975) Geese Over Stubble, 1952

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signed and dated “Richard E. Bishop (c) 52” lower right oil on board, 12 by 16 in. $1,000 - $2,000

Born in Syracuse, New York, Bishop developed a passion for waterfowl while hunting with his father. He graduated from Cornell University in 1909, and later spent four years in the military. In 1920, while working at a copper manufacturing plant in Philadelphia, Bishop’s career as an artist began. He picked up a discarded piece of copper plate, covered it with wax, and created his first etching. Four years later, in 1924, Bishop won the Charles M. Lea Prize at the Philadelphia Print Club for his work Canada Geese.

In 1936 Bishop wrote and illustrated Bishop’s Birds.

He produced Bishop’s Waterfowl in 1948. In 1962, he collaborated with Edgar M. Queeny on Prairie Wings. The artwork in Bishop’s books are superb renderings of birds in their natural habitat, as he was able to capture the fluidity of a bird’s flight and recreate detailed landscapes in the background. Bishop’s work is held in the Honolulu Museum of Art, the Everson Museum of Art in Syracuse, New York, and the Philadelphia Museum of Art.

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JOHN SWAN B. 1948

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16 John Swan (b. 1948) Marsh Hunters, 1986 signed “John Swan 86” lower right watercolor, 20 by 30 in.

John Swan was born and raised in Maine and studied at the University of New Hampshire. In the 1980s, Swan was painting local rural landscapes until he completed a fly fishing painting that appeared on the cover of Gray’s Sporting Journal. This early success with a sporting scene ensured that hunting and fishing subjects would be an integral part of Swan’s work in the years to come.

Considered one of America’s foremost sporting and wildlife artists, Swan is equally adept in watercolor and oils. His paintings bring to life fishing and hunting trips to places as far afield as the bonefishing mecca of the Bahamas and Canada’s Gaspe Peninsula. “I paint wherever I can fish,” he admits. The result is a body of spectacularly immediate works set in the world’s premier sporting destinations.

Based on firsthand experience, and often created en plein air, Swan’s paintings are imbued with freshness: the energy of a tarpon struggling against the line or the quietude of a hunter’s early dawn preparations.

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Among his distinctions are one-man shows at the American Museum of Fly Fishing, the King Gallery, and the Stephen O’Brien Jr. Fine Arts Gallery. His awards include being named Artist of the Year three times by the Atlantic Salmon Federation, the Ducks Unlimited International Artist of the Year in 1987, and the Bonefish & Tarpon Trust Artist of the Year in 2017. He has illustrated numerous books, including Joseph Bates’ classic Atlantic Salmon Fishing and Thomas McGuanes’s anthology Live Water.

PROVENANCE:

Private Collection, Maine

$2,000 - $4,000

GEORGE BROWNE 1918-1958

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17 George Browne (1918-1958) Following the Shore, 1949 signed “George Browne� lower right oil on canvas, 20 by 24 in.

Grand Central Galleries, NY label on back Struck down at the age of forty in a tragic shooting accident, George Browne is known to have completed only a few hundred finished works in his lifetime. The thoughtful rendering of his sporting and wildlife scenes suggests a man full of talent and promise. Due to his untimely death, Browne left behind a limited and highly coveted body of work. Following in the footsteps of artists/sportsmen like Frank W. Benson (1862-1951), Carl Clemens Moritz Rungius

(1869-1959), and Aiden Lassell Ripley (1896-1969), George Browne painted the waterfowl and upland game birds that he also hunted. Browne is known for his deft handling of paint and his incredible attention to detail.

PROVENANCE:

Private Collection, New York

$6,000 - $9,000

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HARRY CURIEUX ADAMSON 1916-2012

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18 Harry Curieux Adamson (1916-2012) Pintails, 1997 signed and dated “Harry Curieux Adamson © -1997” lower left oil on canvas, 24 by 30 in.

Harry Adamson was one of the premier waterfowl painters of the last fifty years. Born in Seattle in 1916, he studied under Paul J. Fair who is best known for his wildlife photography. Adamson began painting after serving in World War II, selling a painting to the president of Mexico within the first decade of his career. His success continued and he was honored as the first California Waterfowl Association Artist of the Year, as well as the 1979 Ducks Unlimited Artist of the Year. His works have been included

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in shows at the Smithsonian American Art Museum, the British Museum, and the Carnegie Museum of Natural History. Admired by his fellow artists, Adamson had a knack for capturing birds in their natural habitats. His thoroughly detailed landscapes are the perfect backdrop for his accurately painted waterfowl.

PROVENANCE:

Grant Nelson Collection

$10,000 - $14,000

DAVID A. MAASS B. 1929

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19 David A. Maass (b. 1929) Mallards in Winter signed “Maass” lower right oil on board, 24 by 31 3⁄4 in.

A classic Maass waterfowl painting depicting mallards alighting into open water.

PROVENANCE:

Grant Nelson Collection

$4,000 - $6,000

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HARRY CURIEUX ADAMSON 1916-2012

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20 Harry Curieux Adamson (1916-2012) Sanctuary - Wood Ducks, 1956 signed “Harry Curieux Adamson” lower right oil on canvas, 24 by 32 in.

Oakland Museum of California label on the back During the 1960s, Adamson provided four paintings, including Sanctuary, for the Forbes Lithograph Manufacturing Company of Boston for their annual calendars.

This important painting is one of the artists most recognized works.

PROVENANCE:

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Grant Nelson Collection

LITERATURE: Diane K. Inman, From Marsh to Mountain: The Art of Harry Curieux Adamson, San Francisco, CA, 1999, p. 73, illustrated.

EXHIBITED:

Oakland, California, Wild Wings: The Waterfowl Art of Harry Curieux Adamson, Oakland Museum of California Natural Sciences, November 9, 2002 - March 30, 2003. $10,000 - $14,000

FRANCIS LEE JAQUES

1887-1969

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21 Francis Lee Jaques (1887-1969) Coastal Marshes signed “F.L. Jaques” lower right oil on canvas, 24 by 22 in.

Francis Lee Jaques was born on September 28, 1887, in Geneseo, Illinois. As a boy, he loved duck hunting, and spent many hours hunting with his father. When Jaques was twelve his family moved to Kansas to farm corn.

This background in agriculture and hunting taught him a great deal about birds which he translated into the stunning realism he was able to capture on canvas.

When he returned from serving in World War I, Jaques studied art with Clarence Rosenkranz (1871-1959), a student of early Impressionist William Merritt Chase (1849-1916).

Jaques’ realistic depictions of wildfowl also garnered him work painting illustrations for Field and Stream. His submission of Black Ducks was selected as the 1940 Federal Duck Stamp print. At fifty-five, Jaques retired from his position as a painter at the American Museum of Natural History and subsequently completed a

painting each month for Outdoor Life, as well as taking on freelance work painting museum dioramas. In 1969 Jaques died at age eighty-one.

The frame of this important oil Coastal Marshes is original to the piece and appears to be made by Jaques. The lines carved in the frame mirror the marsh grass depicted.

PROVENANCE: Purchased at the Davenport Municipal Art Gallery and held in the same family for approximately sixty years Grant Nelson Collection, acquired from Copley Fine Art Auctions, Sporting Sale 2007, Lot 446 EXHIBITED:

Davenport, Iowa, Paintings and Drawings by Francis L. Jaques, Davenport Municipal Art Gallery, 1945, Oil Painting #18. $15,000 - $20,000

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ERIC SLOANE 1905-1985

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22 Eric Sloane (1905-1985) First Snow signed “Sloane” lower right oil on board, 27 1⁄2 by 33 1⁄2 in. titled lower left Abercrombie & Fitch Co., New York, NY label on back Eric Sloane was born in New York City in 1905. At an early age, he had an interest in art. After being taught lettering by his neighbor and typeface creator Frederic Goudy, Sloane began painting identification numbers on airplanes out of the factory of Bill Lear, who invented the Learjet.

After a few years crossing the country as an itinerant sign painter, the artist began his career in earnest in 1934 with a newspaper ad which read: “Eric Sloane – whose service is now available for oil paintings of your plane or murals of aviation themes invites inquiry concerning art work…

Estimates or ideas as sketches without charge.” He soon sold a cloudscape to Amelia Earhart, and would go on to paint an enormous mural of clouds at the Smithsonian’s

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National Air and Space Museum in Washington, D.C. While studying clouds for his paintings, Sloane became an amateur authority on meteorology and published several books on the subject.

Sloane later shifted his interest to Americana and the landscapes of the Northeast. He was fascinated with antique wooden tools, and became known for painting red barns, stone walls, and covered bridges.

This classic Sloane depicts a gentleman and his dog returning from the hunt.

PROVENANCE:

Grant Nelson Collection

$8,000 - $10,000

ERIC SLOANE 1905-1985

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23 Eric Sloane (1905-1985) First Flush, 1951

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signed and dated “Eric Sloane 1951” lower right oil on board, 24 by 34 in. titled lower left A large, well-executed painting of pheasant shooting.

PROVENANCE:

Grant Nelson Collection

$4,000 - $5,000

24 Eric Sloane (1905-1985) High Flyer signed “Sloane” lower right oil on board, 15 3⁄4 by 20 in. titled lower left A small, finely painted oil depicting pheasant shooting.

PROVENANCE:

Grant Nelson Collection

$2,000 - $4,000

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HARRY CURIEUX ADAMSON 1916-2012

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25 Harry Curieux Adamson (1916-2012) Canada Geese, 1980 signed and dated “Harry Curieux Adamson © 1980” lower left oil on canvas, 22 by 30 in.

This grand work, depicting over fifty detailed geese, is one of the finest Canada goose paintings the artist is known to have executed. $6,000 - $9,000

26 John Cyril Harrison (1898-1985) Ruffed Grouse signed “JC Harrison” lower right watercolor, 22 1⁄4 by 30 in. $1,000 - $2,000

27 John Cyril Harrison (1898-1985) Pintails signed “J.C. Harrison.” lower right watercolor, 9 by 13 in. $300 - $500

28 John Cyril Harrison (1898-1985) Pheasants signed “JC Harrison” lower right watercolor, 22 1⁄2 by 15 1⁄2 in. $800 - $1,200

29 John Cyril Harrison (1898-1985) Cranes in Flight signed “JC Harrison.” lower right watercolor, 15 by 22 in. $600 - $900

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JOHN CYRIL HARRISON

1898-1985

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ROBERT K. ABBETT 1926-2015

30 Robert K. Abbett (1926-2015) Labrador Retriever – Bo, 1983

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signed and dated “Abbett © 83” lower left oil on board, 16 by 20 in.

Wild Wings Gallery label on back Robert Abbett, born in Indiana in 1926, is best known for his depictions of sporting dogs, flyfishing, and Western life. He began his career as an advertising illustrator, attending night and weekend classes at both the Chicago Academy of Fine Art and the American Academy of Art where he found himself drawn to editorial and advertising art. In 1953 he moved from Chicago to Connecticut to be closer to the editorial markets. He illustrated for Argosy, The Woman’s Home Companion, Sports Afield, Reader’s Digest, and True magazines. He also worked with several West Coast motion picture studios and drew covers for many of the leading paperback publishers.

Robert Abbett was commissioned to paint his first animal portrait of Luke in 1970. It was with this painting that he transitioned from working as an illustrator to a full-time gallery artist. Abbett is recognized as a master in the field of sporting dog portraiture.

This is a portrait of the artist’s own Labrador, Bo Jangles. In his book, A Season for Painting, Abbett recalls: “Bo’s worst problem was his unlimited energy; he should have belonged to someone who hunted ducks with him at least twice a day, twelve months a year, with an occasional field trial or two thrown in. As a pup, he would sit in the studio watching me, crouched like a leopard

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about to spring, and I would tell him, ‘Look, Bo, I’m sorry, but there’s just not a lot going on right now.’ Perhaps I should have named him ‘Patton’: his charge was unstoppable.”

PROVENANCE:

Private Collection, Florida

LITERATURE: Robert K. Abbett, A Season for Painting: The Outdoor Art of Robert K. Abbett, Dallas, TX, 2001, p. 71.

$5,000 - $7,000

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31 Rod Zullo (b. 1965) October Days

32 Rod Zullo (b. 1965) My Dad’s Pointer, Bo

signed “Zullo” on base bronze, 6 by 10 by 3 in. inscribed on base “1·119” edition 1 of 119

signed “Zullo” on base bronze, 7 by 9 by 3 1⁄2 in. inscribed on base “1·119” edition 1 of 119

$300 - $600

$300 - $600

EDMUND H. OSTHAUS 1858-1928

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33 Edmund H. Osthaus (1858-1928) Three Setters, c. 1900 signed “Edmund Osthaus” lower right watercolor and gouache, 20 by 39 in.

The original owner of this painting of three setters lived on an estate on the Maumee River in the Toledo area.

He was a prominent lawyer in Toledo and a friend of the artist. According to the family, Edmund Osthaus and the lawyer often smoked cigars together in their library, and the painting was a gift to the family.

Osthaus was an instructor at the Toledo Academy of Fine Arts. He then served as the director from 1886-1893, before resigning to devote “his life to painting, shooting, and following field trials. He gunned for prairie chickens, ruffed grouse, snipe, woodcock, and pheasants, but bobwhites were his favorites,” report Kay and George Evans.

“Edmund Osthaus followed field trials from the fall prairie chicken trials in Canada to the important quail trials in the South in mid-winter, judging, sketching, and sometimes entering his dogs,” the Evans continue.

“Thousands of shooting men have formed their tastes in dogs from Osthaus paintings….they know his setters and pointers as real dogs pointing and retrieving real birds.

One man called them ‘healthy wet-nosed dogs that hunt, wag, sympathize, and love.’” According to Evans, Edmund Osthaus’ paintings exhibit “the character of the early Llewellin and English setters in this country, their beauty and integrity as bird dogs, and what they meant to those of us who care. Each Osthaus portrait of a gun dog went beyond even that, capturing the individual dog and making him exist after he is gone. Like the memory of a special dog many of us keep alive, [he] staunchly holds his birds as Edmund Osthaus caught that high spirit burning one late quailshooting afternoon in the early 1900s. That, as any shooting man will tell you, is art.”

PROVENANCE: Private Collection, Toledo, Ohio (gift of the artist, c. 1900) By descent to the present owner LITERATURE: Kay and George Evans, “Dogs that Live Forever,” Field & Stream, Vol. LXXV, No. 2, June 1970, pp. 234-240.

$20,000 - $30,000

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WILLIAM BRUCE 1861-1911

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34 William Bruce (1861-1911) Taking Aim, 1903 signed and dated “W. Bruce 1903” lower left oil on canvas, 18 by 30 in.

William Bruce was a native of Auburn, New York. He studied painting in New York City and Europe. Initially a portrait artist, he shifted to depicting animals, particularly dogs. His works were commissioned and reproduced by calendar firms. Bruce was a well-liked artist and gentleman who died at age f​ ifty in Auburn. His paintings can be found in the Cayuga Museum, Auburn, N​ew York​.

This work depicts two dogs on point as a pair of woodcock flush, giving the hunter a chance for a rare double. $2,000 - $3,000

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LUKE FRAZIER B. 1970

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35 Luke Frazier (b. 1970) Woodcock Dreams signed “l. frazier” lower right oil on board, 24 by 24 in.

Luke Frazier is one of the West’s top wildlife artists. Born and raised in the mountains of northern Utah, Frazier spent much of his youth hunting and fishing. His early forays into nature inspired a passion for the outdoors. As a child Frazier spent countless hours sketching and sculpting wildlife, demonstrating not only a passionate interest, but also an instinctive ability. Later, he received his formal art training at Utah State University, where he earned a Bachelor of Fine Arts degree in painting and a Master of Fine Arts degree in illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work.

Frazier’s paintings have been exhibited at the National Museum of Wildlife Art, Jackson, Wyoming; the Autry

Museum of the American West, Los Angeles, California; the National Cowboy and Western Heritage Museum, Oklahoma City, Oklahoma; the Phoenix Art Museum, Phoenix, Arizona; the C.M. Russell Museum, Great Falls, Montana; the Montgomery Museum of Fine Arts, Montgomery, Alabama; and the Kimball Art Center, Park City, Utah.

In Wildlife Art, Bill Kerr, cofounder of the National Museum of Wildlife Art and a personal collector of Frazier’s work, stated, “What impresses me about Luke Frazier is his potential, he’s talented, he’s dedicated, his work reminds me of some kind of an exotic combination of Kuhn’s modernism and the classic palette of the academicians.” $7,000 - $10,000

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GUSTAV MUSS-ARNOLT 1858-1927

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36 Gustav Muss-Arnolt (1858-1927) Setters on Point signed “G. Muss- Arnolt.” lower right oil on canvas, 20 by 28 in.

Robinson Galleries, Miami label on back Gustav Muss-Arnolt specialized in the depiction of hunters and their dogs. He worked as a judge in dog shows, served on the board of the American Kennel Club from 1906-1909, and demonstrated an incredible knowledge of a variety of sporting breeds in his paintings. Throughout his career, Muss-Arnolt’s illustrations were published in magazines, such as Harper’s Weekly and the American Kennel Club Gazette.

PROVENANCE:

Private Collection, Connecticut

$18,000 - $24,000

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GUSTAV MUSS-ARNOLT 1858-1927

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37 Gustav Muss-Arnolt (1858-1927) May Doo signed “G. Muss-Arnolt” lower right oil on canvas, 19 by 26 in. inscribed “May Doo” lower left May Doo was owned and handled by Frank Reilly of Medford, New Jersey. She placed first in her class at the English Setter Club of America Field Day Trials. Reilly was a field trial stake judge and is cited by sporting dog historian Albert Frederick Hochwalt in several publications as a breeder of pointers and English setters. In addition to May Doo, Reilly owned many other well-known field trial dogs, including Rod Sing, 1911 Field Trial National Champion Eugene M., and “famed setter” Victor Okaw. He commissioned Edmund Osthaus (1958-1928) to paint Victor Okaw in the early 1900s.

Reilly served as president of The English Setter Club of America from 1911 until 1916 and is known as a founding father of the club, which awards a trophy in his honor. Elmer

Simkins, Reilly’s contemporary and secretary of the club, reminisces, “...his one love was The English Setter Club...

It was he who was the guiding spirit that carried the club successfully through its early days of growing pains and development. It is doubtful that The English Setter Club of America would ever have gained the eminent position it occupies without the benign influence of Frank Reily [sic].”

Muss-Arnolt’s depiction of May Doo is an exceptional example of sporting dog portraiture, commissioned by one of the leading setter and pointer enthusiasts and field trial promoters in the early years of the sport in America.

PROVENANCE:

Private Collection, New York

$12,000 - $18,000

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BRETT JAMES SMITH B. 1958

38 Brett James Smith (b. 1958) Stone Wall Cover, 1998 signed and dated “Brett J. Smith ‘98” lower right watercolor, 9 1⁄4 by 13 in.

Brett J. Smith was born on March 19, 1958, in New Orleans, Louisiana. His early introduction to sporting art came from his father who worked professionally as an illustrator and moonlighted as a fine artist contributing paintings for covers of the early outdoor and Western magazines. Sportsmen nationwide collect Smith’s work because it not only is visually exciting and authentic, but also brings to bear his intimate knowledge of his sporting experience. His work has been featured in such publications as Gray’s Sporting Journal, Ducks Unlimited Magazine, Sporting Classics, Shooting Sportsman, and Double Gun Journal.

He has also been recognized for his work with such organizations as Gulf Coast Conservation Association, Atlantic Salmon Federation, Ruffed Grouse Society, Ducks Unlimited, and many others.

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$1,500 - $2,500

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39 Brett James Smith (b. 1958) Summer Trout Stream signed “Brett J. Smith ©” lower right watercolor, 18 by 29 in. $3,000 - $5,000 36

GUSTAV MUSS-ARNOLT 1858-1927

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40 Gustav Muss-Arnolt (1858-1927) Setters on Point signed “G.Muss. Arnolt” lower right oil on canvas, 16 by 20 in.

This highly accomplished painting shows Muss-Arnolt in full command of his favorite subject.

PROVENANCE: Private Collection, New York Private Collection, Pennsylvania

$12,000 - $18,000

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BRETT JAMES SMITH B. 1958

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41 Brett James Smith (b. 1958) Crystal Creek signed “Brett J. Smith” lower left oil on canvas, 14 by 18 in.

Brett Smith discusses his painting: “Of the many rivers I traverse in summer​,​some of my favorite fishing is on the secondary creeks and streams that flow into the larger rivers. Flowing out of mountain lakes, these creeks rarely hold record fish; however, they provide wonderful backdrops for my work. Crystal clear glacial water tumbling between boulders and rocks creates pools, which are idyllic landscape settings.” $3,500 - $5,500

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42 Brett James Smith (b. 1958) November Skies signed “Brett J. Smith“ lower right oil on canvas, 14 by 18 in.

The artist recalls: “To all that pursue waterfowl in flat marshy environs, it is the skies that are familiar. Generally, red skies foretell impending heavy rain and storms.

Duck hunters look forward to these mornings as they hold the promise of birds on the move ahead of colder stormy weather.” $3,500 - $5,500

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MAYNARD REECE B. 1920

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43 Maynard Reece (b. 1920) Turkeys, 1989 signed and dated “© Maynard Reece 1989” lower left oil on canvas, 22 by 18 in. $2,000 - $4,000

44 Maynard Reece (b. 1920) Ruffed Grouse, 1990 signed and dated “© Maynard Reece 1990” lower right oil on canvas, 12 by 9 in. $500 - $800 44

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45 Maynard Reece (b. 1920) Pheasant, 1990 signed and dated “© Maynard Reece 1990” lower right oil on canvas, 12 by 9 in. $500 - $800

46 Maynard Reece (b. 1920) Turkeys, 1989 signed and dated “© Maynard Reece 1989” lower left oil on canvas, 12 by 9 in. $500 - $800 39

47 Ogden M. Pleissner (1905-1983) Autumn Grouse Shooting signed “Pleissner” lower left watercolor on paper, 17 1⁄2 by 27 1⁄2 in.

Ogden Minton Pleissner was born in Brooklyn, New York, and studied figure painting and portraiture with Frank DuMond and Frederick J. Boston at the Art Students League of New York. Despite growing up in the city, Pleissner was attracted to the outdoors and as a teen he visited dude ranches in Wyoming, where he sketched from life. In later years, Pleissner and his first wife, Mary, were regular guests at the CM Ranch in Dubois, Wyoming.

Pleissner wanted to be classified primarily as a landscape painter, who also loved to hunt and fish. During World War II, Pleissner painted for the United States Air Force and Life magazine. During his years in the service, he primarily completed watercolors as the portability and immediacy of that medium accommodated working in the field.

Pleissner’s work is included in more than thirty public collections, including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Philadelphia Museum of Art, the Brooklyn Museum, the Minneapolis Institute of Arts, and hangs in the offices of the Pentagon, West Point, and the Air Force Academy.

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Pleissner’s subjects range from the landscapes of Europe to salmon fishing in Quebec and his style is informed by the classical traditions. He is quoted as saying, “A fine painting is not just the subject...It is the feeling conveyed of form, bulk, space, dimensionality, and sensitivity. The mood of the picture, that is most important.”

Autumn Grouse Shooting shows a strong composition complete with gunner at the ready, dog staunchly holding point, and grouse on the wing crossing the brook.

PROVENANCE: Private Collection, Florida, acquired from the Sportsman’s Edge Gallery, New York, November 1991 LITERATURE: Shooting Sportsman, April/May 1999, illustrated on back cover.

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 1.

$40,000 - $60,000

OGDEN M. PLEISSNER

1905-1983

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C. FORD RILEY B. 1952

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48 C. Ford Riley (b. 1952) Wild Turkey signed “C. Ford Riley” lower right oil on canvas, 30 by 40 in. $10,000 - $15,000

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48a C. Ford Riley (b. 1952) Timber Mallards signed “C. Ford Riley” lower right oil on canvas, 20 by 30 in. $6,000- $8,000

A native of Jacksonville, Florida, Riley “has spent much of his life wandering the backwoods and byways of the South, studying the patterns of the seasons, the wildlife and their environment, maintaining journals, and documenting their habits and unique habitats.” His work is focused on the outdoors and demonstrates an intimate knowledge of the natural world. Equally adept in watercolor, oil, and acrylic, Riley’s paintings are praised for their rich detail and dramatic color.

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According to Riley, “I spent years studying artists that painted scenes I could relate to, looking at the way they layered colors and used their palette. I took what I could from their techniques and applied them to the natural habitats that I grew up in.”

Riley received an award in 2011 from the Florida Fish and Wildlife Conservation Commission and was the Featured Artist at the Southeastern Wildlife Exposition in 1990.

His work can be found in the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and the Florida State Capital.​

LYNN BOGUE HUNT 1878-1960

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49 Lynn Bogue Hunt (1878-1960) Buck signed “Lynn Bogue Hunt” lower right oil on canvas, 16 by 14 in.

In this oil, Hunt has masterfully executed a portrait of a while tail deer. $3,000 - $4,000

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JOHN BUCKNELL RUSSELL 1820-1893

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50 John Bucknell Russell (Scottish, 1820-1893) Salmon signed “John Russell” lower left oil on canvas, 14 1⁄2 by 30 in.

PROVENANCE:

Private Collection, New York

$2,000 - $4,000

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51 John Bucknell Russell (Scottish, 1820-1893) Brown Trout signed “John Russell” lower left oil on canvas, 14 3⁄4 by 29 1⁄2 in.

PROVENANCE:

Private Collection, New York

$2,000 - $4,000

ARTHUR H. RAIKES 1858-1929

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52 Arthur H. Raikes (1858-1929) Atlantic Salmon Model, 1909 plaque is 16 by 50 3⁄4 in. inscribed “Salmon 26 lb. Ommedal. Hyen. Nordfiord. M.H. Raikes. 1909” on plaque This forty-inch Atlantic Salmon carving was made by Arthur H. Raikes for his son Marcus H. Raikes. Marcus caught the twenty-six pound fish in the Ommedal River in Hyen, Norway in 1909.

PROVENANCE:

Ronald Swanson Collection

LITERATURE: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, p. 165, exact carving illustrated.

$5,000 - $7,000

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53 Sid Bickford (1862-1947) Brook Trout signed “Bickford” lower right pastel, 16 by 24 1⁄2 in. $1,000 - $1,400

54 Harry A. Driscole (1861-1923) Leaping Trout signed “H.A. Driscole” lower left oil on canvas board, 16 by 10 in. $800 - $1,200

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HARRY A. DRISCOLE

1861-1923

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55 Harry A. Driscole (1861-1923) Brook Trout signed “H.A. Driscole” lower left oil on canvas, 14 1⁄4 by 20 1⁄4 in.

Harry A. Driscole was a renowned “piscatorial” artist who lived in Peekskill, New York. He specialized in painting game fish. A 1910 biography on the artist in Field and Stream notes, “He paints nothing else but fish and loves to pose them in the act of being captured in their native haunts.”

PROVENANCE: LITERATURE:

Private Collection, Midwest

Field and Stream, Vol. 14, April 1910.

$4,000 - $5,000

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LYNN BOGUE HUNT 1878-1960

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56 Lynn Bogue Hunt (1878-1960) Sharks signed “Lynn Bogue Hunt” lower right charcoal and gouache, 18 1⁄2 by 9 1⁄4 in.

PROVENANCE:

Private Collection, Florida

$500 - $800

57 Lynn Bogue Hunt (1878-1960) Tarpon signed “Lynn Bogue Hunt” lower left oil on canvas, 22 by 18 in.

In Tom Davis’ book, Lynn Bogue Hunt: Angler, Hunter, Artist, a closely related painting is discussed: “Painted in the mid-1930s, this oil on canvas was based on tarpon fishing near the Gasparilla Inn & Club at Boca Grande on Florida’s Gulf Coast. Built in 1913 the club and its superb tarpon fishery attracted many of the world’s top saltwater anglers. In the background is a freighter being loaded with phosphate mined in the Sunshine State.”

PROVENANCE:

Private Collection, Florida

LITERATURE: Field & Stream, May 1943, related work on cover.

Tom Davis, Lynn Bogue Hunt: Angler, Hunter, Artist, Canada, 2016, pp. 130-131.

$5,000 - $8,000

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CHET RENESON B. 1934

2018 ARTIST OF THE YEAR PAINTING

BONEFISH & TARPON TRUST

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58 Chet Reneson (b. 1934) Bonefishing signed “Reneson” lower left acrylic on board, 21 by 35 in.

2018 Bonefish & Tarpon Trust Artist of the Year Painting Chet Reneson is the 2018 Featured Artist for the Bonefish & Tarpon Trust. 50% of the proceeds from the sale of this painting will go directly to BTT, whose mission is to conserve and enhance global bonefish, tarpon, and permit fisheries and their environment through stewardship, research, education, and advocacy. The BTT serves as a repository for information on the life history of these species and works internationally with anglers, guides, scientists, regulators, and the public to nurture and enhance fish populations.

Chet Reneson graduated from the University of Hartford, Connecticut, in 1960. Reneson’s art teacher, Henrik Mayer, emphasized the importance of simplicity and taught the values of light, dark, and strong. This laid the foundation

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for Reneson’s unmistakable style. For the past fifty years, Reneson’s painting has remained true to his early mentor’s teaching, encompassing many subjects including wildlife, duck hunting, upland bird shooting, big game fishing, fly fishing, and Bahamian scenes. Reneson’s work has graced the covers of Sporting Classics, Gray’s Sporting Journal, and Sports Afield, among others. He is a past member of the Connecticut Watercolor Association and the Old Lyme Art Association. He was the Ducks Unlimited Artist of the Year in 1982 and the Atlantic Salmon Federation Artist of the Year in 1982 and 2001. There are two books published on Reneson’s work, Shadow on the Flats and The Watercolors of Chet Reneson. $6,000 - $9,000

PETER CORBIN B. 1945

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59 Peter Corbin (b. 1945) Permit Flats, 1994

60 Peter Corbin (b. 1945) Waiting for the Tide, 1996

signed and dated “Peter Corbin 1994” lower right acrylic on canvas, 20 by 30 in.

signed and dated “Peter Corbin 1996” lower right acrylic on canvas, 16 by 30 in.

PROVENANCE:

PROVENANCE:

Private Collection, Florida

LITERATURE: John Cole and Hawk Pollard, eds., West of Key West, Mechanicsburg, PA, 1996, illustrated on cover.

Private Collection, Florida

$800 - $1,200

$1,500 - $2,500

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CHET RENESON B. 1934

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61 Chet Reneson (b. 1934) Quail Hunting signed “Reneson” lower right acrylic on board, 21 by 35 in.

Primarily known for his watercolors, Reneson’s stunning acrylics are hard to come by with only dozens executed over his fifty-year career. $6,000 - $9,000

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62 Chet Reneson (b. 1934) Steelhead Fishing signed “Reneson” lower left watercolor, 17 1⁄4 by 27 1⁄2 in. $3,000 - $4,000

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63 Robert Verity Clem (1933-2010) Marsh Landscape signed “Robert Verity Clem” lower left watercolor, 17 1⁄4 by 25 1⁄4 in.

Robert Verity Clem was a New England artist based in Chatham, Massachusetts. He was self-taught but heavily influenced by the work of Louis Agassiz Fuertes (1874-1927). He published his definitive work, The Shorebirds of North America, in 1967. He is known for the exactitude of his detail and the sparseness of his pallet.

Clem was a trustee of the Chatham Conservation Foundation and had multiple shows at the Mass Audubon Visual Arts Center in Canton, Massachusetts.

He died in 2010. Amy Montague of Mass Audubon

64 Arthur Shilstone (b. 1922) November On The River

notes, “If there were a pantheon of bird artists, Robert Verity Clem would be there.” She continues, “He is almost universally acknowledged as ranking among the greatest artists to focus on birds.”

LITERATURE: Tim Wood, “Artist Clem Remembered For Ability To Capture ‘Essence’ Of Birds,” Cape Cod Chronicle, September 23, 2010.

$3,500 - $4,500

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signed “Arthur Shilstone” lower right watercolor, 16 by 21 in. $1,500 - $2,500

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WILLIAM J. KOELPIN, SR. 1938-1996

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65 William J. Koelpin, Sr. (1938-1996) The Market Hunter, 1976 signed and dated “76 © WM Koelpin” on top of barrel bronze, 8 1⁄2 by 9 1⁄4 by 17 in. edition 5 of 24 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 through 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, Maryland. He was also named “One of America’s Premier Artists” by the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin. $3,000 - $5,000

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66 William J. Koelpin, Sr. (1938-1996) Nimrod, 1976 signed and dated “Wm. J. Koelpin 76 9/24 ©” on base of sculpture bronze, 9 by 5 1⁄2 by 16 1⁄2 in. edition 9 of 24 $3,000 - $5,000

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67 Bernard Fuchs (1932-2009) Fly Fishing

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signed “B. Fuchs” lower right oil on board, 12 by 16 in. $800 - $1,200

68 Paco Young (1958-2005) Return to Deer Camp Study signed “Paco Young” lower left watercolor on board, 8 by 12 in. $400 - $600

69 Wakeman Holberton (1839-1898) Fly Fishing Illustration, 1884 signed and dated ‘W. Holberton del. 1884.” lower right watercolor, 7 by 10 in. flies are numbered 266-284

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$800 - $1,200 Wakeman Holberton was an avid salmon fisherman and angler, as well as a member of the Brooklyn Art Association.

He created three fishing flies: the Fluttering Fly, the Lottie, and the Holberton. He also wrote and illustrated multiple books and articles related to fishing, including The Art of Angling, How and Where to Catch Fish in 1887, and Standard American Black Bass and Lake Flies in 1884.

70 Wakeman Holberton (1839-1898) Fly Fishing Illustration, 1884 signed and dated “W. Holberton del. 1884.” lower right watercolor, 7 by 10 in. flies are numbered 227-250 $800 - $1,200

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WALTER T. MATIA B. 1953

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71 Walter T. Matia (b. 1953) The Tides that Bind, 2011 signed and dated on base “2011 MATIA” bronze, 15 by 8 by 5 1⁄2 in. inscribed “AP1” on base artist proof Walter Matia writes: “The Red Knot migrates from wintering grounds in South America in a single flight timed to arrive at Delaware Bay on the Spring high tides of May. The birds need rich food in large amounts to successfully breed and raise chicks in the short Arctic summer. That food source comes from the eggs of the horseshoe crab, which time their breeding cycle to the same May high tides. They are The Tides that Bind these two species.

“Over-harvest of Horseshoe crabs has contributed to a 90 percent decline in the Red Knot population. Conservation efforts to reduce crab harvest have been a long term goal of the American Bird Conservancy. These efforts have been supported by the National Fish and Wildlife Foundation, for whom this bronze was originally commissioned.”

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The consignor will donate 100% of the proceeds from the sale of this bronze to the American Bird Conservancy.

The American Bird Conservancy (ABC) is a not-for-profit organization, founded in 1994, dedicated to conserving birds and their habitats throughout the Americas. They innovate and build on rapid advancements in science to achieve four main goals: halt extinctions, conserve habitats, eliminate threats, and build capacity for bird conservation.

Join them: abcbirds.org. $2,500 - $3,500

FRANCIS LEE JAQUES

1887-1969

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72 Francis Lee Jaques (1887-1969) Snipe signed “F.L. Jaques” lower right oil on canvas, 20 3⁄4 by 14 3⁄4 in.

Florence Page Jaques comments in Francis Lee Jaques: Artist of the Wilderness World: “Jacksnipes were favorites of Lee’s. (They are officially Wilson’s snipe.) As a boy he had liked their challenge--they are very difficult to shoot, for their flight is erratic.

He liked to hear the ‘winnowing’ sound of their wings. As we would take an after-dinner drive through the countryside, he might stop the car and say, ‘Now this boggy meadow is a good place for snipe.’ He would get out of the car and clap his

hands together, and more often than not a snipe would fly up.”

PROVENANCE:

Private Collection, Massachusetts

LITERATURE: Florence Page Jaques, Francis Lee Jaques: Artist of the Wilderness World, Garden City, NY, 1973, p. 198.

$5,000 - $8,000

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EWOUD DE GROOT B. 1969

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73 Ewoud de Groot (b. 1969) Snow Hunter (Snowy Owl), 2015 signed and dated “Ewoud 15” lower right oil on linen, 19 1⁄2 by 47 in.

Ewoud de Groot lives and works in Egmond aan Zee, a coastal village in the Northern Netherlands.

After receiving a degree in illustration and painting from the Minerva Academy of Art, he began illustrating nature books for a period before pursuing painting full-time in 1999. Today, de Groot is recognized as a rising star in wildlife painting, bringing a truly unique perspective to the genre. His work strives to find both a balance and a tension between the representational and the abstract, the traditional and the contemporary. For de Groot, painting wildlife is not an exercise in rendering all the exact details. Instead, his work is an ongoing experiment of composition, color, and technique, concerned with conveying a sense of mood and atmosphere found in the natural world. $8,000 - $10,000

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EWOUD DE GROOT B. 1969

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73a Ewoud de Groot (b. 1969) Three Pintails, 2017 signed “Ewoud” lower right oil on linen, 41 by 41 in.

“To me, as an artist, producing a good painting is about exploring all the different facets of composition, colour and technique and not just reproducing an image in a photorealistic way. Although I consider myself a figurative painter, I always try to find that essential balance and tension between the more abstract background and the realism of the subject(s). In a way you could say that I am on the frontier between figurative and non-figurative, or the traditional and the modern.” - Ewoud de Groot $8,000 - $10,000

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JOHN JAMES AUDUBON 1785-1851

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74 Lynne R. Moore (English, 20th Century) Grouse Hunting, 1988

76 Roy Huse Collins (1883-1949) Grouse

signed and dated “Lynne R. Moore 1988” lower left watercolor, 14 by 22 1⁄4 in.

watercolor on board, 17 by 24 in. inscribed “Grouse by Roy Collins for Paul Newman given to Patty Dingwall 10/19/71” on back of frame

$400 - $600

$500 - $800

75 John Cyril Harrison (1898-1985) Six Grouse signed “J.C. Harrison” lower right watercolor, 12 1⁄2 by 18 in. titled on Roland Ward Ltd., London label on back $1,000 - $2,000

77 John James Audubon (1785-1851) Black-Bellied Plover (No. 67, Plate CCCXXXIV), 1836 hand-colored engraving, 15 by 21 in. sheet size, 27 by 40 in.

“Black-bellied Plover Charadrius Helteticus” lower center “Drawn from Nature by J.J. Audubon F.R.S. F.L.S.” lower left “Engraved, printed and coloured by R. Havell 1836” lower right PROVENANCE:

Gary Gosdin Collection

$2,000 - $4,000

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ARTHUR BURDETT FROST 1851-1928

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78 Arthur Burdett Frost (1851-1928) The Farmer’s Pride, 1904 signed “A.B. Frost” lower left watercolor and gouache, 24 1⁄2 by 18 in. titled with artist’s annotations on the back A copy of A ​ Book of Drawings by A.B. Frost is included with this lot.

Arthur B. Frost was born in Philadelphia in 1851, but spent his most prolific years in New Jersey. Considered one of the great illustrators of the Golden Age of American Illustration, he illustrated more than ninety books and produced thousands of illustrations for Harper’s Weekly, Scribner’s, and Life magazines. Frost’s illustrative work chronicles the mood and details of the daily life of farmers, hunters, and fishermen, as well as barnyards and pastoral motifs. By 1876, he was on Harper’s staff working on many books, including Tom Sawyer, Uncle Remus, and Mr. Dooley. He also illustrated Theodore Roosevelt’s sporting book, Hunting Trips of a Ranchman. Frost was an ardent sportsman who spent his summers and autumns fishing, rowing, and hunting 62

Pigs A man behavin' like a pig's a shock to Natur's plan, And any decent pig's ashamed to imitate a man; Fer when a pig acts human-like, I guess he kind o' feels He's sort o' doin' violence to some o' his ideels.

-Wallace Irwin in A Book of Drawings by A.B. Frost

ducks and snipe. He completed hundreds of watercolors and oils of the New Jersey seaside. Frost is best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost lived at his estate, Moneysunk, in Convent Station, New Jersey.

PROVENANCE:

Private Collection, Florida

LITERATURE: A.B. Frost, A Book of Drawings, New York, NY, 1904, illustrated.​

$5,000 - $8,000

GEORGE BROWNE 1918-1958

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79 George Browne (1918-1958) Pasture Edging - Ruffed Grouse signed “George Browne” lower left oil on canvas, 20 by 30 in. $12,000 - $14,000

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80 Rod Frederick (b. 1956) Carmine Bee-Eaters, 2003

81 Robert Glen (b. 1940) Black Rhino, 1971

signed and dated “Rod Frederick © 2003” lower left acrylic on canvas, 13 by 28 in.

signed “Robert Glen 1971 1/6” on base bronze, 28 by 11 by 11 in. edition 1 of 6

$2,500 - $3,500

PROVENANCE:

Private Collection, Massachusetts

$1,000 - $1,500

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FRANK W. BENSON 1862-1951

Lots 82-94 are part of

The Ernest and Carolyn Kramer Collection Ernest and Carolyn Kramer's interest in art was sparked by the rich artistic heritage of Gloucester, Massachusetts, Carolyn's hometown. Since the turn of the century, Gloucester and nearby Rockport have attracted important world-class artists, such as Fitz Hugh Lane, Winslow Homer, Childe Hassam, Frank Duveneck, Emile Gruppe and Aldro Hibbard.

In 1968 the Kramers began collecting etchings by Frank W. Benson, "The Dean of American Sporting Art," and this became the catalyst for their collection and the business, Ernest S. Kramer Fine Arts & Prints, Inc., established in 1982. The gallery was a direct outgrowth of years of collecting Gloucester, Rockport, and Cape Ann paintings, as well as nineteenth and early-twentieth-century American and European fine prints. Previously, Ernest was the New England district manager for the United States Chamber of Commerce for seventeen years with representatives in four states. Carolyn was a former elementary school teacher in upstate New York.

After close to fifty years of collecting and thirty-five years in business, the Kramers have decided to retire. They are eager to give other collectors the opportunity to acquire fine examples of sporting art by Frank W. Benson, as well as works by many other important twentieth-century printmakers.

Photo courtesy of the Kramer Family

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82 Frank W. Benson (1862-1951) Candlelight, 1915 signed “Frank W. Benson” lower left etching, 9 7⁄8 by 7 7⁄8 in.

Paff #62, edition 23 of 50 The Guild of Boston Artists label on back Paff notes, “The subject is Benson’s wife Ellen combing her hair in their bedroom at Wooster Farm, on North Haven Island, Maine.”

PROVENANCE:

Ernest and Carolyn Kramer Collection

LITERATURE: Frank W. Benson and Adam E.M. Paff, Etchings and Drypoints by Frank W. Benson: An Illustrated and Descriptive Catalog, Boston, MA and New York, NY, 1917-1923, p. 99.

$10,000 - $20,000

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FRANK W. BENSON 1862-1951

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83 Frank W. Benson (1862-1951) Dory Fisherman, 1927 signed “Frank W. Benson.” lower left etching, 7 3⁄4 by 9 7⁄8 in.

Paff #267, edition of 150 PROVENANCE:

Ernest and Carolyn Kramer Collection

$1,500 - $2,500

84 Frank W. Benson (1862-1951) Yellowlegs in Sunlight, 1928 signed “Frank W. Benson” lower left drypoint, 9 7⁄8 by 7 3⁄4 in.

Paff #285, edition of 150 PROVENANCE:

Ernest and Carolyn Kramer Collection

$400 - $600

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FRANK W. BENSON 1862-1951

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85 Frank W. Benson (1862-1951) Old Tom, 1926 signed “Frank W. Benson.” lower left etching, 14 3⁄4 by 9 3⁄4 in.

Paff #246, edition of 150 PROVENANCE:

Ernest and Carolyn Kramer Collection

$3,000 - $5,000

86 Frank W. Benson (1862-1951) Marsh Gunner, 1918 signed “Frank W. Benson.” lower left etching, 10 3⁄4 by 8 7⁄8 in.

Paff #149, edition 109 of 150 PROVENANCE:

Ernest and Carolyn Kramer Collection

$2,000 - $3,000

86

67

87

87 Frank W. Benson (1862-1951) The Landing, 1915 signed “Frank W. Benson.” lower left etching, 7 1⁄2 by 11 3⁄8 in.

Paff #70, edition 33 of 50 PROVENANCE:

Ernest and Carolyn Kramer Collection

$1,500 - $2,500

88 Frank W. Benson (1862-1951) Two Canoes, 1927 signed “Frank W. Benson.” lower left etching, 5 7⁄8 by 7 3⁄4 in.

Paff #266, edition of 150, trial proof B-3 PROVENANCE:

Ernest and Carolyn Kramer Collection

$1,000 - $1,500 88

89 Frank W. Benson (1862-1951) Ducks at Play, 1923 signed “Frank W. Benson.” lower left drypoint, 10 7⁄8 by 13 3⁄4 in. initialed and dated in plate “F.W. V. 1923” lower left Paff #217, edition of 150 PROVENANCE:

Ernest and Carolyn Kramer Collection

$600 - $900

90 Frank W. Benson (1862-1951) Nascaupee Indian, 1921 signed “Frank W. Benson.” lower left etching, 8 by 6 in.

Paff #210, edition of 150 PROVENANCE:

89

$600 - $900

90

68

Ernest and Carolyn Kramer Collection

91 Frank W. Benson (1862-1951) The Gunners’ Blind, 1921

93

signed “Frank W. Benson” lower left etching, 7 7⁄8 by 9 3⁄4 in Paff #204, edition of 150 PROVENANCE:

Ernest and Carolyn Kramer Collection

$1,500 - $2,500

92 Frank W. Benson (1862-1951) Setting Decoys, 1923 signed “Frank W. Benson.” lower left etching, 7 7⁄8 by 11 in.

Paff #228, edition of 150 PROVENANCE:

Dr. Hugh Williams Collection

Ernest and Carolyn Kramer Collection

94

$1,500 - $2,500

91

93 Frank W. Benson (1862-1951) Running the Rapids, 1927

92

signed “Frank W. Benson” lower left etching, 5 3⁄4 by 7 7⁄8 in.

Paff #269, edition of 150 PROVENANCE:

Ernest and Carolyn Kramer Collection

$1,500 - $2,500

94 Frank W. Benson (1862-1951) Dusk, 1914 signed “Frank W. Benson.” lower left etching, 9 1⁄4 by 10 7⁄8 in.

Paff #34, edition 32 of 50 PROVENANCE:

Ernest and Carolyn Kramer Collection

$1,500 - $2,500

69

95

95 English School (19th/20th Century) Horse and Dog in Stable oil on canvas, 25 by 30 in. $1,000 - $2,000

96

96 Frederick Dickinson Williams (1829-1915) Cows Fording a Stream, 1874 signed and dated “FD Williams 1874” lower left oil on canvas, 15 by 25 in. $300 - $500

70

97

97 William Henry Machen (1832-1911) Hanging Game signed “Machen 681.” lower center oil on canvas, 17 by 14 in. $800 - $1,200

98

98 American School (20th Century) Fruit of the Hunt, c. 1910 oil on masonite, 17 by 24 in. $1,200 - $1,800

99

99 American School (19th Century) Hanging Golden Plover oil on panel, 20 by 13 3⁄4 in. $300 - $500

71

100

100 Harold Newton (1934-1994) Florida Sunset Landscape, c. 1980 signed “HNEWTON” lower right oil on masonite, 24 by 36 in.

Harold Newton was a part of the group of African American painters, known as “The Highwaymen,” who were based in Florida. Taught by A.E. Backus (1906-1990), who was considered one of the best Florida landscape painters of the twentieth-century, Newton created some of the most desirable scenes of our southernmost state, which are highly sought after by collectors. The Highwaymen painted on numerous materials, including upson board, masonite,

and canvasboard. The artists sold these works from the trunks of their cars. Works by The Highway men are known for capturing the warmth and light of the Florida landscape, as well as its unique beauty.

PROVENANCE: Private Collection, Florida, acquired directly from the artist

$5,000 - $6,000

101

101 William Preston Phelps (1848-1923) Fishing in Late Autumn incised “W.P. Phelps” in paint lower right oil on canvas, 12 by 20 in. $2,000 - $3,000

72

102

102 John Swan (b. 1948) Tree at the Edge, 1976 signed and dated “John Swan 76” lower left oil on board, 11 by 14 in. $500 - $700

103 Thomas Aquinas Daly (b. 1937) Meadow with Blue Flags

103

signed “tAdaly” lower left watercolor, 9 by 13 1⁄2 in. $800 - $1,200

104

104 John Walter Scott (1907-1987) The Hunters signed “Scott” lower right watercolor and gouache, 10 by 9 1⁄4 in. $600 - $900

73

105

106

107

108

105 Marlowe Urdahl (b. 1932) Fall Flair Mallards, 1975 signed and dated “M. Urdahl ‘75” lower left watercolor, 18 by 28 in. $400 - $600

106 James Killen (b. 1934) Labrador With Duck signed “Killen” lower right watercolor, 11 1⁄2 by 9 1⁄4 in. $300 - $400 74

107 David Hagerbaumer (19212015) Wood Duck, 1961 signed and dated “David Hagerbaumer 1961” lower right watercolor, 8 by 9 3⁄4 in. $300 - $500

108 Daniel Smith (b. 1954) Black Scoters, 2002 signed and dated “Smith © 02” lower left acrylic on board, 7 1⁄2 by 10 1⁄2 in.

This piece was the artist’s entry for the 2001 Federal Duck Stamp Contest. $1,000 - $2,000

109

110

111

109 Noel L. Dunn (b. 1939) Six of a Kind signed “Noel L. Dunn.” lower right watercolor, 11 1⁄4 by 24 in. $1,000 - $1,500

110 Andrew F. Payne (Australian, 20th Century) Rose-Breasted Galah – Cockatoo, 1993 signed and dated “A.F. Payne 1993” lower right gouache on board, 17 1⁄2 by 11 1⁄2 in.

111 Donald Jordan Waters (19312005) Yellow Shafted Flicker, 1969 signed and dated “Donald Jordan Waters 2.23/69” lower right tempera on board, 16 by 12 in. $300 - $500

$200 - $400

75

112

114

113

115

116

112 Ogden M. Pleissner (1905-1983) The Quail Hunters, 1973 signed “Ogden M. Pleissner” lower right color print, 18 1⁄4 by 27 1⁄4 in. published and copyrighted in 1973 by the Crossroads of Sport, New York, NY in an edition of 425 $200 - $300

113 Ogden M. Pleissner (1905-1983) Setting Up on Horseshoe Pond - Delta Marsh, 1981 signed “Ogden M. Pleissner” lower right color print, 17 1⁄2 by 26 3⁄4 in. inscribed “3/20 Artist Proof” lower left 76

published in 1981 by North American Wildlife Foundation - Delta Project in an edition of 275

115 Aiden Lassell Ripley (1896-1969) Woodcock Cover, 1963

$200 - $300

signed “A. Lassell Ripley” lower right color print, 17 by 27 in. published and copyrighted by Frost & Reed and the Sportsman’s Gallery

114 Ogden M. Pleissner (1905-1983) October Snow, 1959

$100 - $200

signed “Ogden M. Pleissner NA” lower right color print, 14 3⁄4 by 23 in. published and copyrighted by the Anglers’ Club of New York in an edition of 350 $100 - $200

116 Paul Desmond Brown (18931958) Kennel Bound, 1937 signed “Paul Brown” lower right hand-colored lithograph, 10 by 22 7⁄8 in. edition 79 of 250 published and copyrighted in 1937 by the Derrydale Press $100 - $200

ARTHUR BURDETT FROST 1851-1928

117.1

117.5

117.9

117.2

117.6

117.10

117.3

117.7

117.11

117.4

117.8

117.12

117 Arthur Burdett Frost (1851-1928) Complete Set of Shooting Pictures, 1895 each inscribed “A.B. Frost” in plate chromolithographs, 12 1⁄2 by 19 in.

The Old Print Shop, New York, NY label on back of each published by Charles Scribner’s Sons

117.1 Summer Woodcock 117.2 Prairie Chickens 117.3 English Snipe 117.4 Quail-A Covey Rise 117.5 Rail Shooting 117.6 Rabbit Shooting 117.7 Autumn Woodcock 117.8 Duck Shooting from a Battery 117.9 Duck Shooting from a Battery 117.10 Quail-A Dead Stand 117.11 Bay Snipe 117.12 Autumn Woodcock

Frost is well known for his numerous drawings that appeared in Harper’s Weekly and for the accurate detail in his works. The use of the lighter, French style of chromolithography gives the prints the warmth and richness of the original watercolors.

PROVENANCE:

Private Collection, Illinois

LITERATURE: A.B. Frost, Shooting Pictures, New York: Charles Scribner’s Sons, 1895.

$7,000 - $10,000

77

118

119

120

121

122

123

118 Arthur Burdett Frost (1851-1928) A Day’s Shooting, 1903 four prints (one pictured)

Gun Shy Ordered Off Good Luck Bad Luck $100 - $300

119 Arthur Burdett Frost (1851-1928) Eight Prints (one pictured) Grouse Shooting in Rhododendrons Chance Shot While Setting Out Decoys Coming Ashore Shorebird Hunting Deer Hunting Autumn Grouse Shooting Summer Woodcock Rail Shooting $600 - $900

120 Arthur Burdett Frost (1851-1928) Eleven Prints (one pictured) Ordered Off (2) Gun Shy (2) Good Luck (1) Bad Luck (2) We’ve Got Him (3) Smoking Him Out (1) $100 - $200 78

124

121 Three Sporting Prints (one pictured) Ogden M. Pleissner (1905-1983) June Trout Fishing, 1967 signed “Ogden M. Pleissner” lower right color print, 16 1⁄4 by 24 7⁄8 in. published by Theodore Gordon Flyfishers in an edition of 350

West Duncan, Clove Valley, 1965

Woodcock Shooting color wood engraving, 7 1⁄4 by 10 1⁄4 in. $200 - $300

123 Aiden Lassell Ripley (1896-1969) Two Etchings (one pictured) each signed “A. Lasell Ripley” lower right and titled lower left

signed “Ogden M. Pleissner N.A.” lower right color print, 14 3⁄4 by 22 7⁄8 in. privately printed for the Clove Valley Rod and Gun Club in an edition of 102

Pheasant Shooting

Aiden Lassell Ripley (1896-1969) Shooting From a Turkey Blind, 1948

Collection

signed “A. Lassell Ripley” lower right color print, 17 3⁄4 by 26 3⁄4 in. $500 - $800

122 Five Early Sporting Prints (one pictured) Currier & Ives three color lithographs, each 10 by 13 in.

The Life of a Sportsman - Coming Into Camp, 1872 The Life of a Sportsman - Camping in the Woods, 1872 Partridge Shooting, 1870 Woodcock Shooting color lithograph, 9 1⁄4 by 13 1⁄4 in.

8 3⁄4 by 14 in.

Snipe at Dawn, 1940 8 7⁄8 by 11 1⁄4 in.

PROVENANCE:

Ernest and Carolyn Kramer

$300 - $500

124 George Edwards (British, 1693-1773) Group of 26 Bird Engravings, 1743 (one pictured) each approx. 9 1⁄2 by 7 1⁄2 in. includes twenty-six, hand-colored copper plate engravings from A Natural History of Uncommon Birds, published in 1743 $500 - $800

125

126.1

126.2

127

125 Richard E. Bishop (1887-1975) A Map of Well Known Salt Water Game Fish of North America, 1935 signed “Richard E. Bishop” and “Joseph P. Sims” lower center color print, 27 by 35 in. edition 292 of 1000 $300 - $500

126 Richard E. Bishop (1887-1975) Two Color Prints Map of the Surface Feeding Ducks Swans and Geese of North America, 1934 color print, 30 by 25 in. edition 863 of 2000

127 Richard Hines (20th Century) Horse Portrait signed “Richard Hines” lower right oil on canvas, 18 by 24 in. $300 - $500

Map of the Diving Ducks Eiders and Mergansers of North America, 1937 color print, 31 by 27 in. edition 863 of 1000 $600 - $900 79

128

128 Frank W. Benson (1862-1951) Baldpates, 1924 signed “Frank W. Benson” lower left drypoint, 8 by 10 in.

Paff #235, edition of 150 $200 - $400

129

129 Frank W. Benson (1862-1951) Baldpates, 1924 signed “Frank W. Benson.” lower left drypoint, 8 by 10 in.

Paff #235, edition of 150 $100 - $200

130

130 Frank W. Benson (1862-1951) Bunch of Bluebills, 1931 signed “Frank W. Benson.” lower left drypoint, 4 by 5 in.

Paff #312, edition of 300 PROVENANCE:

John T. Ordeman Collection

$150 - $250

131

80

132

133

134

136

135

131 Anders Leonard Zorn (Swedish/ American, 1860-1920) Skerikulla, 1912 signed “Zorn” lower right, signed and dated “Zorn 1912” in plate lower left etching, 9 3⁄4 by 7 3⁄4 in.

Asplund #247 “Skerikulla” is “Skeri girl” in the local dialect. Zorn created an oil portrait of the sitter, Emma Andersson, in 1912 from which this etching was based. $500 - $800

132 Frank W. Benson (1862-1951) The Start, 1922 signed “Frank W. Benson” lower left etching, 4 7⁄8 by 3 7⁄8 in.

Paff #211, edition of 150 PROVENANCE:

John T. Ordeman Collection

$400 - $600

Three Pintails, 1939 signed “Richard E Bishop” lower right 9 3⁄4 by 12 1⁄4 in.

Wood Duck, 1941 signed “Richard E Bishop” lower right 10 3⁄8 by 9 in.

On Their Way, 1951 signed “Richard E Bishop” lower right 9 3⁄4 by 11 3⁄4 in.

each signed lower right and titled lower left, each framed with stamp

Richard E. Bishop (1887-195) Coming In - Federal Duck Stamp Design, 1936 drypoint, 5 by 8 in. edition of 1485

A. Lassell Ripley (1896-1969) American Widgeon, 1942 etching, 5 7⁄8 by 8 1⁄4 in.

Walter Bohl (1907-1990) Federal Duck Stamp Design, 1943 etching, 4 5⁄8 by 6 3⁄4 in.

Abercrombie & Fitch Co. label on back $500 - $700

134 Richard E. Bishop (1887-1985) Four Etchings (one pictured)

$200 - $400

Green Wings signed “REBishop” lower right 6 3⁄8 by 9 in. $200 - $400

135 Adam E.M. Paff Paff, Adam E.M. Etchings and Drypoints

by Frank W. Benson: Volume Four. Boston: Houghton Mifflin Co., 1929. No. 347 of 600. Frontispiece is an original signed etching by Frank W. Benson titled Flying Pintail. $300 - $500

133 Three Federal Duck Stamps and Prints (one pictured)

138 Two Roland Clark Books Clark, Roland. Gunner’s Dawn. New York: The Derrydale Press, 1937, No. 230 of 950. Includes original etching by the author.

Clark, Roland. Pot Luck. Vermont: The Countryman Press, 1945. No. 280 of 450.

Signed by the author.

136 George Catlin (1796-1872) Catlin, George. Manners, Customs, and Condition of the North American Indians.

Volume 1 and 2. London, 1841. $800 - $1,200

137 Four Richard Bishop Books Bishop, Richard E. Bishop’s Birds: Etchings of Water-fowl and Upland Game Birds. 1936.

Limited edition, 1028/1050. Signed by author.

Bishop, Richard E. The Ways of Wildfowl.

1971. Signed by author.

Queeny, Edward. Prairie Wings. 1946.

Signed by Richard E. Bishop.

Bishop, Richard E. Bishop’s Wildfowl. 1948.

First edition. Signed by author.

139 Lot of Books and Prints Frost, A.B. Book of Drawings. 1904.

Clark, Roland. Pot Luck (x2). 1945.

Benson, Frank. Modern Masters of Etching: Frank W. Benson. 1925.

Hunt, Lynn B. Game Birds of America.

Prints. 1944. $100 - $200

140 Nine Books

Orrelle, John. David Hagerbaumer Sporting Images: Etchings, Drypoints, & Drawings.

2008. No. 223/1000. Limited Edition. Author signed and numbered. Artist signed in pencil.

Gardner, Albert Ten Eyck. Winslow HomerAmerican Artist: His World and His Work.

1961.

Mongan, Agnes and Fogg Art Museum.

Andrew Wyeth: Dry Brush and Pencil Drawings. 1963.

Bedford, Faith A., Chambers, Bruce W., Niemiec, Jr. Paul W., Ordeman, John T. Frank W. Benson: His Sporting Art. 1996.

Scott, Peter. Observations of Wildlife. 1980.

Queeny, Edgar N. Prairie Wings: Pen and Camera Flight Studies. 1946.

Bedford, Faith A. Frank W. Benson: American Impressionist. 2002.

Bedford, Faith A., Buckley, Laura, Lahikainen, Dean T., and Winchell, Jane M. The Art of Frank W. Benson: American Impressionist.

1999.

Derry, Ramsay. The World of Robert Bateman. 1985.

$200 - $400

each titled lower left 81

THE WINTER SALE 2018 SESSION II DECOYS AND FOLK ART

82

Lots 141 - 180 are part of

The Davison B. Hawthorne Collection of Decoys, Paintings, and Folk Art Copley is honored to offer the Davison ​B. ​Hawthorne Collection of decoys, paintings, and folk art. Hawthorne brought a highly trained eye to his carving, collecting, and trading. His approach to these endeavors was informed by his early observations in Amityville, Long Island, where he was born in 1924. By the 1930s Hawthorne was firmly entrenched in the pursuit of hunting black ducks and broadbill that populated Long Island Sound in good numbers. He began carving by the late 1930s and continued carving over the next seven decades.

In 1959 Davison and the love of his life, Kay, moved to Salisbury, Maryland, and in 1962 they opened the doors of their antique shop, The Sandpiper. Davison constructed an artist studio in the back where he painted and carved decoys and decoratives. During this period Hawthorne befriended fellow carver and dealer Lloyd Tyler of Crisfield, Maryland. He bought dozens

By the mid-1960s Davison was firmly entrenched in

of birds from Tyler over the years​,​including many great

competitive carving, entering the Nationals in Babylon,

Hudson and Ward decoys. Important early collectors

New York​,​and the Internationals in Davenport, Iowa.

beat a path to the Hawthorne’s door.​​Kay and Davison’s

His contemporaries of this era included his good friend

list of friends and clients reads like a “who​‘s​who” in

Lem Ward, who presented Hawthorne with several

the early days of decoy collecting, including Joe French,

standout decoys (Lots 144 and 152) over the course

Adele Earnest, Mort Hanson, Bill Mackey, Bill Purnell,

of their friendship. Other top carvers he competed

Roy Bull, Norris Pratt, Phyllis Ellison. and George Starr.

with included Donal C. O’Brien, Jr., Bob White, William Koelpin, Oliver Lawson, and Bill Schultz. Interestingly enough, however, it was Long Island Sound carver Lou Rathmell whose work he admired most.

A crack shot, Hawthorne was an avid upland hunter who raised and trained Brittany spaniels. He hunted wild quail, grouse​,​and woodcock, and took numerous trips to Europe in pursuit of woodcock and pheasant. To this day, Davison is sharp as a tack, though at 94 he says he is “retired from grouse hunting.”

83

141

141 Bluebill Hen

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920 14 in. long

A classic gunning bird with a full two-piece body, scratch paint, and a particularly fine head in a swimming posture. The underside has the Hawthorne Collection ink stamp. In original paint with gunning wear and an age line in base of neck.

PROVENANCE:

Collection

Davison B. Hawthorne

LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, pp.

68-70, related examples illustrated.

EXHIBITED:

Salisbury, Maryland, The Ward Museum of Waterfowl Art. 142

$2,000 - $4,000

142 Hooded Merganser DOUG JESTER (1876-1949) CHINCOTEAGUE, VA, C. 1920 12 1⁄4 in. long

A stellar example displaying Jester’s best traits, including incised bill and four-tined crest. Outstanding original paint with minor wear from handling, including a small chip to top tine of crest and very minor touch-up to left side of breast.

PROVENANCE:

Davison B. Hawthorne

Collection $2,000 - $3,000

143 Bluebill Drake 143

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920 13 3⁄4 in. long

This decoy exhibits well-rounded, balanced form achieved by a master craftsman. With graceful lines, fluted tail, and cheek carving, this bluebill embodies the best of Hudson’s work. Subtle nuances include carved bill detail, painted tack eyes, and scratch wing paint.

Nearly a century old, this bird bears the Davison Hawthorne ink stamp on the underside. Original paint with even gunning wear and rub to top of tail.

PROVENANCE:

Davison B. Hawthorne

Collection $800 - $1,000 84

THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

144

144 “Fat Jaw” Humpback Goldeneye Drake THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1927 13 3⁄4 in. long

This diver exhibits all of the Wards’ early celebrated features, including a fat jaw, humped back, and beaver tail. The head is turned forty-five degrees to the right and is looking skyward.

After Hawthorne discovered this decoy in Crisfield, he brought it to his friends, the Ward Brothers. Steve recalled that this decoy had been from his personal rig and Lem repainted it for Hawthorne. The underside is hollowed out and is inscribed “MADE BY STEVE WARD 1927 FROM HIS OWN PERSONAL RIG.” Second coat of Ward paint with light wear.

PROVENANCE: Steve Ward Rig Davison B. Hawthorne Collection LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 2934 and back dust jacket cover, related examples illustrated.

$8,000 - $10,000

85

145

146

145 Merganser Hen

146 Red-Breasted Merganser

A racy and early Terry merganser. Finding authentic Terry decoys with provenance is exceptionally difficult. Davison Hawthorne began his decoy education just a short distance from Terry’s hometown of Riverhead, Long Island. Mix of original and working paint with even gunning wear.

A Seaford merganser with dynamic wing paint and the region’s signature stippling to the breast and tail. Original paint with gunning wear and small repairs to crown, top of bill, and top quarter of crest.

ALBERT TERRY (1838-1931) RIVERHEAD, LONG ISLAND, NY, C. 1880 18 1⁄4 in. long

PROVENANCE:

Davison B. Hawthorne Collection

$1,500 - $2,500

VERITY FAMILY SEAFORD, LONG ISLAND, NY, C. 1890 14 1⁄4 in. long

PROVENANCE:

Davison B. Hawthorne Collection

EXHIBITED: Salisbury, Maryland, The Ward Museum of Wildfowl Art.

$1,000 - $1,500 86

147

147 Gull

CHARLES LLOYD GREAT PECONIC BAY, LONG ISLAND, NY, C. 1910 17 1â „4 in. long

This decoy descended through the Hawthorne family, members of which were friends with the gunner and maker Charles Lloyd. As a true working confidence decoy, it represents a rarity for not only the region, but also the field of North American decoys as a whole.

The hollow decoy features a slightly turned head, split-tail carving, and unusual crossed-and-raised wings.

In working repaint with even gunning wear, touch-up to age line on right side, and replaced wing tips.

PROVENANCE: Descended through the Hawthorne Family, acquired from the maker Davison B. Hawthorne Collection

$3,500 - $4,500

Hawthorne standing next to his Long Island layout boat.

87

148

148 Tack-Eyed, Blue-Winged Teal Pair MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 11 1⁄2 in. long

Original paint and sealer with wear, including some touch-up to neck putty. Drake has age line on left side of head.

PROVENANCE:

Davison B. Hawthorne Collection

$600 - $900

149

149 High-Head Canvasback

ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1900 16 1⁄2 in. long

An early, hand-carved decoy with a high head.

The underside retains the Philadelphia Wildfowl Exposition and Hawthorne Collection ink stamps and a Ward Museum inventory tag. Original paint with working white paint and gunning wear.

PROVENANCE:

Davison B. Hawthorne Collection

EXHIBITED:

Salisbury, Maryland, The Ward Museum of Wildfowl Art. Philadelphia, Pennsylvania, Philadelphia Wildfowl Exposition. $300 - $500

150

150 Wood Duck Pair

DAVISON B. HAWTHORNE (B. 1924) GREENWOOD, DE, 2004 12 1⁄2 in. long

A hollow pair with turned heads, each is signed “Davison Hawthorne 04” on the underside.

Original paint with minimal wear.

PROVENANCE:

Davison B. Hawthorne Collection

LITERATURE: Joe Engers, “Davison Hawthorne: Pioneer carver, collector and decoy entrepreneur,” Decoy Magazine, Lewes, DE, Nov/Dec, 2016, pp. 36-39.

$600 - $900

88

151 Canvasback Drake

151

JAMES T. HOLLY (1855-1935) HAVRE DE GRACE, MD, C. 1890 15 in. long

A classic Upper Bay can with the initials “JB” incised in the underside. Original paint with gunning wear.

PROVENANCE:

Davison B. Hawthorne Collection

$1,000 - $2,000

152 Turned-Head Wigeon

152

LEMUEL T. WARD (1896-1983) CRISFIELD, MD, 1937 13 3⁄4 in. long

This drake baldpate features Lem’s most intricate paint, signed “Ward Brothers Crisfield MD For my friend -Dave Hawthorn- Lem Ward 1967.” Second coat of Ward paint in 1967.

PROVENANCE:

Davison B. Hawthorne Collection

$1,000 - $2,000

153 Miniature Mallard Pair

153

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1927 9 1⁄4 in. long

Signed and identified by the makers and stamped “R.H. Richardson Collection” on the undersides of the balsa bodies. Original paint with wear and possible touch-up at drake’s neck seam.

PROVENANCE: R. H. Richardson Collection Davison B. Hawthorne Collection

$500 - $700

89

157

154

155

154 Life-Size Woodcock

155 Three Songbirds

156 Half-Size Woodcock

Signed “My last woodcock 85th year, Davison B. Hawthorne” on bottom of base. Original paint with minimal wear.

A kinglet, chickadee, and titmouse signed “6/5/09 Ruby Crown Kinglet D.B. Hawthorne,” “D.B. Hawthorne 1980,” and “D.B. Hawthorne Titmouse,” respectively. Original paint with minimal wear.

Signed “DB Hawthorne” on the bottom. Original paint with minimal wear.

DAVISON B. HAWTHORNE (B. 1924) GREENWOOD, DE, 2009 10 in. long

PROVENANCE:

Davison B. Hawthorne

Collection LITERATURE:

Joe Engers, “Davison Hawthorne: Pioneer carver, collector and decoy entrepreneur,” Decoy Magazine, Lewes, DE, Nov/Dec, 2016, pp. 36-39. $500 - $800

156

DAVISON B. HAWTHORNE (B. 1924) GREENWOOD, DE, 1980 AND 2009 4 1⁄2 in. tall

PROVENANCE:

Davison B. Hawthorne

Collection $400 - $600

DAVISON B. HAWTHORNE (B. 1924) GREENWOOD, DE, C. 2000 6 in. long

PROVENANCE:

Davison B. Hawthorne

Collection $200 - $300

157 Two Shorebirds

DAVISON B. HAWTHORNE (B. 1924) GREENWOOD, DE, C. 2009 6 in. long

A least sandpiper and semi-palmated plover. Each is signed on the underside.

Original paint with minimal wear.

PROVENANCE:

Davison B. Hawthorne

Collection $400 - $600

90

158

160

159

161

158 Miniature Canvasback

160 Miniature Mallard Pair

A superb miniature carving by the father of American bird carving. Original paint with minimal wear and a very minor chip to wing tip.

The underside of each base bears the maker’s “A.E. Crowell Maker East Harwich Mass” rectangular stamp. Original paint with wear. Drake has crack in bill and touch-up to reset neck. Hen has restoration to bill and touch-up to base and possibly to sides.

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

PROVENANCE:

Davison B. Hawthorne Collection

$2,000 - $3,000

159 Miniature Black Duck and Merganser Hen A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, 1930 5 3⁄4 in. long

Each retain the “A.E. Crowell Maker East Harwich Mass” rectangular stamps on underside of base. Original paint with minimal wear.

PROVENANCE:

Davison B. Hawthorne Collection

$800 - $1,200

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930 4 3⁄4 in. long

PROVENANCE:

Davison B. Hawthorne Collection

$800 - $1,000

161 Two Miniature Swans

ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1950 8 1⁄2 in. long

One swan is by Bob McGaw and the other is by an unknown Maryland maker. As found.

PROVENANCE:

Davison B. Hawthorne Collection

$200 - $300

91

162

164

166

163

165

167

162 Pheasant Door Stop

HUBLEY MANUFACTURING COMPANY (1894-1965) LANCASTER, PA 8 1⁄4 in. tall

8 3⁄4 by 8 3⁄4 by 3 3⁄4 in.

As found.

PROVENANCE:

As found.

PROVENANCE:

165 Winchester Paper Shell Box

Davison B. Hawthorne Collection

Davison B. Hawthorne Collection

$200 - $300

$200 - $300

166 Pheasants and Gun Weight and Six Dog Trays 163 Pointer and Quail Plaque

DAVISON B. HAWTHORNE (B. 1924) 9 1⁄4 by 9 in.

Dog’s collar incised “DH” and signed “DB Hawthorne” on verso.

PROVENANCE:

Davison B. Hawthorne Collection

$300 - $500

164 Pheasant Box

DAVISON B. HAWTHORNE (B. 1924) WADING RIVER, NY, 1940 10 by 5 by 3 in.

One of the earliest works by the maker. Inscribed “made from a ship stern from a wreck on beach at Wading River, Long Island, N.Y. by D.B. Hawthorne, 1940.” Original paint with even wear from handling.

PROVENANCE:

Davison B. Hawthorne Collection

$500 - $800

92

5 1/2 in. long

Weight has David Hughes Sculptures label on underside.

As found.

PROVENANCE:

Davison B. Hawthorne Collection

167 Five Shorebird Whistles C. 1900 3 in. long

As found.

PROVENANCE:

Davison B. Hawthorne Collection

168

169

168 English Setter Key Hook

169 Brush with English Setters

170 Carved Alligator

An early carved wooden setter.

As found.

A wooden grooming brush with relief carved English setters.

As found.

As found.

C. 1920 12 in. long

PROVENANCE: Davison B. Hawthorne Collection

$300 - $500

C. 1930 13 1â „4 in. long

PROVENANCE:

Davison B. Hawthorne Collection

C. 1920 16 in. long

171 Three Butter Molds 5 in. diameter

As found.

PROVENANCE:

Davison B. Hawthorne Collection $250 - $350

PROVENANCE: Davison B. Hawthorne Collection

$200 - $300

$300 - $500 170

171

93

172

173

172 Nantucket Basket

173 Two Nantucket Baskets

As found.

As found.

PROVENANCE: Davison B. Hawthorne Collection

PROVENANCE: Davison B. Hawthorne Collection

$300 - $600

$600 - $900

10 in. diameter

174

6 1⁄2 in. and 8 1⁄2 in. diameter

174 Brook Trout

LAWRENCE C. IRVINE (1918-1998) WINTHROP, ME, C. 1970 plaque is 23 1⁄2 by 10 1⁄2 in.

A trophy carving of a seventeen-and-a-halfinch brook trout mounted on a painted fauxbirch-bark plaque. Signed on the back. Original paint with minimal wear.

PROVENANCE:

Davison B. Hawthorne Collection

$400 - $600

175

175 Small Mouth Bass

DAVISON B. HAWTHORNE (B. 1924)

plaque is 21 1⁄2 by 7 1⁄2 in.

Original paint with light wear.

PROVENANCE:

Davison B. Hawthorne Collection

$300 - $500

94

176

176 Horse and Jockey Carving

177 Rattlesnake Jug

A three-piece, relief-carved wooden plaque with a hanging bar on the bottom. Good overall condition with minor wear and a chip on top left edge.

A ceramic snake jug with intricate head and scale features. Good condition.

C. 1910 8 1⁄4 by 21 3⁄4 in.

PROVENANCE:

Davison B. Hawthorne

MICHAEL A. AND MELVIN S. CROCKER NORTH CAROLINA, 1992 12 1⁄2 in. long

PROVENANCE:

Davison B. Hawthorne

Collection

Collection

$1,000 - $2,000

$300 - $500

178

177

179

178 Match Holder with Figure C. 1910 4 1⁄4 in. long

Made of metal and painted. The figure on top is holding a lit cigarette. Original paint with wear.

PROVENANCE:

Davison B. Hawthorne Collection

179 Coin Bank 180

C. 1930 5 1⁄4 in. tall

Cast metal coin bank figure. Original paint with some wear.

PROVENANCE:

Davison B. Hawthorne Collection

180 Four Carved Figures 9 in. tall

Hand carved from wood with painted details. As found.

PROVENANCE:

Davison B. Hawthorne Collection

95

181

182

96

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

183

181 Eider

183 Rare Preening Black Duck

A stylish drake from the coast of Maine. Underside has incised “T.A.” that is a later addition. In original paint with gunning wear, smoothed chip under bill, minor touch-up to black near bill, and a crack in neck by nail.

In American Vernacular, authors Frank Maresca and Roger Ricco write, “Augustus ‘Gus’ Wilson was a master carver whose career spanned more than fifty years. He worked as a fisherman and a lighthouse attendant. Typical details of his work are carved eyes and bills, raised wings, and inletted necks; he is famed as well for his skillful execution of rocking heads, swivel heads, and preening and sleeping poses.”

PHINIAS ALEXANDER SMALL POINT, ME, C. 1900 17 1⁄4 in. long

$3,000 - $5,000

182 White-Winged Scoter

AUGUSTUS “GUS” AARON WILSON (1864-1950) MONHEGAN ISLAND, ME, C. 1890 18 in. long

Carved in Wilson’s earliest and best Monhegan Island style.

This retired gunning decoy exhibits raised-wing carving and an inletted head by Maine’s master carver. Incised “RJ” on underside. In repaint with heavy gunning wear, chips and touchup to tail, and age lines.

PROVENANCE:

Private Collection, Midwest

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1920 15 in. long

Wilson’s carvings have been highly regarded for over a century and are cornerstones of top collections across the country. Original paint with gunning wear, putty loss, and some darkening to flaked areas.

PROVENANCE: Private Collection, Maine Private Collection, Midwest LITERATURE: Frank Maresca and Roger Ricco, American Vernacular, Boston, MA, 2002, p. 38.

$8,000 - $12,000

$2,000 - $4,000

97

CHARLES A. SAFFORD 1877-1957 | NEWBURYPORT, MA

“Although Charles Safford was a member of an old respected family descended from Newburyport’s first English settler, it quickly became evident that as an adult, he had very little use for any restrictions imposed by the proper social life.

He was schooled locally, proved to be bright and talented, did skilled work with his hands and was drawn to the outdoor life; he was a natural at hunting and shooting. He was small, but wiry and strong, and famous for sculling his sneak float (gunning boat) up-current against the mighty Merrimack River…

As a young man, Charlie apprenticed at his great-grandfather’s cabinetmaking shop, Safford and Sons, where he became known for his meticulous craftsmanship...

Safford had built himself a gunning camp and goose stand at Hale’s Cove on Plum Island, the eight-mile-long barrier beach just south of his hometown. He was now a crack shot, a successful market gunner and a highly sought-after hunting guide. At this point his needs were minimal, and being the gifted craftsman that he was, he could get a job at any firm, including his great-grandfather’s shop or next door at the prestigious Molten Silversmiths. He could create anything in wood from an elegant casket to an elegant seaworthy boat. He worked readily both as a designer and artist in gold and silver (or any other metal). In fact, he quickly mastered any medium to which he turned his attention. He was an inventor as well, employed as a tool maker and machinist when in his forties...

In the early 1920s, Safford made himself a fine rig of big goose decoys, and designed them to sit three-apiece on flat iron triangles. These spent the hunting season out on the marsh. They were intelligently constructed: the birds’ upright necks were carved from separate blocks that put the grain north-to-south, making them well-nigh unbreakable.

In 1934, Plum Island, Safford’s home hunting grounds, became a protected bird sanctuary.

Happily, Charlie was invited to stay on as the property’s game warden, and he readily accepted the post.

This change meant that, virtually overnight, Charlie went from gunner to defender of waterfowl.

He patrolled his wildlands every day on horseback, or occasionally by car if the weather was foul, and compiled detailed bird lists which Mass Audubon published in its monthly newsletters.

Eight years on, in 1942, the sanctuary was incorporated into the Parker River National Wildlife Refuge, and Safford, just turned sixty-five, retired and moved down to Lynn, a small coastal city, where he spent the rest of his life with his housekeeper. He kept in touch with his former profession by carving miniature ducks and geese...”

- Special thanks to The Museum of American Bird Art, Mass Audubon, and Massachusetts Masterpieces curator and author Gwladys (Gigi) Hopkins for providing this biographical content.

98

184

99

CHARLES A. SAFFORD 1877-1957 | NEWBURYPORT, MA

Charles Safford in his sneak boat. Photo courtesty of Dan Graf.

184 Canada Goose

CHARLES A. SAFFORD (1877-1957) NEWBURYPORT, MA C. 1920 27 by 15 by 10 1⁄2 in.

As a multi-talented craftsman, Safford brought his considerable skills to bear when carving his grand decoys. These carvings from his personal rig were mammoth in both size and weight. The rotund bodies measure nearly three feet in circumference, with proud breasts and clean lines that resolve with stout, yet subtly refined, tails. Rather than using solid blocks of wood, which were difficult to procure and prone to checking, Safford used fine boards which he painstakingly laminated to create the over-size bodies. This time-consuming construction technique added strength and durability to the finished carving.

The heads and necks were two joined pieces mounted on a raised neck seat. The heads were then finished with two-tone glass eyes and intricate bill carving.

The telling scale of Safford geese and their special method of use, affixed to triangle rigs, dictated that they saw prolonged exposure to the elements during the long hunting season. Hence the vast majority of Safford decoys are found in heavily worn condition, often with seam separations and cracks. Examples in original paint with tight

100

lamination joints are rarely found, making this decoy one the finest Safford geese known to exist.

The underside is marked with Safford’s personal “C. A. SAFFORD” brand and also bears the incised Roman numerals “VII.” The top of the bird has a corresponding stencil painted “7” on the back. The surface of this decoy is nice and dry, applied by a confident and skilled painter.

Original paint with gunning wear and some darkening to flaking.

PROVENANCE: Charles A. Safford Rig Private Collection, Massachusetts LITERATURE: Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, pp. 78-79.

Jay S. Williamson, Decoys of the Newburys, Plum Island and Surrounding Communities: Catalog of an Exhibition at the Cushing House Museum, Newburyport, Massachusetts, 1999, pp.

41-42, rigmate illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 156.

$60,000 - $90,000

184

101

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

185

185 Pintail Hen

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1925 16 3⁄4 in. long

From the rig of William H. “Boss” Hoover (1849-1932), founder of the vacuum cleaner company. Ordered from Crowell in 1925 for his use at the Toussaint Shooting Club, Port Clinton, Ohio. The underside bears Crowell’s oval brand, the Quandy Collection “Q” brand, and a painted “Hoover.” Original paint with even gunning wear, working repair to neck, and roughness to bill edge.

PROVENANCE: William H. Hoover Rig Private Collection, Midwest

186

LITERATURE: John Delph, New England Decoys, Exton, PA, 1980, p. 152, exact decoy illustrated (incorrect caption).

Richard A. Bourne Co. Inc., Rare American Decoys and Bird Carvings, July 14, 1982, lot 528A, exact bird illustrated.

$7,000 - $10,000

186 Rare Brant

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1915 19 in. long

A rare species for the maker with his early oval brand on the underside. The breast features Crowell’s signature rasp finish and the dry surface exhibits his wet-on-wet blending.

An early example in exceptional condition.

Excellent original paint with even gunning wear and a chip to tail has been darkened.

PROVENANCE: Emerson and Isabelle Tuttle Collection, acquired c. 1925 Private Collection, by descent in the family LITERATURE: Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992.

$10,000 - $14,000

102

CAPTAIN CHARLES C. OSGOOD 1820-1866 | SALEM, MA

187

“...saw many Flocks of Ducks + Coots and 1 flock of geese. The Geese lit in the river.

Never leave Decoy out in the river over night, for fear [sic] being carried away by drift stuff. A strong argument this evening on the whole question—decision in the affirmative.”

- Henry Perkins Ives and Charles C. Osgood, gunning journal entry, Oct. 6, 1861 103

CAPTAIN CHARLES C. OSGOOD 1820-1866 | SALEM, MA

“The well-known provenance document accompanying the Shelburne Museum’s rigmate Osgood geese relates that Charles C. Osgood, a ship’s captain from Salem, sailed for California in 1849, and while waiting to return with his cargo, made these decoys. Upon reaching home, he took them to a friend’s hunting lodge in nearby Rowley, where they remained until discovered a hundred years later. Rowley, fifteen miles north of Salem, is on the west side of Plum Island Sound.

The lodge, the Ives Camp, was built in 1853 by its co-owners, Charles Osgood and Henry Perkins Ives. It was on the north bank of the Rowley River, an ideal location, giving hunters access to an enormous salt marsh snaked by a tangle of tidal creeks and rivers.

For many years there have been rumors of a camp log—and there is one in the Plover House Company records at the Phillips Library of the Peabody Essex Museum. It comes in two versions.

The smaller notebook covers 1853-1873. The larger one, a photostat with added entries, spans 1853 to 1897, documenting a total of forty years of shooting. The journal’s front page is blank but for the signatures of Osgood and Ives. The “company” consisted of about ten other local gunners. Visitors to the club included the North Shore decoy royalty of Captain Samuel A. Fabens (1814-1899) and Fred Nichols (1854-1924), and the artist John Prentiss Benson (1865-1947), the brother of Frank W. Benson (1862-1951).

Although both Charles Osgood and his older brother Henry (1818-1892), were born in Baltimore, their parents, Henry and Lydia Bryant Osgood, had deep roots in the bustling seaport of Salem, Massachusetts. When the boys were still small, their father moved the family back north to his hometown. Charles graduated from high school in 1835, and at age fifteen, like many of his classmates, went to sea. When he had attained the rank of captain, he was hired by Colonel Francis Peabody, owner of a fleet of Salem ships.

Peabody, from an extremely wealthy family, had declined college to pursue his passions for chemistry, mechanical engineering and invention. He was clearly talented at all three, experimenting in turn with lead, book papers, linseed and whale oils, steam locomotion and flax.

He also designed his Gothic Revival mansion, crafted furniture for the place and, in addition made musical instruments.

Colonel Peabody’s fleet served two purposes. First, it brought him natural resources from overseas, then it delivered the resulting products he created to his European clientele. Osgood served as one of his masters for twenty-five years, voyaging to Calcutta, Bombay and Canton among many other ports.”

Figure 1.

- Special thanks to The Museum of American Bird Art, Mass Audubon, and Massachusetts Masterpieces curator and author Gwladys (Gigi) Hopkins for providing this biographical content.

Figure 1. Neck attachment. Half of a hinge is installed on each joint surface. The pin goes through the knuckles of both halves when the head is placed in the correct position. Drawing by G. Hopkins, made from a photograph in the collection of the Shelburne Museum.

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CAPTAIN CHARLES C. OSGOOD 1820-1866 | SALEM, MA

187

187 Canada Goose

CAPT. CHARLES C. OSGOOD (1820-1866) SALEM, MA C. 1849 24 1⁄2 in. long

Of the six geese from the Captain Osgood rig known to exist, this represents the only example that remains in private hands. The five other examples from this important rig all reside in the collection of the Shelburne Museum in Vermont. The group was given to the Shelburne Museum in 1953 by Mrs. P. H. B. Frelinghuysen, an early visionary and supporter of the museum.

A rigmate to the Shelburne geese, this hollow decoy features a skyward-looking, uplifted head that is slightly turned to the left. The body is of three-piece construction.

The fully rounded cheeks were achieved by the patient maker who added additional laminated pieces to each side of the head. Similar to the famous Massachusetts dove-tailed geese, this decoy has a removable head for ease of transport to and from the field. Each side of the neck joint is fitted with a metal hinge and a removable hinge-pin neatly secures the head to the body. This inventive decoy construction is exceptionally rare, if not unique. Both sides of the joint are marked with the matching Roman numeral “II.”

This lot represents a singular opportunity to own a decoy from one of the most iconic decoy rigs to have ever surfaced. Professionally restored, including replaced bottom board.

PROVENANCE: Ronald Swanson Collection Private Collection LITERATURE: Loy S. Harrell, Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 150-151, rigmate illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 167, rigmates illustrated.

Gwladys Hopkins, Massachusetts Masterpieces: The Decoy As Art, Lincoln, MA, 2016, pp. 76-77 and p. 2, rigmates illustrated.

Kory Rogers, Birds of a Feather: Wildfowl Decoys at the Shelburne Museum, Shelburne, VT, 2017, pp. 143-145, rigmates illustrated.

Gene and Linda Kangas, “Great Decoys From Great Rigs,” Decoy Magazine, Lewes, DE, Nov/Dec, 2009, pp. 24-25, rigmates illustrated.

$80,000 - $120,000

105

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

188

188 Swimming Red-Breasted Merganser A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930 18 3â „4 in. long

A deep-bodied bird with nice rasp carving to head and fully rounded breast. Incised bill with delicate carving to bill tip. The underside is marked with the hot oval brand. Original paint with minor gunning wear and touch-up to front corner of grey on left side and along edge of bill.

PROVENANCE:

Private Collection, Cape Cod

LITERATURE: Shirley and John Delph, New England Decoys, Exton, PA, 1990, p. 118, similar decoy illustrated.

$14,000 - $18,000

106

189

190

189 Feeding Yellowlegs

190 Yellowlegs Weathervane

A fine Massachusetts shorebird decoy by the elder member of this famous bird carving family.

A rare weathervane carving with raised wings and an evenly worn surface. An original mounting block is inserted in the breast. One of three lead counterbalances remain in the top of the head. Worn to mostly bare wood.

ELISHA BURR (1856-1941) HINGHAM, MA, C. 1880 11 3â „4 in. long

This plump decoy is carved in a deep feeding position with a dropped tail and separated primaries exhibiting incised feather detail. Original paint with gunning wear.

PROVENANCE: Private Collection, Massachusetts Private Collection, Midwest

$5,000 - $7,000

A. ELMER CROWELL (1862-1952)(ATTR.) EAST HARWICH, MA, C. 1925 15 1â „2 in. long

PROVENANCE:

Private Collection, Cape Cod

LITERATURE: Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, p. 105, related weathervane illustrated.

$3,500 - $4,500 107

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

191 Outstanding Running Yellowlegs A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1915 13 1⁄4 in. long

This early and important carving is featured in The Songless Aviary. The caption states that “the running Yellowlegs was often used as a decoy position, but is not found as frequently as an ornamental. This particular example was a gift from Elmer Crowell to his good friend and fellow carver Fred Gardner of Accord.”

This one-hundred-year-old mantel bird represents the earliest and finest in decorative American bird carving. The wet-on-wet feather paint on the breast and below the wing edges reveals the master at his best. The yellowlegs strides atop an exceptionally well-carved clam shell base, which the accomplished maker marked on the underside with his crisp

108

oval brand. In addition to being illustrated in The Songless Aviary, this carving is also slated for inclusion in the upcoming book Elmer Crowell: The Father of American Bird Carving.

Original paint with light wear, minor touch-up to each wing, and one-and-three-quarter-inch bill repair.

PROVENANCE: Alfred Gardner, Accord, Massachusetts, gifted from the artist Private Collection, Cape Cod LITERATURE: Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, p. 77, exact carving illustrated.

$35,000 - $45,000

191

109

GEORGE WARIN 1830-1905 | TORONTO, ON

192

192 Rare Mallard Drake

GEORGE WARIN (1830-1905) TORONTO, ONTARIO, CANADA, C. 1877 16 1⁄2 in. long

A very hollow, low-head decoy with a “BUNBURY” brand on the bottom board. This exact decoy is illustrated in Bernard Crandall’s book, Decoying: St. Clair to St. Lawrence. Crandall notes the rarity of the species and explains that this mallard was created during “...a period when blacks predominated.”

H. T. Bunbury, from Hamilton, Ontario, was a member of the St. Clair Flats Shooting Company “Canada Club” between 1877 and 1901. Original paint with gunning wear and rubs to top and left side.

110

PROVENANCE: H. T. Bunbury Rig Private Collection LITERATURE: Bernard W. Crandell, Decoying: St. Clair to St. Lawrence, Erin, ON, 1988, p. 200, exact decoy illustrated.

$2,000 - $3,000

GEORGE WARIN

1830-1905 | TORONTO, ON

193

193 Canada Goose

GEORGE WARIN (1830-1905) TORONTO, ONTARIO, CANADA, C. 1880 24 in. long

George Warin (1830-1905) and his brother James (18321884) first apprenticed to the highly esteemed boatbuilder Robert G. Renardson before taking over his business in 1873.

As a testament to their craftsmanship, a Warin-built racing scull won the 1881 and 1882 world championships. George Warin used his exceptional boatbuilding skills to carve decoys which “set a new standard of excellence in the region and were imitated by dozens of later Toronto and southwestern Ontario craftsmen,” according to historian Robert Shaw. The Warins created lightweight, hollow decoys that were perfectly suited to the calm waters of southwestern Ontario.

Warin was also the first president of the St. Clair Flats Shooting Company and his recommendation positioned Thomas Chambers (1860-1948) as the club’s keeper.

A fine hollow carving by this accomplished boatbuilder and club founder. The wet-on-wet blended paint applied to this decoy is among the finest seen on any goose carving.

A related example set a new world record at auction for this important Canadian maker in Copley’s Sporting Sale 2017.

Stamped “MCC” on the underside. Original paint with gunning wear, including flaking and age lines. Minor repair to very tip of bill and and touch-up to a reset neck.

PROVENANCE:

Blair Ledingham Collection

LITERATURE: Copley Fine Art Auctions, The Donal C. O’Brien, Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II, July 27, 2017, p. 56, lot 7, closely related decoy illustrated.

$10,000 - $15,000

111

CHARLES H. PERDEW 1874-1963 | PEORIA, IL

194

194 Pintail Drake

CHARLES H. PERDEW (1874-1963) PEORIA, IL, C. 1925 16 1⁄4 in. long

A fine, early Illinois River pintail with Charlie’s best carving and Edna’s meticulous paint. The underside is stamped “ED MOORE.” Original paint with gunning wear, flaking, and touch-up to reset neck.

PROVENANCE: Chris Medau Rig Private Collection LITERATURE: Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 63-66.

$4,000 - $5,000

112

MASON DECOY FACTORY

1896-1924 | DETROIT, MI

195

195 Bufflehead Pair

MASON DECOY FACTORY (1896-1924) DETROIT, MI, 1905 12 1⁄2 in. long

An exceedingly rare rigmate pair of Mason “butterballs.” Very few bufflehead decoys were ever produced as these diving ducks readily decoy to virtually any species.

From the generalist to the most advanced Mason collector, this pair represents two of the factory’s most collectable decoys. Original paint with lower portions cleaned, even gunning wear, and scattered touch-up, mostly on hen.

PROVENANCE:

Gary Gosdin Collection

LITERATURE: Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Lewes, DE, 2014, p. 75, related decoy illustrated.

$8,000 - $12,000 113

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

196

196 Premier-Grade Goldeneye Drake MASON DECOY FACTORY (1896-1924) DETROIT, MI, 1920 15 in. long

A rare species and grade from the factory, this stellar, hollow example features the “double angel” wing pattern that Mason collectors covet. Excellent original paint with minor, even gunning wear and a hairline crack in neck.

PROVENANCE:

Gary Gosdin Collection

$5,000 - $8,000

197 Glass-Eyed Mourning Dove MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1905 11 1⁄4 in. long

A rare decoy, this sterling example is as fine as they come. It features strong swirl paint, a long thin tail, painted feathering, and accurate eye placement, not often found on Mason’s dove decoys. Excellent original paint with minimal wear and a minute factory fill to tail tip.

114

PROVENANCE:

Gary Gosdin Collection

LITERATURE: Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Lewes, DE, 2003, p. 112, similar decoy illustrated.

$4,000 - $5,000

198 Red Knot

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 10 in. long

A bright robin snipe in breeding plumage. Stamped “JF” on the underside. Original paint with minimal wear and touch-up to right shoulder.

PROVENANCE: Joseph French Collection Private Collection, Midwest LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 99, similar decoy illustrated.

$4,000 - $5,000

MASON DECOY FACTORY

1896-1924 | DETROIT, MI

197

198

115

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

199

199 Willet Pair

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1900 12 in. long

A pair of tack-eyed shorebirds with dry, untouched surfaces. Original paint with minor even gunning wear.

PROVENANCE:

Private Collection,

Midwest $6,000 - $8,000

200

200 Mallard Hen

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1900 17 3â „4 in. long

An early, snakey-head mallard with strong swirl paint similar to the prized G. K. Schmidt rig models. Original paint with gunning wear and restoration to tail chip.

PROVENANCE:

Private Collection,

Midwest $2,500 - $3,500

116

201

201 Hollow Black Duck

CHARLES E. “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1920 18 in. long

A classic, Connecticut black duck decoy by the region’s most revered maker with exceptional carving and fine paint. Original paint with wear, especially along body seam.

PROVENANCE:

Ronald Swanson

Collection LITERATURE: Dixon MacD. Merkt, Shang: A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, dust jacket cover, pp. 19, 129, 152, 172, and 173, pl. 5, 107, 142, and 188-192, related decoys illustrated.

$3,000 - $5,000

202

202 Black Duck

ROY H. COLLINS (1883-1949) PORTLAND, CT, C. 1930 16 1⁄4 in. long

A well-sculpted, hollow decoy with five-piece body construction and a stylish head turned slightly to the left. Original paint with light gunning wear and a crack at left base of neck.

PROVENANCE: Richard and Lynn Gove Collection

$2,000 - $2,500

117

NATHANIEL “NATE” QUILLEN 1839-1908 | ROCKWOOD, MI

203

203 Blue-Winged Teal Pair

NATHANIEL “NATE” QUILLEN (1839-1908) ROCKWOOD, MI, C. 1885 10 in. long

“Of all the marsh ducks turned out by Quillen, teal apparently were the most rare.” - Bernie Crandall Prior to the discovery of this pair, Quillen scholars had previously identified only three teal decoys. The rarity of Quillen decoys in original paint is addressed by Donna Tonelli in her thorough article on the maker. She states that “there are only a dozen or so original paint Quillens known in collections today, including three blue-winged teal decoys…” Thus, this lot represent the fourth and fifth known Quillen teal and a significant portion of the known Quillens in original paint.

Crandall states that, because of their unique construction, Quillen decoys have been “recognized as highly desirable examples of perfectionism in the decoy making art and have drawn praise ranging from ‘highly unusual’ to ‘spectacular.’”

He explains, “Quillen’s shop, adjacent to his small frame house, included a sawmill for rough cutting logs, and all the tools of a master carpenter and locksmith. He was as meticulous in the preparation of the wood as he was in his carving.”

Fellow carver, Jim Foote, documented the exhaustive processes Quillen employed in making his early hollow decoys.

He began by selecting and harvesting white cedar that he would dry for at least a year. Quillen would then rough out the bodies and allow them to season for another year. The rough cuts would then be carved to completion with inset heads, thin necks, shoulder carving, and thin hollowed bodies. The carved bodies were then shelved for another 118

year. Those that developed imperfections during these years of seasoning were discarded and only the best bodies were painted. The painted decoys were again allowed to dry thoroughly before they would be sold. The buyers of these premium decoys were affluent club members who paid four times the going rate of lesser decoys.

Crandall closes his account of this great artisan by acknowledging that “there were no decoy makers who attempted to copy his decoys. The fine carpentry and the hours needed to turn out these little masterpieces were just too much for anyone but a perfectionist, or another Quillen, to face.”

Branded “G.A.S.” on the bottom boards for Pointe Mouillee Shooting Club member Gus A. Schwartz. Original paint with gunning wear, including a small rough area on the back of one decoy and both have a lower half bill repair.

PROVENANCE: Gus A. Schwartz Rig Private Collection LITERATURE: Bernard Crandall, “Nate Quillen Decoys,” North American Decoys Magazine, Spring 1972, front cover and pp.

2-11, related decoys illustrated.

Donna Tonelli, “The Legend of Nate Quillen & the Pointe Mouillee Shooting Club,” Decoy Magazine, Lewes, DE, March/April 2003, pp. 8-15, related examples illustrated.

Bernard W. Crandall, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, pp. 56-57.

$8,000 - $12,000

204 Heron Decoy with Root Head

SOUTH SHORE, LONG ISLAND, NY, C. 1880 32 in. bill to tail

The decoy’s root head is removable with a mortise-and-tenon joint.

Working repaint with gunning wear, age cracks, and small tail chips.

PROVENANCE: Schiller Martin Collection Private Collection

$3,000 - $5,000

204

119

GRANT NELSON COLLECTION

Hunter with rig of shorebird decoys, including “dust jacket” birds, set up on Bassing’s Beach with Harry V. Long’s White Head in the background, 1922.

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Lots 205 - 225 bear the NELSON stamp and are part of

The Grant Nelson Collection of Decoys The Grant Nelson Collection of Shorebird Decoys is one of the finest ever assembled. Nelson’s love for shorebirds and waterfowl grew out of his appreciation for avian works by Boston impressionist painter Frank W. Benson (1862-1951).

For two decades, Nelson’s focus was on acquiring exemplary pieces with great form, surface, and provenance. Nelson’s acquisitions, totaling well over one hundred birds, are a defining collection in the field.

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

205 Turned-Head “Dust Jacket” Plover A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1910 10 1⁄2 in. long

Born in East Harwich, Massachusetts, Elmer Crowell possessed an early fascination with ornithology and hunting.

These passions led to a career as a market gunner in the late 1800s. In 1898 Dr. John C. Phillips, Jr. (1876-1938), a sportsman who was also a prominent member of Boston society and a prolific author, asked Crowell to manage his Wenham Lake hunting camp. Upon seeing Crowell’s masterful carvings, Phillips and the camp’s affluent guests persuaded Crowell to make decoys for them. The resulting decoys from this early period are some of the most desirable bird carvings ever made.

Widely credited with being the father of American bird carving, Elmer Crowell’s influence on all future carvers cannot be overstated. One of the most famous carvers in the world, Crowell’s meticulous workmanship and exquisite painting have never been surpassed.

Elmer Crowell’s “dust jacket” plovers have long been viewed by folk art and decoy collectors, and museum curators, to be among the finest decoys and American sculpture ever made. A very similar example to this lot is in the collection of the American Folk Art Museum and was recently exhibited in the American Wing of the Metropolitan Museum of Art in New York City. In the marketplace, this cover-lot was the number two shorebird at auction in 1992, and a closely related Crowell feeding plover holds the record for any shorebird decoy.

The term “dust jacket” arose from decoy collectors referencing the cover images of William J. Mackey, Jr.’s American Bird Decoys and John Delph’s New England Decoys that each feature a trio of Crowell plover. Known for their animated forms, exceptional paint patterns, and beautifully carved primaries, Crowell took tremendous care in carving these early decoys. The extensive efforts required were simply too time-consuming for Crowell and he quickly abandoned the model. In fact, this wing-tip treatment virtually disappears from his work by 1920.

This example’s carved primaries extend over more than half the length of the bird. The head is dramatically turned to the left and is neatly balanced by curvaceous split-tail carving.

Crowell finished the surface with his signature wet-on-wet feather paint. The result is a decoy that captures the likeness of species as well as any gunning plover the maker ever created. In excellent original paint with minor gunning wear and a replaced bill.

PROVENANCE: Private Collection, Cambridge, Massachusetts Grant Nelson Collection LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 64, color plate III, and dust jacket, related decoy illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1990, dust jacket, related decoy illustrated.

Copley Fine Art Auctions, The Sporting Sale, July 2008, lot 282, exact decoy illustrated.

Jeff Waingrow, American Waterfowl Decoys, New York, NY, 1985, pp. 90-91 and back cover, related decoy illustrated.

Jackson Parker, “The Decoy at Auction - The Year in Review” Decoy Magazine, Lewes, DE, 1992, p. 13, exact decoy illustrated.

Gene and Linda Kangas, “Great Decoys From Great Rigs,” Decoy Magazine, Lewes, DE, Nov/Dec, 2009, p. 25, exact decoy illustrated.

$75,000 - $95,000

122

205

123

206

207

124

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

208

206 Golden Plover

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1910 10 3⁄4 in. long

A superb plover decoy in transitional plumage.

Original paint with minimal wear, an age line in bill, and a small chip under the wing tips.

PROVENANCE:

Grant Nelson Collection

$3,000 - $4,000

208 Canada Goose

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1925 22 1⁄2 in. long

LITERATURE: Adele Earnest, The Art of the Decoy, New York, NY, 1965, plate 34, p.55, rigmates illustrated.

An exceptional Canada goose with wet-on-wet feathering.

Two-piece head construction with finely incised bill, nostril, mandible, and nail carving. Excellent original paint with even gunning wear and a repair to lower third of bill.

$6,500 - $8,500

PROVENANCE:

PROVENANCE:

Grant Nelson Collection

207 Black-Bellied Plover SOUTH SHORE, MA, C. 1900 11 in. long

Grant Nelson Collection

LITERATURE: Brian Cullity, The Songless Aviary, Hyannis, MA, 1992, p. 74.

$20,000 - $24,000

A raised-wing, dropped-tail plover with graceful lines carved on Massachusetts’ South Shore. Original paint with gunning wear, a replaced bill, and chips to wing tips and under tail.

125

GEORGE H. BOYD 1873-1941 | SEABROOK, NH

209

209 Yellowlegs

GEORGE H. BOYD (1873-1941) SEABROOK, NH, 1900 12 in. long

A well doucmented New England shorebird with Boyd’s finest wet-on-wet stippled paint. Excellent original paint with very minor spot touch-up, including a hairline neck crack, a wing-tip chip, and one-half bill repair.

PROVENANCE:

Steve Tyng Collection Grant Nelson Collection LITERATURE: Shirley and John Delph, New England Decoys, Exton, PA, p. 45, exact bird illustrated.

$2,000 - $3,000

210 Turned-Head “Dust Jacket” Yellowlegs A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1910 11 3⁄4 in. long

An exceedingly rare “dust jacket” style yellowlegs. Birds of this species with the maker’s incised primaries rarely come to light. The most famous yellowlegs with this early treatment is the open-bill calling yellowlegs from the gunning rig of Harry V. Long.

126

This example, with its cranked and lifted head attitude, showcases the maker’s unique ability to capture the semblance of movement in gunning decoys perhaps better than any other maker. Original paint with even gunning wear, a crack behind knot in tail, a bill tip repair, and some glue residue around neck lines.

PROVENANCE:

Grant Nelson Collection

LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 64, color plate III, and dust jacket, related decoys illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 48, 51, related decoys illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1990, dust jacket, related decoys illustrated.

Jeff Waingrow, American Waterfowl Decoys, New York, NY, 1985, pp. 90-91 and back cover, related decoy illustrated.

Copley Fine Art Auctions, The Harry V. Long Collection of A. Elmer Crowell Decoys, The Sporting Sale, Boston, MA, 2009, front dust jacket and lot 64, related decoy illustrated.

$35,000 - $45,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

210

127

128

129

LOTHROP TURNER HOLMES 1824-1899 | KINGSTON, MA

211 Black-Bellied Plover

LOTHROP TURNER HOLMES (1824-1899) KINGSTON, MA, C. 1860 10 3â „4 in. long

Unlike many professional carvers who earned a living selling their decoys, Lothrop Holmes, of Kingston, Massachusetts, only carved decoys for his own rig, which he used along the marshes of the Jones River and Duxbury Bay.

A rigmate plover residing in a private California collection is believed to be the only other example to have survived from this important rig that features the maker’s tremendous wing paint. Outstanding original paint with even gunning wear and a replaced bill.

Lothrop Turner Holmes is one of the earliest documented shorebird makers from any region and is widely considered the top decoy maker of the nineteenth century.

PROVENANCE: John and Elizabeth Levinson Collection Grant Nelson Collection

This exact decoy is featured in Shorebirds: The Birds, The Hunters, The Decoys by Levinson and Headley. It features everything that astute collectors look for in a Massachusetts shorebird decoy, including exceptional form, spectacular blended feather paint, split-tail carving, stellar condition, and impeccable provenance.

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LITERATURE: Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, p. 13, related example illustrated.

John M. Levinson and Somers G. Headly, Shorebirds: The Birds, The Hunters, The Decoys, Centreville, MD, 1991, p. 57, exact decoy illustrated.

$25,000 - $35,000

211

131

LOTHROP TURNER HOLMES 1824-1899 | KINGSTON, MA

212

212 Rare Yellowlegs

LOTHROP TURNER HOLMES (1824-1899) KINGSTON, MA, C. 1870 11 1⁄2 in. long

Very few Holmes shorebirds have ever been documented. This superb example features elegantly formed, raised-wing carving and well-executed paint.

Branded “GEP” on the bottom for the rig of George E. Patterson (1863-1946). Patterson was a Salem, Massachusetts, gentleman who owned an insurance company. He ran with some of greater Boston’s sporting royalty, hunting over decoys by Lothrop Holmes and A. Elmer Crowell (1862-1952) and gunning with Frank W. Benson (1862-1951) and John C. Phillips (1876-1938).

According to Gigi Hopkins in Massachusetts Masterpieces, “Frank W. Benson was the most frequent visitor of many to George Patterson’s hidden gunning camp and in fact, he finished many fine paintings there. Patterson held Benson in such high esteem that he made a solid gold version of his shorebird whistle and presented it to him as a gift. In 1942, Patterson donated two of 132

his Holmes yellowlegs to the then Peabody Museum in Salem. In stark contrast, a few years later, a local gunner took two sugar barrels packed with George’s decoys to the town dump, where they were burned.”

Original paint with even wear, some gunning touch-up to white on underside, and a replaced bill.

PROVENANCE: George E. Patterson Rig Grant Nelson Collection LITERATURE: Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, pp. 49 and 103, pl. 17, rigmate illustrated.

Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, West Farmington, ME, 1996, p. 51, lot 175, exact decoy illustrated.

$5,000 - $8,000

WILLIAM HUMPHREY 1823-C.1880 | TORONTO, ON

213

213 Greater Yellowlegs

WILLIAM HUMPHREY (1823–C.1880) TORONTO, ONTARIO, CANADA, C. 1870 13 in. tall

From a rig of only eight, this boldly carved shorebird is one of the finest Canadian yellowlegs to come on the market.

The original wrapped thighs remain intact.

A related example resides in the Canadian Museum of History’s (Musee Canadien de L’Historie) Harbinson Collection. Original paint with gunning wear.

PROVENANCE:

Grant Nelson Collection

LITERATURE: Jackson Parker, “The Year in Review: The Decoy at Auction 2002,” Decoy Magazine, 2002, p. 19, number 46, exact bird illustrated.

Patricia Fleming, ed., Traditions in Wood, Toronto, Ontario, 1987, p. 126, related decoy illustrated.

$10,000 - $15,000 133

DAVE “UMBRELLA” WATSON 1851-1938 | CHINCOTEAGUE, VA

214

214 Plump Red Knot

215 Important Greater Yellowlegs

A rare robin snipe with V-cut wing tips. By this legendary Virginia maker who created birds with clean and elegant lines.

This stately yellowlegs hails from the Adele Earnest Collection. It is fitting that Earnest collected this prime humpback example, as it represents best maker’s efforts. With a long original bill, slightly turned head, ridged back, and bold features, it ranks among the finest Accomack County shorebirds known. Excellent original paint with light gunning wear.

Left side has tail chip and two spots of working white touch-up.

DAVE “UMBRELLA” WATSON (1851-1938) CHINCOTEAGUE, VA, C. 1890 9 1⁄2 in. long

This decoy closely resembles the work of Dave “Umbrella” Watson (1851-1938) and may in fact be a rare red knot by this maker. Original paint with heavy gunning wear, age lines, and a knot hole in tail.

PROVENANCE:

Grant Nelson Collection

LITERATURE: Jeff Wangrow, American Wildfowl Decoys, New York, NY, 1985, pp. 20-21, related example.

Henry A. Fleckenstein, Jr. Sourthern Decoys of Virginia and the Carolinas, Exton, PA, plates 117. 118, p.85 related examples.

$1,600 - $1,800

CHARLES S. CLARK (1869-1947) CHINCOTEAGUE, VA, C. 1890 11 1⁄2 in. long

PROVENANCE: Adele Earnest Collection Alvin E. Friedman-Kien Foundation Collection, acquired from the above Grant Nelson Collection LITERATURE: Christie’s New York, Property from The Alvin E. Friedman-Kien Foundation, January 19, 2007, lot 398, exact decoy illustrated.

Joe Engers, ed. The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 153, rigmate illustrated.

$18,000 - $24,000

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CHARLES S. CLARK

1869-1947 | CHINCOTEAGUE, VA

215

135

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

Ira Hudson was born in Maryland and grew up in Delaware. Later 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, at age twenty-six, Hudson added decoy carving to the several other occupations he would pursue over the years; the 1900 and 1910 census records list 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 resourceful maker carved his decoys from a variety of wood types, including driftwood and old ships’ masts. In addition to working decoys, Hudson carved miniatures, decoratives, and fish. Always an innovative maker, Hudson portrayed his life-like carvings in a variety of positions. His hissing geese, turning ducks, and spread-wing decoratives exemplify the animation in his carvings.

Hudson enlisted the help of his family to fill his numerous carving orders. All nine children learned under his wing and contributed in some capacity to his carving. Several of his offspring became talented makers in their own right. Most notably, Hudson’s sons Norman and Delbert went on to design, carve, and sell their own decoys (see Lot 282).

Ira Hudson, photograph courtesy of Henry Stansbury.

136

216

137

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

216 Standing Black Duck IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1930 15 in. long

This pinnacle work is among Hudson’s most successful and dramatic creations. Perfectly balanced on hand-crafted metal feet, it holds a commanding presence. The high head is tilted, turned ninety degrees to the left and has full cheeks, eye grooves, and carved bill detail. True to Hudson’s distinctive style, the fluted tail echoes the head and is also turned to the left, giving the bird a full arch from end to end.

The curvaceous wings are among Hudson’s best and are notable for their intact condition. The surface is finished with the maker’s finest signature scratch feather paint. William H. Purnell’s “WHP JR” is branded on the underside of the plump body.

Through sculptures such as this, Hudson planted his flag as the South’s greatest waterfowl folk artist of the era. In Ira D. Hudson and Family historian Henry Stansbury writes that “of all of Hudson’s carvings, his flyers, standers and walkers are likely his greatest artistic contribution to the folk art community...Hudson’s decoratives were not bound by function, but were rather whimsical interpretations of waterfowl in nature. It was a world that Ira Hudson knew well.”

Supporting his statement, Stansbury features only standing examples on both the front and back dust jacket covers of his authoritative book on this maker.

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Most comparables from this early period show assorted damage due to the fragile construction and thick paint. The intact nature of this prime example, along with its provenance, sets it apart from nearly all other examples.

William J. Mackey, Jr, in his pioneering decoy collecting book, American Bird Decoys, writes that Ira Hudson was “the most prolific and best commercial decoy maker Virginia ever produced...” This black duck ranks at the very top of his efforts. Excellent original paint with minimal wear, three small darkened flakes on head, minor putty loss on top of head, and minor crazing to end grain. Original check to underside.

PROVENANCE: William H. Purnell, Jr. Collection Grant Nelson Collection LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, dust jacket covers and pp. 142-146, related examples illustrated.

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 161.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 129, related wigeon illustrated.

$100,000 - $150,000

216

139

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

217 Hissing Canada Goose IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920 28 1⁄2 in. long

This hissing Canada goose form is exceedingly hard to find in original paint. Fewer still are known to have survived with their serpentine necks intact.

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

This boldly carved example, fashioned out of cedar, showcases racy lines and full cheek carving with the head turned slightly to the right. Featuring Hudson’s best stippledand-wave paint, it ranks as one of the maker’s crowning achievements. Original paint with gunning wear and two-andone-half-inch bill replacement.

140

PROVENANCE: Collectable Old Decoys Grant Nelson Collection LITERATURE: Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 32, pl. 38 and 39, related examples illustrated.

$45,000 - $55,000

217

141

218 Important Long-Billed Curlew Pair THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1890 19 1⁄2 in. long

Thomas Gelston shorebird decoys in original paint are hard to come by and 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 grand, full-bodied, long-billed curlew pair showcases the maker’s animated poses, raised wings, and bold paint patterns.

This dynamic pair reflects one bird in a content posture and the other alert.

The high-head decoy has the Shelburne Museum inventory code “27.FD 19.7” under the tail.

A related serial number is on lot 222, the Shourds curlew in this sale.

The tucked-head decoy is out of John Levinson’s collection, the author of Shorebirds: The Birds, The Hunters, The Decoys. Original paint with gunning wear, replaced bills, touch-up to reset neck on high head, and an age line in neck of tucked head.

142

THOMAS GELSTON

1851-1924 | QUOGUE, LONG ISLAND, NY

218

PROVENANCE: Shelburne Museum Collection (high head) John and Elizabeth Levinson Collection (tucked head) Grant Nelson Collection (both) LITERATURE: Christie’s, The Russell B. Aitken Collection of Waterfowl Decoys, New York, NY, 2003, p. 123, lot 1307, related decoy illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 54 and front cover, related example illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 182, related examples illustrated.

$14,000 - $18,000 143

219

219 Plover

THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1890 12 1⁄2 in. long

An excellent, full-body Gelston plover with the maker’s signature black glass eyes and raised primaries. Original paint with even gunning wear and some shrinkage common to Gelstons.

PROVENANCE:

Grant Nelson Collection

LITERATURE: Timothy Sieger, The Decoys of Long Island, Water Mills, NY, 2010, p. 28, related example illustrated.

$2,000 - $4,000

220

220 Black-Bellied Plover

CHARLES SUMNER BUNN (1865-1952) SHINNECOCK RESERVATION, NY OR WILLIAM “BILL” BOWMAN, C. 1900 10 in. long

This shorebird stands among the finest cork decoys known. It features the maker’s glass eyes, defined cheeks and eye grooves, raised wings, and exceptional form and paint. Original paint with even gunning wear, touch-up to age line on right shoulder, restoration to tail, and one-half bill repair.

PROVENANCE:

Grant Nelson Collection

$2,000 - $3,000

221

221 Red Knot

JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1900 9 1⁄2 in. long

This plump red knot is an exceedingly rare cork example by this maker. It displays crisp raised and incised wings. Original paint with scattered touch-up and restoration to tail, and one-half bill repair.

PROVENANCE:

Grant Nelson Collection

$1,000 - $1,500

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HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

222

222 Hudsonian Curlew

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 13 in. long

This important Shourds decoy has been owned by three of the top private shorebird collectors of all time, in addition to the Shelburne Museum. The Shelburne Museum inventory code “27.FD 19.301” is on the underside, a related number is on a Gelston curlew, lot 218, in this sale. The bottom also has Joe French collection markings and a faded ink stamp.

Original paint with even gunning wear and a replaced bill.

LITERATURE: Copley Fine Art Auctions, The Donal C. O’Brien, Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II, Hingham, MA, 2017, p. 141, lot 70, related example.

Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 116, similar decoys illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 69, related decoys illustrated.

PROVENANCE: Shelburne Museum Collection Donal C. O’Brien, Jr. Collection Joseph B. French Collection Grant Nelson Collection

$5,000 - $7,000

223 Nine Shorebird Whistles

223

19th Century

In addition to decoys, whistles were used to attract shorebirds.

One of the nine whistles includes a shotgun-shell puller. As found.

PROVENANCE:

Grant Nelson Collection

LITERATURE: Sotheby’s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 37, lots 49-57, related examples illustrated.

$600 - $900

145

THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

224

224 Hollow Canada Goose

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1942 24 1⁄2 in. long

Hollow decoys by the Wards are rare. According to Lem they were “too much time and not enough money.” In their book on the Wards, Gard and McGrath discuss this exact decoy: “there is nice carving on the head and the paint is beautiful in its detail and patina.”

Faint “L.T. WARD - BRO Lem - Steve -1942-” and Richardson Collection stamp on the underside. Original paint with gunning wear, repair to neck crack, and working paint on head and tail.

146

PROVENANCE: Green’s Island Club Rig Robert Richardson Collection Grant Nelson Collection LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pl. 102, exact decoy illustrated.

$8,000 - $10,000

225 Canada Goose

225

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 24 in. long

A rare, premier-grade factory goose decoy.

These geese were discontinued in 1913 because the large wood needed to make them was too difficult to source.

The underside has a Hillman Collection stamp and three holes for use as a field stick-up decoy.

Mix of original and restored paint with gunning wear.

PROVENANCE: John Hillman Collection Grant Nelson Collection LITERATURE: Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Lewes, DE, 2014, pp. 79-81, similar decoy illustrated.

Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, West Farmington, ME, 1996, p. 100, lot 421, exact bird illustrated.

226

$3,000 - $4,000

226 Black-Bellied Plover

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1905 11 1⁄2 in. long

A fat-bodied, glass-eyed plover. Original paint with even gunning wear and crack in breast.

PROVENANCE:

Private Collection, Midwest

LITERATURE: Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Burtonsville, MD, 1993, back dust jacket cover, pp. 100-101, related examples illustrated.

$1,500 - $2,000

227 Bronze Duck Head

227

JOEL D. BARBER (1876-1952) WILTON, CT, 1926 6 1⁄4 in. long

On the right side of the base is “B/26 (c).” While the edition size is unknown, this represents one of only a handful that have surfaced in the last fifty years. Original condition with wear.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: Joel Barber, Wild Fowl Decoys, Garden City, NY, 1937, p. 131, p. 99, related example illustrated.

$1,200 - $1,800

147

CLARK VOORHEES 1911-1980 | OLD LYME, CT

Clark Voorhees Whales The following seven lots comprise a complete set of marine mammal carvings. This important carver began making whales in Old Lyme, Connecticut, the same town in which his father, Clark Greenwood Voorhees (1871-1933), was a founder of the Old Lyme Art Colony.

The son later moved his workshop to Vermont. Many of his carvings were sold through the Four Winds Shop on Nantucket.

228 Sperm Whale

CLARK VOORHEES (1911-1980) OLD LYME, CT, C. 1955 16 1⁄2 in. long

Signed on the back with incised “CV” and stamped “C VOORHEES.” Original paint with minimal wear.

PROVENANCE: Private Collection, California, acquired directly from the artist in the 1950s LITERATURE:

Kevin Tulimieri, “Clark Voorhees’ Carved Whales,” The Magazine Antiques, January/February 2011, pp. 56-62.

$2,000 - $3,000

231 Porpoise

CLARK VOORHEES (1911-1980) OLD LYME, CT, C. 1955 18 1⁄2 in. long

Signed on the back with incised “CV” and stamped “C VOORHEES.” Original paint with minimal wear.

PROVENANCE: Private Collection, California, acquired directly from the artist in the 1950s

$2,000 - $3,000

$2,000 - $3,000

229 Humpback Whale

232 Narwhal

CLARK VOORHEES (1911-1980) OLD LYME, CT, C. 1955 18 1⁄2 in. long

Signed on the back with incised “CV” and stamped “C VOORHEES.” Original paint with minimal wear.

PROVENANCE:

Private Collection, California, acquired directly from the artist in the 1950s $2,000 - $3,000

230 Right Whale

CLARK VOORHEES (1911-1980) OLD LYME, CT, C. 1955 18 in. long

Signed on the back with incised “CV” and stamped “C VOORHEES.” Original paint with minimal wear.

148

PROVENANCE: Private Collection, California, acquired directly from the artist in the 1950s

CLARK VOORHEES (1911-1980) OLD LYME, CT, C. 1955 22 1⁄2 in. long

Signed on the back with incised “CV” and stamped “C VOORHEES.” Original paint with minimal wear.

PROVENANCE: Private Collection, California, acquired directly from the artist in the 1950s

$2,000 - $3,000

233 Killer Whale

CLARK VOORHEES (1911-1980) OLD LYME, CT, C. 1955 18 1⁄2 in. long

An orca signed on the back with incised “CV” and stamped “C VOORHEES.” Original paint with minimal wear.

PROVENANCE: Private Collection, California, acquired directly from the artist in the 1950s

$2,000 - $3,000

234 Finback Whale

CLARK VOORHEES (1911-1980) OLD LYME, CT, C. 1955 19 in. long

Signed on the back with incised “CV” and stamped “C VOORHEES.” Original paint with minimal wear and broken fluke tip.

PROVENANCE: Private Collection, California, acquired directly from the artist in the 1950s

$1,500 - $2,500

CLARK VOORHEES

228

1911-1980 | OLD LYME, CT

229

230

231

232

233

234

149

235 Folk Art Weathervane 14 by 14 1⁄4 by 12 in.

An African American sharecroppers’ or moonshiners’ cabin with figures drinking whiskey, standing lookout, smoking a pipe, and holding a walking stick. As found.

PROVENANCE: Private Collection $2,500 - $3,500

235

150

OSCAR W. PERTERSON

1887-1951 | CADILLAC, MI

236

236 Peacock Plaque

OSCAR W. PETERSON (1887-1951) CADILLAC, MI, C. 1915 21 1⁄2 by 19 by 3⁄4 in.

A early plaque by this celebrated Midwestern carver depicting two peacocks in breeding plumage among flowering trees. The top and bottom edges are braced with original metal straps. Original paint with wear from handling and a slight bow.

PROVENANCE:

Private Collection, Midwest

LITERATURE: Ronald J. Fritz, Michigan’s Master Carver: Oscar W. Peterson, 1887-1951, Boulder Junction, WI, 1987.

$9,000 - $12,000

151

LAWRENCE C. IRVINE 1918-1998 | WINTHROP, ME

237

Lawrence Irvine filling orders in his workshop. Photo courtesy of Morning Sentinel Newspaper, Waterville, Maine, Staff Photograph Archives.

238

237 Brook Trout on Map of Maine

238 Brook Trout

A carved twelve-inch trout on a painted faux-birch-bark plaque in the shape of the state of Maine. Signed on the back. Original paint with touch-up to chip at tip of pectoral fin.

A trophy eighteen-inch trout on a painted faux-birch-bark plaque. Signed on the back. Original paint with minimal wear.

LAWRENCE C. IRVINE (1918-1998) WINTHROP, ME, C. 1970 16 by 25 in.

$2,000 - $3,000

152

LAWRENCE C. IRVINE (1918-1998) WINTHROP, ME, C. 1970 12 by 28 1â „2 in.

$1,000 - $2,000

239

240

241

239 Evening Grosbeak DAVE ALEXANDER MCCALL, ID, 2004 12 in. tall

A life-size decorative carving with the maker’s brand and signature on underside of base. Original paint with minor flaking to leg putty. $800 - $1,000

240 Bobwhite Quail Pair Lamp JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1950 26 1⁄2 in. tall

An Ahearn double quail lamp constructed with a hardwood base and a copper stem. The lamp is signed “J. Ahearn” on the end of the center birch branch.

As found. $400 - $600

241 Holland & Holland Ashtray 6 by 7 in.

As found.

153

242

243

244

245

246

247

154

248

249

242 Dog Head Cane

247 Double-Snake Cane

The top features a carved dog’s head with glass eyes; the shaft has a carved belt. With wear and appealing craquelure.

The tip of the handle is a snake head facing another snake that wraps up the length of the shaft. With wear from use.

$500 - $800

$500 - $800

243 Civil War Motifs Cane

248 Miniature Drumming Grouse

33 1⁄2 in. long

35 in. long

The shaft features many relief-carved images, including soldiers carrying flags, eagles, a ship, a horse, an owl, and a butterfly. With wear from use.

36 in. long

ALLEN J. KING (1878-1963) NORTH SCITUATE, RI, C. 1930 3 3⁄4 in. tall

$500 - $800

An exceptional ruffed grouse carving with highly detailed paint showing the game bird in full display. Signed “A.J.” King on side of base. Original paint with minor wear. Edge of fan and two primaries reset.

244 Shoe Cane

$1,500 - $2,500

34 in. long

The top exhibits a well-carved shoe. With wear from use. $400 - $600

245 Alligator Trio Cane 36 in. long

The shaft features three carved alligators. With wear from use.

249 Miniature Woodcock

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1945 2 3⁄4 in. tall

Signed on underside of base. Original paint with minimal wear. $600 - $900

$500 - $800

246 Fish Cane 35 in. long

The handle has a netsuke style carving of fish, squid, and crab. With wear from use and tight age lines in handle. $400 - $600

155

250

252

251

253

250 Woodcock

252 Two Miniature Woodcock

The maker’s incised “F” is on the bottom. Original paint with minor wear from handling.

One is on a wood base and one is on a metal stand. Each is signed with an incised “W.” Original paint with minimal wear.

$400 - $600

$400 - $600

251 Half-Size Ruffed Grouse

253 One-Quarter-Size Grouse

A folky little partridge carving on a wooden base that bears the maker’s ink stamp on the underside. Original paint with minimal wear.

Signed on underside of base. Original paint with light wear.

FRANK S. FINNEY (B. 1947) CAPEVILLE, VA, C. 1990 5 1⁄2 in. tall

FRANK S. FINNEY (B. 1947) CAPEVILLE, VA, C. 1990 6 1⁄2 in. tall

$300 - $500

156

EDDIE WOZNY (B. 1959) CAMBRIDGE, MD, C. 1995 3 in. tall

BERNARD BLAKE c. 1960 5 in. tall

$400 - $600

HAROLD N. GIBBS 1886-1970 | BARRINGTON, RI

254

256

255

257

254 Miniature Wood Duck Pair

256 Three Miniature Diving Ducks

A miniature wood duck pair signed “HNG” on underside of each base. Original paint with light wear.

Three miniatures, including a long-tailed duck, Barrow’s goldeneye, and common goldeneye. All are signed “HNG” on underside of base. Original paint with light wear.

HAROLD N. GIBBS (1886-1970) BARRINGTON, RI, C. 1955 2 1⁄2 in. tall

$200 - $300

HAROLD N. GIBBS (1886-1970) BARRINGTON, RI, C. 1955 3 1⁄4 in. tall

$200 - $300

255 Four Miniature Puddle Ducks HAROLD N. GIBBS (1886-1970) BARRINGTON, RI, C. 1955 3 in. tall

Four miniatures, including a mallard, black duck, greenwinged teal, and blue-winged teal. All are signed “HNG” on underside of base. Original paint with light wear. $200 - $300

257 Three Miniature Ducks HAROLD N. GIBBS (1886-1970) BARRINGTON, RI, C. 1955 3 in. tall

Three miniatures, including a wood duck, wigeon, and redhead. All are signed “HNG” on underside of base; the wood duck is dated 1955. Original paint with light wear. $200 - $300

157

260

258

259

261

258 Four Miniature Ducks

260 Miniature Woodcock

Four miniatures, including a harlequin duck, ruddy duck, shoveler, and bufflehead. All are signed “HNG” on underside of base. Original paint with light wear.

A small timberdoodle mounted on a cut log base.

Original paint with minimal wear.

HAROLD N. GIBBS (1886-1970) BARRINGTON, RI, C. 1955 2 3⁄4 in. tall

RUSS E. BURR (1887-1955) HINGHAM, MA, 1920 3 1/4 in. tall

$100 - $200

$200 - $300

261 Two Chickadee 259 Two Miniature Waterfowl E.P. HAMILTON 1933 AND 1937 4 in. tall

A Canada goose and goldeneye with weighted bottoms.

Each signed “E.P. Hamilton” and dated 1937 and 1933, respectively. Original paint with light wear. $400 - $500

158

PETER PELTZ (1915-2001) SANDWICH, MA, C. 1960 3 in. tall

Each is signed on the underside. Original paint with wear, including some flaking. $400 - $600

262

264

263

265

262 Three-Quarter-Size Woodcock

264 Miniature Pheasant

Signed by the maker on the underside of the base.

Original paint.

Lapham followed in the footsteps of A. Elmer Crowell (18621952). Signed by the maker on the underside of the base.

Original paint, some separation to wing seams, some minor flaking, and chip to tail.

JAMES LAPHAM (1909-1987) DENNISPORT, MA, 1950 5 in. tall

$200 - $300

263 Miniature Woodcock and Snipe LACEY C. 1960 4 in. long

The snipe is signed by the maker on the base.

Original paint with minor wear. $100 - $200

JAMES LAPHAM (1909-1987) DENNISPORT, MA, C. 1950 8 1⁄2 in. tall

$200 - $300

265 Miniature Chickadee

JESSE D. “JESS” BLACKSTONE (1909-1988) CONCORD, NH, C. 1960 2 1⁄4 in. tall

Identified and initialed by the maker on the underside of the base. Original paint with minimal wear. $200 - $400

159

OLIVER “TUTS” LAWSON B. 1938 | CRISFIELD, MD

266

266 Preening Wigeon

PROVENANCE:

“Tuts” Lawson was a protégé of the Ward brothers and is Crisfield’s greatest living carver.

LITERATURE: Art Raines, “The Duck House: An early trading center on Maryland’s Eastern Shore,” Decoy Magazine, Nov/ Dec 2010, pp. 8-10.

This is a rare, possibly unique, turned-head baldpate with carved detail on the wings and tail. Signed and dated on the underside. Original paint with minimal wear.

PROVENANCE:

Private Collection, Maryland

$1,200 - $1,800

267 Turned-Head Wigeon Pair OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, C. 1960 13 1⁄2 in. long

A fine and early pair of baldpates. “The Duck House, Rumbley, Maryland” labels are on the undersides of the balsa bodies. In Decoy Magazine Lawson describes the Duck House as “a place for commerce for area carvers.”

160

Original paint with minimal wear.

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1962

Private Collection, Maryland

$1,000 - $1,200

268 Standing Quarter-Size Goose OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1971 8 in. tall

A decorative goose mounted on a signed and dated base.

This work features an excellent combination of carved and painted detail. Original paint with minimal wear.

PROVENANCE:

Private Collection, Maryland

$1,000 - $1,500

267

268

269

269 One-Quarter-Size Canada Goose

270

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1964 12 3⁄4 in. long

A hissing goose carving with two inks stamps reading “WARD BROS. CRISFIELD, MD, BEST GRADE MINIATURE” and “MADE BY L.T. WARD & BRO. CRISFIELD, MD.” It is also stamped “SGH” and labeled “-1964- CANADA GOOSE.” Original paint with minimal wear.

PROVENANCE: Somers G. Headley Collection Richard and Lynn Gove Collection

$600 - $900

270 Sleeping Canvasback Pair OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1982 12 in. long

Each decoy is signed and dated on the underside.

Original paint with minimal wear.

PROVENANCE:

Private Collection, Maryland

$800 - $1,200

161

THE WARD BROTHERS

1896-1983 and 1895-1976 | CRISFIELD, MD

162

271

271 Outstanding Green-Winged Teal Pair THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1953 11 1⁄2 in. long

This content pair features excellent form, peach-basket wings, plump balsa bodies, and the maker’s best paint. Each base reads “L.T. Ward Crisfield, MD -1953-.” A worn label on bottom of drake is from the 1967 William Penn Memorial Museum exhibit. Original paint with minimal wear.

PROVENANCE: Thomas Eshenbaugh Collection (drake) Private Collection, Maryland EXHIBITED:

Harrisburg, Pennsylvania, The William Penn Memorial Museum, 1967. (drake)

$12,000 - $14,000

163

ROBERT “BOB” WHITE B. 1939 | TULLYTOWN, PA

272

272 Goldeneye

ROBERT “BOB” WHITE (B. 1939) TULLYTOWN, PA, 1994 14 1⁄4 in. long

A hollow decoy signed “Bob White,” dated, and with the maker’s impressed bobwhite quail weight on the underside. Original paint with minimal wear.

PROVENANCE: Richard Gove Rig, acquired from the maker Richard and Lynn Gove Collection

$800 - $1,200

273

273 High-Head Canvasback Pair ROBERT “BOB” WHITE (B. 1939) TULLYTOWN, PA, 1998 16 in. long

Each is signed “Bob White,” dated, and has the maker’s impressed quail weight on the underside. Original paint with minimal wear.

Hen has a reset tail feather chip. $1,000 - $1,400

274

274 Pintail Pair

ROBERT “BOB” WHITE (B. 1939) TULLYTOWN, PA, C. 1990 20 in. long

This pair is carved in the style of John English. The underside displays the maker’s signature and custom bobwhite quail weight. While in his teens, White acquired a rig of English decoys for his hunting rig.

Original paint with minimal wear. $1,000 - $1,500

164

275 Green-Winged Teal

275

JOHN A. HILLMAN (1909-1993) SEA GIRT, NJ, 1959 10 1⁄4 in. long

While Hillman is primarily remembered for his decoy collection, he was also an accomplished carver and painter, as evidenced by this exquisite turned-head teal. Signed “John Hillman 1959” and branded “JAH” on the bottom. Original paint with minimal wear.

PROVENANCE:

Richard and Lynn Gove Collection

$800 - $1,000

276 Pintail Pair

276

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1993 19 1⁄2 in. long

A hollow pintail pair exhibiting exceptional paint.

The undersides are incised “McNair” and the weights are stamped “1993.” Original paint with minimal wear. $3,500 - $4,500

277 Canvasback Pair

277

CAMERON T. MCINTYRE (B. 1968) NEW CHURCH, VA, C. 1990 14 3⁄4 in. long

A stylish pair of high-head canvasbacks with hollow bodies. Bottom boards are signed with an incised “CTM.” Original paint with minimal wear.

PROVENANCE:

Richard and Lynn Gove Collection

$3,000 - $4,000

165

ELI DOUGHTY

1844-1923 | HOG ISLAND, VA

278

278 Early Brant

ELI DOUGHTY (1844-1923) HOG ISLAND, VA, C. 1870 19 in. long

Settled in 1672, Hog Island is one of the larger barrier islands on Virginia’s Eastern Shore. Much like its neighbor to the south, Cobb Island, Hog Island was a popular destination and its Broadwater Club played host to the likes of President Grover Cleveland.

According to Cameron McIntyre “...A close study and comparison of Eli Doughty decoys and classic [Walter] Bradys reveals some amazing similarities - the body shapes and the head style, including the sharply defined eyebrow ridge, is nearly identical.”

This boldly carved brant features a deep and broad body, sharp wing-tip carving, and a stylish turned head. The original oak bill is inserted with a mortise-and-tenon fit. Old gunning paint with wear, an old nail secures a crack in the head.

166

PROVENANCE: Barbara Anne Wiest (Fleckenstein) Collection Private Collection, by descent from the above LITERATURE: Cameron McIntyre, “Walter Brady: The grandfather of the Hog Island style of carving,” Decoy Magazine, Lewes, DE, Mar/Apr 2000, pp. 8-9, related examples illustrated.

$3,500 - $5,500

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

279

279 Bluebill Hen

NATHAN F. COBB JR. (1825-1905) COBB ISLAND, VA, C. 1880 14 1⁄4 in. long

...[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.”

-William J. Mackey, Jr. American Bird Decoys “Everywhere I went, people told me that they had given or sold their decoys to Mr. Roy Bull, and I should go down to Townsend and see him,” recalled legendary Southern collector William Purnell in his 1983 introduction to The Roy Bull Decoy Collection catalog. Purnell points out that Bull’s position in “the seafood business provided him with the best contacts for finding decoys.” Bull was born and raised in Northampton County on the Eastern Shore of Virginia. He and his wife Lula were ardent and early collectors, searching for birds along not only the Eastern Shore, but the whole Mid-Atlantic coast. While reporting on Bull’s prized decoys, Purnell discussed the c. 1968 acquisition of this “very rare hen bluebill” from Mr. and Mrs. Warren Cobb of Cheriton, Virginia. This featured decoy achieved the third highest price in the historic Bull sale, with only a Cobb brant and black duck surpassing it.

The construction of this decoy features a deep wing cut, a hollow body, and an inlayed head. The surface has an appealing bone-dry patina. A testament of the bird’s quality, the carved eyes and Nathan’s proudly incised “N” are among the deepest incised cuts found on any Cobb decoy. This Cobb treasure is one of the finest bluebills to ever be offered for sale from this remote island. Original paint with even gunning wear.

PROVENANCE: Nathan F. Cobb, Jr. Rig Mr. and Mrs. Warren Cobb Collection, by descent from the above Roy Bull Collection, acquired from the above, c. 1968 Private Collection LITERATURE: Richard A. Bourne, Inc., The Roy Bull Decoy Collection, Hyannis, MA, March 1983, lot 499, exact decoy illustrated.

Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 192, exact decoy illustrated.

$10,000 - $15,000

167

CAPTAIN ANDREWS SMITH ISLAND, VA

“May 17 we reached the Life Saving Station of Smith’s Island, by the invitation of its genial bronzed Captain George Hitchens. It was blowing a furious gale and raining in blinding sheets, with the wind hanging steadily on to the northeast.

The birds had not come, the crew told us, but Captain George said they would come in on the wings of the storm that night. At daylight we caught the old plug of a horse from the stable and hitched him to the cart.

The Smith’s Island Light, just over our heads, the greatest light of the Atlantic coast, was still flashing its gleaming message, ‘45,’ over the storm-clouded sea.

Within an hour we had reached the bend of the beach, five miles above the station. The tide had just begun to ebb as the sun burst from the ocean through the cloud-banks of the passing storm.

The captain was right. The birds had come on its black wings. The beach was literally covered with them.

We were in rare luck. We were the first on the beach, the first day of their season, and the wind was blowing a steady gale from sea, just the way we wished it.

Hastily gathering some dead bushes and grass from the sand-dunes, we build a scraggy blind, place our decoys on the edge of the receding surf, and are ready for them.

How beautifully they come!”

- Thomas Dixon, Jr. writing about Smith Island in his article “The Shore-Birds of Old Virginia,” Country Life in America, September 1903.

“Sometimes the sky was literally black with them,” The Shore-Birds of Old Virginia, 1903.

168

280

169

280 The Andrews Running Curlew CAPTAIN ANDREWS SMITH ISLAND, VA, C. 1880 18 1⁄2 in. long

Named for Captain John Smith who visited the island in 1608, Smith Island has a long and intriguing history, including the small island’s notable decoy-making heritage. Captain George Hitchens was the commander of Smith Island’s lifesaving station from c. 1880 to 1915. In his charge were three of the region’s top decoy makers, Captain Andrews, Almer Fitchett, and John Henry Downes.

This talented trio created, used, and exchanged decoys while together on the island.

This monumental curlew was made by Captain Andrews.

His decoys are perhaps the rarest of the region’s top makers.

This distinctly Smith Island curlew stands today as the most iconic remaining decoy from the isle and the best of its kind to come to light. The sculpture’s simplified form and confident sweeping lines are unique to this talented Southern maker. The long-reaching body resolves with the region’s most elegant wing carving.

prominently featured on the back dust jacket cover of Southern Decoys. It has long been admired by collectors as no finer example has surfaced. Original paint mostly worn to wood with gunning wear. Roughness to head and replaced bill.

PROVENANCE: John Henry Downes Rig Roy Bull Collection Henry and Barbara Fleckenstein Collection Barbara Anne Wiest (Fleckenstein) Collection Private Collection, by descent from the above LITERATURE: Richard A. Bourne, Inc., The Roy Bull Decoy Collection, Hyannis, MA, March 1983, lot 288, exact decoy illustrated.

Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, back dust jacket cover, p. 166, pl.

322, exact decoy illustrated.

$30,000 - $50,000

The large incised “H” in the underside is the ownership marking of Andrews’ colleague John Henry Downs. Roy Bull, who lived just across Magothy Bay from Smith Island, sourced this decoy for his collection. In 1983 it came to the public’s attention in the Bull Collection auction catalog. It is

Back cover, Southern Decoys of Virginia and the Carolinas

170

CAPTAIN ANDREWS SMITH ISLAND, VA

280

171

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

281 Swimming Brant

NATHAN F. COBB JR. (1825-1905) COBB ISLAND, VA, C. 1880 19 in. long

Cobb Island is known to have produced some of the most animated brant decoys ever carved. This may be due in part to a special affinity for the species that the islanders showed. Nathan Cobb, Sr. maintained a tame flock of brant on the island that was a local attraction and once was offered as collateral for hotel construction loans.

The inlayed head of this decoy has inset German glass eyes within carved eye grooves. The hollow body possesses

Illustration by Joel Barber of rigmate brant, plate 112, p. 142 Wildfowl Decoys.

172

shoulder carving and a ridge down the raised wing tips. A strong Nathan Cobb serifed “N� is carved under the tail. Old Cobb paint with gunning wear and touch-up around replaced oak bill.

PROVENANCE: Collectable Old Decoys Private Collection, Virginia, acquired from the above

$18,000 - $24,000

281

173

282

282 Flying Mallard Drake

NORMAN HUDSON (1898-1980) CHINCOTEAGUE, VA, C. 1940 18 in. long and 16 in. wingspan

Hudson flyers have been held in high regard since the earliest days of decoy collecting. 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 accomplished carvers in their own right.

This flying mallard drake features extensive feather carving, a turned head, and fine paint. This wall-hanging sculpture is

mounted on a removable wooden plaque. Original paint with minor wear, including wing tip chips and minor flaking at seams.

LITERATURE: Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 75, pl. 91.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 95, similar example illustrated.

$4,000 - $6,000

283

283 Hollow Brant

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920 15 in. long

A two-piece brant with Hudson’s wave paint on the sides and stippled paint on the back. There is carved shoulder separation behind the raised neck seat.

Original and working paint with gunning wear, some stabilization to neck cracks, and areas of flaking have been darkened.

PROVENANCE: Barbara Anne Wiest (Fleckenstein) Collection Private Collection, by descent from the above

$1,000 - $2,000

174

CHARLES BIRCH

1867-1956 | WILLIS WHARF, VA

284

284 Hollow Canada Goose CHARLES BIRCH (1867-1956) WILLIS WHARF, VA, C. 1920 24 in. long

Raised on Chincoteague, Birch moved south to Willis Wharf at age thirty-nine. He was a boatbuilder, waterman, and decoy carver. His decoys were very well regarded in their own time and his rigs were hunted over from North Carolina’s Gooseville Gun Club to Illinois’ Georgia Pacific Paper Gun Club (also referred to as the Island 29 Club).

This decoy is from the latter of those clubs.

This eloquent goose decoy, in rarely found original Birch paint, features a graceful head set upon a raised neck seat.

As with all of his swans and geese, the head is fitted with an oak bill.

Birch’s hollow birds with proud breasts and sweeping arched necks have long captured the attention of folk art and decoy collectors. Original paint with gunning wear.

PROVENANCE: Georgia Pacific Paper Gun Club Rig Private Collection Van Tright Collection, acquired from the above Private Collection, Maryland LITERATURE: Paul W. Parmalee and Forrest D. Loomis, Decoys and Decoy Carvers of Illinois, DeKalb, IL, 1969, pp. 167-8, pl.

126, rigmate illustrated (incorrectly captioned).

$15,000 - $18,000

175

285

285 Plover

CHARLES S. CLARK (1869-1947) CHINCOTEAGUE, VA, C. 1890 10 in. long

This early Virginia decoy displays the classic Clark form that collectors look for. Original paint with heavy gunning wear, possibly original bill. $2,500 - $3,500

286

286 Yellowlegs

CHARLES S. CLARK (1869-1947) CHINCOTEAGUE, VA, C. 1900 10 1⁄2 in. long

The underside of the balsa body bears a “J. H. N.O. LA.” ink stamp and “N” brand. Original paint with gunning wear and roughness to tail edges.

PROVENANCE: Henry Stansbury Collection Barbara Anne Wiest (Fleckenstein) Collection, acquired from the above Private Collection, by descent from the above

$1,200 - $1,800

287

287 Golden Plover Pair

EASTERN SHORE, VA, C. 1890 10 in. long

Southern golden plover decoys are hard to come by. Each bears the “SAM DYKE COLLECTION” ink stamp on the underside.

Original paint with heavy gunning wear and an imperfection to left wing of one bird.

PROVENANCE: Sam Dyke Collection Private Collection

$1,000 - $1,500

176

288

290

289

291

288 Yellowlegs Rig

290 Feeding Plover

A rig of six Outer Banks flatties with wire bills.

Original paint with gunning wear.

This feeding plover with raised wings is carved from a one-and-three-quarter-inch board. As found.

PROVENANCE:

PROVENANCE: Barbara Anne Wiest (Fleckenstein) Collection Private Collection, by descent from the above

NORTH CAROLINA, C. 1920 each approximately 9 1⁄2 in. long

Private Collection, North Carolina

$800 - $1,200

289 Early Curlew

NORTHAMPTON COUNTY, VA, C. 1880 15 in. long

As found.

PROVENANCE:

Barbara Anne Wiest (Fleckenstein) Collection Private Collection, by descent from the above $600 - $900

EASTERN SHORE, VA, C. 1880 10 3⁄4 in. long

LITERATURE: Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 28, exact decoy illustrated.

$500 - $700

291 Two Silhouette Yellowlegs Decoys

VIRGINIA OR NORTH CAROLINA, C. 1900 11 in. long

Original paint with even gunning wear.

PROVENANCE: Barbara Anne Wiest (Fleckenstein) Collection Private Collection, by descent from the above

$300 - $500

177

EPHRAIM HILDRETH 1835-1915 | RIO GRANDE, NJ

292

292 Early Curlew

293 Early Plover

An outstanding curlew by one of the earliest known decoy makers. Hildreth’s shorebirds, and especially his curlews, are recognized for their original and geometric design with uplifted heads and dropped tails. Hildreth shorebird bills were removable and interchangeable for ease of transport in the field.

A plover by one of the earliest known decoy makers.

Hildreth’s shorebirds are recognized for their original and geometric design with uplifted heads and dropped tails.

Hildreth shorebird bills were removable and interchangeable for ease of transport in the field. Mix of original and old working paint with gunning wear, including age lines in breast.

Removable bill appears to be from the period.

EPHRAIM HILDRETH (1835-1915) RIO GRANDE, NJ, C. 1870 16 1⁄2 in. long

The underside is marked three times with the “E. HILDRETH” brand. Mix of original and old working paint with gunning wear. Removable bill appears to be from the period.

PROVENANCE: Ephraim Hildreth Rig Bud Ward Collection Barbara Anne Wiest (Fleckenstein) Collection, acquired from the above Private Collection, by descent from the above

$3,000 - $4,000 178

293

EPHRAIM HILDRETH (1835-1915) RIO GRANDE, NJ, C. 1870 11 in. long

PROVENANCE: Ephraim Hildreth Rig Bud Ward Collection Barbara Anne Wiest (Fleckenstein) Collection, acquired from the above Private Collection, by descent from the above

$1,500 - $2,500

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

294 Yellowlegs

294

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900 10 in. long

Decoys from this small rig are celebrated for their pristine original condition and are considered to be among the maker’s finest shorebirds. This example has pronounced cheek carving. Near mint original paint with minimal wear.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 66, pl. 113, and dust jacket, similar decoy illustrated.

$4,000 - $6,000

295 Black-Bellied Plover in Eclipse Plumage

295

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 10 in. long

A black-bellied plover in difficult-to-find plumage by the Jersey Coast’s preeminent carver. Original paint with gunning wear including discoloration along bottom edge.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 67, similar decoys illustrated.

Exhibited: Salisbury, Maryland, The Ward Museum of Wildfowl Art. $3,500 - $4,500

296 Black-Bellied Plover in Breeding Plumage

296

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 9 1⁄2 in. long

A breeding plover with pronounced cheek carving.

Original paint with light gunning wear and discoloration to knot in neck.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 59, similar example illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 67, similar decoys illustrated.

$3,500 - $4,500

179

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

297

297 Red Knot

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 9 in. long

A rare robin snipe in bright breeding plumage.

Original paint with gunning wear, including some minor darkening to scattered flaking.

PROVENANCE:

Private Collection, Midwest

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 70, similar decoys illustrated.

$6,000 - $8,000

298

298 Black-Bellied Plover in Breeding Plumage HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 10 in. long

A black-bellied plover in breeding plumage.

Original paint with crazing on end grain and check down underside.

PROVENANCE:

Private Collection, Midwest

LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 59, similar example illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 67, similar decoys illustrated.

$3,000 - $4,000

299

299 Yellowlegs

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, 1890 10 3â „4 in. long

This bird is believed to be from the rig of Captain Nickerson, who was stationed at the U.S. Lifesaving Service Station on 57th Street in Ocean City, New Jersey.

Original paint with end grain craquelure.

PROVENANCE:

Private Collection, Midwest

LITERATURE: John Levinson and Somers Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centerville, MD, 1991, p. 81, pl. 6-14, rigmate illustrated.

$4,000 - $5,000

180

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

300 Bufflehead Drake

300

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 11 3⁄4 in. long

A rare Shourds decoy out of the famed Hazelhurst Club rig. The underside is branded “HAZLEHURST,” retains two Noyes Museum exhibition ink stamps, and is stamped “SGH” for the Headley Collection.

This fine decoy exhibits the graceful, ship-like traits that New Jersey decoy and folk art collectors look for and has been featured in no less than two museum exhibits. In a mix of original and repaint with wear.

PROVENANCE: Somers Headley Collection Richard and Lynn Gove Collection LITERATURE: Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, p. 38, color plate XIV, rigmate illustrated.

301

EXHIBITED: Oceanville, New Jersey, The Noyes Museum of Art, 1985 and 1991.

$1,500 - $2,500

301 Bufflehead Hen

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 11 3⁄4 in. long

This early decoy exhibits the graceful, ship-like traits that New Jersey decoy and folk art collectors covet. Original and working repaint with gunning wear to wood. Age lines in bill and neck and small chip to tail.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, p. 38, color plate XIV, related example illustrated.

$1,500 - $2,500

181

302

302 Red-Breasted Merganser Drake HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 16 in. long

A stylish, long-bodied sheldrake with a forked wooden crest. As found.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, front dust jacket cover, related pair illustrated.

$1,800 - $2,400

303 Red-Breasted Merganser Hen HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 16 1⁄4 in. long

303

A stylish, long-bodied sheldrake with a forked wooden crest. As found.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, front dust jacket cover, related pair illustrated.

$1,800- $2,400

304 Black Duck

JOHN ENGLISH (1848-1915) FLORENCE, NJ, C. 1880 15 3⁄4 in. long

304

A hollow decoy with sharp lines and a soft finish.

Robert “Bob” White describes English as “the ultimate Delaware River carver” and author Kenneth L. Gosner notes, “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.”

Partial brand on back reads “...K. CLAR...”

Original paint with even gunning wear, age lines in head, and a small tail chip.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1985, pp. 89-91.

Harrison Huster and Doug Knight, Floating Sculpture: The Decoys of the Delaware River, Spanish Fork, UT, 1982.

$2,000 - $3,000

182

305

305 Goldeneye Hen

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 13 3⁄4 in. long

This early Shourds features a nice, even patina.

Original paint with gunning wear, one-third bill repair, and darkening to tail chips.

PROVENANCE:

Richard and Lynn Gove Collection

$1,500 - $2,000

306 Goldeneye Drake

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 13 1⁄2 in. long

This early Shourds features a nice, even patina.

Original paint with even gunning wear, including a crack at base of neck and on right side of head.

PROVENANCE: Private Collection, Virginia Richard and Lynn Gove Collection

306

$1,500 - $2,000

307 Redhead Drake

JOHN DAWSON (1889-1959) TRENTON, NJ, C. 1930 16 1⁄4 in. long

A rare John Dawson redhead exhibiting his distinct form and celebrated paint. This pristine decoy was from his personal rig and bears his stamped “JD,” but appears to have seen no use.

Original paint with minimal wear from handling.

PROVENANCE: Private Collection, acquired from the Dawson family LITERATURE: Harrison Huster and Doug Knight, Floating Sculpture: The Decoys of the Delaware River, Spanish Fork, UT, 1982, pp. 44-46, rigmate illustrated.

307

$3,500 - $4,500

183

308

308 Rare Mallard

PHILADELPHIA SCHOOL, C. 1890 14 1⁄4 in. long

An exceptional hollow Delaware River mallard with fine form, intricate bill and head carving, and a pronounced breast. Henry Fleckenstein described this exact decoy as an “outstanding bird” in his book, New Jersey Decoys.

Original paint with even wear from handling and varnish.

PROVENANCE:

Richard and Lynn Gove Collection

LITERATURE: Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, color plate XXXVI, exact decoy illustrated.

$3,000 - $4,000

309

309 Canada Goose

LLOYD PARKER (1859-1921) PARKERTOWN, NJ, C. 1890 24 1⁄2 in. long

“Best Lloyd Parker I’ve ever owned. - John Hillman,” written and signed on the underside, stamped “Hillman Collection.

An excellent, hollow Canada goose by one of Barnegat Bay’s finest carvers. Second coat of parker paint with gunning wear and flaking.

PROVENANCE: John Hillman Collection.

Richard and Lynn Gove Collection LITERATURE: Henry A. Fleckenstein, Jr., Decoys of the MidAtlantic Region, Exton, PA, 1979, p. 52, exact decoy illustrated.

Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, p. 115, exact decoy illustrated (image reversed).

$1,500 - $2,500 184

310

310 Early Canada Goose JOE KING (1835-1913) MANAHAWKIN, NJ, C. 1870 24 in. long

This hollow decoy uniquely brings together the best of New Jersey, Virginia, and Maryland waterfowling history.

While the Cobb Islanders’ created many of their decoy rigs on Island, they did import a rig of brant and geese from one of New Jersey’s earliest and finest makers, Joe King.

This King decoy was from that rig and is branded “E. B. COBB” for Captain Elkanah B. Cobb, the son of Nathan Cobb, Jr. “SGH” is on the underside for early collector Somers Headley. Headley had his friend Lem Ward (1896-1983), of Crisfield, Maryland, paint this decoy. This bird was also exhibited at the Noyes Museum and bears the museum’s ink stamp. In Lem Ward paint with light wear.

311

PROVENANCE: Captain Elkanah B. Cobb Rig Somers G. Headley Collection Richard and Lynn Gove Collection EXHIBITED:

Oceanville, New Jersey, The Noyes Museum of Art, 1991. $1,500 - $2,500

311 Pintail Pair

C. RIDGWAY MARTER (1893-1977) BURLINGTON, NJ, C. 1940 17 1⁄2 in. long

The drake is stamped “C.R. MARTER BURLINGTON NJ” and both are stamped “DSC. Original paint with minimal wear.

PROVENANCE: Dave Campbell Collection Private Collection, New Jersey

312

$2,000 - $3,000

312 Mallard Hen

C. RIDGWAY MARTER (1893-1977) BURLINGTON, NJ, C. 1940 14 3⁄4 in. long

The underside is tagged “C.R. MARTER BURLINGTON. N.J.” Original paint with light gunning wear and minor flaking under right eye. $1,000 - $1,500

185

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

Lots 313- 324 are part of

The Barrie and Bernice Stavis Collection of Mark McNair Decoys Barrie Stavis (1906-2007) was a distinguished American playwright who dedicated his career to addressing fundamental issues of the human condition. Stavis’s works, viewed by millions worldwide, have been translated into over twenty-eight languages and produced by dozens of major theaters around the world as well as numerous universities. Bernice Coe, or BC Stavis, (1919-2001) also had a very accomplished career as a pioneering executive in the film and television industry. Barrie and Bernice shared many loves, including sailing on their treasured wooden sailboat and hunting for decoys on Long Island.

“It started with a letter, which is appropriate enough for a man of letters. Barrie had discovered one of my pintails at a show on Long Island around 1977. His letter so intrigued me that I responded and thus began a relationship that lasted over thirty years. He was a mentor, patron, antagonist, muse, pal, helper, counselor, but most of all a friend in the truest sense of the word. For this I’ll always be grateful. He liked to close with, ‘Be well, do good work, and don’t forget to write.’ –Mark McNair Two important McNair-Stavis swan decoys currently reside at the Shelburne Museum in Vermont.

313

313 Dovetailed Feeding Yellowlegs MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1996 14 1⁄2 in. long

Displaying an extra level of intricacies for one of the maker’s best patrons, the “minnow-in-throat” head is attached to the body with a functioning dovetail joint. The inside of the joint is incised “1” and “BS” and is stamped “1996”. The underside of the featherweight body features a bone stick-hole-inlay 186

and the maker’s signature. Original paint with minimal wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$1,200 - $1,800

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

314

315

314 Brant

315 Blue-Winged Teal

A Northampton County, Virginia-style brant decoy with a spokeshave finish. The maker’s signature is incised in the underside. Original paint with light gunning wear.

This decoy is styled after South Carolina’s Caines brothers and exhibits raised, heart-shaped wings. The maker’s incised signature is on the underside. Original paint with wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$1,400 - $1,800

$2,000 - $3,000

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1985 17 in. long

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 12 1⁄4 in. long

187

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

316

318

317

319

316 Yellowlegs Pair

318 Reaching Curlew

Fred Nichols-style pair with split, raised wing tips and the maker’s incised signature on the underside. Original paint

with minimal wear.

This exemplary curlew showcases the maker’s very best early work. Signed with an incised “McNair” on the underside of the body. Original paint with minor wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$1,000 - $1,500

LITERATURE: Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, color plate LXXVIII, related example illustrated.

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 13 in. long

317 Ruddy Turnstone Trio MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1980 10 in. long

Each is signed by the maker with an incised “McNair” signature. Original paint with minor wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$1,400 - $1,800

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1975 17 3⁄4 in. long

$1,500 - $2,000

319 Blackbird

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1983 13 1⁄4 in. long

Signed and dated by the maker on the underside with a brief inscription. Original paint with minimal wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$600 - $900 188

320 Peep

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 7 in. long

320

A plump sandpiper in the Verity style with the maker’s incised signature on the underside. Original paint with minimal wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$400 - $600

321 Feeding Ruddy Turnstone Pair MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 7 1⁄4 in. long

321

Carved in the Verity style with the maker’s incised signature on the underside. Original paint with minimal wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$800 - $1,000

322 “Brown-Back” Shorebird MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1980 14 1⁄2 in. long

A “Brown-Back” style carving with the maker’s incised signature on the underside. This folky style of bird was found and documented by both Bill Mackey and Adele Earnest in the earliest days of decoy collecting. Original paint with minimal wear.

322

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$500 - $700

323

323 Dunlin

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 9 in. long

A true “red-backed sandpiper” in the Verity style with the maker’s incised signature on the underside. Original paint with minor wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$500 - $700

324

324 Feeding Plover

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 10 1⁄2 in. long

A feeding plover in the Verity style with the maker’s incised signature on the underside. Original paint with minimal wear.

PROVENANCE: The Barrie and Bernice Stavis Collection Private Collection, by descent in the family

$600 - $900 189

JIM SCHMIEDLIN

1945-2015 | BRADFORD WOODS, PA

325

325 Preening Redhead Hen JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1988 13 1⁄2 in. long

This hollow decoy is branded “JAS,” pencil inscribed, and marked with the maker’s “Return for Reward” note on the underside. Original paint with gunning wear.

PROVENANCE:

Private Collection

$2,000 - $4,000

326

326 Hooded Merganser Drake JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1994 16 in. long

This hollow decoy is branded “JAS,” pencil inscribed, and marked with the maker’s “Return for Reward” note on the underside. Original paint with gunning wear.

PROVENANCE:

Private Collection

$2,000 - $4,000

327

327 Turned-Head Mallard Hen JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1991 17 1⁄4 in. long

This hollow decoy is branded “JAS” and has the painted “Return for Reward” note on the underside.

Original paint with gunning wear.

PROVENANCE:

Private Collection

$2,000 - $4,000

190

JIM SCHMIEDLIN

1945-2015 | BRADFORD WOODS, PA

328 Red-Breasted Merganser Drake

328

JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1986 18 1⁄4 in. long

This hollow decoy is branded “JAS,” pencil inscribed, and marked with the maker’s “Return for Reward” note on the underside. Original paint with gunning wear.

PROVENANCE:

Private Collection

$2,000 - $4,000

329 White-Winged Scoter

329

JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, C. 1985 18 in. long

This unused hollow decoy is marked with the maker’s “Return for Reward” note and a painted inscription on the underside. Original paint with minimal wear from handling. $2,000 - $3,000

330 Surf Scoter

330

JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1982 16 1⁄4 in. long

This hollow decoy is marked with the maker’s “Return for Reward” note and penciled inscribed on the underside. Original paint with gunning wear. $2,000 - $3,000

191

JIM SCHMIEDLIN

1945-2015 | BRADFORD WOODS, PA

331

332

331 Long-Tailed Duck Pair

332 Turned-Head Scoter Pair

Both birds are hollow, branded “JAS,” and have the maker’s “Return for Reward” note on the underside. Original paint with gunning wear.

Each is branded “JAS,” pencil inscribed, and marked with the maker’s “Return for Reward” note on the underside. Original paint with gunning wear.

PROVENANCE:

PROVENANCE:

JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, C. 1988 18 in. long

Private Collection

$4,000 - $6,000 192

JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1986 20 1⁄4 in. long

Private Collection

$4,000 - $6,000

333

334

336

335

337

333 Hooded Merganser Pair HURLEY CONKLIN (1913-1983) MANAHAWKIN, NJ, C. 1970 14 in. long

A rigmate pair with the maker’s “H. CONKLIN” brand on the underside and his signature split crest on the heads. Original paint with minimal wear.

335 High-Head, Long-Tailed Duck ATLANTIC COAST 13 1⁄2 in. long

A folky, high-head decoy with inset circular weight.

Original paint with heavy wear. $400 - $600

$200 - $300

336 Preening Long-Tailed Duck 334 Red-Breasted Merganser Pair CLARENCE MILLER (B. 1936) BROCKVILLE, ONTARIO, CANADA, 1974 18 in. long

A full-size decorative pair, signed, dated, and inscribed to Russell Fink on the bottom. Original paint with minimal wear.

PROVENANCE:

FRANK J. DOBBINS (1907-1990) JONESPORT, ME, C. 1955 10 1⁄2 in. long

An early working decoy by this Down East maker.

Original paint with minor wear. $200 - $300

Russell Fink Collection, acquired from

the maker $1,000 - $1,500

337 Hooded Merganser C. 1930 12 1⁄2 in. long

A vertically laminated decoy with a high head, dramatic crest carving, and thin neck and bill. Original paint with gunning wear and repairs to neck and bill. $900 - $1,200

193

338

338 Bluebill Pair

J. EUGENE HENDRICKSON (1896 -1971) NORTHFIELD, NJ, C. 1920 13 in. long

A hollow pair, each with a “H.B. BOICE” brand and “SGH” stamp on the underside.

In mix of original and working paint with gunning wear.

PROVENANCE: H. B. Boice Rig Somers G. Headley Collection Private Collection

$300 - $500

339

339 Redhead Pair

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 13 1⁄2 in. long

A standard-grade pair with painted eyes.

As found in original paint. $300 - $400

340

340 Two Quarter-Size Canvasback Pairs CRISFIELD, MD, C. 1960 8 3⁄4 in. long

An Oliver “Tuts” Lawson (b. 1938) pair from The Duck House and a pair attributed to Capt.

Harry Jobes (b. 1936). Original paint with wear and neck cracks. $300 - $500

194

341 Black-Bellied Plover VIRGINIA, C. 1890 11 1⁄2 in. long

341

An Eastern Shore of Virginia shorebird with carved eyes. Original paint with minimal flaking and gunning wear. $200 - $400

342 Running Yellowlegs CHARLES SPIRON (B. 1948) GOLDSBORO, NC 16 1⁄4 in. long

Charles Spiron has been carving professionally for over thirty years. He was recently featured in the May/June 2017 issue of Decoy Magazine.

This yellowlegs has raised wings and incised primaries. Original paint.

342

LITERATURE: Dave O’Neal, “Charles Spiron,” Decoy Magazine, May/June 2017, pp. 38-41.

$350 - $450

343 Feeding Golden Plover CHARLES SPIRON (B. 1948) GOLDSBORO, NC, 2017 13 in. long

This plover has raised wings and incised primaries.

Original paint.

LITERATURE: Dave O’Neal, “Charles Spiron,” Decoy Magazine, May/June 2017, pp. 38-41.

343

$350 - $450

344 Seven Decoy Books (not pictured) Huxford, Bob and Sharon. The Collector’s Guide to Decoys, Book II. 1992.

Kangas, Linda and Gene. Decoys. 1992.

Fleckenstein, Henry A. New Jersey Decoys. 1983.

Mackey, William J. American Bird Decoys. 1965.

Earnest, Adele. The Art of The Decoy: American Bird Carvings. 1965.

Kangas, Gene and Linda. Decoys: A North American Survey. 1983.

Hustler, Harrison and Knight, Doug. Floating Sculpture. 1982 As found.

345 Ten Bound Decoy Magazine Volumes (not pictured) Ten bound volumes of Decoy Magazines spanning 1986 to 2008.

End of sale.

195

Brace Work

Julie Jeppsen

Unbridled

Browsing

Kathryn Mapes Turner

Sandy Graves

available at auction 2.15.18

Please join Kathryn Mapes Turner, Julie Jeppsen, Sandy Graves, Joseph Sulkowski, and more at the 2018 Southeastern Wildlife Exposition in Charleston, SC.

INDEX Abbett, Robert K.: 30

Frost, Arthur Burdett: 78, 117-120

Osgood, Charles G.: 187

Adamson, Harry Curieux: 18, 20, 25

Fuchs, Bernard: 67

Osthaus, Edmund H.: 4, 33

Ahearn, James Joseph: 240

Gelston, Thomas: 218, 219

Paff, Adam E.M.: 135

Alexander, Dave: 239

Gibbs, Harold N.: 254-258

Parker, Lloyd: 309

Alexander, Phinias: 181

Glen, Robert: 81

Payne, Andrew F.: 110

Andrews, Robert: 280

Hagerbaumer, David: 107

Peltz, Peter: 261

Audubon, John James: 77

Hamilton, E.P.: 259

Perdew, Charles H.: 194

Barber, Joel D.: 227

Harrison, John Cyril: 26-29, 75

Peterson, Oscar W.: 236

Benson, Frank W.: 82-94, 128-130, 132

Hawthorne, Davison B.: 7, 8, 150, 154-157,

Phelps, William Preston: 101

Bickford, Sid: 53

163, 164, 175

Pleissner, Ogden M.: 47, 112-114

Birch, Charles: 284

Hendrickson, J. Eugene: 338

Quillen, Nathaniel: 203

Bishop, Richard E.: 13-15, 125, 126, 134

Hildreth, Ephraim: 292, 293

Raikes, Arthur H.: 52

Blackstone, Jesse D.: 265

Hillman, John A.: 275

Reece, Maynard: 43-46

Blake, Bernard: 253

Hines, Richard: 127

Reneson, Chet: 58, 61, 62

Bowman, William or Charles Sumner

Holberton, Wakeman: 69, 70

Riley, C. Ford: 48, 48a

Bunn: 220

Holly, James T.: 151

Ripley, Aiden Lassell: 115, 123

Boyd, George H.: 209

Holmes, Lothrop Turner: 211, 212

Russell, John Bucknell: 50, 51

Brown, Paul Desmond: 116

Hubley Manufacturing Company: 162

Safford, Charles A.: 184

Browne, George: 17, 79

Hudson, Ira D.: 141, 143, 216, 217, 283

Schmiedlin, Jim: 325-332

Bruce, William: 34

Hudson, Norman: 282

Scott, John Walter: 104

Bunn, Charles Sumner or William

Humphrey, William: 213

Shilstone, Arthur: 64

Bowman: 220

Hunt, Lynn Bogue: 5, 6, 49, 56, 57

Shourds, Harry V.: 294-303, 305, 306

Burr, Elisha: 189

Irvine, Lawrence C.: 174, 237, 238

Sloane, Eric: 22-24

Burr, Russ E.: 260

Jaques, Francis Lee: 21, 72

Smith, Brett James: 38, 39, 41, 42

Catlin, George: 136

Jester, Doug: 142

Smith, Daniel: 108

Clark, Charles S.: 215, 285, 286

Killen, James: 106

Spencer, John Clinton: 9

Clem, Robert Verity: 63

King, Allen J.: 248

Spiron, Charles: 342, 343

Cobb Jr., Nathan F.: 279, 281

King, Joe: 310

Swan, John: 16, 102

Collins, Roy H.: 76, 202

Koelpin, Sr., William J.: 65, 66

Terry, Albert: 145

Conklin, Hurley: 333

Lacey: 263

Urdahl, Marlowe: 105

Corbin, Peter: 59, 60

Lapham, James: 262, 264

Verity Family: 146

Crocker, Michael A. and Melvin S.: 177

Lawson, Oliver: 266-268, 270

Voorhees, Clark: 228-234

Crowell, A. Elmer: 158-160, 185, 186, 188,

Lloyd, Charles: 147

Ward Brothers: 144, 153, 224, 269, 271

190, 191, 205, 206, 208, 210, 249

Maass, David A.: 12, 19

Ward, Lemuel T.: 152

Daly, Thomas Aquinas: 103

Machen, William Henry: 2, 3, 97

Warin, George: 192, 193

Dawson, John: 307

Marter, C. Ridgway: 311, 312

Waters, Donald Jordan: 111

de Groot, Ewoud: 73, 73a

Mason Decoy Factory: 148, 195-200,

Watson, Dave “Umbrella�: 214

Dilley, John: 221

225, 226, 339

Weiler, Milton C.: 11

Dobbins, Frank J.: 336

Matia, Walter T.: 71

Wheeler, Charles E.: 201

Doughty, Eli: 278

McGaw, Robert: 149, 161, 272-274

Williams, Frederick Dickinson: 96

Driscole, Harry A.: 54, 55

McIntyre, Cameron T.: 277

Wilson, Augustus: 182, 183

Dunn, Noel L.: 109

McNair, Mark S.: 276, 313-324

Wozny, Eddie: 252

Edwards, George: 124

Megargee, Jr., S. Edwin: 1

Young, Paco: 68

English, John: 304

Miller, Clarence: 334

Zorn, Anders Leonard: 131

Finney, Frank S.: 250, 251

Moore, Lynne R.: 74

Zullo, Rod: 31, 32

Frazier, Luke: 35

Muss-Arnolt, Gustav: 36, 37, 40

Frederick, Rod: 80

Newton, Harold: 100 197

TERMS AND CONDITIONS OF SALE 1 Your bidding on items indicates your acceptance of the following Terms and Conditions of sale by Copley Fine Art Auctions, LLC. These terms are subject to amendment before or during the sale. Copley Fine Art Auctions, LLC operates as an agent of the seller only, and is not responsible in any way in the event the seller or buyer fails to fulfill their respective agreements. In all instances the auctioneer’s interpretation of these conditions is final and binding on all bidders.

2 All bids are per lot as numbered in the catalog unless otherwise announced by the auctioneer. The sales price shall consist of the final bid price plus the buyer’s premium, plus any applicable sales tax. 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 as part of the purchase price.

3 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot.

4 The auctioneer has the sole right to re-offer a lot and/or settle disputed bids.

The record of sale kept by the auction house will be taken as final in the event of dispute. Additionally, items may be withdrawn at any time prior to the offering of each lot.

5 All goods are sold “as is” and all sales are final with no exchanges or refunds.

Copley Fine Art Auctions, LLC and its consignors make no representations or warranties as to merchantability, fitness for a particular purpose, the correctness of the catalog or other description of physical condition, quality, size, medium, importance, rarity, provenance or historical relevance of any property, and no statement made at the sale, or in the bill of sale, or invoice, or elsewhere shall be deemed such a warranty or representation or an assumption of liability. The purchaser assumes complete responsibility for items at the fall of the hammer.

6 Successful bidders are to pay for their purchases during or immediately after the sale or upon receipt of an invoice, unless other arrangements have been authorized in writing by the auction house. Payment may be made by cash or good check payable to Copley Fine Art Auctions, LLC. The auction house reserves the right to hold property until checks clear. A monthly service charge of 1.5% will be added to unpaid balances beginning 30 days after the sale date. A $50.00 fee will be added for returned checks. If a check fails to clear after the second deposit, the purchaser will be held responsible for any and all fees incurred until we have collected good funds. Purchases picked up at the auction will be subject to the South Carolina state and local tax of 9%. Buyers claiming exemption from sales tax must have the appropriate documentation on file with Copley Fine Art Auctions, LLC prior to the release of property.

Purchases delivered to South Carolina after the auction will be subject to the applicable South Carolina state and local taxes and purchases picked up or delivered to Massachusetts after the sale will be subject to the 6.25% Massachusetts sales tax unless exempted by applicable law.

7 If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Copley Fine Art Auctions, LLC may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale, and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has failed to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale.

8 Condition reports are not included in this catalog. It is the responsibility of prospective bidders to examine lots and decide their level of interest. Neither the auctioneer, Copley Fine Art Auctions, LLC, nor the consignor is responsible for the accuracy of any printed or verbal descriptions. Copley Fine Art Auctions, LLC strongly encourages clients to attend our previews and auctions so as to best determine condition of lots. Due to the high volume of condition requests, Copley Fine Art Auctions, LLC reserves the right to reject requests at its sole discretion. All weights and measurements are approximate.

198

9 Some of the lots in this sale carry reserves or minimum selling prices. This is a confidential figure set by the consignor and the auction house below which a lot will not be sold. The reserve will not exceed the low estimate, and the auction house will execute the reserve bids by bidding for the consignor.

Estimates are subject to change at any time prior to the offering of each lot.

10 Absentee and telephone bids will be executed when possible as a convenience to customers: the auction house will not be held responsible for any errors or failures to accurately execute bids. All absentee and telephone bids must be received at least 24 hours before the start of the sale.

11 Buyers wishing to pick up items at the sale must do so by the end 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. We kindly ask that all items be removed from our warehouse within 30 days of auction end to avoid a $5 daily storage fee.

12 Shipping is the responsibility of the buyer. Upon request, we will provide a list of shippers who deliver within the United States and overseas. Once your payment has cleared, items may be released for shipment. Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items.

Buyers should allow up to four weeks for shipment.

13 Copley Fine Art Auctions, LLC may, at its discretion and at the buyer’s request, package and ship sold items as directed by the purchaser. In such instances 1) the buyer shall prepay all related expenses, and 2) the buyer agrees that all packaging, handling and shipment is at the sole risk of the purchaser, and Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyer should allow four to five weeks for shipment.

14 Some property sold at auction can be subject to laws governing export from the United States, such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute delay or cancellation in payment for the total purchase price of these lots.

15 Bidding increments will normally follow the pattern below, but may vary at the sole discretion of the auctioneer: Estimate To 950 1,000 – 2,400 2,500 – 4,750 5,000 – 9,500 10,000 – 24,000 25,000 – 47,500 50,000 – 95,000 Over 100,000

Increment 50 100 250 500 1,000 2,500 5,000 at auctioneer’s discretion

16 Copley Fine Art Auctions, LLC is the owner of the images of each lot offered for sale, and may use such images at any time at its sole discretion for advertising, publicity, and for archival purposes.

17 If you are bidding as an agent for another individual or company, and you execute a bid on behalf of someone else under your bidder number, then you are responsible for the settlement of that account.

18 In no event will the liability of Copley Fine Art Auctions, LLC to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item.

19 Any legal disputes arising from this auction shall be settled in the court system of the Commonwealth of Massachusetts.

BUYER PRE-REGISTRATION FORM COPLEY FINE ART AUCTIONS | 65 Sharp Street | Hingham, Massachusetts 02043 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | copleyart.com

Name:

Telephone (#1) :

Company Name:

Telephone (#2) :

Agent acting on behalf of:

Telephone (#3) :

Invoice Address:

Email:

(PO Box not sufficient)

Signature: (required)

City : State: Zip: Bids will not be accepted without a completed form, including your signature. Your signature denotes that you have read and agree to be bound by the Terms and Conditions of Sale issued by Copley Fine Art Auctions, LLC for the 2018 Winter Sale.

Purchases picked up at the auction will be subject to the South Carolina state and local tax of 9%. Buyers purchasing for resale and claiming exemption from sales tax must present a properly executed resale certificate prior to the release of property.

Purchases delivered to South Carolina after the auction will be subject to the applicable South Carolina state and local taxes and purchases picked up or delivered to Massachusetts after the

sale will be subject to the 6.25% Massachusetts sales tax unless exempted by applicable law.

To be sure that bids will be accepted and delivery of lots not delayed, bidders who do not have an account with Copley Fine Art Auctions, LLC are requested to supply a bank reference prior to bidding.

I authorize you to contact the references below to provide you with any information in their possession including any business or credit experience with me, and I further agree to accept the cost of any charges such references may incur providing such information.

FINANCIAL REFERENCES

AUCTION REFERENCES

Name of Bank(s):

1. Name of Company:

Address of Bank(s):

Contact Name:

Account Number(s):

Telephone Number:

Name of Account Officer(s):

2. Name of Company:

Bank Telephone:

Contact Name:

Bank Fax:

Telephone Number:

199

ABSENTEE/TELEPHONE BID FORM COPLEY FINE ART AUCTIONS, LLC 65 Sharp Street | Hingham MA 02043 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com

please check one of the following:

ABSENTEE

TELEPHONE

1 All bids must be received at least 24 hours before the start of the sale. We cannot guarantee that bids placed after this time will be accepted. A Copley representative will send you an email to confirm receipt. If you have not received confirmation within 24 hours, please call 617.536.0030. Bids will not be accepted without your signature on this form.

2 This service is offered as a convenience at no charge; however, Copley Fine Art Auctions, LLC will not be held responsible for error or failure to execute bids. Copley staff will try to purchase these lots for the lowest possible price taking into account the reserve and other bids.

3 All bids are subject to the Terms and Conditions of Sale listed in this auction catalog. Further, it is the responsibility of the bidder to check with Copley staff whether a sale room notice relates to any lot which they have listed.

LOT #

200

a Absentee bids: Absentee bids are executed alternately in competition with the bidders in attendance. It is possible, due to the variations in bidding patterns, that a lot may be won by the audience for the same amount authorized by the absentee bidder. A (+) sign to the right of the bid amount will authorize the absentee bidder to bid one additional bid increment. In the event of identical bids, the first bid received will take precedence. b Telephone bids: If bidding by telephone, the bidder accepts the inherent risks associated with bidding over the telephone.

4 Payment: If successful, you will be contacted. Payment is due immediately upon notification unless arrangements have been made with Copley prior to bidding. A buyer’s premium of 20% 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.

CATALOG DESCRIPTION

BID PRICE US$

Print Name:

Signature:

(required)

(required)

h a nd cr a f t e d t o pe rf ec t i o n

est

19 6 9

T H E R O D YO U W I L L E V E N T UA L LY OW N Our craftsmen’s hands may not win any beauty contests but the rods they produce sure as hell should.

Beautifully handcrafted, we strive for perfection and uncompromising performance in every rod we make.

www.thomasandthomas.com HANDMADE IN AMERICA

201

THE SPORTING SALE 2018

HOTEL 1620 | 180 WATER STREET | PLYMOUTH, MA | JULY 19-20

Featuring

THE DONAL C. O’BRIEN, JR. COLLECTION

OF IMPORTANT AMERICAN SPORTING ART AND DECOYS

SESSION III

Dovetailed Canada Goose

INFO@COPLEYART.COM | 65 SHARP STREET, HINGHAM, MA | 617.536.0030

OUT-OF-STATE DELIVERY AND AUTHORIZED SHIPPING RELEASE FORM I tem(s) will not be released without a signed authorization form from the invoiced buyer. You may include this form with your payment or fax it to 617.266.4896. Payments of cash, check, or bank transfer must be posted to your account before property is released.

If Copley Fine Art Auctions, LLC (Copley) is required to deliver the items to a purchaser outside of Massachusetts the sale is exempt from Massachusetts Sales Tax under MGLA 64H ยง6(b) .

1

Copley is obligated to deliver the items out of the Commonwealth of Massachusetts.

2

Copley is obligated to deliver the items to an interstate carrier as noted below.

3

Title will pass upon delivery to the out of state destination.

4 Please be aware that packing and the payment for shipping is the responsibility of the successful Buyer. Upon making the item(s) available for shipping to the Buyer or its Agent, Buyer shall be responsible for the care and packaging of the item(s). The Buyer shall bear the risk of loss from and after Copley making available such item(s) to the interstate carrier, including the insurance of the item(s) against all risks of loss including without limitation, fire, theft or any other damage to the item(s).

5

Shipping can take up to four weeks and is processed in order in which payment is received.

6 At your option, you may contact one of the interstate carriers listed below, or one of your choosing to arrange for shipping.

Carriers pick up frequently at our offices.

SHIPPING OPTIONS:

The UPS Store #4423 A.J. Yanakakis, Wakefield, MA 781.224.2500 or store4423@theupsstore.com

Boston Pack and Ship* 781.849.8696 or 1.800.400.7204 or info@bostonpackandship.com

Scott Cousins/North South Art Transfer Hand delivery service 978.491.9353 or scottcousins22@aol.com

The UPS Store #2631 Bryan Cook, Kingston, MA 781.585.0602 or store2631@theupsstore.com

U.S. Art* 781.986.6500 or 1.800.872.7826 *Specializing in high-value art, large works, and specialty items

Print name:

Place and Manner of Delivery: To an Interstate Common Carrier for delivery out of state:

(as invoiced)

Shipping Address: I authorize:

to pick up my items(s) (Please specify Name of Common Carrier)

Sale Date:

Phone:

Lot #s:

Email: Signature: (required)

Internal use only Received by: Signature:

Print Name:

Date: 203

O. Pleissner |

WR

$345,000

J. English |

WR

$246,000

A.E. Crowell | $661,250

selling the world’s finest DECOYS AND SPORTING ART

E. Osthaus |

WR

$235,750

T. Chambers |

A.E. Crowell | $546,250

WR

$270,000

C. Rungius | $460,000

WR

Denotes world record for the artist

COMING SOON

To reserve your copy of this definitive book, please visit copleyart.com or call the gallery at 617.536.0536.

a publication by

F

COPLEY FINE ART AUCTIONS