Copley Art, The Sporting Sale 2012 Catalog

COPLEY

The Sporting Sale 2012 JULY 12-13 | Plymouth, Massachusetts

The Sporting Sale

2012

Copley Fine Art Auctions | 268 Newbury Street | Boston, Massachusetts 02116 | 617.536.0030

www.copleyart.com |

Copley Fine Art Auctions | 617.536.0030

Welcome Summer 2012 In New England, every summer we unfurl the sails, dust off the golf shoes, break out the fishing rods, and with a little luck, dine on freshly caught seafood. The seasonal changes as the coastal waters warm are palpable. The days get longer, the nights a little warmer, and we embrace all that summer has to offer. This July, I encourage you to come to Plymouth and partake in the summer sporting lifestyle that surrounds Copley’s annual fine and folk art celebration – The Sporting Sale 2012. Sample fresh local Island Creek Oysters, taste the area’s microbrews, and enjoy the some of the best wine made on earth from our good friends at Chatham Vineyards of Virginia’s eastern shore. Hit the beaches, museums and golf courses and soak up the rich history, heritage, and entertainment offered on Boston’s South Shore. There is no substitute for the exciting atmosphere of the sale room, exhibitor tables, seeing featured artist Luke Frazier (b. 1970), and the tremendous camaraderie of the decoy and sporting art collecting community. However, if for some reason you can’t make it to Plymouth, Copley has you covered, with numerous ways to participate, bid and follow all the auction action.

This year’s sale of over 650 items encompasses many of the things that we as hunters, fishermen, conservationists, and wildlife lovers hold dear. Copley is proud to offer seven oil paintings by Carl Rungius (1869-1959), including majestic Wapiti, that was part of C. Gordon Hewitt’s 1921 landmark call to protect the native species of North America, especially the big game animals that Rungius celebrates so well. An early forty-five pound Atlantic salmon carving by master carver John Tully (1862-1931) painted by his wife Dhuie Tully (1862-1950) commemorates a trophy catch of a lifetime. Friedrick Wilhelm Kuhnert’s (1865-1926) remarkable oil, Roused, A Tiger and Tigress gives us pause to think about the lord of the jungle, of which there are just a few thousand remaining in the wild. The long lost Shang Wheeler mallard carving that headlined the 1948 National Decoy Makers Contest and Exhibition will once again spread its wings to the market. And these items just scratch the surface.

I invite you kick back in your favorite chair with a glass of wine or sparkling water and browse through the hundreds of pages of top-notch paintings, prints, folk art, decoys, and Americana that our specialists have assembled. At Copley we honor the sporting and conservation traditions passed down through the generations. We take our role as stewards of the sea, land and historic objects very seriously and are thrilled to align ourselves with and share in the missions of organizations like The Atlantic Salmon Federation, Bonefish & Tarpon Trust, Mass Audubon, National Museum of Wildlife Art, Shelburne Museum, and Ward Museum.

As always, we are dedicated to providing personal attention to each buyer and seller and view our reputation as our most important asset. If there is anything we can do to make your travel and stay in Plymouth easier, please do not hesitate to contact us. We look forward to warmly welcoming you in Plymouth and hope that this year’s Sporting Sale will continue to provide you the thrill of the hunt.

Sincerely,

Stephen B. O’Brien, Jr. Chairman

The Sporting Sale Schedule of Events

AUCTION to be held at THE RADISSON HOTEL 180 WATER STREET | PLYMOUTH, MASSACHUSETTS

WEDNESDAY JULY

11

COCKTAIL RECEPTION

5:30PM - 7:30PM

THURSDAY JULY

12

AUCTION PREVIEW 8:30AM - 10:30AM DEALER EXHIBITION 8:30AM - 4PM AUCTION SESSION I 11AM Paintings, Works on Paper, Books, Folk Art, and Guns

FRIDAY JULY

13

AUCTION PREVIEW DEALER EXHIBITION AUCTION SESSION II Decoys

8:30AM - 10:30AM 8:30AM - 4PM 11AM

CONTACTS THE DAY OF THE SALE On Site: 617.536.0030 Cinnie O’Brien: 617.501.7544

ABSENTEE AND TELEPHONE BIDS Please visit www.copleyart.com to leave absentee or telephone bids or use the bid forms on page 297 of this catalog.

ONLINE BIDDING This auction features live online bidding at Liveauctioneers.com Please review the Terms and Conditions of Sale on page 298 of this catalog.

For further information please contact us at 617.536.0030.

268 Newbury Street | Boston, Massachusetts 02116 | 617.536.0030 | www.copleyart.com

Front Cover: Lot 59 Inside Front Cover: Lot 397 Left Table of Contents: Lot 22 Title Page: Lots 447, 448, 452 Left Properties: Lot 71 Inside Back Cover: Lot 8

CATALOG Stephen B. O’Brien Jr., Chairman Cinnie O’Brien, Chief Financial Officer Aimee Stashak-Moore, Auction Coordinator Kathryn Robinson, Fine Art Specialist Jim Parker, Decoy Specialist Colin McNair, Decoy Specialist Nancy Hershberg, Executive Assistant Rachel Akers, Intern Laura Westover, Intern PHOTOGRAPHY David Allen DESIGN Spire WEBSITE Smallfish Design, www.smallfish-design.com Printed in the USA on recycled paper by Spire Boston, MA

© Copley Fine Art Auctions, LLC 2012. All rights reserved.

Like us on Facebook FACEBOOK.COM/COPLEYFINEARTAUCTIONS.COM

Table of Contents

2

Chairman’s Welcome

3

Schedule of Events

6

Important Notices

10

Session 1: Painting, Works on Paper, Books, Folk Art and Guns

152

Session 2: Decoys

292

Bibliography

294

Index of Artists and Makers

296

Buyer Pre-Registration Form

297

Absentee/Telephone Bid Form

298

Terms and Conditions of Sale

299

Authorized Shipping Release Form

The Sporting Sale Important Notices 1. Please be advised that all persons wishing to bid at this auction should read, and be familiar with the Terms and Conditions of Sale on page 298 of this catalog prior to bidding.

2. Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for our January 21, 2013 Winter Sale. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com 3. Flat Art Dimensions Please be aware that all flat art dimensions are approximate and are rounded to the nearest quarter inch.

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 this catalog. If you wish to pre-register, please be certain that we receive your registration form no later than 5 pm EST, Tuesday, July 10, 2012.

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 by 5 pm EST, Tuesday, July 10, 2012. It is possible that any bids received after this date may not be accepted. You will receive confirmation of your absentee bid(s) within 24 hours of receipt.

If you do not receive confirmation, please call our office at 617.536.0030. This form is located on page 297 of the catalog.

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

8. Buyer’s premium A buyer’s premium of 15% (18% for online bidding) of the final bid price up to and including $1,000,000, plus 10% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the Buyer to Copley Fine Art Auctions, LLC as part of the purchase price.

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

10. Condition Description of Gunning Wear Gunning wear may include all types of wear and damage that can be inflicted and is to be expected on a decoy that has been used in the field. This may include, but is not limited to, paint wear, flaking, dings, scratches, checks, cracks, age lines, dents, chips, rubs, blunts, cracked eyes, missing eye, shot scars, seam separations, popped grain rust, and discoloration.

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

11. Accommodations The Radisson Hotel, 180 Water Street, Plymouth, MA, call early for our special group rate, 1.888.201.1718 13. Auction day contact numbers On site: 617.536.0030 Cinnie O’Brien: 617.501.7544 Auctioneer: Peter J. Coccoluto, MA License #2428

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 reports may be given on request, such reports are statements of opinion only. Regardless of whether or not a condition report is given, all property is sold as is. The absence of a condition report does not imply that the property is in good condition. All dimensions are approximate.

Copley Fine Art Auctions, LLC reserves the right at its sole discretion to refuse condition requests.

6

268 Newbury Street | Boston, Massachusetts 02116 | 617.536.0030 | www.copleyart.com

The Sporting Sale JULY 12-13,

2012

PLYMOUTH, MASSACHUSETTS

Properties from STEPHEN H. CHURCHILL COLLECTION JOHN COLLIER COLLECTION KYLE KNEESE COLLECTION BLAIR LEDINGHAM COLLECTION JOHN E. LENNON COLLECTION DESCENDANTS OF HARRY V. LONG PAUL W. MASENGARB COLLECTION FRANK MATTINGLY COLLECTION STEVEN MEADE COLLECTION VIRGINIA J. OLDRIN COLLECTION THOMAS W. SHEPPARD COLLECTION MARGO SWEET COLLECTION WILLIAM TOSI COLLECTION THE TUCKERTON SEAPORT COLLECTION LEN L. VAN ESS COLLECTION FRED WOMACK COLLECTION

PRIVATE COLLECTION, CALIFORNIA PRIVATE COLLECTION, CONNECTICUT PRIVATE COLLECTION, FLORIDA PRIVATE COLLECTION, GEORGIA PRIVATE COLLECTION, ILLINOIS PRIVATE COLLECTION, MAINE PRIVATE COLLECTION, MASSACHUSETTS PRIVATE COLLECTION, MIDWEST PRIVATE COLLECTION, NEW ENGLAND PRIVATE COLLECTION, NEW JERSEY PRIVATE COLLECTION, OKLAHOMA PRIVATE COLLECTION, PENNSYLVANIA PRIVATE COLLECTION, SOUTH CAROLINA PRIVATE COLLECTION, VIRGINIA PRIVATE COLLECTION, WESTPORT, CONNECTICUT

9

SESSION I Paintings, Works on Paper, Books, Folk Art, and Guns JULY 12 | 11 AM

1

1 Lynn Bogue Hunt (1878-1960) Springer with Pheasant Signed “Lynn Bogue Hunt” lower right Oil on canvas, 22 by 16 inches Lynn Bogue Hunt was born in rural Honeoye Falls, New York in 1878. Born into a family that ran a small sawmill operation, Hunt grew up with modest means. He 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 in magazines such as Field and Stream, Sports Afield, and Free Press. In his lifetime he painted for private collectors, companies, such as DuPont, and illustrated over forty books and produced roughly two-hundred-fifty magazine covers. Though he spent much of his life in New York City, far from nature, Hunt had a strong foundation as a knowledgeable outdoorsman, bird hunter, fisherman, and artist who accurately captured the essence of the outdoors.

In this work, the proud setter popping up over the stone wall with a beautiful cock pheasant in his mouth makes for a striking composition with the dog set off by the warm, fall colors. The work served as the cover of Field and Stream magazine’s September 1941 issue.

PROVENANCE : LITERATURE : ESTIMATE :

Property of a Private Collector

Field and Stream, September 1941, cover, illustrated.

$5,000-$10,000

11

2 Gustav Muss-Arnolt (1858-1927) On Quail Signed “G. Muss-Arnolt” lower left Oil on canvas, 29 by 15.75 inches Forbes, Boston, Massachusetts label on back The Closson Art Gallery, Cincinnati, Ohio label on back The Kennedy Galleries, New York, New York label on back Gustav Muss-Arnolt, along with fellow artist Percival Leonard Rosseau (1859-1937), 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.

His illustrations were published in Harper’s Weekly and the American Kennel Club Gazette, and frequently included in calendars. On Quail was used twice by Peter’s Cartridge Company of Cincinnati, Ohio, in advertising calendars, in 1911 and again in 1924 (fig. 1), as well as on envelopes (fig. 2). The company began producing these collectable promotional calendars in 1897 and continued until 1931. The fact that On Quail was chosen to appear in the calendar twice is not surprising. Muss-Arnolt has crafted a dynamic composition, drawing the viewer into the image, keying on the quail, building tension with the exquisitely painted dogs, and creating depth with the hunter in the background. With the setters staunch on point and the hunter preparing for the quail to alight, the canvas is filled with action and excitement.

It is one of the most recognizable cartridge advertising images of all time.

PROVENANCE :

Private Collection, New York Private Collection, Connecticut, acquired from the above

ESTIMATE :

$15,000-$25,000

Figure 2

Figure 1

12

2

13

3

3 Aiden Lassell Ripley (1896-1969) Two Woodcock, 1945 Signed and dated “A. Lassell Ripley 1945� lower right Watercolor, 20 by 30 inches These matching New England upland bird paintings (Lots 3 and 4) were originally acquired by Dr. John W. Meachen (1891-1949), a prominent Boston radiologist and breeder of championship German shorthaired pointers.

PROVENANCE :

Dr. John W. Meachen By descent in the family to the current owner

ESTIMATE :

14

$10,000-$15,000

4

4 Aiden Lassell Ripley (1896-1969) Grouse and Thorn Apple, 1945 Signed and dated “A. Lassell Ripley” lower left Watercolor, 20 by 30 inches PROVENANCE :

Dr. John W. Meachen By descent in the family to the current owner

ESTIMATE :

$10,000-$15,000

15

5 Louis Vidal (1831-1892) Setter Signed “Vidal” on top of base Bronze, 9 by 7 by 3.5 inches

5

Vidal, who was afflicted with a disease of the eyes, was blind for much of his career. Despite this, he produced a number of high quality works that were sought after by such collectors as the Rothschilds and Mathilde Bonaparte.

Few of his pieces were cast in bronze, and those that were remain in high demand.

PROVENANCE :

Private Collection, New Jersey, purchased from The Bronze Gallery, Virignia

ESTIMATE :

6

6 Jules Moigniez (1835-1894) Setter on Point, 1860 Signed “J. Moigniez” on top of base Bronze, 8 by 13 by 4 inches In addition to sculpting dogs, Moigniez is known for his bronzes of game birds and horses. He worked with his father, who cast all of his pieces in a foundry built specifically for creating his works. This close relationship allowed Moigniez to ensure that the remarkable amount of detail in his models made it into the final product.

This attention to detail is apparent in Setter on Point, with the dog’s lush coat, tense stance, and delicately raised paw. The work is considered amongst Moigniez’s greatest accomplishments.

PROVENANCE : ESTIMATE :

16

Private Collection, New Jersey, purchased from The Bronze Gallery, Virginia

$2,000-$3,000

$1,000-$2,000

7

7 Pierre Jules Mêne (1810-1877) Medor, 1840 Signed “P. J. Mêne” on top of base Bronze, 6.25 by 12.25 by 3.5 inches With a “Tiffany” stamp on the side of the base Pierre Jules Mêne was among the most prolific and commercially successful Animalier sculptors. Popular throughout the United States and Europe, Mêne won several awards at the Paris Salons, the First Class Medal at the London Exhibitions in 1855 and 1861, and was awarded the Cross of the Legion d’Honneur. This work is a portrait of an Irish setter, named “Medor,” and is a companion piece to Mêne’s sculpture of a French Spaniel named “Fabio.” He designed the works with the intention that they would be displayed together facing each other.

PROVENANCE :

Private Collection, New Jersey, purchased from The Bronze Gallery, Virginia

ESTIMATE :

$5,000-$7,000

17

8 Percival Leonard Rosseau (1859-1937) Setters on Partridge Signed “Rosseau” lower right Oil on canvas, 24 by 32 inches Percival Rosseau was born near Baton Rouge, Louisiana. Considered a premier painter of sporting dogs, Rosseau did not pick up a paintbrush until the age of thirty-five. After leaving an eclectic business career including stints as a cowboy and a lumberjack, he sailed to Paris to attend the Académie Julian, where he studied under Jules Lefebvre (1836-1911), whose other students included Frank W. Benson (1862-1952), Childe Hassam (1859-1935), and Edmund C. Tarbell (1862-1938). His entry at the 1904 Paris Salon, a painting of a pair of Irish wolfhounds, gained him pivotal acclaim. He returned to the United States where he found a ready market for his work among wealthy sportsmen and received many commissions from first-rate breeders of pointers and setters. Among these patrons was Percy Rockefeller, nephew of oil tycoon John. D. Rockefeller and a successful businessman in his own right.

Along with several investors, Rockefeller built Overhills, a private hunt and country club with stables and kennels in Cumberland County, North Carolina. He kept a cottage on the property for Rosseau to use when he traveled to the state, and the artist painted there throughout the 1920s and 1930s. Rosseau’s best works capture the tense action of hunting dogs and depict them in romantic landscapes. His style is loose and painterly, showing the influence of the French Barbizon School.

Rosseau’s debt to the Barbizon tradition is apparent in Setters on Partridge, with its softly defined brushstrokes, rich colors, and pastoral setting. It is likely that this work features two of the dogs from the Rockefeller kennel hunting partridge on the grounds of Overhills.

The setters are perfectly positioned in the composition, leading the viewer’s eye into the distance towards the birds they have located. With its finely rendered dogs and warm, golden background, Setters on Partridge ranks among Rosseau’s most desirable works.

PROVENANCE : ESTIMATE :

18

Private Collection, Virginia

$40,000-$60,000

8

19

9

9 Gustav Muss-Arnolt (1858-1927) Pointers Signed “G. Muss-Arnolt� lower right Oil on canvas, 12 by 15 inches This painting shows the artist at the height of his ability, with its perfectly rendered dogs, staunch on point against a lush, autumnal background.

PROVENANCE : ESTIMATE :

20

Private Collection, Massachusetts

$15,000-$20,000

10

10 Edmund H. Osthaus (1858-1928) Two Setters Signed “Edmund Osthaus� lower right Oil on canvas, 12 by 20 inches In 1883, after studying painting for six years, Edmund Osthaus became an instructor at the Toledo Academy of Fine Arts. There he served as the director from 1886-1893, refining his painting technique and pursuing his passions: hunting and fishing.

He resigned in 1893 to dedicate 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. A frequent field trial judge, he followed that circuit across the country. He showed his own setters and pointers in both field trials and confirmation shows. His artistic talent combined with his love of dogs enabled him to capture the essence of the working dog while depicting acute anatomical detail.

Osthaus, along with Gustav Muss-Arnolt (1858-1927), Percival Rosseau (1859-1937), and J.M. Tracy (1843-1893), is considered among the greatest American sporting dog painters. He painted the National Field Trail Association winners for the first three decades of its existence. The DuPont Company reproduced these portraits as calendars and lithographs. Additionally, he was commissioned to paint sporting scenes by industrial magnates including members of the Vanderbilt family and J.P. Morgan, who admired his large scale realistic genre paintings.

PROVENANCE : ESTIMATE :

Private Collection, New Jersey

$18,000-$24,000

21

11 Gustav Muss-Arnolt (1858-1927) Billy Signed “G. Muss-Arnolt” lower left Oil on canvas, 5 by 4 inches Inscribed “Billy” upper right

11

This remarkable little oil is one of the few finished sketches by the artist to come on the market. MussArnolt has masterfully painted a setter’s head with skill and finesse. Billy was most likely one of the champion dogs that the artist painted while working as a field judge for the American Kennel Club.

PROVENANCE : ESTIMATE :

12

12 Luke Frazier (b. 1970) Autumn Wind, 2011 Signed “L. Frazier” lower right Oil on board, 12 by 12 inches ESTIMATE :

22

$2,500-$3,500

Private Collection, New Jersey

$5,000-$6,000

13

13 Ferdinand Pautrot (1832-1874) Setter with Duck Signed “F. Pautrot” on top of base Bronze, 8 by 6 by 4.75 inches PROVENANCE :

Private Collection, New Jersey, purchased from The Bronze Gallery, Virginia

LITERATURE :

James Mackay, The Animaliers: The Animal Sculptors of the 19th and 20th Centuries, London, 1973, cover illustration, related example (fig. 1).

ESTIMATE :

$2,500-$3,500

Figure 1

23

14 Paul Édouard Delabrierre (1829-1912) Setter Signed “E. Delabrierre” on top of base Bronze, 2 by 4.5 by 1 inches

14

Paul Édouard Delabrierre was a pivotal member of Les Animaliers, a group of artists working in bronze whose main focus was the portrayal of domesticated and game animals.

This diminutive bronze is especially remarkable for its detail given its small size, which is not often associated with this medium.

PROVENANCE :

Private Collection, New Jersey, purchased from The Bronze Gallery, Virginia

ESTIMATE :

15 Charlotte Conard (1863-1948) Two Dogs Signed “Conard” lower right Oil on canvas, 10 by 14 inches ESTIMATE :

16

$800-$1,200

15

$800-$1,200

16 Paul Édouard Delabrierre (1829-1912) Setter on Point Signed “E. Delabrierre” on top of base Bronze, 6 by 11 by 3 inches PROVENANCE :

Private Collection, New Jersey, purchased from The Bronze Gallery, Virginia

ESTIMATE :

24

$2,000-$3,000

17

17 Walter Matia (b. 1953) DeCoverly English Setter, 1993 Signed “Matia” on top of base Bronze, 17 by 13.5 by 5 inches Inscribed “3/36 93” on side of base Edition #3 of 36 Walter Matia is known for the remarkable amount of surface detail in his bronzes. He studied both biology and art design, the influence of which is apparent in his balanced, and anatomically correct works. His subjects run the gamut of wildlife from eagles, to bulls, to sporting dogs. This bronze is a rare rendering of an English setter from the DeCoverly Kennels. Established in 1907, this respected kennel has produced some of the finest English setters in the world.

PROVENANCE : ESTIMATE :

Private Collection, New Jersey

$2,000-$3,000

18 Paco Young (1958-2005) Ruffed Grouse, 1998 Signed “Paco Young ©” lower left Oil on canvas, 12 by 20 inches Inscribed “Paco Young 1998” on back

18

Young lived and worked in the South for most of his life, but in 1994 he moved his family to Bozeman, Montana. In this environment he spent much of his time outdoors, either painting en plein-air or fly fishing. He is known for his ability to capture the subtle effects of nature in his works and for his accurate depictions of animals in their habitats. A popular artist in his lifetime, Young died too soon, leaving behind a relatively small body of collectible work.

ESTIMATE :

$3,000-$4,000

25

19

20

21

19 Ogden M. Pleissner (1905-1983) Salmon Pool, 1942 Signed “Ogden M. Pleissner” lower right Drypoint, 10 by 15 inches Published in an edition of 60

21 Ogden M. Pleissner (1905-1983) Salmon Guide, 1942 Signed “Ogden M. Pleissner” lower right Drypoint, 10 by 8 inches Published in a limited edition of 60

LITERATURE : Peter Bergh, The Art of Ogden M. Pleissner, p. 106, illustrated.

LITERATURE : Peter Bergh, The Art of Ogden M. Pleissner, p. 106, illustrated.

ESTIMATE :

ESTIMATE :

$3,000-$5,000

20 Ogden M. Pleissner (1905-1983) Reflections, 1942 Signed “Ogden M. Pleissner” lower right Drypoint, 10 by 8 inches Published in an edition of 60 LITERATURE : Peter Bergh, The Art of Ogden M. Pleissner, p. 106, illustrated.

ESTIMATE :

26

$3,000-$5,000

$3,000-$5,000

22

22 Ogden M. Pleissner (1905-1983) Wilderness Trout Stream Signed “Pleissner” lower left Watercolor, 17.5 by 21.5 inches The Sporting Gallery and Bookshop, New York, New York label on back “Great sporting artists are great artists who know the habits of wild creatures and have committed to memory every detail of habitat. These are men who have experienced the thrill of an Atlantic salmon or a large trout taking a well-presented fly, the explosion of a bursting covey of quail, sunrise on a duck marsh, running the rapids in a canoe, sleeping under the stars, and in many other ways truly lived in nature. Partly because special experience is behind all true sporting art, it is in a class by itself, and has had very few masters. Among them: Winslow Homer (1836-1910), Frederick Remington (1861-1909), Carl Rungius (1869-1959), Frank W. Benson (1862-1951), A. B. Frost (1851-1928), A. L. Ripley (1896-1969), Thomas Eakins (1844-1916), and Ogden Pleissner (1905-1983).

One can always sense, in Pleissner’s sporting pictures that he is painting the things he likes to look at in the places he likes to be.” – Peter Bergh Pleissner’s skill at capturing the tumble and splash of rushing water is demonstrated in Wilderness Trout Stream. His animated brushwork evokes the movement of the outdoors, not only the rippling water, but also the swaying trees and rustling grass.

PROVENANCE : LITERATURE : ESTIMATE :

Private Collection, South Carolina

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, p. 73.

$30,000-$50,000

27

23 Ogden M. Pleissner (1905-1983) On a Scottish Grouse Moor Signed “Pleissner” lower left Watercolor, 16 by 28 inches Hirschl & Adler Galleries, Inc., New York, New York label on back Meredith Long & Company, Houston, Texas label on back Recalling the circumstances of this commission, Pleissner wrote: “Drumor lodge in Perthshire was owned by the National Cash Register Company. The Chairman of the Board, Stanley ‘Chick’ Allyn, invited a group of men over to this moor to shoot red grouse. Directors and business associates and the like.

Well, these men wanted to give him a present to thank him for all the shooting they had done, and instead of a cigar box with all their signatures etched on it, one of the men asked me to come over to the moor to paint a picture of the shooting there. They wanted to give it to Chick as a present.

I went up there and Chick Allyn and I got along. At the time I was shooting well and they didn’t have many good shots in the group. Well, anyway, he liked me and my wife and invited us back a number of times. We went over every year for six years in the early sixties.”

PROVENANCE :

Kyle Kneese Collection

LITERATURE :

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, p. 98, illustrated.

The Crossroads of Sport, Inc., New York, NY, 1973-74, cover, illustrated.

ESTIMATE :

28

$40,000-$60,000

23

29

24

24 Aiden Lassell Ripley (1896-1969) A Fine Day for Fishing Signed “Aiden Lassell Ripley ©” lower left Watercolor, 18 by 28.5 inches The Sporting Gallery and Bookshop, New York, New York label on back PROVENANCE : ESTIMATE :

30

Private Collection, South Carolina

$12,000-$18,000

25

25 William J. Schaldach (1896-1982) Leaping Brook Trout, 1934 Signed and dated “W. J. Schaldach ‘34” lower right Watercolor, 9.75 by 13.75 inches ESTIMATE :

$4,000-$6,000

26

26 John Walter Scott (1907-1987) Fishing Scene Signed “John Scott” lower right Watercolor, 11 by 17 inches ESTIMATE :

$1,000-$2,000

31

“Snipe Shooting Were I a bird I’d most enjoy The care-free life of the Decoy, So that, however tame I’d be, No one would care to shoot at me.

The reason for my wish is thus Ridiculously obvious.”

- A.B. Frost, Drawings

27 Arthur Burdett Frost (1851-1928) Snipe Shooting Signed “A. B. Frost” lower right 19.25 by 26.75 inches A. 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, 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 ducks and snipe. He completed hundreds of watercolors and oils of the New Jersey seaside and is probably best known for his hunting and shooting prints that capture the drama of sport in realistically detailed settings. Snipe Shooting is a classic portrayal of shorebird hunting, depicting two hunters crouched in a make-shift blind, shooting over two dozen shorebird decoys. The day’s bounty is piled behind them and the shooters are tensed, ready to take aim at another flock, visible in the distance.

This work is illustrated in Drawings, by A. B. Frost, and paired with the playful poem seen above.

The original owner of this work, Isaac Norris De Haven, was a business man and an active member of the Delaware Valley Ornithological Club, where he served as President from 1897-1898. An avid hunter, he often spent weekends on the New Jesery shore where he kept his cat boat Widgeon. Frost, who De Haven met at a camp in the mountains of Pennsylvania, was a frequent guest on these excursions to the shore. This work was likely painted to commemorate one of the many hunting trips the two men took together.

PROVENANCE :

Isaac Norris De Haven, acquired directly from the artist By descent in the family to the current owner

LITERATURE : ESTIMATE :

32

A. B. Frost, Drawings, New York, NY, 1904, illustrated.

$20,000-$30,000

27

33

28

28 Arthur Burdett Frost (1851-1928) Wild Goose Shooting Signed “A. B. Frost” lower left Gouache, 18.25 by 24.75 inches Hirschl & Adler Galleries, Inc., New York, New York label on back These depictions of goose and duck shooting (Lots 28 and 29), are illustrated in Lanier’s A. B. Frost, The American Sportsman’s Artist, and are considered two of the artist’s most iconic water fowling scenes.

PROVENANCE :

Private Collection, New Jersey

LITERATURE : Henry W. Lanier, A. B. Frost, The American Sportsman’s Artist, New York, NY, 1933, p. 143, illustrated.

ESTIMATE :

34

$30,000-$40,000

29

29 Arthur Burdett Frost (1851-1928) Wild Duck Shooting Signed “A. B. Frost” lower right Gouache, 18.25 by 24.75 inches Hirschl & Adler Galleries, Inc., New York, New York label on back PROVENANCE :

Private Collection, New Jersey

LITERATURE : Henry W. Lanier, A. B. Frost, The American Sportsman’s Artist, New York, NY, 1933, p. 143, illustrated.

ESTIMATE :

$30,000-$40,000

35

30 Thomas Sedgewick Steele (1845-1903) Hanging Quail Signed “T. S. Steele” lower left Oil on canvas, 16 by 10 inches

30

PROVENANCE : ESTIMATE :

31detail 31

Private Collection, Maine

$1,000-$2,000

31 The Bobwhite Quail Stoddard, Herbert L. (1889-1970) The Bobwhite Quail: Its Habits, Preservation and Increase. New York: Charles Scribner’s Sons, 1931. Deluxe Edition. No. 173 of 250 Signed “Herbert L. Stoddard” in ink on edition page.

Bound into this book is the frontispiece by Frank W. Benson (1862-1951) Quail, 1930 Signed “Frank W. Benson” lower left Etching, 5.75 by 4.25 inches Paff # 289, edition 173 of 250 The inspiration for this etching most likely occurred when Benson traveled to South Carolina in the late 1920s to hunt quail on an abandoned rice plantation with a patron from New York. The etching depicts a pair of quail nesting among shrubs and grasses. This is the only known Benson depiction of a quail in any medium.

ESTIMATE :

36

$2,000-$4,000

32

32 Roland Clark (1874-1957) Black Ducks Alighting Signed “Roland Clark” lower right Oil on canvas, 26 by 20 inches Roland Clark devoted much of his life to the study and portrayal of waterfowl in flight. He was particularly fond of painting black ducks, which frequented Clark’s native New York and Connecticut coastlines.

Using a sky filled with soft pink and light blue hues, Clark captures the essence of early morning duck hunting.

PROVENANCE :

Private Collection, Wisconsin

LITERATURE :

Stephen B. O’Brien, Jr. Fine Arts, 2001 Catalog Boston, MA, p. 7, illustrated.

ESTIMATE :

$10,000-$15,000

37

33 Frank W. Benson (1862-1951) Hunter Coming Ashore, 1925 Signed and dated “F.W. Benson ‘25” lower left Watercolor, 16.5 by 21.5 inches Frank Weston Benson, one of the “Ten American Painters” and a leading influence in the Boston school of American Impressionism, was born in Salem, Massachusetts on March 24, 1862. Frank’s grandfather Samuel was a Chinatrade captain and his family prospered during the booming maritime trade based out of Salem and Boston. During the Industrial Revolution Frank’s father invested in the Naumkeag Steam Cotton Company and as a result became one of the most prosperous cotton merchants in Boston.

In his youth, Benson was a gifted athlete and excelled at boxing, sailing, and tennis. Growing up along the extensive marshes surrounding his native Salem, Benson learned to hunt and fish at an early age. His diaries and letters frequently mention shooting expeditions and fishing trips.

These excursions in the salt marshes and hills of Essex County became a source of inspiration for many of his sporting paintings. Benson loved nature and birds in particular. He wanted to combine his love for birds and his love for art by pursuing a career as an ornithological illustrator in the manner of John James Audubon (17851851). As a child he spent many hours at the Museum of Comparative Zoology at Harvard and Benson’s mother, who was herself a painter, encouraged him in this pursuit.

In 1880, Benson enrolled at the School of the Museum of Fine Arts in Boston. He studied with the school’s founding teachers, Otto Grundmann (1844-1890) and Frederick Crowninshield (1845-1918). Among his classmates were Willard Metcalf (1858-1925), William Bicknell (1860-1947), Edmund C. Tarbell (1862-1938), and Joseph Lindon Smith

38

(1863-1950). Benson learned quickly and was recognized as a particularly gifted student. In 1882, while still attending classes at the Museum School, Benson began to teach free evening drawing classes in Salem.

In 1885 Benson rented a painting studio in Salem. He began to exhibit at the Boston Art Club and the National Academy of Design in New York, receiving much critical acclaim and numerous awards. After his marriage to Ellen Peirson in 1888, he taught at the Boston Museum School with his friend Edmund Tarbell intermittently until 1930. The year 1898 was the turning point in Benson’s career. He joined a number of other leading painters from New York and Boston, including Tarbell, Childe Hassam (1859-1935), and J. Alden Weir (1852-1919) to form the “Ten American Painters.” This group of radical avant-garde painters, mostly working in the French Impressionist style, rejected and resigned from the National Academy and the Society of American Artists to exhibit independently and without juries.

Benson exhibited in all of the “Ten’s” annual exhibitions, which were held for twenty years, and it was from this second phase of his career that his historical reputation grew. Hunter Coming Ashore is a bright and vivid watercolor completed at the height of the artist’s best period.

PROVENANCE: Richard Perry, Lincoln, Massachusetts, acquired prior to 1972 Priviate Collection ESTIMATE:

$40,000-$60,000

33

39

34

34 Frank W. Benson (1862-1951) Going Out Signed “F. W. Benson” lower right Ink wash, 7.75 by 10.75 inches Inscribed “Going Out” on back F.A.R. Gallery New York, New York label on back PROVENANCE : ESTIMATE :

Private Collection, Florida

$8,000-$12,000

41

35

36

37

38

39

35 Frank W. Benson (1862-1951) Off Pea Island, 1921 Signed “Frank W. Benson” lower left Etching, 7 by 10.75 inches Paff # 206, edition of 150

37 Frank W. Benson (1862-1951) Yellowlegs No. 3, 1923 Signed “Frank W. Benson” lower left Etching, 8 by 6 inches Paff # 224, edition of 150

PROVENANCE :

PROVENANCE :

Private Collection,

Florida ESTIMATE :

$1,000-$1,500

ESTIMATE :

$800-$1,000

36 Frank W. Benson (1862-1951) Teal, 1925 Signed “Frank W. Benson” lower left Drypoint, 7.75 by 10.75 inches Paff # 243, edition of 150

38 Frank W. Benson (1862-1951) Three Yellowlegs, 1920 Signed “Frank W. Benson” lower left Etching, 4.5 by 6 inches Paff # 184, edition of 150

PROVENANCE :

PROVENANCE :

Private Collection,

Florida ESTIMATE :

42

Private Collection,

Florida

Private Collection,

Florida $600-$900

ESTIMATE :

$600-$900

39 Frank W. Benson (1862-1951) The Visitor, 1918 Signed “Frank W. Benson” lower left Etching, 3 by 5 inches Inscribed “125” lower right Guild of Boston Artists label on back Paff # 145, edition of 150 PROVENANCE :

Private Collection,

Florida ESTIMATE :

$600-$900

40

41

42

43

40 Frank W. Benson (1862-1951) Supper, 1920 Signed “Frank W. Benson” lower left Etching, 7 by 5 inches Paff # 182, edition of 150 PROVENANCE : ESTIMATE :

Private Collection, Florida

$1,500-$2,500

41 Frank W. Benson (1862-1951) Chickadees, 1919 Signed “Frank W. Benson” lower left Drypoint, 8 by 6 inches Paff # 168, edition of 150 PROVENANCE : ESTIMATE :

42 Frank W. Benson (1862-1951) Gunners’ Blind, 1921 Signed “Frank W. Benson” lower left Etching, 8 by 9.75 inches Frederick Keppel & Co., Inc, New York, New York label on back Paff # 204, edition of 150 PROVENANCE : ESTIMATE :

Private Collection, Florida

43 Frank W. Benson (1862-1951) Morning Flight, 1918 Signed “Frank W. Benson” lower left Etching, 8 by 9.75 inches Paff # 152, edition of 150 PROVENANCE : ESTIMATE :

Private Collection, Florida

$600-$900

$2,200-$2,800

Private Collection, Florida

$1,500-$2,500

43

44

45

46

47

44 Gordon Grant (1875-1962) Men of Gloucester Signed “Gordon Grant” lower right Lithograph, 9 by 10 inches

46 Gordon Grant (1875-1962) Concarneau Signed “Gordon Grant” lower right Etching, 8 by 9.75 inches

PROVENANCE :

PROVENANCE :

ESTIMATE :

Private Collection, Florida

$200-$400

45 Gordon Grant (1875-1962) Small Craft Signed “Gordon Grant” lower right Lithograph, 9 by 11.25 inches PROVENANCE : ESTIMATE :

Private Collection, Florida

$200-$400

ESTIMATE :

$200-$400

47 Gordon Grant (1875-1962) Cod Fisherman Signed “Gordon Grant” lower right Etching, 3.25 by 2.75 inches Inscribed “Cod Fisherman” and “ed/50” lower left PROVENANCE : ESTIMATE :

44

Private Collection, Florida

Private Collection, Florida

$200-$400

48

49

50

51

52.1

52.2

48 Julian Levi (1874-1971) Road to Provincetown Signed “Julian Levi” lower right Lithograph, 8.5 by 12 inches PROVENANCE : ESTIMATE :

Private Collection, Florida

$200-$400

51 Philip Kappel (1901-1981) The Fisherman Signed “Philip Kappel” lower right Lithograph, 5 by 6 inches Inscribed “The Fisherman” lower left PROVENANCE : ESTIMATE :

49 Henry C. Pitz (1895-1976) Day’s End Signed “Henry C. Pitz” lower right Lithograph, 9 by 12 inches PROVENANCE : ESTIMATE :

Private Collection, Florida

$200-$400

50 Victoria Ebbels Hutson Huntley (1900-1971) Nantucket Beach, 1930 Signed and dated “Victoria Ebbels Hutson 1930” lower right Lithograph, 9 by 12 inches PROVENANCE : ESTIMATE :

Private Collection, Florida

$200-$400

52 Philip Kappel (1901-1981) Two Prints 52.1 Cape Haitian, Haiti Signed “Philip Kappel” lower right Etching, 7 by 10 inches 52.2 Three Row Boaters Signed “P. Kappel” lower right Lithograph, 5 by 3.5 inches PROVENANCE : ESTIMATE :

Private Collection, Florida

$400-$600

Private Collection, Florida

$200-$400

45

IMPORTANT PAINTINGS BY CARL RUNGIUS from a Private Virginia Collection

CARL CLEMENS MORITZ RUNGIUS is perhaps the most pivotal wildlife painter of the twentieth century. Documenting the great North American wilderness during a time when Manifest Destiny was becoming reality and the pervading attitude was one of expansionism, Rungius instead aligned himself with the newly minted conservation movement.

Heralded by President Theodore Roosevelt, conservation efforts in America worked to preserve wildlife and the wilderness it inhabited. In 1909 at the bequest of Roosevelt and like-minded sportsmen, the National Conservation Commission began to tackle the environmental challenges caused by the closing frontier and increasing population of the West.

Carl Rungius in his Banff studio, Alberta, 1947, Glenbow Archives NA-5614-1

Carl Rungius in camp, Glenbow Archives NA-3466-8

46

Each winter he would retreat back to his studio in New York City, where he had access to prominent clients, and it was in this location that he completed the majority of his large scale works. Using the field sketches, animal trophies, pelts, and numerous photographs that he had collected the summer before, Rungius recreated the wilderness of the West in the city. These efforts paid off as Rungius’ works are filled with anatomically correct animals, true-to-life colors, and vibrant landscapes.

Inaugural hike of the Skyline Hikers of the Canadian Rockies: Wenkchemna Pass, second group, August 4-7, 1933, Glenbow Archives NA-5566-6

Rungius’ paintings capture big game animals and their habitat, during this period of change. His works show a profound respect for his subjects, and for the natural world. A hunter and sportsman, as well as an artist, Rungius spent months at a time traversing the wilderness and camping in the mountains so that he could paint his subjects from life. The artist was known for his thoroughly researched works, and he not only created oil and pencil sketches in the field to use as reference in his studio, but also collected photographs and kept big game trophies.

Rungius began his career like many other painters, as an illustrator in New York City. In 1895, at the age of twenty-six, he traveled to the West for the first time. In the years that followed, the artist visited Montana, Wyoming, Arizona, Yellowstone Park, the Yukon, and the Canadian Rockies, hunting and painting big game animals in their natural habitats. In 1922 Rungius built “The Paintbox,” his studio in Banff, Alberta, where he painted every summer until his death.

Carl Rungius painting in studio, Green Point, Long Island, New York, Glenbow Archives NA-3466-53

47

53 Carl Clemens Moritz Rungius (1869-1959) Home of the Big Horn Signed “C. Rungius” lower right Oil on canvas, 16 by 20 inches Exhibited at The Academy of the Arts, Easton, Maryland, In Search of Big Game: Animals in Art, November 7 -December 3, 1997 “Although these species [mountain goats and bighorn sheep] were comparable to the almost-extinct chamois and ibex of the Alps, no iconographical convention existed for representing them. American artists had to base their imagery on the actual animal, but as no Rocky Mountain sheep or goat survived in captivity until the end of the nineteenth century, the animals had to be seen in the wild or in a museum collection. The bighorn’s magical aura as a symbol of the wilderness was intensified by scientific interest in the other mountain sheep species of the northwest. Sportsmen were eager to compete for the social prestige of discovering a new species and giving it a taxonomic identity.“ – The Glenbow Museum, Carl Rungius: Artist and Sportsman PROVENANCE :

Private Collection, Virginia, by descent in the family

LITERATURE :

The Glenbow Museum, Carl Rungius: Artist and Sportsman, Toronto, Canada, 200, p. 32.

ESTIMATE :

48

$60,000-$90,000

53

49

54

54 Carl Clemens Moritz Rungius (1869-1959) Mount Assiniboine Signed “C Rungius� lower right Oil on canvas, 9.5 by 11 inches This vivid work is very likely a plein-air oil sketch, based on the presence of tacking holes in each corner of the painting. Rungius would set up his outdoor easel to capture the splendor of the mountains, the trees, and the sunlight.

PROVENANCE : ESTIMATE :

Private Collection, Virginia, by descent in the family

$8,000-$12,000

Carl Rungius painting under umbrella, Banff, Alberta, Glenbow Archives NA-3466-54

50

55

55 Carl Clemens Moritz Rungius (1869-1959) Ridgeline Mountain Goats Signed “C. Rungius” lower right Oil on canvas, 12 by 16 inches Exhibited at The Academy of the Arts, Easton, Maryland, In Search of Big Game: Animals in Art, November 7 -December 3, 1997 PROVENANCE :

Private Collection, Virginia, by descent

in the family ESTIMATE :

$30,000-$50,000

51

56 Carl Clemens Moritz Rungius (1869-1959) Moose on a Ridge Signed “C. Rungius” lower right Oil on canvas, 26 by 38 inches Exhibited at The Academy of the Arts, Easton, Maryland, In Search of Big Game: Animals in Art, November 7 -December 3, 1997 This dynamic rendering of a bull and cow moose demonstrates Rungius’ remarkable ability as a colorist and draftsman. The work is set in a serene landscape filled with soft blues, rich greens, and subtle purples, which is so expertly crafted that the crispness of the air and the lushness of the forest are almost tangible.

The moose are depicted with incredible attention to anatomy, every muscle and each tendon clearly defined. Rungius has painted the bull in a turned position, leading the viewer’s eye in past its hind quarters to its raised head and broad antlers. Placing the cow on another plane, the artist draws the viewer’s gaze even deeper into the work, inviting spectators to imagine themselves as part of the scene.

This work was exhibited under the title Preliminaries, in 1908, as part of Rungius’ show at the highly acclaimed Salmagundi Club in New York.

PROVENANCE :

Private Collection, Virginia, by descent in the family

LITERATURE :

John Whyte and E. J. Hart, Carl Rungius: Painter of the Western Wilderness, Calgary Alberta, 1985, p. 60, Illustrated.

ESTIMATE :

52

$150,000-$250,000

59 Carl Clemens Moritz Rungius (1869-1959) Wapiti, 1907 Signed “C. Rungius” lower right Oil on canvas, 32 by 24 inches Inscribed “Copyright 1907” lower left Exhibited at The Academy of the Arts, Easton, Maryland, In Search of Big Game: Animals in Art, November 7 -December 3, 1997

56

“For sportsman such as Theodore Roosevelt, the conquest of the American wilderness, which began with Daniel Boone, was seen as a masculine ideal of the hard, outdoor life symbolized best by the collecting of trophy heads. Among the most desirable trophies was the wapiti, whose antlers were greatly admired as masterpieces of symmetrical grandeur…Among hunters, however, the stag remained a lordly icon that couldn’t be abandoned, and for Rungius, an artist working in the European tradition of sport and art, the iconography of the stag was crucial...” – Glenbow Museum, Carl Rungius: Artist and Sportsman This majestic and important oil titled Wapiti was selected as the frontispiece in C. Gordon Hewitt’s The Conservation of the Wildlife of Canada, published

by Scribner & Sons in 1921. This landmark publication marked the start of an increasing awareness of the value of big game animals, which were rapidly disappearing from the continent, and called for safeguards to protect North America’s indigenous species from extinction. The work is also illustrated in the Glenbow Museum’s definitive publication Carl Rungius: Artist and Sportsman.

Rungius wrote, “The noblest game of all- elk- bore a resemblance to the red deer of Europe. There a stag was considered the noblest game of all and I felt that I should follow that tradition.” Rungius’ Wapiti relates to Sir Edwin Landseer’s (1802-1873) celebrated painting, The Monarch of the Glen, which was widely distributed through prints made from steel engravings. Landseer’s frontal depiction of a red stag on a hillside is one of the most iconic and recognizable wildlife images worldwide. Both works are striking compositions, featuring a magnificent bull rising up on the crest of a ridge, with a dramatic, mountainous landscape as the backdrop. Rungius’s nod to Landseer is apparent in Wapiti, but he has revitalized and expanded the subject, giving the elk a fresh North American look.

In Wapiti Rungius captures the spirit of the North American wilderness as something to be appreciated for its beauty, yet respected for its might. Painted around the same time as the Glenbow Museum’s masterpiece, On Yukon Waters, Wapiti has comparably expert brushwork and similar warm coloring. It ranks as one of Rungius’s masterworks. provenance :

Private Collection, Virginia, by descent in the family

literature :

The Glenbow Museum, Carl Rungius: Artist and Sportsman, Toronto, Canada, 2001, p. 22, illustrated.

C. Gordon Hewitt, The Conservation of the Wildlife of Canada, New York, 1921, frontispiece, illustrated. estimate :

56

$150,000-$250,000

53

57

58

Moose on a Ridge (also known as Preliminaries), The Carl Rungius Exhibition, The Salmagundi Club, New York, 1908, from the Glenbow Museum Archives, NA-3466-3 (detail)

57 Carl Clemens Moritz Rungius (1869-1959) Western Landscape Signed “C. Rungius” lower right Oil on canvas, 16 by 20 inches provenance : estimate :

Private Collection, Virginia, by descent in the family

$15,000-$20,000

58 Carl Clemens Moritz Rungius (1869-1959) Banff Signed “C. Rungius” lower right Oil on canvas, 9.5 by 11 inches provenance : estimate :

Private Collection, Virginia, by descent in the family

$8,000-$12,000

Moose on a Ridge (also known as Preliminaries), The Carl Rungius Exhibition, The Salmagundi Club, New York, 1908, from the Glenbow Museum Archives, NA-3466-3

54

55

58

58 Carl Clemens Moritz Rungius (1869-1959) Banff Signed “C. Rungius” lower right Oil on canvas, 9.5 by 11 inches PROVENANCE : ESTIMATE :

Private Collection, Virginia, by descent in the family

$8,000-$12,000

55

59 Carl Clemens Moritz Rungius (1869-1959) Wapiti, 1907 Signed “C. Rungius” lower right Oil on canvas, 32 by 24 inches Inscribed “Copyright 1907” lower left Exhibited at The Academy of the Arts, Easton, Maryland, In Search of Big Game: Animals in Art, November 7 -December 3, 1997 “For sportsman such as Theodore Roosevelt, the conquest of the American wilderness, which began with Daniel Boone, was seen as a masculine ideal of the hard, outdoor life symbolized best by the collecting of trophy heads. Among the most desirable trophies was the wapiti, whose antlers were greatly admired as masterpieces of symmetrical grandeur…Among hunters, however, the stag remained a lordly icon that couldn’t be abandoned, and for Rungius, an artist working in the European tradition of sport and art, the iconography of the stag was crucial...” – Glenbow Museum, Carl Rungius: Artist and Sportsman This majestic and important oil titled Wapiti was selected as the frontispiece in C. Gordon Hewitt’s The Conservation of the Wildlife of Canada, published

by Scribner & Sons in 1921. This landmark publication marked the start of an increasing awareness of the value of big game animals, which were rapidly disappearing from the continent, and called for safeguards to protect North America’s indigenous species from extinction. The work is also illustrated in the Glenbow Museum’s definitive publication Carl Rungius: Artist and Sportsman.

Rungius wrote, “The noblest game of all- elk- bore a resemblance to the red deer of Europe. There a stag was considered the noblest game of all and I felt that I should follow that tradition.” Rungius’ Wapiti relates to Sir Edwin Landseer’s (1802-1873) celebrated painting, The Monarch of the Glen, which was widely distributed through prints made from steel engravings. Landseer’s frontal depiction of a red stag on a hillside is one of the most iconic and recognizable wildlife images worldwide. Both works are striking compositions, featuring a magnificent bull rising up on the crest of a ridge, with a dramatic, mountainous landscape as the backdrop. Rungius’s nod to Landseer is apparent in Wapiti, but he has revitalized and expanded the subject, giving the elk a fresh North American look.

In Wapiti Rungius captures the spirit of the North American wilderness as something to be appreciated for its beauty, yet respected for its might. Painted around the same time as the Glenbow Museum’s masterpiece, On Yukon Waters, Wapiti has comparably expert brushwork and similar warm coloring. It ranks as one of Rungius’s masterworks.

PROVENANCE :

Private Collection, Virginia, by descent in the family

LITERATURE :

The Glenbow Museum, Carl Rungius: Artist and Sportsman, Toronto, Canada, 2001, p. 22, illustrated.

C. Gordon Hewitt, The Conservation of the Wildlife of Canada, New York, 1921, frontispiece, illustrated.

ESTIMATE :

56

$150,000-$250,000

59

57

60 Schaldach William J. (1896-1982) Carl Rungius, Big Game Painter: Fifty Years with Brush and Rifle. [Forewards by Frederick C. Walcott and William N. Beach.] Number 60 of 160. First Edition.

60

Original etched frontispiece of a moose, signed by the artist in pencil. Illustrated with photographs, and with color and black and white reproductions of Rungius’ work. Portrait of Rungius by Louis Betts. [xvi], 117 pp. 4to (12.5 by 9.75 inches), West Hartford, VT: The Countryman Press, 1945. First edition, No. 60 of 160 copies, signed by the author and the artist Carl Rungius. Original gray and brown cloth, gilt device on upper cover, top edge gilt, others uncut, in green paper backed boards slipcase with printed label.

ESTIMATE :

61

61 Black Forest Decanter The carving measures 12.5 inches tall.

ESTIMATE :

58

$2,500-$3,500

$3,000-$5,000

LUKE FRAZIER Copley’s Featured Artist of the Year LUKE FRAZIER, born in 1970, quickly established himself as one of the West’s most important 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 an apparent 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. Every year, Frazier travels through Alaska, Canada, and the American West painting and photographing animals in their environment. His love of fly fishing and hunting is apparent in his work. Influenced by the art of Winslow Homer (1836-1910), Edgar Payne (1883-1947), Bruno Liljefors (18601939), Wilhelm Kuhnert (1865-1926), Carl Rungius (1869-1959), Bob Kuhn (1920-2007) and Ken Carlson (b. 1937), Frazier appreciates the strength of drawing, color and emotion put into their pieces.

well as the Artist Choice and Patrons Choice awards at the 2011 Briscoe Museums, Night of Artists Show.

Among the museums where Frazier’s paintings have been exhibited are 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 Gilcrease Museum, Tulsa, Oklahoma; the Briscoe Museum, San Antonio, Texas; The Clymer Museum, Ellensburg, Washington; the Buffalo Bill Museum, Cody ,Wyoming; 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.

62

Frazier’s work has often been compared to that of Carl Rungius and Bob Kuhn, (noted masters of wildlife art). In a recent article in Wildlife Art, Bill Kerr, co-founder 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.”

John Geraghty, a Frazier collector and board member of the Autry Museum of the American West, said – “It’s exciting when young artists emerge who know their material yet do not feel threatened by taking suggestions from the masters. You can tell by the way they work how serious they are, and you can see the continuing improvement in Luke’s work, especially in his design. He is influenced by other greats like Kuhn and Carl Rungius, but at the same time he’s his own man.”

Frazier’s work has been included in the book Leading the West, written by Don Hagerty, in conjunction with Southwest Art magazine, and published by Northland Press in 1997. The book profiles 100 of the best living painters and sculptors working today. In 2007 Frazier was included in the book The Fine Art of Angling, and his work The Tillamook Creel adorned the cover.

Over the course of the last decade Frazier has been honored with numerous awards, including the Wildlife Art Award, as

62 Luke Frazier (b. 1970) Up to Here in Gulls, 2010 Signed “L. Frazier” lower right Oil on board, 14 by 12 inches Inscribed “© 10” lower left ESTIMATE :

$4,000-$6,000

59

63

63 Luke Frazier (b. 1970) Quakie Prince, 2009 Signed “L. Frazier” lower right Oil on board, 11 by 14 inches Inscribed “© 09” lower left ESTIMATE :

$3,000-$5,000

64

64 Luke Frazier (b. 1970) Fox in Dappled Sunlight, 2007 Signed “Luke Frazier” lower center Oil on board, 20 by 30 inches ESTIMATE :

60

$8,000-$10,000

65

65 Andy Anderson (1893-1963) c. 1954 Wood Carving, 33 by 9.25 by 14.5 inches ESTIMATE :

$4,000-$6,000

65 detail

61

66

WILLIAM J. KOELPIN was an avid hunter and fisherman from Wisconsin who went on to become a celebrated sporting artist excelling in a number of mediums including bronze, paint and wood. Throughout his career he displayed his passion for the outdoors through his accurate and detailed works. Before becoming a dedicated artist, Koelpin was a firefighter, only practicing his craft in his spare time. This changed after he experienced his first sellout exhibit 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 Foundation’s Art and Waterfowl Exhibit in Salisbury, Maryland and he was named “One of America’s Premier Artists” by the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin.

62

67

68

66 William J. Koelpin (1938-1996) Opening Day Signed “Wm. J. Koelpin” on side of base Bronze, 28 by 15 by 9 inches Inscribed “Opening Day” and “‘91 1/24” on side of base Edition # 1 of 24

68 William J. Koelpin (1938-1996) Damn the Wind, 1976 Signed “WM J Koelpin” on base Bronze, 24 by 10 by 9 inches Inscribed “Damn the Wind” and “1976 © Artist Proof” on top of base

ESTIMATE :

Author Bill Tarrant describes seeing the piece when visiting the artist. He writes, “I was staying with Bill Koelpin, an award-winning sculptor, carver, and painter... when I noticed a bronze still in the wax of a hard-put duck hunter and an American water spaniel at the whim of the wind and a white-capped marsh. In a split second I said ‘damn the wind’. And that’s what Bill named the piece.”

$10,000-$15,000

67 William J. Koelpin (1938-1996) Opening Day Signed and dated “Wm. J. Koelpin © 80” lower right Oil on canvas, 24 by 30 inches ESTIMATE :

$2,000-$4,000

This is the only known casting of the work.

LITERATURE : Bill Tarrant, How to Hunt Birds with Gun Dogs, Mechanicsburg, PA, 1994, p. 152.

ESTIMATE :

$4,000-$6,000

63

69.1

69.2 69 William J. Koelpin (1938-1996) 69.1 Buffalo Hunter Bronze Signed “WM J Koelpin” on base Bronze, 12 by 18 by 8 inches Inscribed “© ‘90 14/24” on base Edition # 14 of 24 69.2 Buffalo Hunter Painting Signed “Koelpin ©” lower left Oil on canvas, 24 by 30 inches ESTIMATE :

64

$5,000-$7,000

70

70 detail

70 Henryk Kossowski (1855-1921) Retour de Pêche Signed “Kossowski” on base Bronze, 18 by 14 by 46 inches With four foot green marble base This work features a young bare-foot woman in rustic, peasant garb, returning from the water with her net and a basket full of fish.

ESTIMATE :

$3,000-$5,000

71 detail

66

71

71 Charles Schreyvogel (1861-1912) The Last Drop, Copyright 1903, Roman Bronze Works 1904 Bronze, 12 by 18.5 by 5 inches Inscribed “Copyrighted 1903 by Chas Schreyvogel” on top of base Inscribed “Roman Bronze Works 1904” on side of base Numbered “3” underneath base Schreyvogel grew up in the New York City area, where his parents worked as shopkeepers. Educated in the public school system, Schreyvogel’s sketches garnered attention from his teachers and he eventually made his way into the Newark Art League. Without funds to procure studio space, the artist set up his easel on the rooftop of a rundown building in Hoboken, New Jersey.

the artist’s most famous work. This well-known bronze depicts a cavalryman giving his last drop of water to his horse. The original owner acquired this particular casting directly from Schreyvogel when he was a struggling artist. The collector befriended the sculptor while he was working in his rooftop studio and purchased this early casting to help support Schreyvogel’s budding career.

The artist befriended several of the cowboys and entertainers from Buffalo Bill Cody’s Wild West Show and was able to travel West for the first time in 1893. He worked in both Colorado and Arizona, painting, sketching, and producing lithographs to support himself. Schreyvogel submitted My Bunkie, one of the paintings he completed during his travels, to the 1900 National Academy exhibition, where it earned top honors. Using the $300 prize money to travel West again, the artist spent time with American cavalry officers, sketching them, along with their Native American counterparts.

The intricacies of this bronze are quite remarkable with details revealed from every angle. Schreyvogel has not only focused on the horse and the cavalryman, but he has paid equal attention to depicting the saddle, reins, scabbard, and canteen. This casting (number 3) was completed in 1904 by the Roman Bronze Works, the foundry favored by Schreyvogel and his contemporaries Charles Russell (1864-1926) and Frederic Remington (1861-1909).

During this time, Schreyvogel chronicled the wars between the two factions: in many ways acting as much as an historian as an artist. Schreyvogel was known for his thorough research, which involved first sketching the subject, then making clay models, and at times even employing live models, before executing works. Schreyvogel only produced two bronzes in his lifetime – White Eagle, and The Last Drop, which is perhaps

PROVENANCE :

Private Collection, New Jersey, acquired directly from the artist Private Collection, Virginia, by descent in the family

LITERATURE :

Michael Forrest, Art Bronzes, West Chester,

PA, p. 348.

ESTIMATE :

$60,000-$90,000

67

72

72 Arthur Burdett Frost (1851-1928) Those Five Minutes in Battle Signed “A. B. Frost” lower right Watercolor and gouache, 20 by 13 inches Inscribed “The Bear Hunters by A. B. Frost” and “Five minutes of battle” on back LITERATURE : Henry W. Lanier, A. B. Frost, The American Sportsman’s Artist, New York, NY, 1933, p. 54, illustrated.

ESTIMATE :

68

$5,000-$7,000

73

73 Lynn Bogue Hunt (1878-1960) Rams Signed “Lynn Bogue Hunt� lower left Oil on canvas, 33 by 22 inches This important big game painting was used as a Remington UMC advertising poster in the 1920s or 1930s.

ESTIMATE :

$15,000-$25,000

69

74

74 Bob Kuhn (1920-2007) Old Timer, c. 1985 Signed “Kuhn” lower left Acrylic on board, 23 by 35 inches PROVENANCE : ESTIMATE :

70

Private Collection, acquired from artist

$80,000-$120,000

75

75 Bob Kuhn (1920-2007) Lion after Gazelle Signed “Kuhn” lower left Egg tempera, 28 by 36 inches Born and raised in Buffalo, New York, Bob Kuhn enjoyed visiting the Buffalo Zoo and sketching its inhabitants as a child. After studying design, anatomy, and life-drawing at the Pratt Institute in New York City, Kuhn made his living working as an illustrator for various wildlife and outdoor magazines.

In the early 1970s Kuhn switched to painting full time and was so successful that he never went back to illustrating. He traveled to Africa a dozen times for expeditions lasting up to eight weeks, where he witnessed the scenes that he would later draw on and depict in his paintings.

Kuhn’s work is featured in the permanent collections of The National Museum of Wildlife Art in Jackson, Wyoming, The National Cowboy Hall of Fame in Oklahoma City, Oklahoma, and the John L. Wehle Gallery of Sporting Art, Genesee Country Museum in Mumford, New York.

Kuhn is known for his ability to depict movement and action in his paintings; a skill that is exemplified in this work. The fleeing gazelle seem to jump out of the picture plane and the lion turns dramatically in pursuit.

PROVENANCE : ESTIMATE :

Private Collection, New Jersey

$80,000-$120,000

71

76 Friedrich Wilhelm Kuhnert (1865-1926) Roused, A Tiger and Tigress, 1912 Signed and dated “Wilh. Kuhnert 1912” lower right Oil on canvas, 24 by 39 inches Label inscribed “No. 78 and auf dem Raubz**e” The Fine Art Society, Ltd., London label inscribed “Roused–Tigers, Wilhelm Kuhnert, No. 21. May 1913” on back Richard Green, London label on back J. N. Bartfield, New York, New York label on back The visceral power of the tiger has been recognized since the beginning of mankind. This lord of the jungle is remarkable not only for its strength and dexterity, but for its beauty and grace. A fixture in ancient mythology and lore, the tiger represents royalty, fearlessness, and wrath in Asian culture, and is one of the twelve Chinese zodiac animals.

The largest of the cat species, the tiger has a body length of up to eleven feet and a maximum recorded weight of seven hundred pounds. The tiger, along with the lion, African elephant, leopard, and rhinoceros, are the five big game animals, and are considered to be amongst the most impressive creatures on the planet. As the result of a variety of social and environmental factors, the tiger’s numbers have dwindled to an estimated 1,500-3,500 from over 100,000 in the early twentieth century.

A technically gifted painter from a young age, Friedrich Wilhelm Kuhnert was known for his assiduous approach to his work. Primarily focused on painting wildlife, he was specifically interested in big game. Unlike most of his contemporaries Kuhnert was not content with sketching animals in captivity, seeking out big game in the wild rather than drawing animals at the zoo.

Observing these animals in their natural habitat, Kuhnert eliminated any trace of stiffness and artificiality from his paintings.

Roused, A Tiger and Tigress is one of Kuhnert’s seminal works. The orange of the tigers’ fur pops against the faded yellows and tans of the brush, making these majestic animals the undisputed focus of the painting. Kuhnert has expertly captured the dual nature of this creature, simultaneously highlighting its strength and its grace. From their hunched shoulders and lowered heads, to their rigid tails, the tension in the postures of these animals is palpable.

This work, with its brilliant composition and impeccable provenance is one of the most important Kuhnert paintings ever to come on the market.

PROVENANCE : PROVENANCE : Private Collection, New Jersey, acquired from J. N. Bartfield Gallery in 1996 ESTIMATE :

72

$150,000-$250,000

80

76

80 Donald Jordan Waters (20th-21st century) Meadowlarks Signed and inscribed “For Harry Tipper, Donald Jordan Waters” lower left Egg tempera on board, 20 by 36 inches A beautiful species, the meadowlark is the state bird of Kansas, Montana, Nebraska, North Dakota, Oregon, and Wyoming. estimate :

$1,500-$2,500

81

81 Robert Verity Clem (1933-2010) Cape Smokey, 1981 Signed “Robert Verity Clem” lower left Watercolor, 18 by 27.5 inches This work depicts an immature eagle in Cape Smokey, Nova Scotia, a provincial park that is a haven for wildlife and migratory birds. estimate :

76

$6,000-$9,000

73

76

77 Isaac Sprague (1811-1895) (attr.)

Scoter Pair Oil on metal, 21.5 by 27.5 inches

77

estimate:

78 Richard LaBarre Goodwin (1840-1910) Hanging Grouse Signed and dated “R. LaBarre Goodwin Pinx’t 1880” lower left Oil on canvas, 25 by 16.5 inches Tyger! Tyger! burning bright

What the hammer? what the chain?

In the forests of the night,

In what furnace was thy brain?

What immortal hand or eye

What the anvil? what dread grasp

Could frame thy fearful symmetry?

Dare its deadly terrors clasp?

In what distant deeps or skies

When the stars threw down their spears,

Burnt the fire of thine eyes?

And watered heaven with their tears,

On what wings dare he aspire?

Did he smile his work to see?

What the hand dare sieze the fire?

Did he who made the Lamb make thee?

And what shoulder, & what art.

Tyger! Tyger! burning bright

Could twist the sinews of thy heart?

In the forests of the night,

And when thy heart began to beat,

What immortal hand or eye

What dread hand? & what dread feet?

Dare frame thy fearful symmetry?

79

$2,000-$3,000

78

Born in Albany, New York, Richard LaBarre Goodwin was the son of portrait painter Edwin Weyburn Goodwin (1800-1845). Taking after his father, he painted portraits before turning to the gibier mort genre. Most famous for his still life paintings featuring a variety of hanging game birds, Goodwin worked in a highly realistic style along the lines of Alexander Pope, Jr. (1849-1924) and George Cope (1855-1929).

Goodwin began painting these trompe l’oeil still lifes during the 1880s, when he spent a decade traveling through rural Western New York State.

In 1890, Goodwin began his itinerant life, first moving to Washington D.C. While there he found patronage from California senators Leland Stanford (founder of Stanford University) and George Hearst (millionaire investor who founded the Hearst publishing empire with his son William Randolph Hearst). He went to Chicago for the 1893 World’s Fair and stayed for the next seven years. In 1900 he moved West, spending the remainder of his life in California and the Pacific Northwest.

The Tyger poem – William Blake 1794

estimate :

74

79 Henry Dutton Morse (1826-1888) Hanging Game, 1865 Signed and dated “H.D. Morse 1865” lower right Oil on canvas, 30 by 25 inches estimate :

$4,000-$6,000

$2,000-$4,000

75

79

79 Henry Dutton Morse (1826-1888) Hanging Game, 1865 Signed and dated “H.D. Morse 1865” lower right Oil on canvas, 30 by 25 inches ESTIMATE :

$4,000-$6,000

75

80

80 Donald Jordan Waters (20th-21st century) Meadowlarks Signed and inscribed “For Harry Tipper, Donald Jordan Waters” lower left Egg tempera on board, 20 by 36 inches A beautiful species, the meadowlark is the state bird of Kansas, Montana, Nebraska, North Dakota, Oregon, and Wyoming.

ESTIMATE :

$1,500-$2,500

81

81 Robert Verity Clem (1933-2010) Cape Smokey, 1981 Signed “Robert Verity Clem” lower left Watercolor, 18 by 27.5 inches This work depicts an immature eagle in Cape Smokey, Nova Scotia, a provincial park that is a haven for wildlife and migratory birds.

ESTIMATE :

76

$6,000-$9,000

82

82 William H. D. Koerner (1878-1938) Duck Hunters, 1926 Signed and dated “W H D Koerner 1926� lower left Oil on canvas, 40 by 30 inches Koerner began his career as an illustrator for the Chicago Tribune. He attended the Art Institute of Chicago for a brief time, before moving to New York City and enrolling in the Art Students League. He completed his formal education with famed illustrator Howard Pyle (1853-1911), whose other students included N. C. Wyeth (1882-1945) and Philip R. Goodwin (1882-1935).

PROVENANCE : ESTIMATE :

Private Collection, New Jersey

$25,000-$35,000

77

83

83 Lynn Bogue Hunt (1878-1960) Over the Wheat Signed “Lynn Bogue Hunt” lower left Oil on canvas, 16 by 22 inches This stunning oil served as the frontispiece in the original edition of Van Campen Heilner’s renowned Book on Duck Shooting (fig. 1), and was used as the dust jacket image on the later editions. The book is one of the most famous pieces ever written on duck shooting, and Heilner is one of the most authoritative sources on the subject.

This painting, with wheat fields stretching back as far as the eye can see, conjures up images of America’s heartland. Hunt’s familiarity with waterfowl is apparent in the deftly painted mallards, which he has depicted in a variety of postures. The fine brush work, soft coloring, and detailed composition make this one of the artist’s finest waterfowl paintings.

PROVENANCE :

Frank Mattingly Collection

LITERATURE :

Van Campen Heilner, A Book on Duck Shooting, Philadelphia, PA, 1939, frontispiece, illustrated.

ESTIMATE :

78

$12,000-$18,000

Figure 1

84

84 Lynn Bogue Hunt (1878-1960) Pointer and Quail Signed “Lynn Bogue Hunt� lower right Oil on board, 16 by 22 inches Known for his vibrant palette, Hunt was also an excellent draftsman and master of composition. In this oil, Hunt has captured an explosive covey rise frozen in time. All three birds appear in different positions of flight in front of a steady pointer. Hunt worked to get the composition for this painting just right, as evidenced by the repositioning of the corn stalks that the artist painted out in the background.

PROVENANCE :

Private Collection, Illinois The Seagrams Collection Private Collection, Wisconsin

ESTIMATE :

$20,000-$30,000

79

85

85 Maynard Reece (b. 1920) Turkeys, 1953 Signed “Maynard Reece� lower right Oil on canvas, 26 by 36 inches An ardent conservationalist, Maynard Reece has donated art work to benefit numerous environmental and conservation causes throughout his career. To date, he has won the Federal Duck Stamp contest more than any other artist, with his design chosen in 1948, 1951, 1959, 1969, and 1971.

ESTIMATE :

$3,000-$4,000

Maynard Reese photographed with Turkeys, June 28, 1988 which he completed in 1953

80

86

86 Brett J. Smith (b. 1958) Duck Storm, 2007 Signed “Brett J. Smith” lower right Oil on canvas, 35.5 by 29.5 inches PROVENANCE : ESTIMATE :

Thomas W. Sheppard Collection

$6,000-$9,000

81

87 David Maass (b. 1929) Woodcock Signed “Maass” lower left Oil on board, 24 by 20 inches

87

The paintings of David Maass reflect years of disciplined study that have helped distinguish him as one of America’s premier wildlife artists. A native of Rochester, Minnesota, Maass was born into a family of sportsmen. He hunted frequently with his stepfather, and his mother won the Minnesota State Trap-Shooting Championship.

Over the course of Maass’ successful career, he has twice won the Federal Duck Stamp Contest, has published over three hundred illustrations with Wild Wings, and has raised millions of dollars for conservation groups across the continent by generously donating his artwork.

PROVENANCE :

Private Collection, Virginia By descent in the family to the current owner

ESTIMATE :

88 David Maass (b. 1929) Pintails Coming In Signed “Maass” lower right Oil on board, 24 by 30 inches PROVENANCE :

Private Collection, Virginia By descent in the family to the current owner

ESTIMATE :

82

$6,000-$9,000

88

$6,000-$9,000

89

89 David Hagerbaumer (b. 1921) Bobwhite Quail, 1966 Signed and dated “David Hagerbaumer 1966” lower right Watercolor, 22 by 30 inches Hagerbaumer’s understanding of the natural world, specifically upland game birds and waterfowl, is made obvious in his accurate and thoughtful depictions. This Southern scene showing a covey rise relates closely to Bobwhite Quail, illustrated in Hagerbaumer’s book Selected American Game Birds. The vivid colors, expert composition, and seamless brush strokes show Hagerbaumer at the height of his abilities.

PROVENANCE :

Private Collection, Maine

LITERATURE : David Hagerbaumer and Sam Lehman, Selected American Game Birds, Idaho, 1973.

ESTIMATE :

90 David Hagerbaumer (b. 1921) Pintails and Mallards, 1959 Signed “David Hagerbaumer 1959” lower right Watercolor, 20 by 28 inches ESTIMATE :

$1,000-$2,000

90

$1,000-$2,000

83

91 Thomas Aquinas Daly (b. 1937) Portage Salmon, 1985 Signed “T A Daly” lower left Watercolor, 12.25 by 7.5 inches

91

Exhibited in Thomas Daly: More of Nature’s Quiet Places April 9 – April 27, 1985, at Grand Central Art Galleries Inc., New York, New York ESTIMATE :

$1,500-$2,500

92

92 Thomas Aquinas Daly (b. 1937) Still Life with Apples, 1975 Signed “T. Daly” lower right Oil on board, 10 by 8 inches ESTIMATE :

84

$1,500-$2,500

93

93 John Swan (b.1948) Fish On! Signed “John Swan” lower right Oil on canvas, 16.5 by 24.5 inches PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$7,000-$10,000

94 94 John Swan (b. 1948) Brooktrout and Mayflies, 2001 Signed “John Swan” lower right Watercolor, 16 by 24 inches Inscribed “John Swan © ‘01” on back PROVENANCE :

Private Collection, Westport,

Connecticut ESTIMATE :

$2,000-$4,000

85

95

96

95 C. Myron Clark (1858-1925) Salmon on a Line Signed “C. Myron Clark” lower right Oil on canvas, 18 by 25 inches

96 Hermann Schmedtgen (1862-1936) Bass on a line Signed “W. Schmedtgen” lower left Oil on canvas, 20 by 14 inches

ESTIMATE :

ESTIMATE :

$500-$1,000

97 Peter Corbin (b. 1945) Fly Fishing Signed “Peter Corbin” lower left Graphite, 15.5 by 23.5 inches PROVENANCE :

97

Private Collection, Westport,

Connecticut ESTIMATE :

$1,000-$2,000

98 Peter Corbin (b. 1945) Salmon Fishing Signed “Peter Corbin” lower right Graphite, 9.25 by 17.5 inches PROVENANCE :

Private Collection, Westport,

Connecticut ESTIMATE :

86

$500-$1,000

98

$500-$700

99.1

99.2

99.3

99.4

99 A.D. Turner (fl. 1900) Four Prints

100

99.1 The Red Spotted Trout 99.2 The Dublin Pond Trout 99.3 The Sunapee Trout 99.4 The Small Mouthed Black Bass Each signed in plate “A. D. Turner” lower left Each chromolithograph, 17.5 by 27 inches LITERATURE : Frank M. Johnson, Forest, Lake and River: The Fishes of New England and Eastern Canada, New York, NY, 1901, illustrated.

ESTIMATE :

$800-$1,200

100 Emerson Tuttle (1890-1946) Watchful Grouse, 1923 Signed “H.E. Tuttle” lower left Drypoint, 8 by 9.5 inches Published in an edition of 100

101

LITERATURE : Emerson Tuttle, Fifty Prints, New Haven, CT, 1948, No. 28, illustrated.

ESTIMATE :

$200-$400

101 Emerson Tuttle (1890-1946) Startled Wader, 1934 Signed “Tuttle imp.” lower center Drypoint, 7 by 9.5 inches Published in an edition of 25 LITERATURE : Emerson Tuttle, Fifty Prints, New Haven, CT, 1948, No. 145, illustrated.

ESTIMATE :

$200-$400

87

102

102 Stanley W. Galli (1912- 2009) Egret Signed “Stan Galli” lower right Watercolor, 12 by 10 inches This work was the cover of Reader’s Digest in April of 1976.

The lot includes an original cover of the publication.

ESTIMATE :

103 L. Jenkins (20th century) Ibis Signed “L. Jenkins” lower right Oil on canvas, 30 by 40 inches ESTIMATE :

104

$500-$1,000

103

$1,000-$2,000

104 James Harris (b. 1946) Tower View, 2011 Signed “J. W. Harris” lower left Acrylic on board, 18 by 22 inches ESTIMATE :

$2,000-$3,000

The artist will donate a portion of the proceeds to benefit the Great Rivers Habitat Alliance in St. Louis

88

105 Al Barker (b. 1941) Moonlight Tide, 2012 Signed “Al Barker” lower right Oil on board, 8 by 20 inches ESTIMATE :

105

$1,500-$1,700

106 Al Barker (b. 1941) Snipe Hunter, 2012 Signed “Al Barker” lower left Oil on board, 6 by 8 inches

106

ESTIMATE :

107 James Harris (b. 1946) Bird Down, 2011 Signed “J. W. Harris” lower right Oil on canvas, 18 by 24 inches ESTIMATE :

$500-$700

107

$2,000-$3,000

The artist will donate a portion of the proceeds to benefit the Great Rivers Habitat Alliance in St. Louis

89

108

108 Henry Hintermeister (1897-1972) In the Sand Signed “H. Hintermeister” lower left Oil on canvas, 23 by 32 inches The son of American illustrator John Hintermeister (1869-1945), Henry Hintermeister continued in his father’s footsteps. Often working together under the pseudonym Hy Hintermeister, the two men created narrative works illustrating both major historical events and scenes of everyday life. Closely linked to the work of Norman Rockwell (1894-1978), these works are a style of art that is truly American. Of their wide variety of subjects, there are believed to be only eight paintings of golfing scenes by Hintermeister.

This particular group of six early golf paintings was commissioned to hang in a private country club in Pennsylvania. The works were most likely completed around the middle of the twentieth century, making them an exceptionally rare find.

PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

90

$5,000-$7,000

109

109 Henry Hintermeister (1897-1972) A Bit Short Signed “H. Hintermeister” lower left Oil on canvas, 23 by 32 inches This image, along with several other Hintermeister golf paintings, was published on the backs of de Ville playing cards.

PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

110 Henry Hintermeister (1897-1972) In the Pond Signed “H. Hintermeister” lower right Oil on canvas, 23 by 32 inches

$5,000-$7,000

110

PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

$5,000-$7,000

91

111

111 Henry Hintermeister (1897-1972) A Tough Club Choice Signed “H. Hintermeister” lower left Oil on canvas, 23 by 32 inches PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

112 Henry Hintermeister (1897-1972) Lining It Up Signed “H. Hintermeister” lower right Oil on canvas, 23 by 32 inches PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

92

$5,000-$7,000

112

$5,000-$7,000

113

113 Henry Hintermeister (1897-1972) Banana Ball Signed “H. Hintermeister” lower right Oil on canvas, 23 by 32 inches PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

114 Walter Martin Baumhofer (1904-1987) The Predicament Signed “Walter M. Baumhofer” lower left Oil on canvas, 28 by 37 inches

$5,000-$7,000

114

PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

$1,000-$1,500

93

115

115 Arthur Sarnoff (1912-2000) The Long Drive Signed “Arthur Sarnoff” lower right Oil on canvas, 24 by 32 inches PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

116 Arthur Sarnoff (1912-2000) One Shot Penalty Signed “Arthur Sarnoff” lower left Oil on canvas, 26 by 32 inches PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

94

$1,500-$2,500

116

$1,000-$2,000

117

117 Walter Martin Baumhofer (1904-1987) Putting in the Rain Signed “Baumhofer” middle left Oil on canvas, 26 by 32 inches PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

118 Walter Martin Baumhofer (1904-1987) (attr.)

The Score Card Oil on canvas, 30 by 40 inches

$1,000-$1,500

118

PROVENANCE :

Property from a Private Country Club, Pennsylvania Private Collection, acquired from the above

ESTIMATE :

$600-$900

95

119

119 Murray Yorke (b. 1931) Fundy Squall, 1977 Signed “M. Yorke” on back Oil on canvas, 36 by 50 inches PROVENANCE : ESTIMATE :

120 Milton James Burns (1853-1933) Fog Warning, 1893 Signed and dated “M. Burns 93” on back Oil on canvas, 16.5 by 20 inches Burns began his painting career while working on board the steamship Panther. The captain of the vessel, William Bradford (1823-1892), was a respected painter best known for his depictions of the Arctic.

Also on board was Dr. Isaac Hayes (1832-1881), a scientist and explorer, who Burns later cited as influential in his development as an artist.

In the early 1870s, Burns and a group of his peers formed the Salmagundi Sketch Club in New York City.

It was around this time that he met Winslow Homer (1836-1910), whose work The Fog Warning, is the original painting that served as the inspiration for this piece. The two artists remained friends and steadfast realists at a time when abstract art was growing increasingly popular.

ESTIMATE :

96

$1,000-$3,000

120

Private Collection, Maine

$5,000-$7,000

121 121 Eagle and Shield Oil on board, 15.25 by 19.25 inches ESTIMATE :

$1,000-$2,000

122

122 Thomas Willis (1850-1925) (attr.)

Boating Mixed media, 15 by 27 inches Oil on canvas with silk embroidery, felt and canvas details ESTIMATE :

$1,500-$2,500

97

123

123 Francis Lee Jaques (1887-1969) Racoon Signed “F.L. Jaques” lower right Oil on canvasboard, 28 by 21 inches ESTIMATE :

98

$5,000-$8,000

124 124 Two Game Bird Pastels Hanging Ducks Signed “M. H.” lower right Pastel, 24 by 11 inches Hanging Grouse Signed “M. H.” lower right Pastel, 24 by 11 inches ESTIMATE :

$200-$400

125 125 Joseph M. Lorkowski Boulton (1896-1981) Bronze Owl Pair Both signed “Boulton” on back of bronze Bronze, 7.5 by 5 by 6 inches and 8 by 5 by 5 inches ESTIMATE :

$800-$1,200

126 126 E. B. Parsons (1878-1956) Terrier Bookends Signed “E. B. Parsons” on side of base Bronze, 5 by 5 by 3 inches ESTIMATE :

$600-$900

99

127 after John James Audubon (1785-1851) Rough-Legged Falcon, 1827-1836 Hand colored aquatint, etching, and line engraving, 37 by 25 inches Inscribed “Rough-legged Falcon, Falco Lagopus, Male” lower center, “No. 85” upper left, and “CCCCXXII” upper right Engraved, printed and colored by R. Havell Jr. of London

127

ESTIMATE :

128 128 after John James Audubon (1785-1851) Foolish Guillemot, 1827-1838 Hand colored aquatint, etching, and line engraving, 25.75 by 36.5 inches Inscribed “Foolish Guillemot Urla Troile, Lath. 1. Adult summer plumage 2. Female” lower center, “No. 44” upper left, and “Plate CCXVIII” upper right Engraved, printed and colored by R. Havell Jr. of London ESTIMATE :

$2,000-$3,000

129 No Lot

100

$4,000-$6,000

130 after John Woodhouse Audubon (1812-1862) Ocelot, 1846 Color lithograph, 20.75 by 26.75 inches Inscribed “Felis Pardalis, Linn.” and “Ocelot, or Leopard Cat, Male” lower center, “No. 18” upper left, and “Plate LXXXVI” upper right Printed and colored by J. T. Bowen, Philadelphia ESTIMATE :

130

$5,000-$7,000

131 after John Woodhouse Audubon (1812-1862) Hare Indian Dog, 1848 Colored lithograph, 20.75 by 26 inches Inscribed “Canis Familiaris, Linn (Var Lagopus)” and “Hare Indian Dog, Male” lower center, “No. 27” upper left, and “Plate CXXXII” upper right Printed and colored by J. T. Bowen, Philadelphia

131

ESTIMATE :

132 after John James Audubon (1785-1851) Racoon, 1845 Color lithograph, 21.25 by 27.5 inches Inscribed “Procyon Lotor Cuvier” and “Racoon, Male” lower center, “No. 13” upper left, and “Plate LXI” upper right Printed and colored by J. T. Bowen, Philadelphia ESTIMATE :

$5,000-$7,000

132

$5,000-$7,000

101

133

134

135.1

135.2

133 John Whorf (1903-1959) Railroad Siding Signed “John Whorf” lower right Watercolor, 15 by 21 inches ESTIMATE :

$1,000-$2,000

134 Harold N. Anderson (1894-1973) Man With Setters Signed “Harold Anderson” lower right Oil on canvas, 31 by 23 inches ESTIMATE :

102

$2,000-$3,000

135 Harry Lewis Hickman (1912-1997) Two Paintings 135.1 Winter Scene Signed “H.L. Hickman” lower right Oil on canvas, 24 by 30 inches 135.2 Summer Pines Signed “H.L. Hickman” lower left Oil on canvas, 26 by 22.75 inches ESTIMATE :

$400-$600

136 Frank McCarthy (1924-2002) Grey Wolves, 1967 Signed “McCarthy” lower right Casein on board, 27 by 18 inches This work will be sold with a copy of the 1967 Shooter’s Bible

136

PROVENANCE : LITERATURE :

Steven Meade Collection

Shooter’s Bible 1967, edition 50, cover

illustration.

ESTIMATE :

137 Leslie H. Peters (1916-2010) Rocky Mountain Bear, 1962 Signed and dated “L H Peters ‘62” lower right Oil on canvas, 24 by 18 inches This work will be sold with a copy of the 1964 Shooter’s Bible PROVENANCE : LITERATURE :

$1,000-$2,000

137

Steven Meade Collection

Shooter’s Bible 1964, edition 55, cover

illustration.

ESTIMATE :

$500-$1,000

103

138

138 Chuck Ripper (b. 1929) Polar Bear, 1968 Signed “Ripper” lower left Casein on board, 18 by 15 inches This work will be sold with a copy of the 1968 Shooter’s Bible PROVENANCE : LITERATURE :

Steven Meade Collection

Shooter’s Bible 1968, edition 59, cover

illustration.

ESTIMATE :

139 Burgess (20th century) Cougar Signed “Burgess” lower left Casein on board, 20 by 16 inches This work will be sold with a copy of the 1955 Shooter’s Bible PROVENANCE : LITERATURE :

Steven Meade Collection

Shooter’s Bible 1955, edition 46, cover

illustration.

ESTIMATE :

104

$200-$400

139

$500-$1,000

BONEFISH & TARPON TRUST 2012 ARTIST OF THE YEAR David Lazarus 140.1

140 David Lazarus (b. 1952)

140.2

140.1 Tarpon, 2012 Signed “D. Lazarus” lower right Oil on canvas, 24 by 36 inches 140.2 Tarpon, 2012 Signed “D. Lazarus” lower right Etching, 8.5 by 15 inches Inscribed “1/5” lower left Edition 1 of 5 Donated by David Lazarus to benefit the Bonefish & Tarpon Trust David Lazarus, born in London, has spent the majority of his life as a resident of Nantucket Island where he is known as a scrimshander, printmaker, and painter. His paintings hang in numerous private collections in both America and Europe. Not wanting to be limited by any particular style, he is adept in both traditional and nonrepresentational oils and watercolors. Despite a movement towards abstraction, he maintains a more formal approach to printmaking and sporting art.

Lazarus was chosen as the prestigious 2012 Bonefish & Tarpon Trust Artist of the Year. Lazarus is the fourth recipient of this coveted award following past winners Bill Elliot (2009), John Swan (2010), and Luke Frazier (2011). Copley is excited to partner with BTT and offer Tarpon, the original painting for the 2012 BTT Print of the Year, along with a limited edition print run. Proceeds from the sale will go directly to BTT to help fund vital research on these important flats game fish. To learn more about the important work of BTT go to www.tarbone.org.

ESTIMATE :

$2,000-$4,000

105

141

142

143

144

The following four lots are from a private collection and are the # 1 edition of each etching 141 David Lazarus (b. 1952) Sankaty Signed “D. Lazarus” lower right Etching, 3 by 3 inches Inscribed “Sankaty 1/50” lower left Edition #1 of 50 ESTIMATE :

$100-$300

142 David Lazarus (b. 1952) Humpback Signed “D. Lazarus” lower right Etching, 3 by 6.25 inches Inscribed “Humpback 1/50” lower left Edition # 1 of 50 ESTIMATE :

$100-$300

143 David Lazarus (b. 1952) Salmon Fishing Signed “D Lazarus” lower right Etching, 4 by 3 inches Inscribed “1/15” lower left Edition # 1 of 15 ESTIMATE :

106

$100-$300

145

144 David Lazarus (b. 1952) The Essex Signed “D. Lazarus” lower right Drypoint, 7 by 5 inches Inscribed “The Essex 1/10” lower left Edition # 1 of 10 This is one of a series of etchings the artist made of the whaleship Essex. A companion etching was chosen as the frontispiece for Nathaniel Philbrick’s book In the Heart of the Sea: The Tragedy of the Whaleship Essex.

ESTIMATE :

$300-$500

145 Richard Bishop (1887-1975) 1936 Federal Duck Stamp Print Signed “Richard E. Bishop” lower right Etching, 5 by 8 inches Inscribed “Federal Duck Stamp Design” lower left In 1939, congress passed the Migratory Bird Hunting Stamp Act, commonly known as the Duck Stamp Act. The act was signed into law for the sole purpose of generating income for what is currently the National Wildlife Refuge System. In its infancy, the competition attracted several top tier sporting artists, including renowned

146

illustrator and conservationalist Jay “Ding” Darling (1876-1962), Frank W. Benson (1862-1951), and Richard Bishop, who designed this winning entry in 1936.

ESTIMATE :

$600-$900

146 Roland Clark (1874-1957) Marsh Wren, 1920 Signed “Roland Clark” lower right Drypoint, 8.25 by 7.75 inches Edition of 40 Crossed out drawing of same subject on back ESTIMATE :

$200-$400

147

148

149

150

147 Frank W. Benson (1862-1951) Quail, 1930 Signed “Frank W. Benson” lower left Etching, 6 by 4.5 inches Inscribed “169/250” lower right Paff # 289, edition # 169 of 260 ESTIMATE :

ESTIMATE :

$2,000-$3,000

$1,500-$2,500

148 Frank W. Benson (1862-1951) Pointer Dog, 1925 Signed “Frank W. Benson” lower left Etching, 6 by 8 inches Paff # 251, edition of 150 ESTIMATE :

149 Frank W. Benson (1862-1951) The Deer Hunter, 1924 Signed “Frank W. Benson” lower left Etching, 8 by 11 inches Paff # 229, edition of 150

$1,500-$2,500

150 Frank W. Benson (1862-1951) Marsh Gunner, 1918 Signed “Frank W. Benson” lower left Etching, 11.5 by 9.25 inches Inscribed “8410” and “’41” lower right, “Marsh Gunner 9 3/8 - 11 1/2” lower left, and “9-211” lower right Paff # 149, edition of 150 Along with The Gunner, Old Tom, and Winter Wildfowling, Marsh Gunner is considered one of Benson’s “Big Four” hunting portraits.

ESTIMATE :

$5,000-$8,000

107

151

152

153

154

155

108

156

151 Frank W. Benson (1862-1951) Grouse on a Pine Bough, 1920 Signed “Frank W. Benson” lower left Drypoint, 3 by 2 inches Paff # 176, edition of 150

153 Frank W. Benson (1862-1951) Sheldrake, 1917 Signed “Frank W. Benson” lower left Etching, 6.75 by 10.75 inches Paff # 126, edition # 37 of 150

155 Frank W. Benson (1862-1951) Boats at Dawn, 1920 Signed “Frank W. Benson” lower left Etching, 7.75 by 10.75 inches Paff #190, edition of 150

ESTIMATE :

ESTIMATE :

ESTIMATE :

$800-$1,000

$400-$800

$800-$1,200

152 Frank W. Benson (1862-1951) Early Gunners, 1920 Signed “Frank W. Benson” lower left Etching, 1.75 by 5 inches Paff # 177, edition of 150

154 Frank W. Benson (1862-1951) Here They Come!, 1928 Signed “Frank W. Benson” lower left Drypoint, 13.75 by 11.75 inches Paff #278, edition of 150

156 Frank W. Benson (1862-1951) Marshes at Evening, 1918 Signed “Frank W. Benson” lower left Etching, 9 by 11 inches Paff #131, edition # 150 of 150

ESTIMATE :

ESTIMATE :

ESTIMATE :

$800-$1,200

$800-$1,200

$400-$600

157

158

161

162

157 Frank W. Benson (1862-1951) Flying Ducks, 1919 Signed “Frank W. Benson” lower left Etching, 7.75 by 5.75 inches Paff #160, edition of 235 ESTIMATE :

159

$600-$900

163

161 Ogden M. Pleissner (1905-1983) The Marsh Gunners, 1982 Signed “Pleissner N.A.” lower right Print, 16 by 24.75 inches Inscribed “214/300” lower right Edition # 214 of 300 Published by Wild Wings in an edition of 300

158 Frank W. Benson (1862-1951) Lone Yellowlegs, 1928 Signed “Frank W. Benson” lower left Drypoint, 11.5 by 7.5 inches Paff # 280, edition of 150

LITERATURE : Peter Bergh, The Art of Ogden M. Pleissner, p. 110, illustrated.

ESTIMATE :

162 Henry Wilkinson (1921-2011) Two Setters Signed “Henry Wilkinson” lower left Color etching, 10 by 13.5 inches Inscribed “76/100” lower right Edition # 76 of 100

$1,500-$2,500

159 Will Simmons (1884-1949) Swimming Bull Moose Signed “Will Simmons” lower right Etching, 7.5 by 8.5 inches ESTIMATE :

$300-$500

ESTIMATE :

ESTIMATE :

160

$600-$900

163 Frank W. Benson (1862-1951) Eider Signed in plate “F. W. Benson” lower right Reproduction of an ink wash, 9.75 by 13.25 inches This eider print is from the collection of Joseph Archibald Hagar (1896-1989), who was the Massachusetts State Ornithologist from 1934-1959. From his South Shore home, he was a noted authority on shorebirds, peregrine falcons, and black ducks, as well as a member of the prestigious Nuttall Ornithology Club, which was founded in 1873.

PROVENANCE :

Joseph Archibald Hagar Collection, by descent in the family Private Collection, Maine

ESTIMATE :

$75-$150

$50-$100

160 Arthur Burdett Frost (1851-1928) Golfing Scene Signed in plate “A. B. Frost” lower left Color print, 13 by 10 inches

109

164.2

163.3

164.4

165.1

165.2

164 Arthur Burdett Frost (1851-1928) Four Shooting Prints, 1895

165 Arthur Burdett Frost (1851-1928) Two Shooting Pictures, 1895

164.1 Autumn Grouse 164.2 Autumn Woodcock 164.3 English Snipe 164.4 Quail, A Dead Stand

165.1 Shooting Ducks from a Blind 165.2 Rail Shooting

Chromolithographs, 12.25 by 19.25 inches Each inscribed “A.B. Frost” in plate Published by Charles Scribner’s Son ESTIMATE :

110

164.1

$1,000-$2,000

Chromolithographs, 12.25 by 19.25 inches Each inscribed “A.B. Frost” in plate Published by Charles Scribner’s Son ESTIMATE :

$1,200-$1,800

166.1

166.2

166.3

167.1

167.2

167.3

166 Aiden Lassell Ripley (1896-1969) Two Etchings and a print

167 Aiden Lassell Ripley (1896-1969) Three Etchings

166.1 Point on Quail Signed “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches

167.1 American Widgeon Drypoint, 6 by 8.5 inches

LITERATURE :

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 68-69, illustrated.

166.2 Duck Hunter Signed “A. Lassell Ripley (D)” lower right Drypoint, 7.25 by 9.75 inches LITERATURE : A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 88-89, illustrated.

166.3 Hunting for Pheasants Reproduction of an original etching, 9 by 14 inches Inscribed “43/557” lower left, “Hunting for Pheasants” lower center, and “by A. Lassell Ripley” lower right Edition # 43 of 557 PROVENANCE : ESTIMATE :

LITERATURE : A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 36-37, illustrated.

167.2 Grouse Shooting Drypoint, 9 by 12 inches LITERATURE : A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 48-49, illustrated.

167.3 Point on Quail Drypoint, 9 by 14 inches LITERATURE : A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 68-69, illustrated.

PROVENANCE : ESTIMATE :

John E. Lennon Collection

$300-$500

John E. Lennon Collection

$300-$500 111

169

168

171.1

172.2

173.3

112

170

171.2

172.1

173.1

173.2

174

168 Aiden Lassell Ripley (1896-1969) Pheasant Shooting Signed “A. Lassell Ripley” lower right Drypoint, 9.75 by 14 inches Inscribed “Pheasant Shooting” lower left PROVENANCE :

John E. Lennon Collection

LITERATURE : A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 30-31, illustrated.

ESTIMATE :

$200-$400

169 Aiden Lassell Ripley (1896-1969) Snipe at Dawn Signed “A. Lassell Ripley” lower right Etching, 9 by 12 inches Inscribed “Snipe at Dawn ©” lower left PROVENANCE :

John E. Lennon Collection

LITERATURE :

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 16-17, illustrated.

ESTIMATE :

$200-$400

170 Aiden Lassell Ripley (1896-1969) Philip C. Beals Bookplate Inscribed in plate “Ex Libris Philip C. Beals” lower center Drypoint, 7 by 5.25 inches ESTIMATE :

172 Churchill Ettinger (1903-1984) Two Drypoints 172.1 Summer Duck Signed “Churchill Ettinger” lower right Drypoint, 7.75 by 10.75 inches Inscribed “Summer Duck” lower left 172.2 Windy Morning Signed “Churchill Ettinger” lower right Drypoint, 6.75 by 19.75 inches Inscribed “Windy Morning” lower left ESTIMATE :

$600-$900

173 Three Prints 173.1 George F. Mason (1850-1915) c. 1941 Moose Signed in plate “Mason” lower right Etching, 5 by 4.25 inches 173.2 George F. Mason (1850-1915), English Setter c. 1941 Signed “Mason” lower right Etching, 8 by 10 inches 173.3 Nigel Hemming (b. 1957) Shorthair Pointers Signed in plate “Nigel Hemming” lower right Color lithograph, 12 by 16 inches ESTIMATE :

$100-$200

$100-$200

171 Aiden Lassell Ripley (1896-1969) Two Drypoints 171.1 Grouse and Vines Signed “A. Lassell Ripley” lower right Drypoint, 6.5 by 8 inches

174 Aiden Lassell Ripley (1896-1969) The Field and Stream Portfolio: Gunning in America, 1947 Six color prints, each 10 by 12 inches Published by Gunning and Fishing Prints Publishing Company, Inc.

171.2 Grouse on a Pine Bough Signed “A. Lassell Ripley” lower right Drypoint, 10 by 12 inches Inscribed “Grouse on Pine Bough” lower left PROVENANCE :

John E. Lennon Collection

LITERATURE :

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 32-33, illustrated.

ESTIMATE :

$300-$500

113

175.1

175.2

176

177a

177

178.1

178.2

175 Glass Minnow Trap, Fishing Lures, and Bobbers

177 Glass Minnow Trap and Jigging Stick

178 Four Heddon Lures and Three Plaques of Flyers

175.1 An Orvis, Manchester, Vermont, wirehandled-and-footed glass minnow trap.

A first model Orvis Minnow trap made in the early 1970s by Stream and Lake Tackle Company of Grand Rapids, Michigan.

178.1 The four Heddon Lures in this lot are: two early, cup-rigged, five-hook lures with glass eyes; one cup-rigged, threehook, frog lure with glass eyes; and one vintage five-hook lure with painted eyes, marked “Heddon 150 Dowagiac. Also included are two empty boxes, one for a “Baby Dowagiac, the other for a “Super Spook by James Heddon and Sons of Dowagiac, Michigan. Appear to be in original paint with craquelure and minor flaking.

171.2 Dozens of vintage freshwater fishing lures, round tin hook containers, and several wooden fish line bobbers.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

176 Turtle Fish Decoy Duluth Fish Decoys A six-inch-long turtle decoy with “DFD impressed in the inset circular lead weights. Original condition.

ESTIMATE :

$100-$200

Carved from a root, this nineteenthcentury fish jigging stick has a checkered handle and an early, shiny metallic minnow lure.

ESTIMATE :

$300-$500

177a Vintage Fishing Lures Two dozen fishing lures by Heddon, Creek Chub Bait, Pflueger, and others, along with a few vintage boxes. A couple of the early lures have glass eyes. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

178.2 The three plaques by John Lee Baldwin (1868-1938) of Babylon, Long Island, New York are: a framed painting on board, eighteen-inches wide, of a coastal lighthouse with five carved wooden miniature mallards; a fourteen-inch-wide, oval frame with four carved wooden miniature flying mallards; and a six-inch, oval plaque with a cast-metal miniature flying redhead. The plaques bear the maker’s paper label on the back and one of the birds bears his round blue label.

PROVENANCE : ESTIMATE :

114

William Tosi Collection

$300-$600

179

183

180

181

182

184

179 Striped Bass Plaque A twenty-one-inch by eleven-inch striped bass oil painting on a molded edge board with inset bread board ends. The background of the painted fish is impressed with a semi-circular stamp, which adds a scaled appearance.

ESTIMATE :

$400-$600

180 Two Creels and Two Fly Rods Two woven creels: one is thirteen inches wide with a leather and cloth shoulder strap; the other is fifteen inches wide and has an all-leather shoulder strap.

One rod is an unusual bamboo fly rod made by The Lucky Company of Japan, Model C-C. It has three tips, one is heavy duty and when added makes a sturdy two-piece, fifty-four-inch rod, and two normal tips that make a traditional three-piece, eight-foot rod.

The reel is a three-inch-diameter Ideal Model made

by Carlton Manufacturing Company, Rochester, New York (1903-1908).

The other rod is a nine-foot, three-piece bamboo fly rod with two tips. It’s marked #60 6655 and has a three-inch diameter reel. Both creels have missing latch loops.

PROVENANCE : ESTIMATE :

William Tosi Collection

$300-$500

181 Brass Fishing Reels This lot contains eighteen assorted brass fishing reels, including one stamped “Made in Germany,” and two made by Hendryx, one of which bears a patent date of 1876. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$300-$600

182 Five Bamboo Fishing Rods This lot contains: two long bamboo salmon rods; three short bamboo trout rods, one of which was made by the M.C. Rod Co. in Amherst, Massachusetts; and a vintage carrying case. As found.

ESTIMATE :

$100-$200

183 Hand-Forged Salmon Gaff, 1890 A rare twenty-four-inch-long, double-hooked fishing gaff with a turned conical shaft and handle.

ESTIMATE :

$200-$400

184 Three Vintage Fish and Game Signs Three Signs from Connecticut: a 1942 “Closed to Fishing” sign printed on cloth, a 1944 “Regulated Fishing” sign printed on paper, and a 1947 “No Fishing” sign printed on paper.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$100-$200

115

185

185 Atlantic Salmon John Tully (1862-1931) Carved by John and painted by his wife, Isabella “Dhuie” Tully (1862-1950), while working at Gordon Castle, five furlongs from the river Spey. John apprenticed under John Bucknell Russell (1819-1893), who pioneered fish model making in the 1870s. Dhuie Tully was J.B. Russell’s daughter. This forty-five-pound trophy salmon carving has intricate detail and exceptional paint, with a light coat of sealer that has mellowed to a warm patina.

Inscribed “45 1/4 LBS. A. THELLUSON ESQ. LENGTH 49 1/2” GIRTH 27” 1910.” The wooden plaque measures eighteen by fifty-six inches with a rare C.F. Farlow & Co., London stencil on the back of the board. With its beautiful patina, size, and condition, this trophy salmon carving ranks amongst the best works by these early fish model makers and stands as one of the finest examples to ever come to market. Outstanding original paint, with a reset tail piece and very minor touch-up to a few fins.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$8,000-$12,000

186

186 Atlantic Salmon Hardy Brothers (Alnwick) Ltd. A forty-three-inch salmon trophy carving mounted on a seventeen-and-one-half by forty-nine-inch wooden plaque. A mounted brass plaque is inscribed: “MARCH 31st 1919. AT BYCROSS By G. E. M. WEIGHT 32 LBS.” Bycross is a well-known ferry landing across the Wye River in the village of Preston-on-Wye, Hereford, England. The Wye River had a historically important spring salmon run, which was one of the best south of Scotland. The bevel of the plaque displays a small maker’s plaque: “HARDY BROTHERS (ALNWICK) LTD. 61 PALL MALL, LONDON, S.W. EDINBURGH, MANCHESTER. MANUFACTORY, ALNWICK.” Original paint with consistent minor flaking.

PROVENANCE : ESTIMATE :

116

Private Collection, Westport, Connecticut

$3,000-$6,000

187 Brook Trout Lawrence C. Irvine (1918-1998)

187

After weighing and tracing his client’s trophies, Irvine produced custom fish carvings as reminders of their successful fishing trips. This twenty-four-inch carving is mounted on a faux birch bark painted oval with a beveled edge. The back of the plaque reads “Caught by Muriel Danforth, 1972, Allagash River, with the artist’s signature. Original condition.

ESTIMATE :

$2,000-$4,000

188 Pickerel Lawrence C. Irvine (1918-1998)

188

A twenty-one-inch fish carving mounted on a faux birch bark painted oval with a beveled edge. Original paint with a reset original pectoral fin.

ESTIMATE :

$2,000-$4,000

Lawrence Irvine, c. 1960, filling orders in his workshop.

Photo courtesy of Morning Sentinel Newspaper, Waterville, Maine, Staff Photograph Archives.

117

189 Lake Trout Phillippe Sirois (1892-1979)

189

A twenty-nine-inch-long fish carving mounted on an oval plaque with an ogee beveled edge.

The back of the plaque bears Linda and Gene Kangas’ collection stamps in ink. Original paint with reset original pectoral and pelvic fins.

LITERATURE : Gene and Linda Kangas, Phillippe Sirois - Maine Folk Artist, Decoy Magazine, Lewes, DE, May/June 2000, p.13, exact carving illustrated.

ESTIMATE :

190

$5,000-$7,000

190a

190b 190a Miniature Brook Trout Aubrey J. Dando (b. 1885) Philadelphia, PA, 1954 A rare miniature fish wall plaque that measures just under six inches long. The back has an inset hanger and is labeled “Brook Trout.” The back also displays the maker’s signature and date written in ink. Original condition with small areas of uneven sealer.

LITERATURE : Stephen B. O’Brien, Jr. “2001 Catalog,” Boston, MA, 2001, fig. 115, related example.

ESTIMATE :

$400-$600

190b Miniature Rainbow Trout Aubrey J. Dando (b. 1885) Philadelphia, PA, c. 1950 A rare miniature fish wall plaque that measures five and one-half inches long. The back has an inset hanger and is labeled “Rainbow Trout.” Original condition with small areas of uneven sealer.

ESTIMATE :

190 Brook Trout Lawrence C. Irvine (1918-1998) A twelve-inch fish carving mounted on a faux birch bark painted plaque, made in the shape of the state of Maine. Original condition ESTIMATE :

118

$3,000-$5,000

$400-$600

191

192

193

194

191 Structo Fire Truck Structo Manufacturing Company (est. 1911)

192 Marx American Airlines DC-4 Louis Marx and Company (1919-1978)

A twenty-one-inch-long toy fire truck with the majority of its original accessories: two ladders, two fire axes, a water tank, two fire extinguishers, battery operated lights, and a bell. The truck has a chime, which is struck when the front wheels are in motion. Appears to be in old original paint with two original decals. The front license plate, battery, and bulbs are missing. The water tank has a hole in the edge of it.

A twenty-one-inch-long pressed-steel airplane with a twentyseven-inch wingspan. Made in USA is stamped on the underside. Appears to be original paint with remnants of original decals and wear.

PROVENANCE : ESTIMATE :

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

William Tosi Collection

$750-$1,250

193 Hoge Fire Chief Car The Hoge Mfg. Co. Inc. (est. 1909)

194 Buddy L Aerial Fire Truck Moline Pressed Steel Company (a. 1921-)

A fourteen-inch-long pressed-steel Fire Chief coup with key wind-up, siren, and battery powered lights.

Appears to be in original paint with one original decal; average wear.

A twenty-eight-inch-long fire truck with a three-piece ladder that extends beyond four feet. Appears to be in original paint with original decals and light wear.

PROVENANCE : ESTIMATE :

William Tosi Collection

PROVENANCE : ESTIMATE :

William Tosi Collection

$750-$1,250

$100-$300

119

195

195 Pedro Martinez Red Sox Jersey A Red Sox team baseball jersey signed by this future “Hall of Fame” pitcher, professionally matted and framed.

ESTIMATE :

196

$200-$400

196 Manny Ramirez Red Sox Jersey A Red Sox team baseball jersey signed by Ramirez, professionally matted and framed.

ESTIMATE :

197

$200-$400

197 Boston Braves Baseball Items This lot includes: a National League Champions felt pennant from 1948; a Boston Braves felt pennant; a vintage Harvard pennant; two Boston Braves “Sketch Books” from 1946 and 1950; “The Braves Encyclopedia,” published 1995, written by Gary Caruso; two Atlanta Braves pins; a Milwaukee Braves “World Champs” button; a Cardinals/ Coca Cola pin; and three signed baseballs, one by Frank Shellenback, one by two players: Tommie Agee and Paul Blair, and one signed by six players: Elbie Fletcher, Fred Frankhouse, Ray Martin, Chet Nichols, Paul Burris, and one other (unidentified).

PROVENANCE : ESTIMATE :

120

John E. Lennon Collection

$200-$300

198

198 Navajo Wearing Blanket 58 by 76 inches PROVENANCE : ESTIMATE :

William Tosi Collection

$4,000-$6,000

199

199 Navajo Textile 66 by 50 inches A Navajo weaving with whirling log, arrow, and cross motifs.

PROVENANCE : ESTIMATE :

William Tosi Collection

$1,000-$2,000

121

200

201.1

201.2

202.1

202.2

202.3

200 Navajo Textile 56 by 83 inches A Third Phase Chief’s Blanket.

PROVENANCE : ESTIMATE :

William Tosi Collection

$1,500-$3,000

201 Two Navajo Textiles 201.1 21 by 32 inches 201.2 36 by 18 inches Mid-twentieth century or earlier.

PROVENANCE : ESTIMATE :

122

William Tosi Collection

$300-$500

202 Three Navajo Textiles 202.1 54 by 30 inches 202.2 50 by 29 inches 202.3 56 by 39 inches PROVENANCE : ESTIMATE :

William Tosi Collection

$900-$1,200

203

204

203 Four Beaded Fetishes Native American

204 Three Beaded Fetishes Native American

A six-inch-long fetish displaying quill work and fine bead work along the edge. Each tassel has an 1888 Indian head penny at the end.

A seven-inch-long horse fetish displaying bead work, horse hair sewn in the seam, and rawhide tassels with cylindrical metal decoration.

A six-inch-long fetish displaying bead work and tassel legs.

The belly hide may be a later replacement; shows some bead loss.

An eleven-inch-long snake fetish with bead work and rawhide tassels which have conical metal decoration.

A six-and-one-half-inch fetish, with superbly crafted bead work and rawhide tassel feet.

A five-and-one-half-inch-long beetle fetish displaying bead work and rawhide tassel legs decorated with wrapped bead work.

A six-inch fetish with geometrically arranged fine bead work.

PROVENANCE :

PROVENANCE :

ESTIMATE :

ESTIMATE :

William Tosi Collection

William Tosi Collection

$500-$1,000

$800-$1,200

123

205

206

205 Kayak and Dog Sled with Dogs Native American

206 A Horn Spoon Native American

The hide-covered kayak is twenty-two inches long and displays a paddle and two bone-tipped, intricately constructed lances. The figure, above his hide spray skirt, is made of heavy stitched fabric with needlepoint facial features. The twentyone-inch-long dog sled model exhibits a bent wood and sinew stitched frame. The sled model includes an eight-inch-high, wooden-faced figure with hand stitched, bead-decorated, hide clothing.

Also included are five seven-inch-long, handcarved wooden dogs. The kayak has wear both fore and aft and the paddle has been reset. The sled has light wear and one of the dog’s legs has been reset.

A ten-inch-long spoon or scoop carved from horn (possibly buffalo), with early trade beads and an 1825 U.S. fifty-cent piece (89% silver and 11% copper) on a raw-hide drop. This is an artifact from the Indian Ridge Museum, which was sold when the museum’s founder Raymond C. Vietzen passed away and the collection was sold at auction.

PROVENANCE : ESTIMATE :

124

William Tosi Collection

$1,000-$2,000

PROVENANCE :

Col. Raymond C. Vietzen Collection William Tosi Collection

ESTIMATE :

$500-$800

207 Two Dolls Native American

207

A thirteen-inch doll from the Pacific Northwest displaying rawhide clothing, shoes, and a cape with hand-drawn native totem symbols and fish.

The face appears to be comprised of felt with a stitched nose, needlepoint eyes, and bead-work mouth. The Northwest doll has light wear. The Eskimo doll has wear and some losses including the drum skin and one hand.

A nineteenth-century, seven-inch, seated Eskimo figural doll displaying a carved wooden head, hide clothing, and a drum frame.

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

208 Halibut Hook Native American

208

A halibut fish hook measuring ten-and-one-half inches long that exhibits a carved bird motif and a square iron spike.

PROVENANCE : ESTIMATE :

William Tosi Collection

$600-$900

209 Birch Bark Canoe

209

A superbly crafted canoe model c. 1930, measuring over two-feet long. The frame is constructed of bentwood ribs that are covered with thin bentwood planks. This structure is covered with stitched birch bark. The exterior decoration was achieved with an applied dark red pigment.

PROVENANCE : ESTIMATE :

William Tosi Collection

$700-$1,000

125

210

211

212

213

213a

210 Two Totems Native American

213 Catlinite Pipe and Carved Warrior Head Pipe Bowl

Two forty-inch-tall totem carvings displaying native bird and animal motifs.

A five-and-one-half-inch carved, red stone pipe, with a bear effigy and a twenty-six-inch, decorated, wooden pipe stem. A three-and-one-half-inch-long, handcarved, wooden warrior head pipe bowl. The warrior head has an old broken off feather. The red stone pipe has an age line on one side that has an area of pigment change along it.

PROVENANCE : ESTIMATE :

William Tosi Collection

$500-$1,000

211 Buffalo Bill Wild West Show Club A twenty-four-inch-long, hand-carved, stage-prop club with a warrior head motif. Stamped “Property Buffalo Bills Wild West” on the tapered handle.

PROVENANCE : ESTIMATE :

$300-$600

A sixteen-inch-long carved raven rattle with other totem motifs accented with abalone inlays.

PROVENANCE :

Lunkenheimer Family Collection William Tosi Collection

126

ESTIMATE :

William Tosi Collection

$500-$1,000

William Tosi Collection

212 Northwest Indian Rattle Native American

ESTIMATE :

PROVENANCE :

$1,000-$2,000

213a Carved Club A twenty-three-inch-long club, carved from a root ball, with a hand motif, a tapered shaft, and a carved hand grip.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

214 Pipe Tomahawk A twenty-three-and-one-half-inch-long pipe tomahawk, with a stylized heart motif in the blade and a carved tapered handle with a hand grip.

PROVENANCE : ESTIMATE :

William Tosi Collection

$1,000-$2,000

215 Pipe Tomahawk A twenty-four-inch-long pipe tomahawk with a spear-headed blade and an intricately carved handle.

PROVENANCE : ESTIMATE :

PROVENANCE :

William Tosi Collection

216

William Tosi Collection

$1,000-$2,000

217 Pipe Tomahawk A twenty-four-inch-long pipe tomahawk with a decorated handle. The blade is stamped “U S” above a crossed arrow and lance motif, “S” under the crossed weapons, and “1876” under that.

PROVENANCE : ESTIMATE :

215

$1,000-$2,000

216 Pipe Tomahawk A twenty-four-inch pipe tomahawk with a decorated blade and carved handle.

ESTIMATE :

214

217

William Tosi Collection

$1,000-$2,000

127

218

218 Two Pairs of Snow Shoes Native American Two pairs of Micmac snowshoes measuring thirty-seven inches long.

PROVENANCE : ESTIMATE :

219

William Tosi Collection

$200-$400

219 Two Sets of Snowshoes A pair of bear paw snowshoes measuring thirty inches long and a pair of fifty-inch-long traditional bentwood snowshoes. Both have light wear.

PROVENANCE : ESTIMATE :

220

William Tosi Collection

$200-$400

220 Two Pairs of Snowshoes Two pairs of antique snowshoes, displaying deep mellow patina with in-use repairs and an old coat of sealer. Both pairs are just over forty inches long.

ESTIMATE :

128

$100-$200

221 Four Small Native American Baskets

221

This lot contains four baskets: a five by four-inch stitched, birch bark basket with lid; a six by six-inch Pima Olla basket, with cactus motif; a three by five-inch basket tightly woven, with geometric motif; and a five by nine-inch loosely woven basket. The three by five basket has some damage along the top edge.

PROVENANCE : ESTIMATE :

William Tosi Collection

$250-$500

222 Six Miniature Baskets

222

Two-baskets with hinged lids: the smaller is one-and-onehalf-inch-square by one-inch-high and the other is twoinch-square.

Two round baskets: Both measure less than two inches in diameter; one has a cover. An exquisitely woven, four and one-half-inch-diameter round open basket. A five by-fourinch open oval basket attributed to New England Native American weavers.

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

223 Two Baskets

223

Two large, woven, round splint baskets. One is nineteen inches high and fifteen inches in diameter. The other is twenty inches high with a twenty-three-inch diameter. Both have bentwood handles and minor loss to weavers.

ESTIMATE :

$100-$200

129

224

224 Large Basket with Lid Native American (attr.)

A large dome-topped, woven basket measuring thirty-two inches high with an eighteen-inch diameter. Some damage to weavers at widest point of the basket.

PROVENANCE : ESTIMATE :

225

William Tosi Collection

$1,000-$2,000

225 Nantucket Basket Captain Thomas James (attr.)

An early South Shoal Lightship basket, measuring six inches high and seven inches in diameter. The basket exhibits outstanding patina, brass handle ears, and numerous concentric circles incised in the bottom. Original condition with some wear; four adjoining stays are broken; and there is some weaver loss.

ESTIMATE :

$750-$1,000

226 No Lot

130

227

227 Large Sperm Whale Clark Voorhees (1911-1980) Weston, VT, c. 1955 A thirty-five-inch half-whale carving, by master whale carver, Clark Voorhees. Signed on the back with his stylized “CV” incised signature and stamped “C Voorhees Weston, VT.” Vorhees was the son of Clark Greenwood Voorhees (1871-1933), who was one of the founders of the Old Lyme, Connecticut Art Colony. When he first began carving, Voorhees enlisted the expertise of Wildfowler decoy founder, Ted Mulliken, in nearby Old Saybrook, Connecticut to aid in the carving of his whales. After establishing himself in his craft, he moved his carving business to its permanent home in Vermont. His marine mammal carvings were offered through the Four Winds Craft Guild on Nantucket. Original condition.

ESTIMATE :

$2,000-$4,000

131

228

228 Rectangular Basket and a Pack Basket An ash splint, pack basket measuring twenty inches tall, with canvas rigging and straps. The rectangular basket measures fourteen by twenty by twenty-four inches.

PROVENANCE : ESTIMATE :

William Tosi Collection

$150-$300

229

229 Boat Model on Stand A twenty-one-and-one-half-inch mahogany boat model displaying the finest craftsmanship of both an early twentieth-century boat builder and a sign painter. It is inscribed “Mom” on both sides of the bow and “Mom BROOKLYN, NY” on the stern. All lettering is framed with delicate pinstripes. The model displays wood inlays and laminations of mahogany, pine, and maple, with miniature brass hardware. Very good condition; the boat’s wheel is damaged and the front running lights are missing.

ESTIMATE :

132

$500-$800

230

230 Civil War Era American Naval Vessel Half Hull Carved and painted shipbuilder’s half hull, measuring ninety inches by eleven-and-three-quarter inches. The hull was carved from six laminated pine boards and the area above the waterline was painted. It has three rare, inlaid, well-articulated, brass cannons, with rectangular, flushmounted, metal plates around them. The cannons swivel from left to right and pivot up and down. The hull is mounted on its original bevel edged backboard. Original surface with patina and minor wear.

PROVENANCE :

Private Collection, Westport, Connecticut, acquired from Hyland Granby Antiques, Hyannis, Massachusetts

ESTIMATE :

231 Ship’s Binnacle with Gimbaled Compass Kelvin & Hughes Ltd. Great Britain, c. 1930 A forty-eight-inch-high ship’s binnacle, consisting of a brass cornered mahogany column with iron compensating spheres, brass leveling hardware, and a mahogany plinth base. The compass enclosure is brass and has a viewing door. Good condition; the oil lamp has been replaced with an electrified fixture.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$4,000-$6,000

$6,000-$9,000

231

231 detail

133

232

232 Signed Shipbuilder’s Half Hull John D. Bradshaw (b. 1819) A sixty-five-inch-long, carved, laminated builder’s model, constructed of fourteen pine lifts, which are fastened together with seven wooden pegs. The billethead is carved and the trailboards display a hand-painted, cascading leaf motif. The top of the hull is inscribed “John D. Bradshaw, Shipbuilder, St. Martins, N.B., Quacco, Length of keel- 135 feet, Width of beam- 33 feet, Depth of hold- 19 feet, Rake of stern- 6 feet, Build on a 3/8 scale.” Quaco was an early name for the village of St. Martins in New Brunswick. From 1803 to 1900, this coastal community built over five hundred ships and vessels from trees in the local forests. John D. Bradford’s shipyard and his foreman John Chipman were active in the mid-to-latenineteenth-century. Original surface with mellow patina and light wear, including a small repair to the keel at the rudder.

PROVENANCE :

Private Collection, Westport, Connecticut, acquired from Hyland Granby Antiques, Hyannis, Massachusetts

ESTIMATE :

233

134

$4,000-$6,000

233 Early 19th Century Half Hull An early, fifty-five-inch-long ship builder’s hull, constructed from eighteen laminate boards of various sizes, through mortised, with a pair of rectangular battens. The shape of the hull is typical of mid-nineteenth-century merchant ships and displays outstanding patina. One of the thin hull boards has an old partial loss and the through mortise boards may be partially replaced.

PROVENANCE :

Private Collection, Westport,

Connecticut ESTIMATE :

$4,000-$6,000

234 19th Century Half Hull

234

An exceptional, forty-five-inch-long ship builder’s hull, carved from nine laminated pine boards and exhibiting superb patina. Minor wear to edges and a few small old dents.

PROVENANCE :

Private Collection, Westport,

Connecticut ESTIMATE :

$2,000-$4,000

235 Schooner Half Hull with Two Masts

235

A forty-three-inch ship builder’s hull of the schooner yacht Panda, a two-masted, eightytwo foot yacht schooner designed by Charles Nicholson and built by Camper and Nicholson at their Northam Yard, Southhampton, England. Nicholson also designed three of the America’s Cup twelve-meter yachts: Shamrock IV, and the first two Endeavors.

PROVENANCE :

Private Collection, Westport,

Connecticut ESTIMATE :

$1,000-$2,000

236 Cat Boat Half Hull

236

A twenty-four-inch-long boat builder’s half model, carved from fifteen thin, laminated boards. The hull has minor chipping on the top edge.

PROVENANCE :

Private Collection, Westport,

Connecticut ESTIMATE :

$1,000-$2,000

135

237

237 Carved Patriotic Plaque c. 1876 A carved and painted patriotic plaque, measuring fifteen by forty inches. The central motif is a carved shield with a carved banner above and framed on either side by carved flags. The background has a black sizing, with crushed glass or sand. The banner’s carved raised lettering reads, “Our Country And Our Liberty.”

Below the carving, between two half-round moldings, “Let the Flag Of Freedom Wave Over Our Country Forever” is painted. In old paint which has been professionally cleaned and has minor restoration. Shrinkage to some of the seams has occurred.

PROVENANCE :

Private Collection, Westport, Connecticut, acquired from Hyland Granby Antiques, Hyannis, Massachusetts

ESTIMATE :

136

$10,000-$15,000

238 Horse Motif Carved Box c. 1900

238

An incredible nine-and-one-half by six-and onehalf by four-and-one-half-inch grain-painted box, with applied polychrome wooden cutout decoration. The top of the box displays a prancing horse motif, framed with four scalloped edge pieces and pin-striped, golden painted lines. The front and two of the sides share the same detail, the applied decorations are occupational in nature, representing the tools of a blacksmith and buggy, or wagon trade. The initials “J.B.� are painted on the inside of the cover. The box is in original finish with expected minor wear, mostly on edges.

ESTIMATE :

$2,500-$3,500

238 detail of side

239

239 Cigar Store Indian Princess A wooden Cigar Store Indian with a large feather headdress. She is displaying a bundle of cigars and a box. The carving measures six feet tall with the base. In good structural condition, with minor seam separation and wear throughout. Old in-use repaint has minor flaking.

ESTIMATE :

$2,000-$4,000

137

240

240 Carved Eagle With Banner John Haley Bellamy (1836-1914) This classic carved eagle and banner, measuring eight by twenty-five inches, displays the famous inscription from Oliver Hazard Perry’s (1785-1819) naval battle flag, “Don’t Give Up The Ship!” With its patriotic banner and fine original colors, this eagle exemplifies this makers work. Original paint, professionally cleaned, with minor restoration to beak tip.

PROVENANCE : ESTIMATE :

Private Collection, Massachusetts

$5,000-$10,000

241

241 Carved Eagle and Shield Displaying a forty-inch wingspan, this carved wooden plaque has a turned-head eagle, a cannon, and a patriotic shield motif. Original paint and metallic leaf with sealer.

ESTIMATE :

138

$1,000-$2,000

242 detail

242

242 detail

242 Carved Cane William Campbell (1846-1911) An extraordinary carved cane displaying North American, Scottish, nautical, and forest motifs. This important cane displays: raised carved Sailor’s knots, a ship, figures in Highland dress, carved maker’s initials “WC”, an eagle with shield, a turkey, a beaver, a deer, and the lower third is a relief-carved branch and leaf pattern. Outstanding original condition with light wear mostly to finish at cane tip.

ESTIMATE :

$1,000-$2,000

139

243

243 detail

243 detail

243 detail

243 detail

243 Outstanding Southern Cane The cane handle exhibits a very expressive carved human head wearing a tradesman’s top hat. The shaft has numerous bird, animal, and reptile motifs that are pronounced from the shaft. Many of the figures on the shaft have glass eyes. This is the epitome of a hand carved cane with deep, mellow patina. The cane displays original finish with mellow patina and light craquelure. The cane has a couple very minor old edge chips.

The original finish displays pleasing craquelure and one of the carved frogs may have a replaced glass eye.

ESTIMATE :

140

$6,000-$9,000

244

244 Ball-In-Cage Cane

244 detail

A thirty-six-inch carved cane with four ball-in-cages whittled into the shaft and chamfered corners in between. Original finish with light craquelure.

ESTIMATE :

$200-$400

245

245 Two Figural Canes

245 detail

Both are thirty-four inches in length with naturally tapered shafts. One has a carved Colonial era gentleman and the other is a root head cane with a human face motif on the front of the handle and an animal head motif on the other end. The gentleman cane has a blunted nose. The root head cane has fine age cracks on one side of the lower quarter.

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

141

246 Three Antique Boot Pistols

246

A Frank Wesson, Worcester, Massachusetts, single-shot pistol with a spur trigger, patented Oct. 25, 1859. Two antique, percussion, singleshot pistols, one with a spur trigger. As found.

PROVENANCE : ESTIMATE :

247 Three Antique Pistols A Colt Model 1855 Root side-hammer revolver by Col. Samuel Colt (1814-1862), Colt’s Patent Firearms Manufacturing Company, Hartford, CT, c. 1860. A engraved percussion revolver with a spur trigger by James Bacon, Bacon Arms Co., Norwich, CT. c. 1860.

A six-shot engraved pepperbox with “New York 1864” stamped on the hammer. As found.

PROVENANCE : ESTIMATE :

142

William Tosi Collection

$600-$900

247

William Tosi Collection

$300-600

248

248 Model 1866 “Golden Boy” & Original Cartridge Box Winchester Repeating Arms Company New Haven, CT, 1868 A Winchester, lever-action, saddle-ring carbine in .44 caliber with a round barrel bearing the stamp “Henry’s Patent-Oct.16, 1860” and under that “Patent March 29, 1866.” The serial number 17549 can be found on the left side of the lower tang. An original Winchester cartridge box is included with the following information printed on the box “Winchester .44 Flat Rimfire Cartridges for the Winchester Rifle Model 1866.” The lower tang was repaired and the engraved serial number was worn off and can now be found only on the left side of the tang under the stock. The stock also has a few age lines and a repaired crack.

PROVENANCE : ESTIMATE :

William Tosi Collection

$7,000-$9,000

249 Turkey and Duck Calls

249

A Lynch’s World Champion box turkey call, model 102, made by Michael L. Lynch Co. (1896-1974), Thomasville, GA, c. 1950. A deluxe box turkey call

by Davy Bracken of Ligonier, PA, c. 1960. A Seiss Rooter metal, hand-cranked, diver duck call by George J. Seiss, Toledo, OH, c. 1910. The call bears a patent date of March 28, 1905, which was granted to Seiss and the Seiss Manufacturing Co. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$150-$300

143

250

250 Remington Percussion Revolver with Holster E. Remington and Sons Ilion, NY, c. 1865 A Remington New Model Army Revolver, .44 caliber with an octagon barrel. The pistol has an old leather holster that is decorated with Native American symbols executed with fine brass tacks. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$500-$1,000 251

251 Two Colt 1849 Pocket Model Revolvers Colt’s Patent Firearms Manufacturing Co. Hartford, CT, c. 1860 A six-inch barreled revolver with an engraved (worn) cylinder bearing serial number 172686. A four-inch barreled revolver bearing serial number 288158. As found.

PROVENANCE : ESTIMATE :

144

William Tosi Collection

$400-$800

252

253

254

255

252 Winchester Model 1873 Lever Action Rifle Winchester Repeating Arms Company New Haven, CT, c. 1891 A Model 1873 with a twenty-four-inch octagon barrel, gauge 38 W.C.F., and a United States Cartridge Co., Lowell, MA .44 Cal. box. Printed title: “Cartridges for Winchester Rifle Model 1873.”

A 20th century rear sight has been added.

PROVENANCE : ESTIMATE :

William Tosi Collection

254 Salesman’s Shell Sample, Boxes and Licenses A sample shells box from the Federal Cartridge Corp. displaying sample cut out shells. Seven New York State Hunting and Trapping License buttons from 1918, ‘27, ‘28, ‘29, ‘33, ‘35, ‘36 and others.

Twenty and one-half shell boxes and ten cartridge boxes. (Ten illustrated) PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

$1,000-$2,000

253 Decorated Long Rifle

255 Eleven Powder Tins

A forty-four-inch percussion rifle decorated and used by Native Americans.

This lot includes a group of empty, vintage gunpowder containers and twelve small round primer and percussion cap tins. Included is a Dupont Indian Rifle Gunpowder tin, a round E.I. duPont de Nemours Powder Co. Smokeless Shotgun Powder tin and a small round American Powder Mills, Boston, Massachusetts tin.

PROVENANCE :

Col. Raymond Vietzen collection of Native American artifacts William Tosi Collection

ESTIMATE :

$500-$1,000

ESTIMATE :

$600-$900

145

256

256 Ship Chandlery Sign Cape Cod, MA, c. 1990 A Nantucket Ship Chandlery sign with a whale motif by a talented contemporary Cape Cod sign painter. The sign measures forty-six by sixteen inches and is stamped on the back with 257 the maker’s initials.

Original condition with light wear.

ESTIMATE :

$500-$1,000

257 detail

257 Cape Cod Sporting Club Album and Journal c. 1900 On the western shore of John’s Pond in Mashpee, on Cape Cod, Massachusetts, there was a shooting club run by Edmond Wright, of 112 South Street, Boston. In his 1929 book, Shooting Stands of Eastern Massachusetts, Dr. John C. Phillips went on to further describe the John’s Pond Gun Club as a large blind with onehundred-five live geese, seventy-five live ducks and one-hundred blocks (decoys). A turn of the century handwritten journal and ledger recording the John’s Pond Club expenses, including the purchase of goose decoys from Joseph Lincoln, and the income from birds harvested. The photo album holds dozens of photos, showing use of live decoys, one of Lincoln’s decoys, fishing, and deer hunting.

ESTIMATE :

$300-$600

257 detail

146

258 Assorted Books Group of 10 volumes, as listed below.

Irving, Washington. The Sketch Book of Geoffrey Crayon, Gent. 1884. A few loose pages. * Packard, Winthrop. Wild Pastures.

1909 * Murphy, Robert Cushman. Log Book for Grace- Whaling Brig Daisy, 1912-1913. 1947 * Cooper, James Fenimore. The Last of the Mohicans- A Narrative of 1757. 1920. N. C. Wyeth Illus. * Stevenson, Robert Stevenson.

David Balfour. 1994. N. C. Wyeth Illus. * Rawlings, Marjorie Kinnan. The Yearling.

1967. N. C. Wyeth Illus. * Lorenz, Konrad Z. King Solomon’s Ring. 1952 * Stamp, L. Dudley. Britain’s Structure and Scenery. 1946 * Rowland, Beryl. Birds with Human Souls.

1978 * Hasselstrom, Linda. Bison- Monarchs of the Plains. 1998. In original sleeve. * 259 Bird Art Of John James Audubon Group of 4 volumes, as listed below.

Peterson, Roger Tory and Peterson, Virginia Marie. Audubon’s Birds of America- The Audubon Society Baby Elephant Folio. 1981.

In Original Slipcover. * Tyler, Ron. Audubon’s Great National Work. 1993 * Ford, Alice. The 1826 Journal of John James Audubon. 1967 * Rice Jr., Howard C. The World of John James Audubon- Exhibition Catalogue- Princeton University Library. 1960 260 Bird Art Of Louis Agassiz Fuertes Group of 5 volumes, as listed below.

Eaton, Elon Howard. Birds of New York- Part 1 and 2. 1910, 1914. Illustrated by Fuertes. * Boynton, Mary Fuertes. Louis Agassiz Fuertes. 1956 * Peck, Robert McCracken. A Celebration of Birds. The Life and Art of Louis Agassiz Fuertes. 1982 * Marcham, Frederick George. Louis Agassiz Fuertes and the singular beauty of birds. 1971 * Field Museum of Natural History. Abyssinian Birds and Mammals. Painted From Life by Louis Agassiz Fuertes. 1930. In Original Slipcover 261 Bird Books A group of 19 volumes, as listed below.

Thomasson-Grant. Magnificent Voyagers.

1988 * Owen, Myrfyn. Wild Geese of the World. 1980 * Kear, Janet. Ducks of the World. 1991 * Delacour, Jean. The Pheasants of the World. 1951 * Johnsgard, Paul A. Cranes of the World. 1983 * Byrkjedal, Ingvar and Thompson, D.B.A. Tundra Plovers. 1998 * Lorenz, Konrad. The Year of the Greylag Goose. 1978 * Dorst, Jean.

The Life of Birds- Volumes 1 and 2. 1974 * Kear, Janet. Wildfowl- Photographs by Eric Hosking. 1985 * Angell, Tony. Ravens, Crows, Magpies and Jays. 1978 * Skutch, Alexander F. Parent Birds and Their Young. 1976 * Life of the Woodpecker. 1985 * Bent, Arthur Cleveland. Life Histories of North American

Woodpeckers. 1992 * Nero, Robert W. The Great Gray Owl. 1980 * von Treuenfels, Carl-Albrecht. The Magic of Cranes. 2007 * Doughty, Robin W. Return of the Whooping Crane. 1989 * Everett, Michael. Birds of Paradise. 1978 * Green-Armytage, Stephen.

Extraordinary Pheasants. 2005 * Meanley, Brooke. Natural History of the King Rail. 1969

of the Gauntlet. 1952 * Snyder, Noel and Helen. Birds of Prey. 1991 * Tarboton, Warwick. African Birds of Prey. 1990 * Mansell, William. North American Birds of Prey. 1980 * Cade, Tom J. The Falcons of the World. 1982 * Grossman, Mary Louise and Hamlet, John. Birds of Prey of the World. 1964 266

262 Bird Books A group of 8 volumes, as listed below.

Cory, Charles B. A Naturalist in the Magdalen Islands. 1878. A few loose pages. * Caldwell, Harry R. and John C. South China Birds. 1931 * Murphy, Robert Cushman. Oceanic Birds of South America- Volumes I and II. 1936 * Bond, James. Birds of the West Indies. 1961 * Gill, Leonard. South African Birds. 1975 * Ali, Salim, The Book of Indian Birds. 2002 * Heinzel, Hermann, Galapagos Diary. 2000 * Austin, Jr., Oliver L. Birds of the World. 1961 263 Bird Books A group of 9 volumes, as listed below.

Hornaday, William T. Our Vanishing Wild Life. 1913 * Greenway Jr., James C. Extinct and Vanishing Birds of the World. 1958 * ICBP/IUCN Red Data Book, Threatened Birds of the Americas. 1992. 3rd EditionPart 2. New In Box * Bovey, Martin. The Saga of the Waterfowl. 1949. Inscribed. * Leopold, Aldo. Game Management. 1933 * Fuller, Errol. Extinct Birds. 2001 * Cokinos, Christopher. Hope is the Thing with Feathers.

2000 * Mcewen, John. The Birdman- henry Douglas-Home. 1978 * Rand, Austin R. Stray Feathers from a Bird Man’s Desk. 1955 * 264 Birding Books A group of 10 volumes, as listed below.

Peterson, Roger Tory. The Birds of Texas.

1960 * Hoffmann, Ralph. Birds of the Pacific States. 1927 * Babcock, Dr. Harold L. Field Guide To New England Turtles. 1938 * Job, Herbert K. Among the Water-Fowl. 1903.

Signed. * Pirnie, Dr. Miles David. Michigan Waterfowl Management. 1935 * Musgrove, Jack W. Waterfowl in Iowa. 1947 * Sowls, Lyle K. Prairie Ducks. 1955 * Storer, John H. The Flight of Birds. 1948 * Wright, Bruce S. High Tide and an East Wind- The Story of the Black Duck. 1954 * Walkinshaw, Lawrence H. The Sandhill Cranes. 1949. Inscribed.

265 Birds Of Prey Books A group of 10 volumes, as listed below.

Radcliffe, E. Delme. Falconry. 1971. Pamphlet * Cox, Harding and Laschelles, Gerald.

Coursing and Falconry. 1892 * White, T. H. The Goshawk. 1953 * Gah-I-Shaukati, Said and Nasiri, Baz-Nama-Yi. Two Treatises on Falconry. 1968 * von Michaels, H. Birds

266 The Book of Sport Patten, William. The Book of Sport.

Illustrated, Edition de Luxe, One of 1500 Numbered Copies, this one is Number 142. A Turn of the Century book describing early golf, tennis, polo, automobiling, and yachting.

The book has numerous illustrations of famous sportsmen of the time, including Woman Golf Champions, Men Champions and notables such as Alfred G. Vanderbilt, and Col. John Jacob Astor, who was a contributing editor. J. F. Taylor & Company 1901 Malcolm D. Whitman Collection (original contributor) PROVENANCE :

Private Collection, Massachusetts, by descent in the family

ESTIMATE :

$250-$500

267 British Birding Books Group of 12 volumes, as listed below.

Gurney, John Henry and Fisher, William Richard. Birds Found in Norfolk. 1846 * Witherby, H. F. The Handbook of British Birds- Volumes I-V. 1938,1938, 1939, 1940, 1941 * Bannerman, David Armitage. The Birds of the British Isles- Volumes V, IX, and X. 1956, 1961, 1961 * Hudson, W. H. British Birds. 1937 * Lockley, R. M. Puffins.

1954 * Darling, F. Fraser. Bird Flocks and the Breeding Cycle. 1938 * Vesey-Fitzgerald, Brian. British Game. 1946 * Mountfort, Guy. The Hawfinch. 1957 * Nethersole-Thompson, Desmond. The Greenshank. 1951 * Edlin, H. L. The Changing Wild Life of Britain. 1952 * Salvin, Frances Henry and Brodrick, William.

Falconry in the British Isles. 1970 * AtkinsonWilles, G. L. Wildfowl in Great Britain. 1963

147

268 Canadian Bird Art Books A group of 8 volumes, as listed below.

273a Etchings and Drypoints

by Frank W. Benson, Vol. 3

272

Bateman, Robert. BIRDS. 2002 * Derry, Ramsey. The World of Robert Bateman. 2005 * Archbold, Rick. Robert Bateman- Natural Worlds. 1996 * Robert Bateman- An Artist in Nature. 2005 * James, Ross. Glen LoatesBirds of North America. 1979 * Lansdowne, J. F. and Livingston, John A. Birds of the Northern Forest. 1977 * Birds of the Eastern Forest; 1 and 2. 1977 269 Canadian Bird Books Group of 10 volumes, as listed below.

Godfrey, W. Earl. The Birds of Canada.

1966 * Montevecchi, W. A. and Tuck, L. M. Newfoundland Birds, An Historic View. 1984 * Peters, Harold S. and Burleigh, Thomas D. The Birds of Newfoundland. 1951 * Tuck, Leslie M. The Snipes: a Study of the Genus Capella. 1972 * Tufts, Robie W. The Birds of Nova Scotia. 1961 * Taverner, Percy A. and Sutton, George Miksch.”The Birds of Churchill, Manitoba. 1934 * Todd, W. E. Clyde. Birds of the Labrador Peninsula and Adjacent Areas. 1963 * Casey, Peter N. Birds of Canada. 1984 * Hochbaum, H. Albert.

The Canvasback on a Prairie Marsh. 1944 * To Ride the Wind. 1973 270 Chesapeake And Southern Decoy Books A group of 10 volumes, as listed below.

Fleckenstein Jr., Henry A. Decoys of the MidAtlantic Region. 1979 * Southern Decoys of Virginia and the Carolinas. 1983 * Stansbury, Henry H. Lloyd J. Tyler. Folk Artist. Decoy Maker. 1995. Signed * Richardson, R. H. Chesapeake Bay Decoys. First printing.

Signed * Buckwalter, Harold R. Susquehana River Decoys. 1978 * Cheever, Byron.

Ward Bros. 1971. Signed and dated by the Ward Brothers. * Berkey, Barry R., Velma, and Richard E. Pioneer Decoy Carvers.

1977 * McKinney, J. Evans. Decoys of the Susquehanna Flats and Their Makers. 1978.

Signed * Reiger, George. Floaters and Stickups. 1986. * Walsh, Roy E. Gunning the Chesapeake. 1960 PROVENANCE :

William Tosi Collection

271 Decoy Books A group of 7 volumes, as listed below.

Webster, David S. and Kehoe, William.

Decoys at the Shelburne Museum. 1971 * Waingrow, Jeff. American Wildfowl Decoys.

1985 * Johnsgard, Paul A. The Bird DecoyAn American Art Form. 1976 * Kangas, Gene and Linda. Decoys a North American Survey. 1983 * Decoys. 1992 * Colio, Quintina. American Decoys. 1972. No. 329 of 550. * Engers, Joe. The Great Book of Wildfowl Decoys. 1990 PROVENANCE :

148

William Tosi Collection

Paff, Adam E. M. Etchings and Drypoints by Frank W. Benson: Volume Three.

Boston: Houghton Mifflin Co., 1923.

No. 94 of 525. Frontispiece is an original singed etching by Frank W. Benson, traditionally referred to as On Set Wings.

ESTIMATE :

272 Derrydale Press Two volumes, as listed below.

Sheldon, Col. Harold P, Tranquility Revisited, 1940. First Edition, No. 131 of 485. Quarter red morocco slipcase with chemise.

Inscribed: With my best wishes Harold P. Sheldon. Falls Church, Virginia.

June, 12, 1940, Annabell, Russell, Tales of a Big Game Guide, 1938. No. 495 of 950.

PROVENANCE : ESTIMATE :

John E. Lennon Collection

$200-$400

273 English Birding And Art Group of 20 volumes, as listed below.

Tunnicliff, C. F. Bird Portraiture. 1946 * Sketches of Bird Life. 1981 * A Sketchbook of Birds. 1979 * Shorelands Summer Diary.

1952 * Niall, Ian. Portrait of a Country Artist, Charles Tunnicliffe R.A. 1980 * Tunnicliffe’s Countryside. 1983 * Rees, Darren. Bird Impressions, A Personal View of Birds. 1993 * Cardew, Jeremy. Thornburn’s Wildlife. 1982 * Southern, John. Thorburn’s Landscape. 1981 * Thornburn’s Birds and Mammals. 1986.

Signed * Scott, Peter. Morning Flight, A Book of Wildfowl. 1949 * Wild Chorus. 1949 * Observations of Wildlife. 1980 * Travel Diaries of a Naturalist II. 1985 * The Eye of the Wind. 1961 * Wild Geese and Eskimos.

1951 * Key to the Wildfowl of the World.

1951 * A coloured Key to the Wildfowl of the World. 1957 * and the Wildfowl Trust. The Swans. 1972 * and Young, E. Hilton. A Bird in the Bush. 1936 * and Fisher, James. A Thousand Geese. 1953 PROVENANCE :

Collection

273a

Joseph Archibald Hagar

$400-$800

274 Extinct Bird Books Mershon, W. B. The Passenger Pigeon 1907 First two pages have a small tear.

Gross, Dr. Alfred O, The Heath Hen, 1928 PROVENANCE :

John E. Lennon Collection

275 George Bird Evans Books A group of 11 volumes, as listed below.

Evans, George Bird. Grouse along the Tramroad. 1986. No. 343 of 1500. Inscribed with slipcover. * 2nd copy. No. 43 of 1500.

Inscribed with slip cover. * October Fever.

1989. No. 343 of 1250. Inscribed with slipcover. * From my Covers. 1995. No. 343 of 1250. Inscribed with slipcover. * Grouse on the Mountain. 1994. No. 43 of 1500.

Inscribed with slipcover. * Living with gun Dogs. 1992. No. 343 of 1500. Inscribed with slipcover and note from author and his wife. * Grouse and Woodcock in the Blackwater/ Canaan. 1997. No. 43 of 1500. Inscribed with slipcover. * George Bird Evans Introduces. 1990. No. 43 of 1150. Inscribed with slipcover. * Evans, George Bird and Evans, Kay. Mystery Quintet- Volumes I and II. 1996. No. 343 of 500. Inscribed with slipcover. * Harper, Catherine A. George Bird Evans. Life of a Shooting Gentleman.

1999. No.121 of 1500. Signed with slipcover.

PROVENANCE :

John E. Lennon Collection

276 Gun Books A group of 10 volumes and 4 catalogues, as listed below.

Montague, Andrew. Successful Shotgun Shooting. 1971. Dust jacket. * Johnson, Peter H. Parker- America’s Finest Shotgun.

1961. Dust jacket. * Wilson, R. L. ColtCommemorative Firearms. 1969 * Browning, John and Gentry, Curt. John M. BrowningAmerican Gunmaker. 1964. Dust jacket * McIntosh, Michael. A. H. Fox- The Finest Gun in the World. 1992. No. 343 of 500.

Signed limited edition. * Baer, Larry L. The Parker Gun- An Immortal American Classic. 1974 * 2nd copy. 1980. Dust jacket. * Muderlak, Ed. Parker Guns- the Old Reliable.”1997. No. 406 of 500. Signed first edition with slipcover.* Childrey, Frank W., Parker III, Louis C., Gunther, Roy W., Mullins, William L., Price, Charles E. and Cote, Daniel Philip. The Parker Story-

Volume I and II. 1998. In slipcover. New condition. * Moulton, R. and A. The Parker Gun Works- Remington Arms Co., Inc. Catalog. Reprint. * The Parker Gun Catalog1926. Reprint. * Parker Bros. Meriden, Conn., U.S.A. Catalogue- 1899. * Parker Brothers, The Parker Shot Gun. 1882. Original catalog.

Worn with holes punched.

PROVENANCE :

John E. Lennon Collection

277 Hunting Books A group of 6 volumes and 1 magazine, as listed below.

Leffingwell, William Bruce. Wild Fowl Shooting. 1888. Rare inscribed copy. * Walsingham, Lord and Payne-Gallwey, Sir Ralph. Shooting. 1889. Repaired binding. * Walsh, Harry M. The Outlaw Gunner. 1971 * Connett, Eugene V. Duck Shooting Along the Atlantic Tidewater. 1947 * Chapter by A. E. Crowell. * Holland, Ray P. Shotgunning in the Lowlands. 1945. First printing with remnant slipcover. * Queeny, Edgar M. Prairie Wings. 1946. Dust jacket. * Teale, Edward. Whittled Ducks Made Him Famous.

Outdoor Life Magazine.1935. John Lee Baldwin, Babylon, NY article.

PROVENANCE :

William Tosi Collection

278 Limited Decoy And Sporting Books A group of 2 volumes, as listed below.

Merkt, Dixon MacD, Shang 1984. No. 2 of 550. Signed with slipcover. New in box.; Newberry, Dr. S. Lloyd, Pages of Time ,1996. First Edition. No. 100 of 100.

Signed with slipcover.

PROVENANCE : ESTIMATE :

John E. Lennon Collection

$150- $300

279 Massachusetts & New England Birding Group of 12 volumes, as listed below Forbush, Edward Howe. Useful Birds and Their Protection. 1908 * Game Birds, Wild-Fowl and Shore Birds. 1912 * Birds of Massachusetts and Other New England States- Volume 1. 1925 * Birds of Massachusetts and Other New England States- Volume II. 1927 * Birds of Massachusetts and Other New England States- Volume III. 1929 * Portraits of New England Birds. 1932 * Bagg, Aaron Clark and Eliot Jr., Samuel Atkins. Birds of the Connecticut Valley in Massachusetts.”1937* Stearns, Winfrid A. and Coues, Dr. Elliot.

New England Bird Life being a Manual of New England Ornithology- Part 1. * New England Bird Life being a Manual of New England Ornithology- Part II. 1894* Palmer, Ralph S. Maine Birds. 1949 * Griscom, Ludlow and Snyder, Dorothy E. The Birds of Massachusetts, An Annotated and Revised Check List. 1955 * Hill, Dr. Norman P. The Birds of Cape Cod, Massachusetts. 1965. Signed.

280 Mid-Atlantic Decoy Books A group of 8 volumes and 7 catalogues, as listed below.

Fleckenstein Jr., Henry A. Shorebird Decoys.

1980 * New Jersey Decoys. 1983 * Barber, Joel. Wildfowl Decoys. 1937. Hardcover * 2nd copy, 1954 * Huster, H. Harrison and Knight, Doug. Floating Sculpture- The Decoys of the Delaware River. 1982 * Reiser III, Harold W. Chauncy Wheeler or Chance. 2002 * Earnest, Adele. The Art of the Decoy. 1965 * Mackey Jr., William J. American Bird Decoys.

1965. Torn spine. * Bourne Co. Inc., Richard A. Mackey Collection Auction Catalogs 1-5.

1970s * Bourne Co. Inc., Richard A. Pratt Collection and one earlier catalog. 1970s PROVENANCE :

William Tosi Collection

281 Midwest And Factory Decoy Books A group of 6 volumes, as listed below.

Delph, John and Shirley. Factory Decoys.

1980 * Cheever, Byron. Mason Decoys. 1974 * Fleckenstein Jr., Henry A. American Factory Decoys. 1981 * Walsh Jr., Clune and Jackson, Lowell G. Waterfowl Decoys of Michigan and the Lake St. Clair Region. 1983 * Haid, Alan G. Decoys of the Mississippi Flyway. 1981.

Signed. * Parmalee, Paul W. and Loomis, Forrest D. Decoys and Decoy Carvers of Illinois. 1969 PROVENANCE :

William Tosi Collection

282 New England Decoy Books A group of 5 volumes, as listed below.

Delph, John and Shirley. New England Decoys. 1990 * Starr, Dr. George Ross.

Decoys of the Atlantic Flyway. 1974. No.189 of 375. Signed with slipcover. * Chitwood, Henry C. Connecticut Decoys- Carvers and Gunners. 1987 * Merkt, Dixon MacD. Shang.

1984. Signed * O’Brien Jr., Stephen B. The Harry V. Long Collection of A. Elmer Crowell Decoys. 2009 PROVENANCE :

William Tosi Collection

283 North American Birding Books Group of 16 volumes, as listed below.

Coues, Dr. Elliott. Key to North American Birds- Volume I and II. 1903 * Bent, Arthur Cleveland. Life Histories of North American Birds of Prey- Part 1 1937 * Life Histories of North American Birds of Prey- Part 2 1938 * Life Histories of North American Wild Fowl.

1923 * Life Histories of North American Wild Fowl. 1925 * Life Histories of North American Shore Birds- Part I. 1927 * Life Histories of North American Shore Birds- Part II. 1929 * Life Histories of North American Gulls and Terns. 1921 * Life Histories of North American Gallinaceous Birds. 1932 * Palmer, Ralph S. Handbook of North American Birds, Volumes 1-5. 1978, 1976, 1976, 1988, 1988 * Korthright, Francis H. The Ducks, Geese and Swans of North America. 1942. Signed Card.

284 Nuttal Ornitholocal Club Bird Books Group of 19 volumes, as listed below.

Nuttal, Thomas. A Popular Handbook of the Birds of the United States and Canada.

1905 * Brewster, William. The Birds of the Cambridge Region of Massachusetts.

1906 * Concord River, Selections from the Journals of William Brewster. 1937 * October Farm, from the Concord Journals and Diaries of William Brewster. 1937 * Griscom, Ludlow. The Birds of Concord.

1949 * Barbour, Thomas. Birds of Cuba.

1923 * Cuban Ornithology. 1943 * Townsend, Dr. Charles Wendell. The Birds of Essex County, Massachusetts. 1905 * Supplement to The Birds of Essex County, Massachusetts. 1920 * Batchelder, Charles Foster. Nuttal Ornithological Club, 1873 to 1919. 1937 * A Bibliography of the Published Writings of William Brewster.

1951 * Skutch, Alexander F. Life Histories of Central American Highland Birds. 1967 * Zusi, Richard L. Structural Adaptations of the Head and Neck in the Black Skimmer.

1962 * Meyerriecks, Andrew J. Comparative Breeding Behavior of Four Species of North American Herons. 1960 * Kale II, Herbert W. Ecology and Bioenergetics of the Long-billed Marsh Wren in Georgia Salt Marshes. 1965 * Smith, W. John.

Communication and Relationships in the Genus Tyrannus. 1966 * Lunk, William A. The Rough-winged Swallow-A Study Based on its Breeding Biology in Michigan.

1968 * Davis Jr., William E. History of the Nuttall Ornithological Club 1873-1986. 1987 * The Fiftieth Anniversary of the Nuttal Ornithological Club, December, 1923. 1924 285 Peterson, Reece And Ripley Book Group of 9 volumes, as listed below.

Ripley, S. Dillon. Rails of the World. 1977 * A Paddling of Ducks. 1957 * Trail of the Money Bird. 1947 * Peterson, Roger Tory. The Bird Watcher’s Anthology. 1957 * All Things Considered- My Birding Adventures. 2006 * The Field Guide Art of Roger Tory PetersonWestern Birds. 1992. Signed. * Howell, Steve N. G. and Dunn, Jon. A Peterson Reference Guide To Gulls. 2007 * Rosenthall, Elizabeth J. Birdwatcher- The Life of Roger Tory Peterson. 2008 * Reece, Maynard. The Upland Bird Art of Maynard Reece. 1997

149

286 Seabird And Shorebird Books A group of 16 volumes, as listed below.

Lockley, R. M. Shearwaters. 1947 * Eric Hosking’s Seabirds. 1983 * Fisher, James.

Sea-Birds. 1954 * Fisher, James. The Fulmar.

1952 * Tinbergen, Niko. The Herring Gull’s World. 1953 * Scott, Jack Denton and Sweet, Ozzie. The Gulls of Smuttynose Island. 1977 * Freethy, Ron. Auks. 1987 * Stokes, Ted and Shackleton, Keith. Birds of the Atlantic Ocean. 1968 * Fuller, Errol. The Great Auk. New * Haverschmidt, F. The BlackTailed Godwit. 1963 * Gollop, J. B., Barry, T. W. and Iverson, E. H. Eskimo Curlew- A Vanishing Species. 1986 * Bodsworth, Fred.

Last of the Curlews. 1955 * Sheldon, William G. The Book of the American Woodcock.

1967. Inscribed. * Hall, Henry Marion. A Gathering of Shore Birds. 1960 * Hosking, Eric and Hale, W. G. Eric Hoskins Waders.

1983 * Stout, Gardner D. The Shorebirds of North America. 1967 287 Sporting Books A group of 9 volumes, as listed below.

Phillips, John C. Shooting Journal of George Henry Mackay (1865-1922). 1929.

Spine cover missing * Phillips, John C. and Lincoln, Frederick C. American Waterfowl. * Jaques, Florence Page. Birds Across the Sky. 1942 * Snowshoe Country. 1944.

Inscribed * Canoe Country. 1945 * Sutton, George Miksch. Iceland Summer. 1961 * Eskimo Year. 1934 * Bird Student. 1980 * Richardson, Wyman. The House on Nauset Marsh. 1955 * Baldwin, Charles Baldwin. African Hunting from Natal to the Zambesi. 1863 288 Sporting Books A group of 8 volumes, as listed below.

Phillips, John C. A Sportsman’s Scrapbook.

1928 * A Sportsman’s Scrapbook. 1928.

With dust jacket. * A Sportsman’s Second Scrapbook. 1933 * American Game Mammals and Birds. A Catalogue of Books.1582-1925. 1930 * Phillips, John C. and Lincoln, Frederick C. American Waterfowl. 1930 * Clark, Roland. Pot Luck.

1945. In red slipcase. * Clark, Roland. Pot Luck. 1945. In tan slipcase. * Spiller, Burton L. Drummer in the Woods. 1962. Inscribed with dust jacket.

PROVENANCE :

John E. Lennon Collection

289 Sporting Books A group of 14 volumes, as listed below.

Hammond, S. T. My Friend the Partridge.

No. 43 of 1025. Gunnerman Press. * Harding, A. R. Fifty Years a Hunter and Trapper. 1941 * Potter, Arthur G. The 1907 Hunt of the Forest City Hunting Club. 1908

150

* Hoover, Matt. Wild Ginger. 1909. First Edition. * Grey, Romer. The Cruise of the Fisherman.’ 1929 * Martindale, Thomas.

With Gun and Guide. 1910 * Sport Indeed.

1901 * Ware, Richard D. In the Woods and on the Shore. 1908 * Klapp, Milnor. Krider’s Sporting Anecdotes. 1853 * Barker, Capt. F. C. Lake and Forest- As I Have Known Them.

1903. With dust jacket. * MacDougall, Jr., Arthur R. Dud Dean and His Country.

1946 * Comeau, N. A. Life and Sport on the Lower St. Lawrence and Gulf. 1910 * Gibson, Wm. Hamilton. Sharp Eyes- A Rambler’s Calendar. 1891 * Graves, Jackson A. California Memories. 1857-1930. 1930 PROVENANCE :

John E. Lennon Collection

290 Sporting Books A group of 14 volumes, as listed below.

Rutledge, Archibald. A Wildwood Tale. 1950.

Signed with Dust Jacket. * My Colonel and His Lady. 1937. With Dust Jacket. * From the Hills to the Sea. 1958. First Edition. * Pringle, J. J. Twenty Years’ Snipe-Shooting.

1985. Sand Lake Press. * Richardson, Lee. Those were the Days. Bird Hunting Memoirs.

1984. No. 340 of 500. * Babcock, Havilah.

Tales of Quails ‘n Such. 1951 * 2nd copy with dust jacket * Jones, Robert F. Dancers in the Sunset Sky. 1996. Signed. * Grozik, Richard S. Birdhunter. 1997. No. 343 of 500. Signed limited edition in slipcover. * Mathewson, Worth. Reflections on Snipe. 1995. No. 343 of 500. Inscribed limited edition. * Lundrigan, Ted Nelson. Hunting The Sun. 1997. No. 43 of 250. Signed limited edition. * Ruark, Robert. The Lost Classics. 1995. No. 343 of 500. Limited edition in slip cover. * Reiger, George. Zane Grey: Outdoorsman. 1972.

Dust jacket. * Gohdes, Clarence. Hunting in the Old South. 1967. Dust Jacket.

PROVENANCE :

John E. Lennon Collection

291 Sporting Books And Others A group of 10 volumes, as listed below.

Morris, Robert T. Hopkin’s Pond and Other Sketches. 1896. Inscribed. * Dinesen, Isak. (pen name for Baroness Karen C. Dinesen von Blixen-Finecke) Out of Africa. 1938. First edition with dust jacket. * Clancy, Tom. The Hunt for Red October. 1984. Naval Institute Press with dust jacket. * Longfellow, Henry Wadsworth. The Song of Hiawatha. 1911.

Wyeth, Remington, and Parrish illus. * Schwind, Phil. Cape Cod Fisherman. 1974 * Ryder, Alice Austin. Lands of Sippican.

1934. Spine damaged. * Ryder, Marion Crowell. Cape Cod Remembrances. 1972.

No. 233 of first edition. Signed. * Connett, Eugene V. Yachting in North America.

1948. First edition. * Holland, Ray P. Seven Grand Gun Dogs. 1961. No. 127

of first edition. Signed with slipcover. * Brown, William F. and Buckingham, Nash.

National Field Trial Champions. 1994. No. 343 of 450 with slipcover.

PROVENANCE :

John E. Lennon Collection

292 Sporting Print Book And Prints A group of 1 volume and 2 portfolios, as listed below.

Elman, Robert. The Great American Shooting Prints. 1972. No. 20 of 450. Signed with slipcover. * Ripley, A. Lassell. Gunning in America. 1947. Six Prints. The Field and Stream Portfolio. * Hunt, Lynne Bogue.

Fishing in America. 1946. Six Prints.

The Field and Stream Portfolio.

PROVENANCE :

John E. Lennon Collection

293

293 Rural Sports Daniel, Reverend William Barker (1754-1833).

Rural, Sports, Illustrated, Volume 1, Volume 2, and Supplement.

An early English Sporting book describing hunting, fishing and care of dogs with dozens of steel engraved plates. Bunny and Gold Vol. 1- 1801, Vol. 2- 1802, Suppl.

1813 Thomas Roberts Esq. Collection original subscriber PROVENANCE :

Private Collection, Massachusetts

ESTIMATE :

$300-$500

294 Vintage Decoy Publications A group of several dozen magazines and pamphlets, as listed below.

The Decoy Hunter. Late 1980s- early 1990s.

20+ issues. * Decoy Magazine. 1980- 1985.

20+ issues * Decoy World. 1970s. 12+ issues * Decoy Collector’s Guide. 1960s. 4+ issues * Toller Trader. and others. 1970s. 9+ issues * French, Joseph, Decoys Fabulous American Folk Art. 1992. VCR tape. Western Cartridge Company wooden shipping box- without lid.

PROVENANCE :

William Tosi Collection

295 Winchester Books Madis, George. The Winchester Book 1 of 1000. 1985. Signed Clear tape across top of spine. Wilson, R. L Winchester- An American Legend. 1991 PROVENANCE :

William Tosi Collectionbooks continuing awaiting lots 196-199

296 Waterfowl and Decoys Group of 6 volumes as listed below.

Connett, Eugene V., ed. Duck Shooting Along the Atlantic Tidewater. 1956 * Engers, Joe, ed. The Great Book of Wildfowl Decoy. 1990 * Starr, George Ross, Jr. Decoys of the Atlantic Flyway.1974* Kortright, Francis H.The Duck, Geese, and Swans of North America. 1942. NUMBER 438 of 1,000 COPIES, SIGNED, DELUXE EDITION. * Smith, Edmund W.The Further Adventures of the One-Eyed Poacher.1947 * Coykendall, Ralf. Duck Decoys and How to Rig Them. 1983. IN SLIPCASE. 297 Waterfowl Group of 4 volumes as listed below.

Phillips, John C. and Lincoln, Frederick C. American Waterfowl.1930 * Phillips, John C. A Sportsman’s Second Scrapbook. 1933 * Connett, Eugene V., ed. Duck Shooting Along the Atlantic Tidewater. 1947 * Bennett, Logan J., The Blue-Winged Teal. 1938

299 Fishing Group of 7 volumes as listed below.

Van Dyke, Henry. Fisherman’s Luck. 1899 * Van Dyke, Henry.A Creelful of Fishing Stories. 1932 * Bertram, James G. The Harvest of the Sea.1873 * Schwiebert, Ernest Jr. Matching the Hatch.1955 * Brewer, Leighton.Virgin Water. 1941 * Bates, Joseph D., Jr., ed. The Atlantic Salmon Treasury. 1975 * Schaldach, William J. Coverts & Casts. 1946 297 Artists Group of 8 volumes as listed below.

Davidson, Marshall B. The Original Water-Color Paintings by John James Audubon for the Birds of America. 1966.

Vols. 1 and 2. IN SLIPCASE. * Simkin, Colin, ed. Currier and Ives’ America. 1952 * Hill, Gene.A Gallery of Waterfowl and Upland Birds.1978 * Scott, Sir Peter.

Morning Flight. 1936 * Foster, William H. New England Grouse Shooting.1947 * Ordeman, John T. Frank W. Benson Master of the Sporting Print. 1983.

NUMBER 740 of 1000 COPIES, SIGNED. * Brynildson, Inga and Hagge, Woody.

Birds in Art The Masters.1990 * Bergh, Peter. The Art of Ogden M. Pleissner. 1984

298 Fishing Group of 8 Volumes as listed below.

Jones, A. Ross, ed. The Best of the Anglers’ Club Bulletin 1920-1972. 1972.

IN SLIPCASE. *Russell, Keith C. The FlyFishingest Gentlemen. 1986. IN SLIPCASE. * Gingrich, Arnold, ed. The Gordon Garland A Round of Devotions by His Followers. 1965. NUMBER 174 of 1,500 COPIES, STATED FIRST EDITION, IN SLIPCASE. * Hackle, Sparse G. Fishless Days, Angling Nights. 1971 * Thompson, Leslie P. Fishing in New England. 1955.

NUMBERED 115 of 1,200 COPIES. * Van Dyke, Henry. Little Rivers.1922 * La Branche, George M. L. The Dry Fly and Fast Water, 1914 * Haig-Brown, Roderick L. Silver. 1947

151

SESSION II Decoys JULY 13 | 11 AM

300 Four Miniature Flyers Roy A. Conklin, Jr. (1909-1967) Alexandria Bay, NY, c. 1935

300

Roy Conklin learned his craft from his town’s master decoy carvers, Frank Coombs (1882-1958) and Chauncey Wheeler (1888-1945). This lot includes four eight-inch half-bodied flyers: a wood duck, green-winged teal, blue-winged teal and redhead. Each is faintly identified in pencil on the back and ink stamped “Roy Conklin Jr.” and “copyright R. A. C.” All are in original paint. The wood duck and blue-winged teal have broken wing tips. The blue-winged teal’s foot needs to be reset.

ESTIMATE :

$800-$1,200

301 Five Miniature Flyers Roy A. Conklin, Jr. (1909-1967) Alexandria Bay, NY, c. 1935

301

This lot includes a gadwall, Eurasian widgeon, shoveler, black duck and canvasback. Each is faintly identified in pencil on the back, and ink stamped “Roy Conklin Jr.” and “copyright R. A. C.” In original paint. Each needs either a foot or a wing restored, except for the widgeon which needs both.

ESTIMATE :

$500-$700

302 Three Miniature Flyers Roy A. Conklin, Jr. (1909-1967) Alexandria Bay, NY, c. 1935

302

Three eight-inch half-bodied flyers including a drake pintail and a mallard pair. Each is faintly identified in pencil on the back, and ink stamped “Roy Conklin Jr.” and “copyright R. A. C.” All are in original paint. The hen has a missing wing tip.

ESTIMATE :

$500-$800

153

303

303 Miniature Pintail Pair Charles Perdew (1882-1964) Henry, IL, c. 1940 Exceptionally rare, miniature pintail pair by Charles Perdew. The base measures fifteen inches in length with the drake standing a little over four inches tall. The vast majority of Perdew miniatures that have surfaced to date have been mallards and wood ducks. This pair exhibits the same raised wing carving seen in some of Perdews full size decoys. Both the hen and drake display the maker’s most intricate brushwork. Birds are in near mint condition, with very minor paint loss to the webbing of the right foot of the drake.

304

PROVENANCE :

From the Charles Perdew Estate Sale Private Collection, Midwest

LITERATURE : Ann Tandy Lacy, Perdew, An Illinois River Tradition, Muncie, IN, 1993, pp. 200, 207, 208, 210, 221, related examples.

ESTIMATE :

$3,500-$4,500

305

304 Miniature Flying Mallard Charles Perdew (1882-1964) Henry, IL, c. 1940

305 Miniature Pintail Charles Perdew (1882-1964) Henry, IL, c. 1940

A fine miniature by Charles Perdew with the base measuring just five inches in length and the bird measuring one and three-quarter inches tall. Retains a paper Perdew estate label on the bottom.

Good original condition with minor rubs and an old coat of varnish.

Measuring just over four and one-half inches in length, this diminutive “sprig tail” is mounted on a burl base. Original paint with a light coat of varnish.

PROVENANCE :

PROVENANCE :

From the Charles Perdew Estate Sale Private Collection, Midwest

LITERATURE :

LITERATURE : Ann Tandy Lacy, Perdew, An Illinois River Tradition, Muncie, IN, 1993, p. 256, related examples.

From the Charles Perdew Estate Sale Private Collection, Midwest

Ann Tandy Lacy, Perdew, An Illinois River Tradition, Muncie, IN, 1993, p. 210, related example.

ESTIMATE :

154

$800-$1,200

ESTIMATE :

$800-$1,200

306

306 Female Turned-Head Cardinal Charles Perdew (1882-1964) Henry, IL, c. 1940

306

An exceedingly rare songbird by the maker. The carving, over five inches high, exhibits pronounced raised wing, turned head and incised tail carving. Showing Charles Perdew’s best intricate feather paint pattern, the delicate songbird has glass eyes and is beautifully mounted on a burl base. Very good condition with minor rubs to edges of burl base and small pinhead size touch-up to left side and top of head.

LITERATURE : Ann Tandy Lacy, Perdew, An Illinois River Tradition, Muncie, IN, 1993, p. 239, related examples.

Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 153, exact bird illustrated.

ESTIMATE :

$5,000-$6,000

155

307

308

309

310

307 Miniature Redhead Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

309 Miniature Hooded Merganser A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

Retains the maker’s rectangular stamp on the bottom of the base. Original paint with light craquelure.

Retains the maker’s rectangular stamp on the bottom of the base. Original paint with a reset bill and neck.

PROVENANCE : ESTIMATE :

William Tosi Collection

$1,200-$1,800

308 Miniature Red-Breasted Merganser Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A miniature sheldrake with the maker’s rectangular stamp on the bottom of the base. Original paint with touch-up to sides of head, bill and two minute flakes on body.

PROVENANCE : ESTIMATE :

156

William Tosi Collection

$800-$1,200

PROVENANCE : ESTIMATE :

William Tosi Collection

$800-$1,200

310 Miniature Goldeneye Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A miniature whistler with the maker’s rectangular stamp on the bottom of the base. Original condition.

PROVENANCE : ESTIMATE :

William Tosi Collection

$1,000-$2,000

THE STEPHEN H. CHURCHILL COLLECTION OF MINIATURES AND DECOYS. STEPHEN CHURCHILL began collecting decoys and decorative carvings in the 1980s, after having acquired a small number of pieces from his mother. He continued collecting over the course of the next three decades, maintaining an emphasis on quality rather than quantity. A bird enthusiast, Churchill spent many summers watching the shorebirds from his Falmouth, Massachusetts home. It is no surprise that he was drawn to collect such a fine group of miniature shorebirds, the majority of which are by A. Elmer Crowell (1862-1952).

This collection features forty miniatures by a number of makers, including examples by A. Elmer Crowell, Joseph W. Lincoln (1859-1938), George Boyd (1873-1941), Allen J. King (1878-1963), and Jess Blackstone (1909-1988). These carvers are considered to be five of the top miniature makers, apparent in the quality of these works. The Blackstone miniature shorebirds (lots 320 and 321), for example, are some of the best by the maker and are extremely rare. Also of note are the exquisite pheasant pair and mallard pair by A. J. King (lots 313 and 314), and the three miniature decoys by Joseph Lincoln (lots 317-319), which are particularly fine examples.

The Churchill working decoys that begin with lot 356 and are spread throughout the catalog offer many fine examples by New England carvers with special attention given to Martha’s Vineyard makers. The group features examples by a number of the island’s top carvers including Henry Keys Chadwick (1865-1958), Benjamin Smith (1866-1946), and Allen Stuart (b. 1866). Other standouts from the collection include a terrific Spear rig oldsquaw drake (lot 367), the Willie Ross (18781954) merganser (lot 532) pictured in The Great Book of Wildfowl Decoys, and the Lincoln brant (lot 370) from the Clark’s Island Gunning Club.

157

311

312

313

311 Miniature Robin Snipe George Boyd (1873-1941) Seabrook, NH, c. 1930

313 Miniature Pheasant Pair Allen J. King (1878-1963) North Scituate, RI, c. 1950

Exhibiting winter plumage with species identification written in pencil on the underside.

Original paint with minor blemish on left wing.

An exquisite pair of miniature ring-necked pheasants with five chicks. Signed “A. J. King” on the side of the base and retaining its original “The Crossroads of Sport, Inc. 15 East 54th St., New York” paper label. Professional restoration to the end of hen’s tail and right tip of cock’s tail.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE : Jim Cullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941, Rye, NH, 2009, p. 68, similar example illustrated.

ESTIMATE :

$1,500-$2,500

312 Miniature Golden Plover George Boyd (1873-1941) Seabrook, NH, c. 1935 Exhibiting breeding plumage, this shorebird has “Golden Plover” written in pencil on the bottom of the base. Original paint.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE : Jim Cullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941, Rye, NH, 2009, p. 4, similar example illustrated.

ESTIMATE :

158

$1,500-$2,500

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE : Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, p. 110, Fig. 11.9 and 11.10, similar miniature illustrated.

ESTIMATE :

$2,500-$3,500

314

315

316

314 Miniature Mallard Family Allen J. King (1878-1963) North Scituate, RI, c. 1950 A standing drake and a resting hen with four ducklings, signed on the side of the base. Original paint, covert feather missing from the drake.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,500-$3,500

315 Miniature Gray Partridge Pair Allen J. King (1878-1963) North Scituate, RI, c. 1950

316 Miniature Prairie Chicken Allen J. King (1878-1963) North Scituate, RI, c. 1950

A finely executed pair of northern gamebirds. Original condition.

An adult male greater prairie chicken carved in a courtship display posture, signed on the side of the base. Original paint with touch-up to both filoplumes.

PROVENANCE :

Stephen H. Churchill

Collection ESTIMATE :

$1,500-$2,500

PROVENANCE :

Stephen H. Churchill

Collection ESTIMATE :

$1,500-$2,500

159

317

317 Miniature Mallard Drake Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 A superb example of a Lincoln miniature waterfowl decoy with the species identified on the underside by the maker.

Original condition.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE : Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 72, similar miniature illustrated.

Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, p. 83, similar miniatures illustrated.

ESTIMATE :

318

$2,000-$3,000

318 Miniature Wood Duck Drake Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 The beauty of Lincoln’s graceful decoy lines are well documented. A life-size carving of a Lincoln wood duck was featured as the first Massachusetts waterfowl stamp in 1974.

In 1986, that carving sold for over $200,000, setting a world record for a decoy at that time. This rare miniature Lincoln wood duck decoy is stamped with the maker’s “Joe Lincoln, Accord, Massachusetts” ink stamp on the bottom. Original paint with minimal touch-up to bill.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE:

Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 72, similar miniature illustrated.

Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, p. 17, Fig. 2.2, p. 83, Fig. 7.10, and back of dust jacket, similar miniatures illustrated.

ESTIMATE :

319

$2,000-$3,000

319 Miniature Goldeneye Drake Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 Retains a handwritten identification “Whistler” in pencil and is stamped with the maker’s “Joe Lincoln, Accord, Massachusetts” ink stamp on the bottom. Original condition.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE :

Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 72, similar miniature illustrated.

Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, p.

80, Fig. 7.5, similar miniature illustrated.

ESTIMATE :

160

$1,000-$2,000

320 Miniature Golden Plover Jess Blackstone (1909-1988) Melrose, MA, c. 1950

320

321

322

323

324

325

Species identified, numbered 11 and signed on the bottom with the maker’s conjoined “JB” initial signature.

This plover is an exceedingly rare species for the maker.

Original condition.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$1,000-$1,500

321 Miniature Ruddy Turnstone Jess Blackstone (1909-1988) Melrose, MA, c. 1950 An exceedingly rare and difficult to find species by the maker. Species identified and numbered 39.

Original condition.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$1,000-$1,500

322 Goldfinch Jess Blackstone (1909-1988) Melrose, MA, c. 1960 Species identified, numbered 541 and signed on the bottom with the maker’s conjoined “JB” initial signature.

Original condition.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$1,000-$1,500

323 Miniature Bluebird Jess Blackstone (1909-1988) Melrose, MA, c. 1950 Species identified, numbered 75 and signed on the bottom with the maker’s conjoined “JB” initial signature.

Original condition.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$1,000-$1,500

324 Miniature Robin Jess Blackstone (1909-1988) Melrose, MA, c. 1960 Species identified, numbered 177 and signed on the bottom with the maker’s conjoined “JB” initial signature.

Original paint with the tip of the bill reset.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$1,000-$1,500

325 Myrtle Warbler Jess Blackstone (1909-1988) Melrose, MA, c. 1955 Species identified, numbered 49 and signed on the bottom with the maker’s conjoined “JB” initial signature. Original condition.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$1,000-$1,500

161

326

327

326 Miniature Ruddy Turnstone A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A fine example of this colorful shorebird with the maker’s rectangular stamp on the bottom of the base. Original paint with minute paint rub to the bill tip.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,000-$3,000

327 Miniature Sanderling A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 Exhibiting subtle female breeding plumage, retains the maker’s rectangular stamp on the bottom of the base.

Original paint.

PROVENANCE : ESTIMATE :

328

329

Stephen H. Churchill Collection

$2,000-$3,000

328 Miniature Purple Sandpiper A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A near mint example with the maker’s rectangular stamp on the bottom of the base. Original condition.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,000-$3,000

329 Miniature Black-Bellied Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A near mint example with the maker’s rectangular stamp on the bottom. Original condition.

PROVENANCE : ESTIMATE :

330

331

Stephen H. Churchill Collection

$2,000-$3,000

330 Miniature Black-Necked Stilt A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A miniature shorebird carving with the maker’s rectangular stamp and species identification on the bottom. Original paint with a reset bill and touch-up to one eye.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,000-$3,000

331 Miniature Upland Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 This shorebird exhibits finely painted feather detail and the maker’s rectangular stamp on the bottom. Original condition, bill is reset with chipped paint.

PROVENANCE : ESTIMATE :

162

Stephen H. Churchill Collection

$2,000-$3,000

332 Miniature Arctic Tern A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

332

A rare species by the maker with his rectangular stamp on the bottom. Original paint with restored tail feathers.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,000-$3,000

333 Miniature Semipalmated Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1940

333

334

335

336

A very good example with the maker’s rectangular stamp on the bottom. Original condition.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,000-$3,000

334 Miniature Robin Snipe A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 An early red-breasted robin snipe or red knot carving.

Original condition.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,000-$3,000

335 Miniature Yellowlegs A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A classic miniature shorebird carving with the maker’s rectangular stamp and traces of pencil identification “Yellow Leg” on the bottom. Original paint with a restored bill.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,000-$3,000

336 Miniature Snipe A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 Crowell used the historic name of Jacksnipe when referring to this bird, which has the maker’s rectangular stamp on the bottom. Original paint with a restored bill.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$2,000-$3,000

163

337

338

339

341

342

343

337 Miniature Canada Goose A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912

339 Miniature Widgeon Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

342 Miniature Mallard Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

Retains Crowell’s early circular ink stamp on the bottom. Original paint with touch-up to the bill and tail.

This proud little bird has the maker’s rectangular stamp on the bottom.

Original paint with a tail tip repair and a paint rub on the bill.

A fine example with the maker’s rectangular stamp. Original paint with very light craquelure on the breast and base.

PROVENANCE :

PROVENANCE :

PROVENANCE :

Stephen H. Churchill

Collection LITERATURE :

Brian Cullity, The Songless Aviary: The World of A.E. Crowell and Son, Sandwich, MA, 1992, p. 52, plate X, similar bird illustrated.

ESTIMATE :

$1,500-$2,500

338 Miniature Pintail Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 This carving exhibits early, thin neck form, highly detailed feathering, and a blue paper label. Original paint with touch-up to a fine age line in the neck and a small paint rub on the tail.

PROVENANCE :

Stephen H. Churchill

Collection ESTIMATE :

$1,000-$1,500

Stephen H. Churchill

Collection ESTIMATE :

$1,000-$1,500

340 Miniature Merganser Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 A nicely executed early miniature with the maker’s circular “Maker” ink stamp. Original paint with touch-up to the bill.

PROVENANCE :

Stephen H. Churchill

Collection ESTIMATE :

$1,000-$1,500

341 Miniature Mallard Decoy A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

PROVENANCE :

Stephen H. Churchill

Collection ESTIMATE :

Stephen H. Churchill

Collection

A rarely executed form of miniature mallard with the maker’s rectangular stamp. Original paint with faint glue residue on underside.

164

340

$1,000-$2,000

ESTIMATE :

$1,000-$1,500

343 Miniature Red-Breasted Merganser Pair A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A pair of matched miniatures, each with the maker’s rectangular stamp impressed in the bottom of the base.

Original paint with a minute paint rub on the underside of the drake’s bill.

PROVENANCE :

Stephen H. Churchill

Collection ESTIMATE :

$2,500-$3,500

344

345

346

347

348

344 Miniature Mallard Pair A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

346 Miniature Ruffed Grouse Helen Lay Strong (1915-1995) Seneca Falls, NY, 1964

348 Miniature Pintail Pair Tom Fitzpatrick (1887-1958) (attr.)

Delanco, NJ

An alert drake and a resting hen, signed “A.E. Crowell, Cape Cod” on the bottom above the maker’s rectangular stamp. This is one of the best Crowell double mount miniatures to come on the market. Original paint with minimal craquelure on the drake and base.

This miniature “displaying” game bird is signed, dated, and identified on the underside of the base. Original condition, full base not illustrated.

A very rare pair of Delaware River decoys, each measuring eight inches long. Both display raised wing and tail carving. Original paint with wear from handling. The hen has a tail chip.

PROVENANCE :

347 Two Miniature Mergansers Chester E. Doughty (1894-1974) Orr’s Island, ME, c. 1920 & 1950

Stephen H. Churchill

Collection ESTIMATE :

$2,000-$4,000

345 Miniature King Eider Drake Robert Morse (1920-1960) Ellsworth, ME, c. 1945 A rarely carved sea duck with glass eyes and sculpted feet. Species identified on the bottom, signed on the side of the base. Original condition.

PROVENANCE :

PROVENANCE :

Stephen H. Churchill

PROVENANCE :

Collection ESTIMATE :

$500-$700

Collectable Old Decoys, South Carolina Stephen H. Churchill Collection

ESTIMATE :

$3,000-$5,000

A finely-carved early red-breasted merganser drake and a later example which is signed on the underside. Both are in original condition.

PROVENANCE :

Stephen H. Churchill

Collection ESTIMATE :

$400-$600

Stephen H. Churchill

Collection ESTIMATE :

$800-$1,200

165

349 Piping Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1940

349

A life-size mantel carving with the maker’s rectangular stamp on the bottom. Piping plover historically were, and continue to be, infrequently seen along the Atlantic tidewater. Consequently Crowell carved very few birds of this species. Original paint with touch-up to two toes, thighs and a few paint flakes on the head.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE : Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992, p. 81, similar bird illustrated.

ESTIMATE :

350 Snowy Plover Harold Haertel (1904-1995) Dundee, IL, 1980

$5,000-$7,000

350

A life-size peep with carved wing feather groups.

Species identified, signed and dated on the bottom of the base. Original paint.

PROVENANCE : ESTIMATE :

351

Stephen H. Churchill Collection

$1,000-$1,500

351 American Goldfinch A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 A rare life-size songbird carving, signed by the maker on the bottom below his rectangular stamp. Original paint.

PROVENANCE : ESTIMATE :

166

Stephen H. Churchill Collection

$1,500-$2,500

352

167

352 detail Harry V. Long taking a break with his daughter, son-in-law and favorite English Setter while upland bird hunting in New Hampshire’s Mt. Washington Valley, c. 1920.

“The good old days at Chatham Beach.”

Harry V. Long’s son-in-law (who commissioned lot 352) after a morning of shorebird hunting.

352 detail The underside of the base displays a crisp and even imprint from Crowell’s earliest brand.

352 Life-Size Standing Green-Winged Teal A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912 An early and important green-winged teal by the father of modern bird carving. This turned head, open billed teal is being offered for sale through our firm, by the direct descendants of the original purchaser. This offering represents an exceedingly rare opportunity for the collector of Crowell carvings to acquire one of the maker’s masterworks. While several of Crowell’s life-size standing decoratives have incised tail and raised wing carving, the design of this teal with its crossed raised wing tips, turned head, open bill, subtle tongue carving, and exquisitely painted “ferns on rock” carved base, elevate this work to a level unto its own.

A look at the provenance of this work reveals the reason for Crowell’s exquisite execution. It was created as part of a series of supremely detailed carvings made for the Long family of Boston, MA. This particular bird was commissioned by the son-in-law of Harry V. Long sometime after 1910 and like other iconic Long commissions, is the only one of its kind known to exist.

Measuring just under thirteen and one-half inches in length and four inches wide, this plump and animated bird showcases Crowell’s remarkable ability to capture birds in motion. The lifelike carved sculpture shows tour-de-force paint, starting with Crowell’s intricate vermiculation as seen on his famous preening pintail. Crowell created a base coat then worked his inventive “wet on wet” feather paint atop the vermiculation. He achieved this by gently feathering a dry brush without any paint across the tacky darker colored feather portions into the tan edges to create

168

a blurred or blended look. Crowell then used thicker paint atop the darker feathers using the brush bristles to create texture and depth. Not content, he then went back strategically and applied small amounts of vermiculation above the speculum to give the appearance of translucency. Completing the bird, Crowell finished the body paint with his quick ‘ocean wave’ paint along the sides and lower flanks. The carved undulating base is as extraordinary as it is rare. As demand for his carvings increased, the maker opted for the smooth rounded “stone” and “clam shell” bases that were far easier to carve. On this work Crowell has overlayed a faux “fern” pattern that shows the painter at the height of his ability. This singular carving has never been offered for sale and stands as one of the greatest decorative waterfowl carvings ever to come to market. Outstanding original paint, hairline rubs to base and tail, professional touch-up to webbing and gesso on right foot, and traces to left foot, small one inch area of minor touch-up to flaking on breast and hairline neck seam.

PROVENANCE :

Commissioned by the son-in-law of Harry V. Long of Boston, MA, acquired directly from the maker.

Private Collection by descent in the family.

ESTIMATE :

$60,000-$90,000

352

169

353

354

353 Monomoy Brant A. Elmer Crowell (1862-1952) (attr.)

East Harwich, MA, c. 1890 One of the earliest and finest Cape Cod brant decoys ever to come on the market. Made for the Monomoy Brant Club, circa 1890. This decoy exhibits an early draw knife, or spoke shave finish, as well as an exceptional painted crossed-wing tip finish, which may have been the precursor to Crowell’s famous raised crossed-wing carving. This carving has remained in the same family’s collection for over forty years. Retains superb original paint with even gunning wear, and an age crack along the bottom.

PROVENANCE :

Private Collection, Massachusetts

LITERATURE : Sotheby’s, Americana, New York, NY, January 18, 2008, lot 314, related example illustrated.

ESTIMATE :

$6,000-$8,000

354 Goldeneye Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 A slightly turned head decoy displaying glass eyes, bill carving, and early painted feathering along the back ending in painted crossed primary feathers. The maker’s oval brand is on the bottom. In original paint with gunning wear and some light flaking.

ESTIMATE :

170

$6,000-$8,000

355

356

355 Bluebill Hen and Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 and c. 1930 An early low-head hen with carved tail feather detail and a “JCN” rig brand on the bottom. The drake has a slightly turned head, carved bill detail, and a partial maker’s rectangular stamp on the bottom. Both are in original paint with gunning wear. The hen has some flaking, the drake has a one-inch-wide section of heartwood missing along the bottom.

ESTIMATE :

$5,000-$10,000

356 Merganser Hen Benjamin D. Smith (1866-1946) (attr.)

Oak Bluffs, Martha’s Vineyard, MA, c. 1920 A full-bodied decoy from this revered carver who taught his friend and fellow Oak Bluffs resident Keyes Chadwick (1865-1958) to make decoys. Branded on the bottom “M. Luce Jr.” for the Luce rig. Original paint with light gunning wear. The bill, neck seam filler, and a few tail chips have been restored.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE :

Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, p. 108, plate 85, similar decoy illustrated.

ESTIMATE :

$3,000-$6,000

171

356a

357

357a

358

356a Goldeneye Drake Doubleday Family Quincy, MA, c. 1920

357a Merganser Hen Moses H. Wilcox (1858-1963) Quiambaug, Stonington, CT, c. 1910

A South Shore decoy recently discovered with the family’s shorebird and duck hunting rig from an estate on Hough’s Neck.

The decoy displays fine form with a slight wing separation along the back, incised bill detail, carved eyes with tack pupils, and fore and aft anchor loops. Original paint with appealing patina and light gunning wear.

Wilcox descended from three hundred years of seafaring New Englanders. To commemorate his one hundred and fifth birthday, the New London Day newspaper reported, “Captain Moses Wilcox, in his fishing dory, is the only man to ever had lassoed a sperm whale by the tail and beached it.” Original paint with minor in-use touch-up and light gunning wear.

PROVENANCE :

ESTIMATE :

ESTIMATE :

Private Collection, New England

357 Bluebill Hen Henry Keyes Chadwick (1865-1958) Oak Bluffs, Martha’s Vineyard, MA, c. 1940 A bluebill hen with a circular inset weight in the bottom. Original paint with light gunning wear and a replaced cork fastener plug on the bottom.

PROVENANCE : ESTIMATE :

$800-$1,200

$2,500-$3,500

Stephen H. Churchill Collection

$1,000-$2,000

358 Swimming Goldeneye Hen Frank Adams (1871-1944) West Tisbury, Martha’s Vineyard, MA, c. 1910 An early decoy with carved eyes, an incised bill outline, and original rigging. Adams decoys with this attitude and condition are incredibly difficult to obtain. This example ranks among the maker’s best work. A serifed “V” is incised on the underside.

Original paint with gunning wear and some professional touch-up to worn wood areas on back and lower right flank.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE :

Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, pp. 18 and 19, similar decoys illustrated.

ESTIMATE :

172

$2,000-$3,000

359

360

361

362

363

364

359 Red-Breasted Merganser Hen David S. Goodspeed (1862-1943) Duxbury, MA, c. 1900

363 Goldeneye Hen Arthur Shute (1898-1967) Hingham, MA, c. 1920

This South Shore decoy exhibits glass eyes, swimming posture, and a strong upswept tail. Original paint with gunning wear, some overpaint on head; age cracks in the neck and along the bottom.

This decoy was found by Joseph Archibald Hagar (1896-1989) while doing ornithological field work along the North River in Marshfield. A relative, Mary Shute, was married to Joseph W. Lincoln (1859-1938) of Accord, Massachusetts. Original paint with gunning wear, to include flaking and wear to wood.

ESTIMATE :

$900-$1,200

360 Blue-Winged Teal Hen David S. Goodspeed (1862-1943) Duxbury, MA, c. 1920 An exceedingly rare species by this maker in near mint condition, never weighted or used. Goodspeed worked as a bartender at the America House in Boston at the turn of the century. Original paint with minimal wear from handling.

ESTIMATE :

$800-$1,200

361 Black Duck John Winsor Duxbury, MA, c. 1920

PROVENANCE :

Joseph Archibald Hagar Collection Private Collection, Maine, by descent in the family

ESTIMATE :

$75-150

364 Oversized Cork Black Ducks George Ross Starr Jr., M.D. (1915-1985) Duxbury, MA, c. 1960 This pair of oversized black ducks was made by Dr. Starr and measures a full two feet in length. Each has a wooden bottom board with the Starr Collection stamp.

Original paint with light gunning wear.

PROVENANCE :

George Ross Starr, Jr., M.D. Collection.

Private Collection, Massachusetts

Displays a four-piece laminated body, glass shoe button eyes, and scratch-painted feather detail on the body.

Original condition with light gunning wear.

LITERATURE : Richard A. Bourne Co. Inc., The Rare Decoy Collection of George Ross Starr Jr., M.D., Hyannis, MA, 1986, p. 162, lot 659-660, exact decoys illustrated.

ESTIMATE :

ESTIMATE :

$150-$300

362 Goldeneye Drake Burns Family (attr.)

Duxbury, MA, c. 1900

$1,000-$2,000

365 No Lot

A painted-eye decoy from the South Shore of Massachusetts, also used in the bays and marshes of Wareham, Massachusetts. Old paint with gunning wear, and an age crack in the side held tight with four nails.

ESTIMATE :

$200-$400

173

366 detail

175

366 Red-Breasted Merganser Hen Captain Samuel Augustus Fabens (1814-1899) Rig Salem, MA, c. 1850 Decoys from the rig of Captain Samuel Augustus Faben’s have been associated with not only the best decoys from the North Shore of Massachusetts but are considered among the finely crafted decoys from any region. Born into a nautical family, Fabens carried on his family’s ancestral tradition, commanding a number of renowned tall-ships around the globe, including one of the finest of the day, the clipper ship Challenge. This vessel’s “faultless beauty, matchless speed, and unquestionable strength” were described in a Boston Daily Atlas article from June 16th, 1851.

The following is an excerpt form that article: …The Challenge, therefore, is the embodiment of her builder’s idea of the perfect in naval architecture, and his reputation is thus practically pledged for her success… Her sheer is not sudden or marked by any peculiarity, but is truly graduated along her whole length, presenting an outline of perfect beauty. Her bow rises nobly, and although its lines are concave below, yet as they ascend they become gently modified, still preserving their angular form; and, on the rail, blend in perfect harmony with her general outline.

It is therfore not surprising that the man who commanded such a meticulous and elegant vessel would have a rig of decoys that parallel The Challenge in design.

This merganser’s construction shows the work of a confident and accomplished craftsman.The hollowed body’s lines are nearly faultless and rise towards the front of the bird supporting the upturned head that portrays the animated character of the species.

The head sits atop a raised neck seat and features ever-so-slight eye groove carving and full cheeks that seamlessly transition to the gently upswept bill. The entire length of the delicate bill shows deep incised mandible carving with serrated detail (see p. 175).

A thin wooden crest has been inlayed into the top of the head.

176

In addition to superb form, this carving exhibits several features that are rarely if ever seen in working decoys. The body seam begins just above the slender paddle tail, and rather than running parallel to the bottom, it ascends upwards to the center of the breast. The flat bottom of the bird is fitted with a rounded wooden keel which is particular to the region. The top of the head shows a dowel that goes down through the neck for support.

The paint features subtle blending in addition to the crisp lines of the wing patch and primaries. The high quality glass eyes are two-tone.

The rarity of these unique sheldrakes cannot be overstated, only four Fabens rig mergansers in original paint have ever surfaced. The only drake and a matching hen reside in an important private collection, and the only other hen is held in another private collection. To our knowledge, this is the first time a Faben’s rig merganser has ever come on the public market. Original paint with even gunning wear and a pleasing patina. Top portion of crest is an old replacement. The bottom left side of neck has a small chip that has been replaced with unpainted wood. Tip of bill shows some wear.

PROVENANCE :

Private Collection, Connecticut, acquired c. 1960

LITERATURE : Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 45-47, related example illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 150, related example.

Octavius T. Howe and Frederick C. Matthews, American Clipper Ships, 1833-1858, Marine Research Society Publication 13, vol., Salem, Massachusetts: Marine Research Society, 1926, pp. 228-231.

Sjohistoriska Samfundet, The Maritime History Virtual Archives, The Boston Daily Atlas, copyright 1997, Lars Bruzelius.

ESTIMATE :

$15,000-$25,000

366

367

367 Old Squaw South Shore, MA, c. 1900 This alert old squaw shows the graceful lines of fellow South Shore carver Joseph Lincoln (1859-1938). This well-proportioned sea duck decoy accurately captures the nuance of the species with its pronounced breast, uplifted head, upswept bill, subtle shoulder carving, and simple but elegant paint pattern. Branded “W. T. SPEAR” twice on the bottom. Members of the Spear family are known to have commissioned works by Joseph Lincoln, and many of Lincoln’s best decoys were created for this notable hunting family. Original paint with tight craquelure, even gunning wear, rubs to bare wood on top of the head, sides, tail and a few tight age lines.

PROVENANCE : ESTIMATE :

$8,000-$12,000

367 detail

178

Stephen H. Churchill Collection

368

369

368 Black Duck Joseph W. Lincoln (1859-1938) Accord, MA, c. 1920 This bold black duck with shoulder carving and carved wing tips has been in the same Plymouth County home for the last forty years and displays detailed scalloped speculum paint not frequently seen in Lincoln’s work. Original paint with even gunning wear and age line in neck, checks along the back and underside with filler.

PROVENANCE : LITERATURE :

Private Collection, Massachusetts

Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 32, similar example

illustrated.

ESTIMATE :

$4,000-$6,000

369 Black Duck James Look (1862-1926) West Tisbury, MA, c. 1900 A rare puddle duck by this Martha’s Vineyard carver and guide. The decoy displays the carver’s gracefully carved wing separation, incised bill detail, carved eyes with rounded tack center, and two round inset lead weights on the bottom. Original paint with light craquelure and gunning wear including age lines and flaking, crack in neck professionally repaired.

PROVENANCE : ESTIMATE :

Private Collection, New England

$3,000-$5,000

179

370

370 Brant Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910

372 Widgeon Tom Wilson (1863-1940) Ipswich, MA, c. 1900

A tack-eyed brant from the Clark’s Island Gunning Club. This turn of the century club was located just west of Duxbury beach. The club branded their decoys, including this one, “CIGC.” Original paint with light craquelure, a reset bill and an age crack along the bottom.

In 1951, folk art collector Nina Fletcher Little discovered thirteen unused shorebird, duck, and goose decoys in a North Shore hunting camp in Massachusetts. These birds led to the identification of Tom Wilson as a carver. This extremely rare and early decoy is believed to be one of only three widgeon by the maker known to exist. This widgeon displays two-piece solid body construction with meticulously painted feather detail distinguishing individual feathers from the back of the neck to the tip of the tail. Wilson went so far as to finish the feathers of the front half of the back with an exceptional hand-painted vermiculated pattern. The head exhibits a tight paint pattern, fine glass taxidermy eyes, and nostril and nail carving on the bill. Original paint with even gunning wear with some flaking on the head.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE :

Vern E. Berg, New England Gunning Boxes, North American Decoys, Spanish Fork, Utah, Fall 1975, p. 40, rigmate illustrated.

ESTIMATE :

$6,000-$10,000

371 Redhead Drake Henry Keyes Chadwick (1865-1958) Oak Bluffs, Martha’s Vineyard, MA, c. 1890 Displays the maker’s earliest and most desirable form with carved bill detail, carved “ice groove” shoulders, and circular inset weight. Mixture of original paint with professional in-painting and tight age cracks in the neck.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE :

Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, p. 46, plate H, similar decoy illustrated.

ESTIMATE :

180

$8,000-$12,000

PROVENANCE :

Private Collection, Midwest

LITERATURE :

Stephen B. O’Brien, Jr. Fine Arts, 2003 Catalog, fig. 58, rigmate illustrated.

ESTIMATE :

$4,000-$6,000

371

372

181

373

373 Red-Breasted Merganser Frank Richardson Edgartown, Martha’s Vineyard, MA, c. 1920 A glass-eyed, round-bottomed decoy used by Richardson and fellow Vineyard carver Benjamin Smith (1866-1946) on the Great Sengekontacket tidal pond. The underside exhibits a small rounded end inset strip of lead weight and the stenciled duck head stamps of both the Murphy and Levinson collections. Mixture of original and old working paint with gunning wear and tight age cracks.

PROVENANCE :

Stanley Murphy Collection Dr. John M. Levinson Collection Stephen H. Churchill Collection

LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, p. 96, plate 72, similar decoy illustrated.

ESTIMATE :

374

$4,000-$6,000

374 Red-Breasted Merganser Drake Allen Stuart (b. 1866) Edgartown, MA, c. 1900 A fine example of this Martha’s Vineyard maker’s craft with provenance from one of New England’s foremost historic collections. The decoy displays a delicate head with lightly incised eyes and a sleek body with a long, rounded tail. The underside bears Dr. Starr’s inventory code and collection ink stamp. Original paint with gunning wear and an early bill repair.

PROVENANCE :

George Ross Starr, Jr., M.D. Collection Stephen H. Churchill Collection

LITERATURE : Richard Bourne, The Rare Decoy Collection of George Ross Starr, Jr., M.D., Hyannis, MA, 1986, p. 14, lot 21, exact decoy illustrated.

ESTIMATE :

375

$3,000-$5,000

375 Merganser Hen Henry Keyes Chadwick (1865-1958) Oak Bluffs, Martha’s Vineyard, MA, c. 1920 A classic Vineyard duck decoy in very fine condition with a circular inset weight on the bottom. Original paint with light craquelure and an age crack along the bottom.

LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, p. 56, plate 39, similar decoy illustrated.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT,1983, p. 98, rigmate illustrated.

ESTIMATE :

182

$4,000-$6,000

376

377

378

379

376 Red-Breasted Merganser Hen Allen Stuart (b. 1866) Edgartown, MA, c. 1900

378 Bluebill Pair Henry Keyes Chadwick (1865-1958) Oak Bluffs, Martha’s Vineyard, MA, c. 1930

An early example of this Vineyard maker’s craft exhibiting excellent form. Original paint with light gunning wear and minor touch-up to bill tip.

The drake has a slightly turned head and both have their round inset weights. Both are in original paint with light craquelure, gunning wear and age cracks along the bottom of each.

PROVENANCE :

PROVENANCE :

ESTIMATE :

Stephen H. Churchill Collection

$3,000-$5,000

377 Black Duck Henry Keyes Chadwick (1865-1958) Oak Bluffs, Martha’s Vineyard, MA, c. 1920 A nice clean example by this maker. Original paint with light craquelure on the body, gunning wear, an age crack along the bottom and an age line in the neck.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, p. 36, plate 23, similar decoy illustrated.

ESTIMATE :

$1,500-$2,500

Stephen H. Churchill Collection

LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, p. 30, plate 18, similar decoys illustrated.

ESTIMATE :

$2,000-$4,000

379 Brant Frank Richardson Edgartown, MA, c. 1920 A rare tack-eyed, hollow-carved brant decoy used by Richardson and fellow Vineyard carver Benjamin Smith (1866-1946) on the Great Sengekontacket tidal pond. A rigmate begins the chapter on Frank Richardson in “Martha’s Vineyard Decoys” by Stanley Murphy. Along with Joseph Lincoln (1859-1938), Richardson made some of the finest brant decoys on the Massachusetts coast. The paint has a warm mellow patina. Original paint with a repair to an age split along the back, which has slightly separated, chips to tail.

LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, plate 71, p. 94, rigmate illustrated.

ESTIMATE :

$1,500-$2,500

183

380

380 Hudsonian Curlew Captain Al Ketcham Copiague, Long Island, NY, c. 1880 An old shorebird decoy with glass shoe button eyes and light shot scars. This exact decoy is illustrated in at least two books including Fleckenstein’s Shore Bird Decoys and Levinson and Headley’s Shorebirds. The latter states that, “this bird has remained in one family for over eighty-five years in its present condition.” Original paint with a coat of sealer and light gunning wear. An age crack and scars on the underside have been filled.

PROVENANCE :

Lynn Robertson Collection William Tosi Collection

LITERATURE :

381 381

Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 128, plate 142, exact decoy illustrated.

John M. Levinson and Somers G. Headley, Shorebirds, Centreville, MD, 1991, p. 65, plate 5-2, exact decoy illustrated.

ESTIMATE :

$1,000-$2,000

381 Pair of “Beach Bird” Sanderlings Long Island, NY, c. 1890 An exceptionally rare sanderling pair, measuring just five and onequarter inches from bill tip to tail. These important “beach birds” are some of the smallest gunning birds known to exist. Both birds are in original paint with nice tight even craquelure, and flaking to bare wood in places. The plumper of the two retains its original bill. The other bird has a rounder head with a delicate thin neck that was broken while the bird was being made and repaired with a wrapping before the bird was painted. It also has an age crack in one side of the head.

PROVENANCE :

382

ESTIMATE :

William Tosi Collection

$1,200-$1,800

382 Peep Captain Abraham Smith Freeport, NY, c. 1880 This Captain Smith peep, illustrated in Henry Fleckenstein’s Shore Bird Decoys, displays carved wings and stippled paint. Original paint with gunning wear, possible working white wash on breast, eyes are missing.

PROVENANCE :

William Tosi Collection

LITERATURE :

Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 54, exact decoy illustrated.

ESTIMATE :

383

$600-$900

383 Dowitcher Jasper N. Dodge Decoy Company (1884-1894) Detroit, MI, c. 1885, After Charles Sumner Bunn (1865- 1952) Shinnecock Reservation, NY or William Bowman (1824-1906), Lawrence, Long Island, NY This exceptional shorebird decoy has the lines of the finest Long Island carvers. Bunn/Bowman curlews were sent to Detroit, where the Mason Decoy Factory (1896-1924) made custom order shorebird decoys inspired by them. This shorebird may have been the result of sending one of these fine Long Island decoys to the Dodge Decoy Factory, making it a very rare example of a 19th century shorebird decoy. The bird’s profile, eye grooves with glass eyes, and ridge down the back are all reminiscent of Bunn/Bowman while the carving technique and paint application point to Dodge. Original paint with light gunning wear and some minor crazing.

PROVENANCE :

Joseph B. French Collection Paul W. Masengarb Collection

ESTIMATE :

184

$2,000-$3,000

384 Eskimo Curlew Abram Thomas (1880-1965) Lenox Island Indian Reserve, Prince Edward Island, Canada c. 1910

384

According to Decoys of Maritime Canada authors Dale and Gary Guyette, “Abram Thomas (1880-1965), from the Lennox Island Indian Reserve, was the most highly regarded decoy carver from that area. He didn’t carve a great number of decoys but the ones he did make were known for their quality.” This curlew, with its bold form, stately pose, and refined craftsmanship, is a display of the quality Thomas is revered for. The wide body measures four and one-quarter inches across and shows subtle shoulder carving that drops down into a sharp chine along the edge which continues through the tail. The applied head exhibits a very thin neck, tack eyes, and a tenoned bill. The dry old paint has acquired a pleasant patina. Collection stamp “MCC” on the underside. Excellent original paint with a minor chip and age line at mortise-andtenon joint in top of head with light gunning wear. A check runs along a portion of the underside.

PROVENANCE :

Blair Ledingham Collection

LITERATURE : Dale and Gary Guyette, Decoys of Maritime Canada, Exton, PA, 1983, pp. 78 and 114, rigmate illustrated.

ESTIMATE :

385 Over-Sized Black-Bellied Plover Verity School Seaford, Long Island, NY, 1904

$6,000-$9,000

385

A large plover decoy displaying carved eyes, a through-inserted bill, raised relief wing carving, and a carrying hole in the tail. The date 1904 is inscribed on the underside. Only three of these shorebirds are known to exist: one is illustrated on page 108 of Fleckenstein’s book, Shore Bird Decoys, the second was sold in April of 2008 for a five figure sum from the Charlotte Ford Estate, Upper Grosse Pointe, Michigan. Original paint with light gunning wear and a tight age crack in the breast. Original bill may be reset at base.

PROVENANCE : ESTIMATE :

William Tosi Collection

$8,000-$12,000

185

386 Golden Plover Nantucket, MA, c. 1880

386

A plump golden plover with an unusual flared split tail, a petite tenoned bill, and wooden eyes. The bird displays great paint with carefully applied gold and white dots on the back and wet-on-wet blending across the bottom. A collector or museum code is written in red on the underside. Original paint with even gunning wear. A chip to the tail has a drop of old white paint.

ESTIMATE :

387 Black-Bellied Plover Pair Hingham, MA, c. 1890

$3,500-$4,500

387

Two shorebird decoys from the same South Shore, Massachusetts rig. They display the characteristic split tails, painted eyes, and alert upright posture found in birds carved by Joe Lincoln (1839-1959). Both are in original paint with gunning wear including tail chips and older bill replacements. One has a wing chip and an age crack.

ESTIMATE :

388

$1,000-$2,000

388 Golden Plover South Shore, MA, c. 1890 A shorebird decoy carved in a running pose with an incised split tail. In original and old in-use repaint with gunning wear, central and tail stringing holes and a replaced bill.

ESTIMATE :

186

$600-$900

389 Greater Yellowlegs Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890

389

A shorebird decoy by the Jersey Shore’s preeminent carver. This bird is from the rig of Captain Nickerson, who was stationed at the U.S. Life Saving Service Station on 57th Street in Ocean City, New Jersey. The rig is known to have included six yellowlegs and six plover. This bird is ten and one-half inches from bill tip to tail. Original paint with grain craquelure on the breast and top of tail.

PROVENANCE :

Captain Nickerson Rig, Ocean City, New Jersey Fred Ellenberg Collection Joseph B. French Collection Private Collection, New Jersey

LITERATURE : John Levinson and Somers Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centerville, MD, 1991, p. 81, plate 6-14, rigmate illustrated.

ESTIMATE :

$4,000-$6,000

390 Shorebird Pair Captain Watts Penn (attr.)

Forked River, NJ, c. 1890

390

Two flat-sided shorebird decoys with wire bills and mellow patina. Original paint with light craquelure and light gunning wear.

PROVENANCE : ESTIMATE :

391 Black-Bellied Plover c. 1890

William Tosi Collection

$600-$900

391

A stylized plover decoy with flowing pattern lines ending in a dropped tail.

Original paint with light gunning wear and a tail repair.

PROVENANCE :

Paul W. Masengarb

Collection ESTIMATE :

$2,000-$3,000

187

392

392 Outstanding Red-Breasted Merganser Drake Mark Kears (1888-1972) (attr.)

Northfield, NJ, c. 1920 Comparable in contruction, form and paint to works by New Jersey’s master carvers Harry V. Shourds (1861-1920) and Nathan Rowley Horner (1882-1942) this eary mergansers decoy retains a nice mellow patina. Given the bird’s age, it may in fact be the work of a previous generation of Kears carvers. Original paint with even gunning wear and flaking.

LITERATURE : Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, p. 130, plate 289, similar example illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, plates 328, 329, p. 158, rigmate illustrated.

ESTIMATE :

188

$8,000-$12,000

393

394

395

396

393 Black Duck Joseph S. King (b. 1909) Edgely, PA, c. 1930

395 Bluebill Drake Joseph S. King (b. 1909) Edgely, PA, c. 1930

Displays traditional raised wing and tail carving, glass eyes, and incised bill detail. The maker’s “J S King, Edgely, PA,” stamped weight is on the bottom. Early working repaint with light gunning wear and a tight neck crack.

Displays traditional raised wing and tail carving, glass eyes, and incised bill detail. The maker’s “J S King, Edgely, PA,” stamped weight is on the bottom, along with the Hillman collection stamp. This decoy was repainted by King’s hunting buddy, William Quinn (1915-1969). In-use repaint by Quinn with gunning wear.

ESTIMATE :

$2,000-$3,000

394 Mallard Pair Joseph S. King (b. 1909) Edgely, PA, c. 1940 This fine pair displays traditional raised wings and tail carving, glass eyes, and incised bill detail. The maker’s “J S King, Edgely, PA,” stamped weight is on the bottom of each. This pair is believed to have been painted as black ducks and then repainted by King shortly thereafter as mallards. King paint with very light wear.

PROVENANCE : ESTIMATE :

David Campbell Collection

$5,000-$8,000

PROVENANCE :

John Hillman Collection Private Collection, Massachusetts

ESTIMATE :

$1,000-$1,500

396 Bluebill Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1900 A classic Shourds decoy with a ship-like form and finely blended stippled paint to the back. A hollow decoy with an inletted weight. Original paint with a new professionally restored head, and light gunning wear.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$1,500-$2,500

189

397 Hissing Canada Geese Harry V. Shourds (1861-1920), Harry M. Shourds (1890-1943) Tuckerton, NJ, c. 1900 and c. 1920 Two exceptional hissing geese by New Jersey’s most important decoy carving family. This father and son carving duo produced hollow ship-like decoys of the finest quality. The Harry V. Shourds goose is nearly identical in form to the famous goose formerly in the John H. Hillman collection and more recently the Paul Tudor Jones II collection. Virtually no other published examples of Harry V. Shourds geese with this form and early paint exist.

The Harry M. Shourds goose is considered by many to be the finest decoy by the maker ever to have surfaced. Originally found by famed New Jersey collector William J. Mackey, Jr., the decoy retains Kathryn Mackey’s “prized possessions” stamp designed by William J. Mackey Jr.’s daughter.

The stamp displays a capital letter “M” encircled by a winner’s wreath symbolizing that this decoy is from a select group retained by the Mackey family until 1998.

The two birds’ structures and similarities are striking with each bird measuring just over twenty-seven inches from the tip of the bill to tail.

The neck and tail carving of the Harry M. Shourds decoy is slightly more refined while his father’s decoy is a bit thicker through the neck.

Both birds feature feather paint along their backs and exquisite tiger striping along their sides. This dynamic pair reigns supreme as perhaps the greatest example of father and son craftsmanship from any region.

Along with the Blairs, Cobbs and Crowells, the Shourds distinguished themselves as visionaries of the American waterfowling heritage. The Harry V. Shourds goose is in early working repaint. A coat of linseed oil has been professionally removed. An early gunning repair to the neck was professionally reset, and the tip of the bill has a small repair. The Harry M. Shourds goose is in outstanding original paint with even gunning wear, and a few small areas of flaking have been professionally darkened. There is a faint age line on the lower breast.

PROVENANCE :

for Harry M. Shourds Goose: William J. Mackey Collection Kathryn Mackey Collection, by descent in the family Private Collection

PROVENANCE :

for Harry V. Shourds Goose Private Collection, Midwest Private Collection

LITERATURE : Gary Guyette and Frank Schmidt, The Art of Deception: Waterfowl Decoys from the Collection of Paul Tudor Jones II, St. Michaels, MD, 2006, pp. 68-69, similar bird illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 76, exact H. M. Shourds goose illustrated.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 198, similar bird illustrated.

Gary Guyette and Frank Schmidt, Inc., The Hillman Collection: Rare Antique Waterfowl Decoys, St. Michaels, MD, April 25-26, 1996, lot 28, p.

14, similar bird illustrated.

Gary Guyette and Frank Schmidt, Inc., North American Bird Decoys at Auction, St. Charles, IL, April 23-24, 1998, front cover and p. 47, lot 214, exact H. M. Shourds goose illustrated.

ESTIMATE :

190

$200,000-$300,000

397 Hissing Canada Geese Harry V. Shourds (1861-1920), Harry M. Shourds (1890-1943) Tuckerton, NJ, c. 1900 and c. 1920

397

Two exceptional hissing geese by New Jersey’s most important decoy carving family. This father and son carving duo produced hollow ship-like decoys of the finest quality. The Harry V. Shourds goose is nearly identical in form to the famous goose formerly in the John H. Hillman collection and more recently the Paul Tudor Jones II collection. Virtually no other published examples of Harry V. Shourds geese with this form and early paint exist.

The Harry M. Shourds goose is considered by many to be the finest decoy by the maker ever to have surfaced. Originally found by famed New Jersey collector William J. Mackey, Jr., the decoy retains Kathryn Mackey’s “prized possessions” stamp designed by William J. Mackey Jr.’s daughter. The stamp displays a capital letter “M” encircled by a winner’s wreath symbolizing that this decoy is from a select group retained by the Mackey family until 1998.

The two birds’ structures and similarities are striking with each bird measuring just over twenty-seven inches from the tip of the bill to tail.

The neck and tail carving of the Harry M. Shourds decoy is slightly more refined while his father’s decoy is a bit thicker through the neck. Both birds feature feather paint along their backs and exquisite tiger striping along their sides. This dynamic pair reigns supreme as perhaps the greatest example of father and son craftsmanship from any region. Along with the Blairs, Cobbs and Crowells, the Shourds distinguished themselves as visionaries of the American waterfowling heritage. The Harry V. Shourds goose is in early working repaint. A coat of linseed oil has been professionally removed. An early gunning repair to the neck was professionally reset, and the tip of the bill has a small repair. The Harry M. Shourds goose is in outstanding original paint with even gunning wear, and a few small areas of flaking have been professionally darkened. There is a faint age line on the lower breast. provenance :

for Harry M. Shourds Goose: William J. Mackey Collection Kathryn Mackey Collection, by descent in the family Private Collection

provenance :

for Harry V. Shourds Goose Private Collection, Midwest Private Collection

literature : Gary Guyette and Frank Schmidt, The Art of Deception: Waterfowl Decoys from the Collection of Paul Tudor Jones II, St. Michaels, MD, 2006, pp. 68-69, similar bird illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 76, exact H. M. Shourds goose illustrated.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 198, similar bird illustrated.

Gary Guyette and Frank Schmidt, Inc., The Hillman Collection: Rare Antique Waterfowl Decoys, St. Michaels, MD, April 25-26, 1996, lot 28, p.

14, similar bird illustrated.

Gary Guyette and Frank Schmidt, Inc., North American Bird Decoys at Auction, St. Charles, IL, April 23-24, 1998, front cover and p. 47, lot 214, exact H. M. Shourds goose illustrated. estimate :

190

$200,000-$300,000

191

397

398

399

400

401

393

394

395

396

Harry V. Shourds goose (top), Harry M. Shourds goose (bottom).

397 (detail)

398 Peep Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 A Long Island shorebird displaying Verity’s carved wings and eyes. Marks from the Joe French collection, including a small “JF” stamp, are on the underside of the bird. Old in-use repaint with heavy gunning wear including old head and tail chips and a replaced bill.

400 Feeding Shorebird Accomack, VA, c. 1880 An early shorebird decoy with painted eyes and mellow patina from the Eastern Shore of Virginia. Original paint with gunning wear and a replaced bill. provenance : estimate :

William Tosi Collection

literature :

401 Yellowlegs William J. Southard Bellmore, Long Island, NY, c. 1900

estimate :

A shorebird decoy with the maker’s defined raised wing carving. In in-use repaint with gunning wear to the wood in places and a replacement wire bill.

Adele Earnest, The Art of the Decoy: American Bird Carvings, West Chester, PA, 1965, p. 48, Fig. 22, similar example illustrated.

Kathryn Mackey’s “prized possessions” stamp

$1,000-$3,000

399 Peep Captain Al Ketcham Copiague, Long Island, NY, c. 1900 A small sandpiper decoy with simplified carved raised wings and eyes. Mixture of working and original paint with gunning wear, worn to wood in places, and a replaced bill. provenance : estimate :

192

provenance : estimate :

395 Bluebill Drake Joseph S. King (b. 1909) Edgely, PA, c. 1930

Displays traditional raised wing and tail carving, glass eyes, and incised bill detail. The maker’s “J S King, Edgely, PA,” stamped weight is on the bottom. Early working repaint with light gunning wear and a tight neck crack.

Displays traditional raised wing and tail carving, glass eyes, and incised bill detail. The maker’s “J S King, Edgely, PA,” stamped weight is on the bottom, along with the Hillman collection stamp. This decoy was repainted by King’s hunting buddy, William Quinn (1915-1969). In-use repaint by Quinn with gunning wear.

estimate :

$2,000-$3,000

$400-$600

provenance :

Joseph B. French Collection William Tosi Collection

393 Black Duck Joseph S. King (b. 1909) Edgely, PA, c. 1930

William Tosi Collection

$400-$600

394 Mallard Pair Joseph S. King (b. 1909) Edgely, PA, c. 1940 This fine pair displays traditional raised wings and tail carving, glass eyes, and incised bill detail. The maker’s “J S King, Edgely, PA,” stamped weight is on the bottom of each. This pair is believed to have been painted as black ducks and then repainted by King shortly thereafter as mallards. King paint with very light wear. provenance : estimate :

David Campbell Collection

$5,000-$8,000

provenance :

John Hillman Collection Private Collection, Massachusetts

estimate :

$1,000-$1,500

396 Bluebill Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1900 A classic Shourds decoy with a ship-like form and finely blended stippled paint to the back. A hollow decoy with an inletted weight. Original paint with a new professionally restored head, and light gunning wear. provenance : estimate :

Private Collection, Westport, Connecticut

$1,500-$2,500

William Tosi Collection

$600-$900

189

402

403

404

405

402 Greater Yellowlegs Thomas H. Gelston (1851-1924) Quogue, Long Island, NY, c. 1890

404 Golden Plover William Cornell Quogue, Long Island, NY, c. 1890

This painted eye shorebird decoy was carved from a two-inch sheet of cork, and the tail is reinforced with a nail. Original paint with gunning wear.

This tucked-head, cork, golden plover features glass eyes and a slightly flared bill tip. Original paint with even gunning wear.

Cork is chipped on tail and neck appears to have been reset.

PROVENANCE :

PROVENANCE :

ESTIMATE :

William Tosi Collection

$800-$1,200

403 Running Lesser Yellowlegs Thomas H. Gelston (1851-1924) Quogue, Long Island, NY, c. 1890 This Gelston pattern was chosen by the Long Island Decoy Collectors Association as the basis for their logo. The underside of this cork decoy bears Joseph French’s ink stamp.

The tail is finished with a wooden dowel to ensure structural integrity. Original paint with even gunning wear and rubs to cork around tail. Four small areas of putty to face, neck, and breast.

PROVENANCE :

Joseph B. French Collection William Tosi Collection

ESTIMATE :

William Tosi Collection

LITERATURE : Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 104, exact bird illustrated.

ESTIMATE :

$800-$1,200

405 Two Plover Long Island, NY A cork shorebird decoy in winter plumage attributed to William Cornell of Quogue, NY, c. 1890. A black-bellied plover decoy possibly by Daniel DeMott (1847-1930) of Oceanside, NY, c. 1910. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$600-$900

$800-$1,200

193

406

406 Tern Possibly the work of William Southard Bellmore, Long Island, NY, c. 1880 A flat-bodied feather hunter’s decoy with painted eyes and crossed painted primaries. In old, possibly original paint with areas of craquelure and gunning wear. Chip on left wing.

PROVENANCE :

William Tosi Collection

LITERATURE : Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 130, related examples.

ESTIMATE :

407

$1,000-$1,500

407 Yellowlegs Long Island, NY A classic Long Island shorebird decoy possibly made by a member of the Southard or Verity family. Original paint with light gunning wear and a reset bill.

PROVENANCE : ESTIMATE :

408

William Tosi Collection

$600-$900

408 Black-Bellied Plover Obediah Verity (1813-1901) Seaford, Long Island, NY, 1860 A beetle-head shorebird decoy with carved eyes and “S” carved wings. In Verity working repaint, with gunning wear, hit by shot.

PROVENANCE :

William J. Butler, Jr. Collection William Tosi Collection

LITERATURE :

Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, pp. 42-43, color plates XXI, XIV, and XVI. William Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 102.

ESTIMATE :

194

$2,000-$4,000

409

410

411

412

409 Roothead Merganser Hen Roger Williams (1770-1840) Sheepshead Bay, Long Island, NY, c. 1820 A sea duck decoy by one of the earliest of the known makers.

The merganser features carved eyes, a removable roothead, and the maker’s incised “RW” initials on the bottom. Early paint with even gunning wear, age lines, and chips to the old bill and top of the head.

PROVENANCE :

William Tosi Collection

LITERATURE :

Adele Earnest, The Art of the Decoy, New York, NY, 1965, p. 121, plate 105, similar decoy illustrated.

Robert Shaw Bird Decoys of North America, New York, NY, 2010, p. 3, related example.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 73, plate 120, related example.

ESTIMATE :

$2,000-$4,000

411 Two Brant Two roothead brant decoys, both with drilled stick holes on the bottom for use as stick-ups or field decoys. One has carved eyes, an inserted bill, and a “Koronski” rig brand. The other has a very folky appearance with its high head, tack eyes, and feathered edge paint. This exact decoy is illustrated in the article, “The Roothead Decoy,” in the July/August 2000, Decoy Magazine. The first brant has old paint, two or more coats that have worn to the wood from gunning wear and a few tight age cracks. The second brant is in original paint, worn to the wood in places, with gunning wear.

PROVENANCE :

William Tosi Collection

LITERATURE : A. Everette James, Jr. and Kroghie Andersen, “The Roothead Decoy,” Decoy Magazine, Lewes, DE, July/ August, 2000, p. 9, exact decoy illustrated.

ESTIMATE :

$400-$800

410 Scoter Albert Terry (1838-1931) Riverhead, Long Island, NY, c. 1880

412 Roothead Merganser Haff Family Islip, Long Island, NY, c. 1900

An early decoy from a rig that was discovered decades ago under a porch that was being repaired. The maker’s incised “AT” initials are carved in the bottom. Original paint with gunning wear, age lines in the neck and back, and an old tail chip with touch-up.

From the historic A. D. Haff rig and so branded on the bottom. A mixture of original and in-use repaint with gunning wear, flaking, and age cracks in the head and neck.

PROVENANCE : ESTIMATE :

William Tosi Collection

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$400-$800

$1,000-$1,500

195

413

413 detail

413 Wood Duck Drake Eugene “Chief” Cuffee (1866-1941) Shinnecock Reservation, Long Island, NY, c. 1900 The bird has the branded initials “C.H.” on the bottom.

These same initials appeared on a Long Island redhead decoy from the Mackey collection sale in 1984. Affixed to the bottom is a tag dated August 1944 from John Mitchell, a Riverside, Connecticut auctioneer, which reads: “Made

by Chief Coffey [sic], Shinnecock Indian Reservation, Shinnecock, L.I.” Under the brand written in pencil appears to be an original price of $4.50. Original paint with dark patina and light wear from handling.

414

PROVENANCE : ESTIMATE :

William Tosi Collection

$2,000-$4,000

414 Lamp With Two Shorebirds Eugene “Chief” Cuffee (1861-1941) Shinnecock Reservation, Long Island, NY, c. 1930 A rare lamp, decorated with two Cuffee shorebirds. Cuffee created decoy book ends, large paper weights and decoys for lamps. This lamp has a driftwood base and wooden cattails with brass stems and leaves. Original paint with wear and a little flaking. Small areas of wood loss to the driftwood base. The cord is a later replacement.

PROVENANCE : ESTIMATE :

415

$400-$600

415 Curlew Eugene “Chief” Cuffee (1861-1941) Shinnecock Reservation, Long Island, NY, c. 1930 A large shorebird decoy with carved eyes, a curved bill, and dropped wings. Original paint with light gunning wear.

PROVENANCE : ESTIMATE :

196

William Tosi Collection

William Tosi Collection

$800-$1,200

416 Two Shorebirds Eugene “Chief” Cuffee (1866-1941) Shinnecock Reservation, Long Island, NY, c. 1900

416

Two rare shorebird decoys with the maker’s classic dropped wings and carved eyes.

One of the birds has a separate carved head affixed to the body and the other bird is carved from four laminated boards: three are joined vertically and one horizontally to the center board. Original paint with light gunning wear, one with slight seam separation.

PROVENANCE : ESTIMATE :

William Tosi Collection

$1,000-$1,500

417

417 Two Shorebirds Eugene “Chief” Cuffee (1861-1941) Shinnecock Reservation, Long Island, NY, c. 1910 Two shorebird decoys with the maker’s classic dropped wings and carved eyes.

Original paint with patina and light gunning wear including a blunted wing tip on one and touch-up to a vertical knot on the other.

PROVENANCE : ESTIMATE :

William Tosi Collection

$800-$1,200

197

418

419

420

421

422

423

420 Roothead Canada Goose Captain Al Ketcham (attr.)

Copiague, Long Island, NY, c. 1910

422 Black Duck Thomas H. Gelston (1851-1924) Quogue, Long Island, NY, c. 1900

A rare roothead goose decoy displaying painted eyes, and a well sculpted body with a hole drilled in the bottom for use as a stick-up. This bird displays unusual construction with the head fitting into a wide neck base that is affixed to the body.

Old paint with heavy gunning wear is worn to the wood in places. The head and neck have age cracks, and the neck base and upper breast have large chips.

A hollow, over-sized decoy from this famous Long Island carver. The decoy displays glass shoe button eyes, a carved bill, an ice groove behind the neck, lightly raised, carved separated wings, and a rasped finish on the body. Original paint with light gunning wear and a neck crack repair.

418 Two Merganser Drakes Long Island, NY The first is in a swimming posture with a long sleek body and a thin raised crest along the top of the head. The second is a turned-head preener with a short raised crest, and a shorter, wider two-piece body and a pronounced tail. Both are in old in-use repaint, worn to the wood in places with gunning wear. The turned head is an in-use replacement.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

419 Sentinel Cork Canada Goose Raynor Family Hampton Bays, NY, c. 1920 A high-head cork-bodied Long Island decoy. This roothead displays wooden eyes, separated primary wing detail, notched tail feathers, and its original keel and weight. Original paint with in-use repaint to cheek patches and gunning wear.

PROVENANCE : ESTIMATE :

William Tosi Collection

$500-$800

PROVENANCE : ESTIMATE :

421 Goldeneye Hen and Bluebill Drake A painted-eye goldeneye hen by Eugene Wells (c.1850-1930), Stony Brook, Long Island, NY, c. 1920. A round-bodied bluebill drake, attributed to the Verity family of Seaford, NY, with glass eyes and a conical lead weight on the underside.

The hen has original paint with gunning wear and an age crack in the neck. The drake has worn original paint and in-use repaint to the white center area.

ESTIMATE :

ESTIMATE :

William Tosi Collection

$500-$1,000

$1,000-$2,000

PROVENANCE :

198

William Tosi Collection

PROVENANCE :

William Tosi Collection

$400-$800

423 Black Duck Eastern Shore, VA, c. 1910 An early decoy with a body displaying knife marks, a painted eye stripe, carved bill, neck attached to the sloped breast and an upswept tail. Original paint with gunning wear and age lines.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

424 Eleven Miniature Fliers John Lee Baldwin (1868-1938) Babylon, NY, c. 1920

424

A collection of Long Island miniature flying ducks by Baldwin. Consisting of bluebills, mallards, small miniature geese (the geese are attributed to this maker), and two mergansers, one of which is cast metal, painted by the maker and with his round blue paper label on the back stating “John Lee Baldwin, Never Worked and Never Will, Babylon, L.I.” As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$300-$500

425 Five Miniature Fliers

425

An early mallard flyer on an oval plaque attributed to John Lee Baldwin (1868-1938) with a tack eye and a copper leg. Two flying swans and a gannet similar to the earlier carvings of Baldwin. A connected trio of carved flying ducks, two may be broadbills and the third may be a ruddy duck. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$150-$250

426 Twenty-Two Decoy Heads and a Duck Head Plaque

426

The duck head plaque displays two metal half-heads cast and painted by John Lee Baldwin (1868-1938) of Babylon, NY. Highlights of the carved decoy heads include a mallard drake head by Charles Walker (1873-1954) of Princeton, Illinois, a black duck head by Thomas Gelston (1851-1924) of Quogue, New York, two bluebill hen heads by Eugene Wells (c. 1850-1930) of Stony Brook and a group of other mostly Long Island decoy heads. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$100-$200

199

427

430

428

429

427 Widgeon Bookends Frank Adams (1871-1944) West Tisbury, Martha’s Vineyard, MA, c. 1920

429 Redhead Paperweight Frank Adams (1871-1944) West Tisbury, Martha’s Vineyard, MA, c. 1920

A rare pair of seven-and-onequarter-inch-long Adams bookends with wooden book boards and brass angles. The boards have a scalloped carved edge at the top and scratch painted detail. Each duck has an inset weight, a maker’s label on the bottom and leather pads. Original paint with reset necks and thin paint scrapes.

One has a reset book board and a bill chip.

A six-and-three-quarter-inch-long carved wooden paperweight with an inset lead weight. Retains a partial maker’s label on the bottom. Original paint with a reset neck and a paint rub on the top of the head.

PROVENANCE :

Virginia J. Oldrin

Collection LITERATURE :

Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, pp. 12 and 45, color plate G, similar carvings illustrated.

ESTIMATE :

$600-$900

428 Widgeon Paperweight Frank Adams (1871-1944) West Tisbury, Martha’s Vineyard, MA, c. 1920 A six-and-one-half-inch-long wooden paperweight with an inset lead weight. Original condition.

PROVENANCE :

Virginia J. Oldrin

Collection LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, pp. 12 and 45, color plate G, similar carvings illustrated.

ESTIMATE :

$400-$600

PROVENANCE :

Virginia J. Oldrin

Collection LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, pp. 12 and 45, color plate G, similar carvings illustrated.

ESTIMATE :

432.1

$300-$500

430 Two Duck Heads on Base New York, c. 1990 Two outstretched decoy heads likely made for use as a gun rack. Signed with the maker’s initials “RDS,” mounted on a custom metal base. In original paint.

PROVENANCE :

William Tosi

Collection ESTIMATE :

$150-$300 432.2

431 Three Crows on Base New York, 1989 Three folky crows on a hardwood base, standing one foot tall. All three birds are in animated positions, with open bills. The base is inscribed “#85 1989” on its side. Original condition.

PROVENANCE :

William Tosi

Collection ESTIMATE :

200

431

$300-$500

432 Two Mallard Plaques Charles Hart (1862-1960) Gloucester, MA, c. 1930

433

432.1 A plaque with five flyers measuring fourteen by fourteen inches.

432.2 A plaque with a single flying duck measuring twelve by seventeen inches.

Each in original paint with craquelure and minor wear.

PROVENANCE : ESTIMATE :

Private Collection, Midwest

$1,500-$2,500

433 Three Cork Pintails A pair of decoys by John H. B. Boyle of Bellport, Long Island, NY, c. 1930. An exceptional high-head pintail drake

by Les Magnus of Quogue, NY, c. 1920. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$600-$900 434

434 Black Duck Eugene “Gene” Wells (c.1850-1930) (attr.)

Stony Brook, Long Island, NY, c. 1900 The decoy’s head displays exceptional carved and painted detail with shoe button round glass eyes. The body is well formed with tail feather delineation and a triangular flat lead weight fastened to the bottom with copper tacks.

Original paint with gunning wear and small beetle scars.

PROVENANCE : ESTIMATE :

William Tosi Collection

$500-$800

435 Rig of Five Cork Black Ducks Eugene “Gene” Wells (c. 1850-1930) Stony Brook, Long Island, NY, c. 1920 A fine collection of cork-bodied Long Island black duck decoys by this maker. As found, with mostly original paint.

PROVENANCE :

William Tosi Collection

LITERATURE :

Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 102-103, top left decoy illustrated.

ESTIMATE :

435

$1,000-$1,500

201

436

437

438

439

436 Rig of Six Cork Divers

438 Three Cork Mergansers

An excellent example of a hen goldeneye by Eugene “Gene” Wells (c. 1850-1930) of Stony Brook, Long Island, NY, c. 1910.

Two bufflehead drakes and a hen, branded “S.A.H.” by Sidney Arthur Havens (1881-1947), Center Moriches, NY, c. 1920. Two canvasback decoys, one with painted eyes, the other with glass.

Both have single slab cork bodies with keels. As found.

A merganser drake by Andrew “Grubie” Verity (1881-1976), Seaford, Long Island, NY, c. 1930. A merganser hen by William Henry Bennet (1867-1954), Springs, Long Island, NY, c. 1920. A merganser drake, Long Island, NY, c. 1920. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$600-$900

437 Rig of Four Cork Black Ducks A collection of Long Island decoys by various makers. A highhead black duck by Les Magnus, Quogue, NY, c. 1930. A carved eye, painted body decoy by Andrew “Grubie” Verity (1881-1976), Seaford, NY, c. 1930. A carved eye decoy by James “Jimmy” Ketcham of Amityville, NY, c. 1930. A finely crafted decoy by Dan Tushenske of Bay Shore, NY, c. 1935. All of the heads are in original paint with light gunning wear.

PROVENANCE : ESTIMATE :

202

William Tosi Collection

$500-$800

PROVENANCE : ESTIMATE :

William Tosi Collection

$500-$800

439 Three Canada Geese Long Island, NY A cork-bodied goose decoy attributed to Lewis Howell (18951961) of Center Moriches, NY, c. 1930. The decoy’s keel bears two rig brands, “W.S. Dana” and “N. C. Miller.” A high head goose decoy with glass eyes, realistic bill carving and a cork body with a wooden bottom board which is branded “E. J. Hunter.” A swimming cork-bodied decoy exhibiting a wellsculpted head with glass eyes and wooden keel. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$300-$600

440

441

442

443

444

445

440 Two Mergansers Oyster Bay, Long Island, NY, c. 1900 A merganser drake with carved outline eyes, a carved bill and crest attributed to Frank Kellum (1858-1930), of Babylon, NY. The other merganser has a notched carved bill and incised eyes. The underside bears the “C. IKE” brand. Both are in-use repaints with traces of original paint and gunning wear. The “C. IKE” merganser has a reset head with neck crack.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

441 Old Squaw and Two Mergansers Long Island, NY A flat-bodied old squaw drake with glass eyes and bill carving. A merganser decoy with glass eyes, heart-shaped slightly raised wings and a keel. Both are attributed to Abrem Smith (1850-1942), Freeport, Long Island, NY. A flat-bodied merganser decoy with concentric copper tack eyes, incised outlined wings and bill. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

442 Three Bluebills Verity Family Seaford, Long Island, NY, c. 1900 A pair of round-bottomed decoys with incised bill delineation and carved outline eyes. They are from the same rig with stacked lead weights and are attributed to Smith Clinton Verity (1845-1920). The third, a bluebill hen, has carved outline eyes, carved bill delineation, original weights, incised “JP” rig initials and is attributed to Nelson Verity (1854-1947). The decoys are in a mixture of original and in-use repaint with gunning wear. The third hen has an age crack in the neck and an age line along the back.

PROVENANCE : ESTIMATE :

William Tosi Collection

$600-$900

443 Merganser Pair Long Island, NY, c. 1930 A pair of flat-bottomed decoys with upswept tails. In old paint with gunning wear, including some flaking. The drake has an in-use head replacement.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

444 Three Brant A laminated-wood and cork-bodied decoy

by Ralph Cranford of Babylon, NY, c. 1930.

The decoy displays glass eyes, a carved bill, a three-piece laminated head, a wooden bottom board and breast with laminated cork body. A round-bodied decoy similar to birds from the Verity Family of Seaford, NY with typical Oyster Bay geometric lead weights on the bottom. A primitive brant decoy with a chopped-log body and a wellformed head. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

445 Four Bluebills A rare pair of bluebill decoys by Thomas H. Gelston (1851-1924), Quogue, Long Island, NY, c. 1900. The pair displays glass eyes, lightly rasped heads, carved bill delineation, and original keels. The drake has the maker’s “T H G” on the bottom, and the hen has it on both sides of the keel. Included in this lot are another hen and drake from Long Island. The hen has a laminated wood body with painted eyes, and the drake has glass eyes and carved bill detail. The Gelston bluebills appear to be in original paint with old in-use touch up to white areas of the hen. The other two bluebills have a mix of original and in-use repaint. All four decoys have gunning wear.

PROVENANCE : ESTIMATE :

William Tosi Collection

$800-$1,200

203

204

446

446 Raised-Wing Mallard Drake with Open Bill Charles “Shang” Wheeler (1872-1949) Stratford, CT, c. 1945 This exceptionally rare decoy was the center piece of Wheeler’s historic decoy display at the 1948 National Decoy Makers Contest and Exhibition. Sponsored by R.J. Schaefer, President of the F. & M. Schaefer Brewing Company, in cooperation with Sheldon M. Fairbanks, President of Campbell Fairbanks Expositions, Inc. This hollow decoy features Wheeler’s most intricate and extraordinary paint with its precise scratch combing on the sides and detailed feather delineation on both sides of the raised wing. There appears to be a deliberately placed green hued reflection of the head on the left shoulder.

The bird’s bold form, with its dramatically turned head, opened bill, and raised wing is highly unusual and believed to be singular among Shang Wheeler decoys. The decoy features intricate bill detail on both upper and lower mandibles along with two copper tail feathers. Wheeler has created a striking work that views well from virtually every angle. The gracefully arched head is echoed by the angle of the wing, giving the bird balance and strong composition.

Though meticulously and intricately conceived, this handsome mallard is no teetotaler. It was specifically designed to hold and guzzle a Schaefer beer, as seen in the photograph from the 1948 National Decoy Show (fig 1). Self deprecating, the drake is quoted saying “I may not be the finest decoy in the show, but Schaefer is the finest beer I ever tasted.”

Retaining its original marsh grass stand, this unique decoy reveals duality as both folk art and one of the world’s great beer advertising works. Outstanding original paint and condition with a coat of sealer, an age line in one side of neck and a wing tip chip.

LITERATURE : Henry C. Chitwood, Connecticut Decoys, Carvers and Gunners, Exton, PA, 1987, pp. 46 and 47, exact decoy illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 175, related example.

Joel Barber, Wild Fowl Decoys, New York, NY, 1954, p. 41, plate 34, related illustration.

Adele Earnest, The Art of the Decoy: American Bird Carvings, West Chester, PA, 1965, p. 176, Fig. 154, related example illustrated.

PROVENANCE :

Joel Barber Collection Private Collection, Greenwich, Connecticut gifted to Connecticut Audubon Society Private Collection, Cambridge, Massachusetts

ESTIMATE :

$100,000-$150,000

205

446

Figure 1. Photo courtesy of Ronald Swanson

206

446

446

207

SHOREBIRD DECOYS from a Private New England Collection

208

447

447 Important Eskimo Curlew Nantucket, MA, c. 1860 A rare early Eskimo curlew decoy with two holes in its flat bottom for wire legs, constructed in the same manner as birds from the W. S. Morton (1809-1871) rig, Quincy, Massachusetts. This is believed to be the only curlew of its type and the first time it has ever been offered publicly for sale.

The carving, preserved in its original gunning state, is an exemplary hunting decoy showcasing the mastery of early Nantucket makers. This decoy demonstrates an exceptional stylized design with stippled paint. The bottom has two three-quarter-inch conjoined holes creating an oblong hollow portion original to the bird. In excellent original paint with very minor touch-up around base of bill.

PROVENANCE :

Private Collection, New England

LITERATURE : Copley Fine Art Auctions, The Winter Sale, 2011, New York, NY, January 17, 2011, p. 110, lot 223, similar example illustrated.

ESTIMATE :

$25,000-$35,000

447 detail

210

448 Eskimo Curlew Charles Sumner Bunn (1865-1952) Shinnecock, NY, or William Bowman (1824-1906) Bangor, ME and Lawrence, Long Island, NY (attr.), c. 1900 William J. Mackey, one of the earliest and most prolific decoy collectors of all time, wrote of the maker of these birds: “Their origin is not definitely known, but the carver created a replica of the live bird as well as any decoy maker of record.” This reaching curlew shows all the markings of a classic Bunn/Bowman decoy, including hard chines on the bill, pronounced wing and cheek carving, split wing tips, and dropped-tail and thigh carving.

“FOX” is carefully hand drawn on the underside of the bird.

Original paint with light gunning wear, repair to right wing tip, and slight discoloration on the underside.

PROVENANCE :

Private Collection, New England

LITERATURE : William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 103, plate 87.

Adele Earnest, The Art of the Decoy: American Bird Carvings, West Chester, PA, 1965, p. 173, Fig. 150, similar example illustrated.

ESTIMATE :

Photo of Eskimo Curlew taken in 1962 by Donald Bleitz in Galveston, Texas, USA, held in the archives of the Western Foundation of Vertebrate Zoology.

$20,000-$30,000

448

211

449 Running Golden Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early golden plover is from the Parker Williams Whitmore rig of West Gloucester, Massachusetts, and bears his “P.W.W.” brand. Known for their animated forms and exceptional paint patterns, Crowell took tremendous care in carving these early shorebird rigs. The brief period during which he carved these life-like working decoys was just prior to the passing of the Migratory Bird Treaty Act of 1918. The legal shooting of plover was outlawed by 1928. Original paint with even gunning wear and some flaking to bare wood. The bird retains its original glass shoe button eyes and the original bill.

PROVENANCE :

Private Collection, New England

LITERATURE :

Linda and Gene Kangas, “Connecting the Dots: Exploring the Provenance of Elmer Crowell’s Decoys,” Decoy Magazine, Lewes, DE, March/April, 2010, p. 33, rigmates illustrated.

Richard A. Bourne Co. Inc., Rare American Decoys & Bird Carvings, Hyannis, MA, July 9-10, 1985, Session I, Lot 102, exact bird illustrated.

ESTIMATE :

212

$40,000-$50,000

450

450 Black-Bellied Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 A superb and early Crowell gunning shorebird that shows the maker’s best carving with split tail, chines in the back of the neck and throat. From the Parker Williams Whitmore rig of West Gloucester, Massachusetts, and bears his “P.W.W.” brand.

Original paint with even gunning wear, some discoloration to the left side of the face and lower part of the tail.

PROVENANCE : LITERATURE :

Private Collection, New England

Linda and Gene Kangas, “Connecting the Dots: Exploring the Provenance of Elmer Crowell’s Decoys,” Decoy Magazine, Lewes, DE, March/April, 2010, p. 33, exact decoy illustrated.

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, color plate III, p. 64 and dust jacket, similar examples Illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1990, dust jacket, similar examples illustrated.

Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 53, similar example illustrated.

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

ESTIMATE :

$25,000-$35,000

449 detail

213

451

451 Two Alert Golden Plover Parker Hall South Shore, Massachusetts, c. 1890 and c. 1910 In his book Decoys of the Atlantic Flyway, Dr. George Ross Starr, Jr. discusses Hall’s unique carving style and cites that: Parker Hall of Massachusetts carried the ‘flat top’ idea to pretty extreme lengths. The beetlehead in the center in Figure 22 seems to be wearing a pillbox hat. The rest of the body is very finely designed and has a nicely undercut tail.

The exact position brings the whole design into harmony.

A well-worn hole through the flat of the tail was used to string these birds on a wire or cord for carrying to and from the shooting grounds.

Each bird is in fine original paint with even gunning wear. The flattopped bird has flaking on the breast, an early, possibly original bill, and touch-up to an age line on the left side of the neck. The second bird has minor touch-up on and under the bill.

214

PROVENANCE :

for flat top plover Dr. George Ross Starr, Jr. M.D. Private Collection, New England

PROVENANCE :

for other plover Private Collection, New England

LITERATURE : George Ross Starr, Jr., M.D. Decoys of the Atlantic Flyway, NY, 1974, p. 70, Figure 22, exact “flat top” bird illustrated.

Richard A. Bourne Co., Inc. The Rare Decoy Collection of George Ross Starr, Jr., M.D., Hyannis, MA, 1986, p. 132, exact flat-topped bird illustrated.

ESTIMATE :

$18,000-$24,000

452 Willet or Greater Yellowlegs, Massachusetts, c. 1900

452

A plump, boldy carved, three-piece laminated gunning shorebird with pronounced heart-shaped wing carving, and sharp throat chine. This decoy displays similar characteristics to birds carved by Joseph Lincoln (1839-1958) and birds from the Hingham, Massachusetts area. Branded “Ralph D. Hatch” with a stick hole obscuring the first letter of the rig owner’s last name. There are three stick holes drilled into the bottom. Appears to be original paint with light even gunning wear, some even discoloration from sap bleed, and slight seam separation at lamination joints. Eyes and bill are possible replacements.

PROVENANCE :

Ralph D. Hatch Rig Private Collection, New England

ESTIMATE :

$3,500-$4,500

453 High-Head Golden Plover Nantucket, MA, c. 1860

453

A shorebird decoy from Nantucket’s early nineteenth-century, “high-head” decoy makers.

Decoys from this family of makers represent some of the earliest documented shorebird decoys known to exist. One example in a private collection dates to 1808. Original paint with some flaking mostly to the head.

PROVENANCE : ESTIMATE :

Private Collection, New England

$4,000-$6,000

454 Turned-Head Black-Bellied Plover Coastal Massachusetts, c. 1880

454

This thin and animated shorebird has a slightly turned head, painted eyes and split tail carving.

Original paint with tight even craquelure. Head is slightly loose, bill appears to be original.

PROVENANCE : ESTIMATE :

Private Collection, New England

$3,000-$5,000

215

455 Golden Plover Marshfield, MA, c. 1890

455

With graceful lines and form, this golden plover shows eye groove and cheek carving and retains its original tenoned bill. Original paint with even gunning wear, much of the bill paint has flaked off.

PROVENANCE :

Private Collection, New

England ESTIMATE :

456 Golden Plover Frank Adams (1871-1944) (attr.)

West Tisbury, MA, c. 1900 This golden plover came out of a rig of at least eight birds attributed to be the early work of Frank Adams. It is very likely that this rig was made by Frank Adams’ father or another relative or gunning mate from his father’s generation. The Frank Adams yellowlegs illustrated on pages 22 and 23 of Stanley Murphy’s Martha’s Vineyard Decoys shows a squared head with a distinct and deliberate paint pattern. This plover, along with the other seven from the rig, displays an appealing loosely applied paint pattern. Original bill and paint with gunning wear, more prevalent on the right side.

PROVENANCE :

Private Collection, New England

LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, pp. 22-23 and 44.

ESTIMATE :

216

$1,000-$2,000

456

$5,000-$7,000

457 Extremely Rare Golden Plover John Dilley Quogue, NY, c. 1890 A full-bodied golden plover in non-breeding plumage with deep S-shaped wing carving that sweeps back to resolve under the tail. When referring to Dilley shorebirds in American Bird Decoys, Mackey states that, “there is no question that the detailed, stylized painting is unsurpassed.

They are beautiful examples from the hand of a fastidious workman.� Starting with clean lines and a solid form, John Dilley applied some of the finest representations of plumage ever recorded. Using a two-tiered paint technique he was able to imply detail without carving or painting every feather.

This decoy exemplifies his abilities. Original paint with light gunning wear.

PROVENANCE :

Private Collection, New England

LITERATURE :

Adele Earnest, The Art of the Decoy: American Bird Carvings, West Chester, PA, 1965, p. 60, Fig. 41, similar example illustrated.

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, color plate IV, similar example illustrated.

ESTIMATE :

$20,000-$30,000

217

458 Black-Bellied Plover

458

A black-bellied plover with deep S-carved wings, split wing tips, a dropped tail, and stippled paint. The bulbous head features glass eyes and the original bill. Original paint with light gunning wear including four very small holes in the tail and a rub on the back.

PROVENANCE : ESTIMATE :

459 Early Yellowlegs Plum Island, MA, c. 1880 This lesser yellowlegs features an inletted head, which is highly unusual in any shorebird decoy. The round head sits atop a long thin neck and is held to the body with three small nails. Only two other decoys, a ruddly turnstone and another yellowlegs by this maker are believed to have come to market. In original paint with touch-up on top of face.

PROVENANCE :

Private Collection, New England

LITERATURE : Copley Fine Art Auctions, The Sporting Sale 2007, Boston, MA, July, 26, 2007, lots 71-72, similar examples illustrated.

ESTIMATE :

218

$5,000-$7,000

459

Private Collection, New England

$3,500-$5,500

460

460 detail

460 Hollow Black-Bellied Plover William C. Chipman (1822-1900) and Isaac K. Chipman (1826-1901), Sandwich, MA, c. 1860.

Considered some of the finest and most delicate shorebird decoys ever crafted from any region, these Cape Cod carvings by the Chipman brothers are truly unique. Made in two styles, the Chipman’s crafted birds that were completely hollow that retained bottoms, as well as wind birds with their hollowed out shell design.

The Chipman brothers were carpenters who ran a door, sash and blind shop. As skilled woodworkers, they employed tools to make thin wooden items and their shorebirds are exemplary. Isaac’s son, Edmund K. Chipman, was a glass cutter and

decorator who supplied his father and uncle with colored Sandwich glass eyes, which are unique to this Cape Cod family’s shorebird decoys. Original paint with light gunning wear.

PROVENANCE :

Private Collection, New England

LITERATURE : Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 152.

Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, plate 96, p. 107.

ESTIMATE :

$10,000-$15,000

219

461

461 Hollow Yellowlegs William C. Chipman (1822-1900) and Isaac K. Chipman (1826-1901), Sandwich, MA, c. 1860 This decoy is from the historic decoy collection of Winsor White of Duxbury, Massachusetts. White was a pioneer decoy collector who assembled some of the earliest and rarest decoys ever found. A turnedhead rigmate, with deep green glass eyes, sold at Decoys Unlimited Inc. on July 31st, 2006 for $142,000, along with a peep with cobalt blue eyes that sold for $92,000.

461a

This exceptional “wind decoy” has been hollowed out to a thin shell of wood. In fact, it is so thin that it was carved through in one small area and a leather patch was adhered to the inside with the original paint placed on the patch by the maker. One eye is a Sandwich Glass Factory amethyst eye while the other is an old shoe button. There is an old paper label affixed to the inside of the decoy marked “W. W. S-17,” the 17th shorebird collected by White. This same inventory system was later adopted by fellow Duxbury collector Dr. George Ross Starr for his famous collection. Original paint.

LITERATURE : Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 152.

Russel A. Lovell, Jr., Sandwich, A Cape Cod Town, Taunton, MA, 1984, pp. 384 and 406.

Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, plate 96, p. 107.

ESTIMATE :

$10,000-$20,000

461a Golden Plover Gibbs Family Nantucket, MA, c. 1880 A solid-bodied shorebird decoy with tack eyes.

Original paint with gunning wear and a replaced bill.

ESTIMATE :

220

$600-$900

462

462 Golden Plover with Drawing Mark S. McNair (b. 1950) Craddockville, VA, c. 1995 An excerpt from a letter accompanying the piece reads, “The style is Cape Cod / Nantucket, Mass., that wonderful split tail you see in Crowell’s, Holmes’ etc. The construction is a two piece body, white cedar and held together with 6 oak pegs. The bill is white oak, mortised and splined thru [sic] the head in traditional fashion...

The details are applied with a feather, both the tip and the quill. Perhaps this drawing will help explain.” This plover is a stellar example of one of the artist’s finest decoy models. The underside is fitted with an oak bushing and inscribed “McNair.” The accompanying letter is framed. Original condition.

PROVENANCE : ESTIMATE :

Paul W. Masengarb Collection

$2,000-$3,000

462 letter

462 detail

221

463

463 Rig of Six Black-Bellied Plovers Mark S. McNair (b. 1950) Craddockville, VA, c. 2000 A superb grouping of a half-dozen tack-eyed beetle-head plover decoys. While McNair has made numerous shorebird rigs over the years, birds from these sets have typically been sold off individually. This intact rig presents a rare opportunity to own an entire McNair rig. Displaying emerging plumage, all bear the maker’s incised signature on the underside.

Original condition.

PROVENANCE : ESTIMATE :

464 detail

Paul W. Masengarb Collection

$5,000-$10,000

Parker’s Island is a rambling marsh island with a long stretch of white beach facing the Chesapeake Bay, not too far from my home. Like most islands it has its own unique ever-changing beauty, and its solitude is an attraction for nesting and migratory shorebirds. I spotted this group of plover resting on a spit of marsh, all facing the wind as though weathervanes. The water behind them, ref lecting the late afternoon autumnal sun, backlit them, so there was little colour, no black and white, only the distinct silhouette of plover as if made of weathered wood. That is what I tried to capture.

-Mark S. McNair

222

464 Turned-Head Yellowlegs Mark S. McNair (b. 1950) Craddockville, VA, c. 1990

464

A hollow shorebird decoy with a removable dove-tailed head. McNair’s precision and attention to detail shines as the head snaps tight upon insertion and makes a distinct clicking sound when connected to the body. The underside of the bird has an oak bushing around the stick hole and the artist’s incised “McNair” signature. Original condition.

PROVENANCE : ESTIMATE :

Paul W. Masengarb Collection

$1,500-$2,500

465 Long-Billed Dowitcher Mark S. McNair (b. 1950) Craddockville, VA, c. 1980

465

A classic Long Island-style shorebird decoy with carved raised wings and the maker’s incised signature on the underside. Original condition.

PROVENANCE : ESTIMATE :

Paul W. Masengarb Collection

$600-$900

466 Running Yellowlegs Mark S. McNair (b. 1950) Craddockville, VA, c. 1990

466

A running greater yellowlegs with carved raised wings and split wing tips. Incised “McNair” with Joe French’s collection stamps on the underside. A full sixteen inches from tip to tail. Original paint with a sap bleed on left side of belly and a bill repair.

PROVENANCE :

Joseph B. French Collection Private Collection

ESTIMATE :

$1,000-$1,400

223

467

468

469

470

467 Golden Plover Mark S. McNair (b. 1950) Craddockville, VA, c. 2000

469 Long-Billed Dowitcher Mark S. McNair (b. 1950) Craddockville, VA, c. 1990

A Nantucket-style tack-eyed shorebird decoy, with split-tail carving, incised primaries and the maker’s incised signature on the underside. Original condition.

A Verity-style shorebird with carved eyes and raised wings. The maker’s incised signature is on the underside.

Original condition.

PROVENANCE :

PROVENANCE :

ESTIMATE :

Paul W. Masengarb Collection

$1,000-$1,500

ESTIMATE :

Paul W. Masengarb Collection

$1,000-$1,500

468 Black-Bellied Plover Mark S. McNair (b. 1950) Craddockville, VA, c. 1975

470 Black-Bellied Plover Mark S. McNair (b. 1950) Craddockville, VA, c. 2010

An early tack-eye shorebird decoy with carved raised wings and the maker’s incised “McNair” signature on the underside. Original condition.

A Coastal Massachusetts inspired shorebird decoy with a split tail and divided primaries. The maker’s incised signature is on the underside. Original condition.

PROVENANCE :

PROVENANCE :

ESTIMATE :

224

Paul W. Masengarb Collection

$600-$900

ESTIMATE :

Paul W. Masengarb Collection

$600-$900

471 Curlew Mark S. McNair (b. 1950) Craddockville, VA, 1973

471

This exceptionally early carving by the maker is in a running pose and displays a long bill and raised wings. This piece was made within the first year of the artist’s carving career. The bottom is signed “MSM” and was incised “McNair, 1973” at a later date.

The piece measures sixteen inches from tip to tail. Original condition.

ESTIMATE :

$1,000-$1,500

472

472 Cameron T. McIntyre (b. 1968) Green Back Fields Signed “Cameron McIntyre” lower right.

Oil on board, 11.5 by 15.5 inches Cameron McIntyre received his formal training in life drawing, figure, and landscape painting at the University of South Carolina, and the Gibbes Museum of Art in Charleston, South Carolina. His impressionist landscapes depict the rural environment of Maryland and Virginia’s Eastern Shore.

PROVENANCE : ESTIMATE :

John Collier Collection

$1,500-$2,000

473

473 Long-Billed Curlew Cameron T. McIntyre (b. 1968) New Church, VA, c. 1995 A Thomas Gelston, Long Island-inspired shorebird decoy with a turned head. The maker’s “CTM” initials incised on the underside. Original condition.

PROVENANCE :

Paul W. Masengarb

Collection ESTIMATE :

$1,000-$2,000

225

474

475

476

477

474 Dowitcher Cameron T. McIntyre (b. 1968) New Church, VA, c. 1995

476 Dowitcher Cameron T. McIntyre (b. 1968) New Church, VA, c. 1995

A classic Cobb Island-style shorebird decoy with carved eyes and deeply incised primaries. Original weathered finish with the maker’s initials incised on the underside. Original condition.

A Long Island-style shorebird decoy with carved raised wings and the maker’s incised “CTM” initials on the underside.

Original condition.

PROVENANCE : ESTIMATE :

Paul W. Masengarb Collection

PROVENANCE : ESTIMATE :

Paul W. Masengarb Collection

$800-$1,200

$600-$900

475 Dowitcher Cameron T. McIntyre (b. 1968) New Church, VA, c. 1995

477 Golden Plover Cameron T. McIntyre (b. 1968) New Church, VA, c. 1995

A fine dowitcher carving with Bunn/Bowman influences such as eye grooves, raised wings, split tail and a dropped thigh.

Signed “CTM.” Original condition.

A full-bodied, tack-eyed shorebird decoy with the maker’s “CTM” initials incised on the underside. Original condition.

PROVENANCE : ESTIMATE :

226

Paul W. Masengarb Collection

$1,000-$1,500

PROVENANCE : ESTIMATE :

Paul W. Masengarb Collection

$600-$900

478 Black Duck Martin Hanson (b. 1965) Prior Lake, MN, c. 1990

478

A slightly turned head, hollow decoy, with raised primaries.

Signed on the bottom, in pencil, and with the maker’s stencil. Original condition.

ESTIMATE :

$700-$1,000

479 Sleeping Gadwall Pair Robert “Bob” White (b. 1939) Tullytown, PA, 2003

479

A fine pair of Delaware River ducks with raised wing and tail carving. Signed and dated on the bottom with the maker’s impressed quail weight. Original paint, one bird has a reset head.

ESTIMATE :

$1,500-$2,500

480 Redhead Drake Robert “Bob” White (b. 1939) Tullytown, PA, 1998

480

A fine Delaware River diver decoy with a slightly turned head and tail carving. Signed and dated on the bottom with the maker’s impressed quail weight. Original condition.

ESTIMATE :

$500-$1,000

227

481

481 Green-Winged Teal Drake Jim Schmiedlin (b. 1945) Bradford Woods, PA, 1981 An early carving by this maker, signed and dated on the bottom. The decoy exhibits a slightly turned head, detailed feather carving and soft subtle paint. Original condition.

ESTIMATE :

482

$1,500-$2,500

482 Green-Winged Teal Pair Jim Hoker Orland Park, IL, 1977 A pair of decorative carvings displaying intricate bill and feather detail. Signed and dated on the underside of each. The pair is in original condition, the drake has a few minimal tail chips. provenance: Lillian M. Bronson Trust Collection Private Collection ESTIMATE :

483

$200-$400

483 Preening Mallard William Hanemann (b. 1947) New Orleans, LA, c. 1970 Inspired by his uncle, Jimmie Hanemann (19011988), who was a pioneering Louisiana decoy collector, Bill carved this Louisiana-style turned-head decoy. Signed “Wm. Hanemann� on the underside.

Original paint with light gunning wear.

ESTIMATE :

228

$300-$500

484 Long-Billed Curlew William Gibian (b. 1946) Onancock, VA, c. 1980

484

A full-size feeding shorebird decoy with the maker’s incised signature on the underside. The carving measures over two feet in length. Original paint with touch-up to a hairline crack in the bill.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$1,000-$1,500

485 Black-Bellied Plover William Gibian (b. 1946) Onancock, VA, c. 1990

485

486

An elaborately carved, oversized turned-head plover with split wings, and a dropped tail. Incised signature on the bottom. Original condition.

ESTIMATE :

$600-$800

486 Hudsonian Godwit William Gibian (b. 1946) Onancock, VA, c. 1990 An elaborately carved shorebird with a turned head, split wings, and a dropped tail. Incised signature on the bottom. Original paint with flaking.

ESTIMATE :

$600-$800

487 Standing Eskimo Curlew E. Gunderson West Chatham, Cape Cod, MA, 1975

487

A life-size mantel carving of a shorebird exhibiting a slightly turned head and raised wing carving. Signed and dated by the maker on the bottom. Original condition.

ESTIMATE :

$400-$600

229

488

489

490

491

488 Flying Dowitcher William Gibian (b. 1946) Onancock, VA, c. 1980

490 Two Shorebirds and a Tern Jamie Reason (b. 1947) Mastic Beach, Long Island, NY, c. 1980

A life-size flying shorebird carving. Original paint with reset wing.

One of the last of the traditional Long Island carvers, Reason’s decoys are fashioned in the same manner that the historic decoy makers used over a hundred years ago. A weathered pinched-breast tern decoy, a Seaford, Long Island-style shorebird, and a Quogue, Long Island style curlew. The tern is worn from the elements and has a tail chip. The two shorebirds are in original paint with light wear.

PROVENANCE :

Russell B. Aitken Collection Private Collection, Massachusetts

ESTIMATE :

$800-$1,200

489 Reaching Roothead Egret Nate Kirby (b.1973) Tuckerton, NJ, c. 2012 A life-size egret with two stick holes for varying postures and the maker’s initials incised on the underside. Original antiqued paint with light craquelure.

ESTIMATE :

$200-$400

PROVENANCE : ESTIMATE :

$600-$900

491 Atlantic Puffin Ken Kirby (b. 1946) Little Egg Harbor, NJ, c. 2012 A two-thirds scale sea bird carving, with raised wing carving, signed with the maker’s brand on the bottom. Original antiqued paint with fine craquelure.

ESTIMATE :

230

William Tosi Collection

$150-$200

492

493

494

495

492 Robin Snipe Frank S. Finney (b. 1947) Pungo, VA, c. 1985

494 Over-Sized Black-Bellied Plover Mark S. McNair (b. 1950) Craddockville, VA, c. 1980

A Coastal Virginia-style feeding shorebird decoy with carved eyes, raised wings, and the maker’s incised initial “F” signature on the underside. Original paint.

Measuring fourteen inches from bill to tail, this full-bodied shorebird displays two-piece construction, raised wings, and the maker’s incised signature on the underside. Original condition.

ESTIMATE :

$800-$1,200

PROVENANCE :

493 Tucked-Head Curlew Mark S. McNair (b.1950) Craddockville, VA, c. 1980 An Eastern Shore of Virginia carved eye shorebird with raised wings and tenoned bill. The maker’s incised signature is on the underside. Original condition.

PROVENANCE : ESTIMATE :

Paul W. Masengarb Collection

$1,000-$1,500

ESTIMATE :

Paul W. Masengarb Collection

$800-$1,200

495 Preening Loon Mark McNair (b. 1950) Craddockville, VA, c. 1974 This early craving with stylized paint would go on to serve as a model for the maker’s loons in the following decades. Signed with a dedication by the artist on the underside. Original paint with light wear.

PROVENANCE: Private Collection, California, acquired directly from the artist in 1975 ESTIMATE :

$1,200-$1,800

231

496

497

496 Miniature Pintail Pair Brig. Gen. Chester Braddock de Gavre (1908-1993) Onancock, VA, 1955 An alert standing drake and a resting hen with carved raised wings, signed on the bottom of the driftwood base.

Original condition.

ESTIMATE :

$400-$600

497 Miniature Black Duck Pair Brig. Gen. Chester Braddock de Gavre (1908-1993) Onancock, VA, 1957 An alert standing drake and a resting hen with carved raised wings, signed and dated on the bottom of the driftwood base. Original condition.

ESTIMATE :

498

499

$400-$600

498 Miniature Emperor Goose Pair Brig. Gen. Chester Braddock de Gavre (1908-1993) Onancock, VA, 1950 An early pair of preening geese with carved raised primaries, signed and dated on the bottom of their driftwood base.

Original condition.

ESTIMATE :

$400-$600

499 Miniature Mallard Pair Brig. Gen. Chester Braddock de Gavre (1908-1993) Onancock, VA, 1958 An alert standing drake and a resting hen with carved raised wings, signed and dated on the bottom of the driftwood base. Original condition.

ESTIMATE :

500

$400-$600

500 Three Miniature Flying Duck Plaques Howland Parker (1905-1977) Duxbury, MA, c. 1940 A pintail drake, a mallard drake, and a black duck. Two bear the maker’s signature on the back. All three are in original paint with wear. The pintail has an age line in the wing, and the black duck has a few small dents and a chip to the wing tip.

ESTIMATE :

232

$300-$500

501 Miniature Woodcock Pair Allen J. King (1878-1963) North Scituate, RI, c. 1950

501

This exceptionally well-carved game bird family includes a standing and resting bird with two chicks. The carving is signed by the maker on the side of the base. Original paint with one primary feather tip missing.

ESTIMATE :

$2,500-$3,500

502 Three Miniature Ducks Robert Morse (1920-1960) Ellsworth, ME, c. 1940

502

A miniature black duck, miniature harlequin duck, and miniature spectacled eider, each signed by the maker on the side of the base, with the species identification and J. B. French collection stamp on the bottom of the base.

The number 2087 appears on the black duck’s base, the number 433 on the miniature harlequin duck’s base, and the number 432 on the miniature spectacled eider’s base. Each is in original paint with minimal wear.

PROVENANCE : ESTIMATE :

Private Collection, New England

$1,500-$2,500

503 Three Miniature Birds Robert Morse (1920-1960) Ellsworth, ME, c. 1950

503

A miniature limpkin, a miniature downy woodpecker, and miniature sparrow hawk (or kestrel), each signed by the maker on the base. The species identification is printed on the bottom of each base. Each is in original paint with minimal wear.

PROVENANCE : ESTIMATE :

Private Collection, New England

$1,800-$2,400

233

504

504

504 Important Black-Bellied Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912

504 detail

This exceptional mantel shorebird carving is from the collection of Joseph Archibald Hagar (1896-1989), who was the Massachusetts State Ornithologist from 1934-1959. From his South Shore home, he was a noted authority on shorebirds, peregrine falcons, and black ducks, and a member of the prestigious Nuttall Ornithology Club, founded in 1873.

This plover exhibits highly unusual crossed raised primary wing carving rarely seen in Crowell’s decorative shorebirds. The bird’s anatomy is perfect and the bill carving is as fine as we have ever seen on any plover carving by any maker. It is mounted on a carved quahog shell base with the maker’s crisp oval brand impressed on the bottom.

One of the finest Crowell plovers ever to come to the market. Outstanding original condition with a minor paint flake at edge of bill, minimal fly specks and minor craquelure at neck.

PROVENANCE :

Joseph Archibald Hagar Collection, Private Collection, Maine, by descent in the family

ESTIMATE :

$15,000-$25,000

504 detail

237

505

506

507

508

509

510

505 Miniature Hooded Warbler A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

507 Miniature Chickadee A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

509 Miniature Catbird A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to beak.

The state bird of Massachusetts with the maker’s rectangular stamp on the bottom. Original paint with minimal touch-up to the top of the beak.

Retains the maker’s rectangular stamp and “Blue Cat Bird” species identification on the bottom of the base. Original paint with craquelure, a minor chip to beak, and a loose leg.

LITERATURE : Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, pp. 70-72, similar miniatures illustrated.

ESTIMATE :

$1,000-$1,500

506 Miniature Oriole A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to beak tip.

LITERATURE : Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, dust jacket cover, pp. 70-72, similar miniatures illustrated.

Brian Cullity, The Songless Aviary: The World of A.E. Crowell and Son, Sandwich, MA, 1992, p. 52, plate XII, similar bird illustrated.

ESTIMATE :

238

$1,000-$1,500

ESTIMATE :

$1,000-$1,500

508 Miniature Tree Swallow A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with rubs to wing tips and beak, and a minor scratch on a primary feather.

LITERATURE : Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, pp. 70-72, similar miniatures illustrated.

ESTIMATE :

$1,000-$1,500

LITERATURE : Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, pp. 70-72, similar miniatures illustrated.

ESTIMATE :

$1,000-$1,500

510 Miniature Kingbird A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to the beak.

LITERATURE : Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, pp. 70-72, similar miniatures illustrated.

ESTIMATE :

$1,000-$1,500

511 Bobwhite Quail A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 A life-size male bobwhite quail carving with Crowell’s oval brand on the bottom. This decorative game bird has a remarkable amount of detail, including its anatomically correct size and shape, incised tail feather carving, glass eyes, and perfectly refined bill. Crowell paid special attention to the feathering on this bird, layering the painted pigments to create a sense of depth and masterfully created illusion. This carving ranks at the very top of the maker’s work. The quail, native to Cape Cod, was on the decline by the start of the twentieth century.

Crowell who loved to carve and paint from real models did not make many of these important game birds.

Outstanding original paint with a small amount of flaking to the right leg and a very minor rub to top of head.

PROVENANCE :

Private Collection, Cape Cod

LITERATURE : Stephen B. O’Brien, Jr. Fine Arts, 2002 Catalog, Boston, MA, 2002, fig. 28, similar carving illustrated.

Brian Cullity, The Songless Aviary: The World of A.E. Crowell and Son, Sandwich, MA, 1992, p. 85, plate 51, similar birds illustrated.

ESTIMATE :

$25,000-$35,000

239

512

513

514

515

512 Miniature Pintail Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930

514 Miniature Ruddy Duck Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912

Retains Crowell’s rectangular stamp on the bottom. Original paint with professionally restored tail by Gigi Hopkins.

An early miniature with “Ruddy Duck” written in script on the bottom. Original paint with minor professional touch-up to sides.

ESTIMATE :

$1,000-$2,000

ESTIMATE :

513 Miniature Bluebill Pair A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 Retains Crowell’s rectangular stamp on the bottom. Original paint with very minor touch-up on hen’s breast, under her bill, and back of drake’s head.

ESTIMATE :

240

$1,000-$1,500

$1,000-$2,000

515 Miniature American Merganser Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 Retains Crowell’s rectangular stamp on the bottom.

Original paint with professionally repaired bill.

ESTIMATE :

$1,000-$2,000

517

516

519

518

520

516 Miniature Blue-Winged Teal Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910

519 Miniature Redhead Drake Albert J. Ditman (1884-1974) Englewood, NJ, c. 1920

Displays the maker’s early, blue paper label on the bottom, with the label’s center band identifying the species in script.

Original paint with craquelure on the breast.

An early carving by Ditman with his conjoined initial signature on the side of the chip-carved base. The bottom of the base has an Ackermann Galleries, 50 E. 57th St. New York, NY circular label. Original paint with light craquelure and paint rubs to the top of the head, the bill edge, tip of the wing, and tail.

ESTIMATE :

$1,000-$2,000

517 Miniature Blackduck A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912 Displays species identification on the bottom. Outstanding original condition.

ESTIMATE :

$1,500-$2,500

518 Flying Miniature Mallard Russ P. Burr (1887-1955) Hingham, MA, c. 1950 A miniature flyer representing Burr’s finest carving. Bears the maker’s ink stamp signature “Russ P. Burr, Hingham, Mass.” on the bottom of the driftwood base. Original paint with touch-up to one primary feather tip.

PROVENANCE : ESTIMATE :

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

520 Miniature Stilt A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 An early carved shorebird with species identification on the bottom. Original paint with dark patina and minimal flaking on the original bill, which has been reset.

ESTIMATE :

$1,500-$2,500

John Collier Collection

$300-$500 241

521 Miniature Cormorant Dorothy Brown (b. 1923) North Haven, ME, c. 1960

521

A sea bird, drying his wings, exhibiting incised feather detail. Faintly signed by the maker on the bottom. Original paint with a reset wing.

ESTIMATE :

$500-$1,000

522 One-Quarter Sized Canada Goose Pair Jack Franco Assonet, MA, 1972 A pair of carvings, mounted on a driftwood base, signed and dated by the maker on the bottom. Original paint, both have primary feather damage.

ESTIMATE :

522

$600-$1,200

523 Miniature Eurasian Widgeon Pair Allen J. King (1878-1963) North Scituate, RI, c. 1940 A rare species by the maker signed “A. J. King” on the side of the natural wood base. Original paint. The drake has a reset head and the hen has a primary wing tip missing.

PROVENANCE :

Eve DuPont Remer Collection, purchased at the Crossroads of Sport Private Collection, by descent in the family

523

524

LITERATURE : Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, p. 107, Fig. 11.2, similar pair illustrated.

ESTIMATE :

$400-$600

524 Miniature Bluebird New England, c. 1950 An unsigned bird carving which displays several characteristics exemplary of New England’s best whittlers. A faded $25.00 price is on the side of the base. Original paint with a reset beak tip.

525

ESTIMATE :

$200-$400

525 Two Miniature Shorebirds, Two Chickadees and a Paper Weight A miniature whimbrel by Richard Sawdo, Woods Hole, MA, 1979. A miniature Hudsonian godwit by Ralph E. Stuart (1901-1965), Osterville, MA, 1954. A chickadee and fledgling by Allston Pratt Burr (1910-1979), Hingham, MA, c. 1950. A three-inch cast iron, miniature mallard drake paper weight, c. 1950. The whimbrel has a leg loose from its foot. One chickadee is loose from its mount. The godwit has minimal wear and the paperweight has light flaking.

PROVENANCE :

Joseph Archibald Hagar Collection Private Collection, Maine, by descent in the family

526

ESTIMATE :

$200-$400

526 Three Carvings “Ducker” Dan Freeman Duxbury, MA, c. 1960 A life-size chickadee carving and two miniature Canada geese. All three are signed on the bottom “Ducker Dan, Duxbury.” Original paint with minor wear from handling.

ESTIMATE :

242

$300-$500

527

528

529

530

527 Two Miniature Mergansers Chester E. Doughty (1894-1974) Orr’s Island, ME, c. 1930 Two miniature decoys mounted on a modern oval plaque.

They have written on the bottom of each: “Willie Ross, Chebeague, ME.” Miniatures by these two Maine carvers are often confused. In this sale we have life-size decoys by each maker (Lots 530 and 532) which may help to clarify the differences. The pattern of Doughty’s miniatures displays a defined flat bottom, whereas Ross’s birds appear to be rounded to the flat bottom. Original paint with minimal wear.

PROVENANCE : ESTIMATE :

William Tosi Collection

$300-$500

528 Sea Duck Maine, c. 1900 An old Down East sea duck decoy with a high head and the initials “NMF” carved in the bottom. The decoy was carved as an eider and then later painted as a whitewinged scoter. Old in-use repaint worn to original paint in areas with heavy gunning wear, neck cracks and chip, and a chip to tip of bill.

ESTIMATE :

529 Preening Black Duck Maine, c. 1910 A turned-head, tack-eyed decoy with incised bill definition and a “W. Howard.” brand on the bottom. In old paint with a reset neck and heavy gunning wear.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$800-$1,200

530 Wood Duck and Merganser A rigged wood duck drake with glass eyes, an unusual delicately executed bill, and carved raised wings with rasped detail between the wings and around the neck. An oversized red-breasted merganser by Chester E. Doughty (18941974) of Orr’s Island, ME, c. 1960. The decoy displays painted tack eyes, an inletted head, and the maker’s unique dotted tail paint pattern. The wood duck is in original paint with light gunning wear including a tail chip. The merganser is in original paint with light wear and some loss to filled age cracks beneath the paint.

PROVENANCE : ESTIMATE :

William Tosi Collection

$250-500

$400-$600

243

531

531 White-Winged Scoter Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1885 This decoy comes from an early rig of Monhegan decoys that was found in South Portland, Maine in the early 1970s. When birds from this rig originally surfaced, they were thought to have been carved by a gentleman named Hans Berry or Hansberry from Cross Island, Maine.

Now a wildlife refuge thanks to a gift of the Cabot family, Cross Island was once a fishing community with a life-saving station. Current decoy specialists refer to this type of Wilson decoy as his “Monhegan style.”

Birds of this form with their intricate bill carving, reared back heads, develope shoulder carving, broad bodies and upswept tail are most coveted by today’s decoy and folk art collectors. Mixture of original and working paint with gunning wear to include age lines, hairline crack in bill, and a tail chip.

PROVENANCE : ESTIMATE :

244

Private Collection

$4,000-$6,000

532

532 Red-Breasted Merganser Drake Willie Ross (1878-1954) Chebeague Island, ME, c. 1910 This exact decoy is featured in a two-page spread in John Dinan’s Maine chapter of The Great Book of Wildfowl Decoys. The caption reads, “Merganser by Willie Ross. This superb shelldrake illustrates Ross’s ability to create a graceful decoy using simple lines.” Original paint with light gunning wear and repaired bill.

PROVENANCE :

Ronald Swanson Collection Stephen H. Churchill Collection

LITERATURE : Joe Engers, ed.,The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 30-31, exact decoy illustrated.

ESTIMATE :

$5,000-$10,000

245

533

533 Two Rails Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1920

Lots 534, 536 and 538 shown atop a slant top desk with bookcase, along with a Wilson seagull that sold in Copley’s January 2012 Winter Sale. Photograph c.1960

This important collection of Gus Wilson decorative carvings shares its provenance with the seagull and crane carvings from our January 2012 Winter Sale. Three of these carvings are illustrated atop an antique slant top desk with bookcase in a vintage interior photograph which accompanied the collection. This rare pair of birds with wire legs and looped wire feet shares the same original board base. They exhibit Wilson’s characteristic carved eyes, incised bill definition, and raised wing detail.

Original paint with an old coat of sealer which exhibits some craquelure. The tip of one bill has been chewed.

PROVENANCE : ESTIMATE :

534

Private Collection, Massachusetts

$2,000-$4,000

534 Bluebird Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1920 A song bird displaying carved eyes, incised bill, and raised wing and tail detail. Mounted on its original wooden board base with wire legs and looped feet (shown in photograph above). In old original crazed paint with a coat of sealer, a tail chip and a small chip to tip of bill.

PROVENANCE : ESTIMATE :

246

Private Collection, Massachusetts

$1,000-$2,000

535

536

537

538

535 Brown Thrasher Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1920

537 Bluebill Drake Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1920

A life-size bird carving displaying carved raised eyes, incised bill, and raised wing and tail carving. The bird has wire legs with looped wire feet and is mounted on its original base.

In old paint with craquelure.

A half-sized bird with carved eyes, an inletted head, raised wings, wire legs and looped wire feet. In old repaint with craquelure and an age line on one side of the head.

PROVENANCE : ESTIMATE :

Private Collection, Massachusetts

ESTIMATE :

Private Collection, Massachusetts

$500-$1,000

$1,000-$2,000

536 Orchard Oriole Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1920 A bird carving with a two-piece body, carved eyes, raised wings, and tail carving (shown upper far right in photograph on opposite page). Mostly original paint with an old crazed coat of sealer with some gray touch-up and an old reset bill.

PROVENANCE : ESTIMATE :

PROVENANCE :

Private Collection, Massachusetts

538 Crow Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1920 An extremely rare, life-size decorative carving with wire legs and looped feet (shown upper far left in photograph on opposite page). Second coat of old paint is crazed, a tail section is missing, and bill and wing tips are chipped.

PROVENANCE : ESTIMATE :

Private Collection, Massachusetts

$1,000-$2,000

$1,000-$2,000

247

539

540

541

542

543

544

539 Wing Duck Benjamin F. Dye (1832-1895) Perryville, MD, c. 1870

541 Canvasback Drake Robert “Bob” McGaw (1879-1958) Havre de Grace, MD, c. 1920

This little carving is a rare wooden wing duck by one of the Upper Bay’s earliest and most well-respected carvers. This bird appears to have been painted most recently as a seagull. Old working paint with sealer, gunning wear and a crack in the neck.

A classic Upper Chesapeake Bay decoy. Original paint with light gunning wear. A crack along the bottom has old fill and the dog bone weight has been halved.

ESTIMATE :

$100-$200

540 Canada Goose Book Ends Stephen Ward (1895-1976) Crisfield, MD, 1973

$800-$1,200

542 Redhead Hen Charlie Joiner (b. 1921) Betterton, MD, c. 1950

A pair of bookends with glass eyes and detailed bill carving. Each is signed and dated on the back.

Original condition.

A traditional Upper Bay decoy by this famous carver who apprenticed under R. Madison Mitchell (19031993). Two of his decoys are in the Boston Museum of Fine Arts collection. Original paint with light gunning wear and a reset neck.

PROVENANCE :

ESTIMATE :

ESTIMATE :

248

ESTIMATE :

John Collier Collection

$600-$900

$500-$700

543 Mallard Hen Maryland, c. 1990 A slightly turned-head, solid-bodied decoy in the style of the Ward brothers. Original condition with deliberate wear.

ESTIMATE :

$400-$600

544 Three Miniature Decoys Chincoteague, VA, c. 1980 A miniature canvasback drake, a redhead drake, and a merganser hen carved in the style of Doug Jester (1876-1961). All three are in original condition.

PROVENANCE : ESTIMATE :

William Tosi Collection

$100-$200

545 Canvasback Hen The Ward Brothers, Lemuel T. (1896-1983) and Stephen (1895-1976) Crisfield, MD, 1934

545

A canvasback hen closely related to the classic 1936 model it predates. Two areas of the underside have been hollowed out. An area on the bottom was sanded down and reads, “Canvasback Hen, Made By, Ward, Bros., Crisfield, MD., -1934-, Original Paint, Steve Ward, Lem Ward.” Mix of original paint and later touch-up with gunning wear. A tight age line in neck and a check along the bottom.

PROVENANCE : ESTIMATE :

John Collier Collection

$2,000-$4,000

546 Mallard Pair The Ward Brothers, Lemuel T. (1896-1983) and Stephen (1895-1976) Crisfield, MD, 1953

546

A rigmate pair of mallards with slightly turned heads and upswept pine tails that are inserted into their balsa bodies.

Each retains its original keel and is signed and dated by Lem Ward on the underside. Original paint with even gunning wear including some dings.

PROVENANCE : ESTIMATE :

John Collier Collection

$3,000-$5,000

547 Bluebill Hen The Ward Brothers, Lemuel T. (1896-1983) and Stephen (1895-1976) Crisfield, MD, c. 1936

547

This example of the Ward Brothers’ most popular model displays a turned head with nostril carving through the bill and subtle nail carving at the tip. Branded “W” or “M” on the underside. Gunning wear with mix of original and working paint. Bill has chip to right side and may be reset.

PROVENANCE : ESTIMATE :

John Collier Collection

$2,500-$3,500

249

548

548 Early Canada Goose Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1900 An early full-bodied decoy in Hudson’s classic swimming posture. The goose exhibits tack eyes, incised bill detail, and superb form. In old in-use repaint with heavy gunning wear, an age split along the bottom, and age cracks mostly in the neck.

ESTIMATE :

549

$600-$900

549 Pintail Pair Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1920 A pair of tack-eyed decoys with carved bill detail and their original rigging. In his book on Hudson, Henry Stansbury describes the paint on similar pintail decoys writing, “Ira painted it on a day when he felt particularly creative.” The bottom of each has a branded “P” designating they were originally collected by renowned Southern decoy collector William H. Purnell, Jr. Second coat of Hudson paint with gunning wear and tight age cracks to the necks and bottoms of each.

PROVENANCE :

William H. Purnell, Jr. Collection Henry H. Stansbury Collection Private Collection, Massachusetts

LITERATURE : Henry H. Stansbury, Ira D. Hudson and Family, Chincoteague Carvers, Lewes, DE, 2002, p. 122, similar decoy illustrated ESTIMATE :

550

$2,000-$4,000

550 Brant Charles Birch (1867-1956) Willis Wharf, VA, c. 1910 A tack-eyed hollow brant by this famed Eastern Shore carver.

This brant displays Birch’s finest high-head form. The maker’s ship building background is evident in the graceful lines of the bird which is out of a rig originally made for the late O. S. Campbell of the Smith Island Gun Club, Smith Island, Virginia.

Original paint with some in-use touch-up and gunning wear including a neck crack.

PROVENANCE :

Roy Bull Collection Private Collection, Westport, Connecticut

LITERATURE :

Stephen B. O’Brien, Jr. 2001 Catalog, Boston, MA, 2001, p. 38, fig. 68, exact bird illustrated.

ESTIMATE :

250

$2,000-$4,000

551 Running Dowitcher Nathan Cobb, Jr. (1825-1905) Cobb Island, VA, c. 1895

551

A classic Cobb Island shorebird by the island’s preeminent carver. Henry Fleckenstein illustrated this bird in his book “Southern Decoys,” and added the following description: “Snipe decoy from Cobb’s Island, Virginia circa 18951905, worn original paint, and carved eyes.” This bird also exhibits a tenoned oak bill, cheek carving and a “V” cut tail. Albert Cobb’s serifed “A” incised on bottom as well a collection brand “N.” Repaint with gunning wear has been taken down. Original bill has been reset. Bill and wing tips are chipped.

LITERATURE :

Henry A. Fleckenstein, Jr. Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 208, plate 442, exact decoy illustrated.

ESTIMATE :

$5,000-$7,000

552 Curlew Kitty Hawk, NC, c. 1900

552

A stately chip-carved North Carolina curlew with a wire bill and an applied head. North Carolina carvers did not produce many shorebirds and very few have survived in any condition at all. This bold curlew, with its hump back and protruding breast, is a refined example from the region. Original paint with even gunning wear. Professional restoration to front right portion of face.

ESTIMATE :

$6,500-$8,500

553 Dowitcher Pair John Fulcher (attr.)

Corolla, NC, c. 1910

553

After the turn of the century Edward Knight, from Philadelphia, Pennsylvania, and his wife Louise a sports woman in her own right built Corolla Island, an elegant arts and crafts mansion with an art nouveau interior.

Architectural details included Tiffany lamps and bronze duck head door knobs. They used their new home as their winter sporting residence and entertained decades of friends and family over the decades. The name was changed to the Whalehead Club in the 1950s by the second owner. Used at this gunning camp, these two tack-eyed shorebirds have two bottom holes to adjust the decoys’ attitude and a u-hook embedded in a lead plug for stringing purposes. Both are in old in-use repaint, with gunning wear and replaced bills.

ESTIMATE :

$1,000-$2,000

251

554 detail

253

554

554

254

554

554 Hollow Canada Goose Pair Dave “Umbrella” Watson (1851-1938) Chincoteague, VA, c. 1900 These are not only two of the very best Watson geese known to exist, but also the only matched pair to ever be offered publicly. They display bold over-sized form with pronounced cheek carving and raised wing tips. The sides exhibit Watson’s signature stippled paint pattern. Each bird retains two inset rectangular lead weights. A superb pair of museum quality Virginia gunning decoys. Both birds have even gunning wear with working touch-up to the black areas. The lower-headed of the two birds has a tight crack along the back, a tight crack along the bottom with working fill, a tight crack in the neck, and a hairline crack in the tail. The higher-headed of the two birds has a working tail replacement and a tight hairline bill crack that has been professionally reset by Gigi Hopkins.

PROVENANCE :

Private Collection, Georgia Private Collection, Massachusetts

LITERATURE :

Henry H. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, pp. 77-84, similar birds illustrated.

Copley Fine Art Auctions, The Sporting Sale, July 23 and 24, 2007, Boston, MA, 2007, lot 141, p. 54, exact pair illustrated.

ESTIMATE :

$50,000-$70,000

255

555

555 Flying Black Duck William Schultz (1923-2009) Milwaukee, WI, c. 1965 This life-size flying black duck is an impressive demonstration of this talented carver’s abilities. Each wing displays three layers of carved feather detail on both the top and underside, and the tail also displays relief carving on either side. Two red feet also have elaborate detail. The extended head is slightly turned to the left and exhibits full cheeks and an open bill.

The piece comes mounted on a custom iron and wood base. Both the wingspan and the total height measure thrity-two inches. Original paint. Several feathers are chipped and the left wing has separation at the body joint. Minor separation at the back of the right wing.

PROVENANCE : ESTIMATE :

Private Collection, Midwest

$3,000-$5,000

555 topview

556

556 Blue-Winged Teal Drake William Schultz (1923-2009) Milwaukee, WI, 1972 This turned-head decoy exhibits finely carved bill detail carved raised wings. Signed, dedicated, dated, and labeled with extensive species identification on the bottom. Original condition.

ESTIMATE :

256

$2,000-$4,000

557

557 Mallard Hen Enoch Reindahl (1904-2000) Stoughton, WI, 1930

557 detail

An exceptionally rare decoy carved by one of Wisconsin’s top makers. This hollow tucked-head gunning decoy, with its head dramatically turned at a forty-five degree angle, displays nice painted feathering with precise crossed wing-tip carving.

Original paint with light even gunning wear.

PROVENANCE :

Private Collection, Midwest

LITERATURE : Joe Engers, ed., “Enoch Reindahl: Wisconsin’s Pride,” Decoy Magazine, Lewes, DE, November/December 1989, pp. 11-15.

ESTIMATE :

$9,000-$12,000

257

558

559

560

561

558 Bluebill Pair Herman Propp Oshkosh, WI, c. 1920 A pair of perfectly matched Wisconsin gunning decoys with superb surface and patina. “RM” rig initials are painted on the bottom of each. Original condition with light gunning wear and some craquelure.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$600-$900

559 Black Duck William Schultz (1923-2009) Milwaukee, WI, c. 1970 An over-sized black duck with a turned head and raised wing tips. This bird’s design is very similar to the work of a fellow Milwaukee carver, Walter Pelzer (1911-1998). In original condition with light wear from handling.

PROVENANCE : ESTIMATE :

258

Private Collection, Midwest

$2,000-$3,000

560 Wood Duck Drake Minnesota, c. 1940 A four-piece laminated body with a delicate neck and crest and a lead strip weight on the bottom. Original paint with sealer and neck crack restoration.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$500-$700

561 Canvasback Enoch Reindahl (1904-2000) Stoughton, WI, c. 1925 A very early canvasback drake from Reindahl’s personal gunning rig with tack eyes and carved bill detail. Original paint with gunning wear and working touch-up to shot scar on bill.

PROVENANCE : ESTIMATE :

Private Collection, Midwest

$1,000-$1,500

562

562 Canada Goose Owen Gromme (1896-1991) Fond du Lac, WI, 1945 Crafted out of amazingly durable papier-mâché, Gromme utilized the same body pattern for this rig and then created different head positions to give the group a more realistic appearance. He cast his decoys solely for his own use in the field.

At the time this decoy was made, (1944-1945), Gromme was the Curator of Birds and Mammals at the Milwaukee Public Museum. He remained with the museum for forty-three years. A fine painter as well as carver, Gromme is considered one of Wisconsin’s greatest sporting artists of all time. Signed on the bottom “O.J. Gromme 1944-45”. Original paint with light even gunning wear.

LITERATURE : Joe Engers, ed., “Museum-Style Master Owen Gromme: A Dedicated Champion of Wildlife,” Decoy Magazine, Lewes, DE, November/December 2001, pp. 8-11.

PROVENANCE : ESTIMATE :

Private Collection, Midwest

$8,000-$12,000

259

563

563 Flying Black Ducks Mike Borrett Madison, WI, 2010 A rare pair of flying black ducks by the maker. Both have wing and tail feathers carved in relief, carved feet and carved bill detail. Each has screw eyes for hanging and is signed and dated by the maker. Original condition.

ESTIMATE :

$600-$900

564

564 Flying Quail Mike Borrett Madison, WI, 2012 A rare cock bobwhite quail with relief carved wing tail feathers and bill detail. Equipped with a screw eye for hanging and signed and dated by the maker. Original condition.

ESTIMATE :

260

$300-$500

565

566

565 Miniature Flying Woodcock Eddie Wozny (b. 1959) Cambridge, MD, 2012

566 Miniature Flying Dove Eddie Wozny (b. 1959) Cambridge, MD, 2012

With a wingspan measuring four-and-one-half inches, this carving is signed by the maker on the bottom and retains his incised “W.” Original condition.

With a wingspan of five-and-one-quarter inches, this carving is signed by the maker on the bottom and retains his incised “W.” Original condition.

ESTIMATE :

ESTIMATE :

$500-700

567 Miniature Turkey Eddie Wozny (b. 1959) Cambridge, MD, 2012

$500-700

567

This miniature turkey is signed by the maker on the bottom of the base and retains his incised “W.” It measures four-and-one-quarter inches high. Original condition.

ESTIMATE :

$550-750

261

568

568 Canada Goose John Tax (1894-1967) Osakis, MN, c. 1917 A rare, hollow, vertically-laminated cedar, stick-up field decoy by this famous Minnesota maker. One of if not the plumpest of the rig, this superb example displays subtle but defined combscratched paint not typically seen on other Tax goose decoys.

Gene and Linda Kangas, noted decoy authors and historians, in their book Decoys: A North American Survey, write: Tax’s full-bodied, stick-up Canada and snow geese rank as his most important works. While the massive bodies of both species are similar, each decoy was endowed with a different head position, depicting either a feeder, nestled head or sentinel attitude. The heights, angles, and curves were varied on each so that no two were exactly alike, thus contributing to a more lifelike rig. Painting was sufficient to accurately depict each species; but, it is a marvelous sense of power and dynamic form that marks his field “stick-up” as a noteworthy contribution to decoy history.

John Tax’s entire gunning rig consisted of approximately seven dozen waterfowl and goose decoys. They were purchased from the Tax family in the late 1960’s by fellow Minnesota natives John Lindgren and Cliff Traff of Minneapolis. Many of the best examples from this rig were exhibited at the Milwaukee Decoy show in 1969. At the suggestion of some of the “old-time” collectors, the two published a booklet documenting eighty-four known examples of John Tax’s work. Published in 1970, Last of the Prairie Carvers illustrates the nineteen Tax “stick-up” or field goose decoys known to exist at that time. Of the nineteen, eight were snow geese and eleven were Canada geese.

569 Crow John Tax (1894-1967) (attr.)

Osakis, MN, c. 1915

569 detail

Little information is available regarding John Tax, however, it is known that he earned a living as a professional harness maker. This profession explains the availability of the tools necessary for Tax to have crafted these labor-intensive hollow laminated decoys. Another notable fact regarding John Tax and his unique decoys is the documentation of an original sets of Audubon prints in his possessions at the time of his death. In “Minnesota Memories: An Interview with John Tax, Jr.,” written

by Laurence Rucker, the author writes, “Tax used Audubon prints as references when carving and painting his decoys.”

Original paint with craquelure, gunning wear and a three small repairs to body lamination edges.

LITERATURE : John Lindgren and Cliff Traff, The Last of the Prairie Carvers: Decoys by John Tax, 1970.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, pp. 302-303.

Alan Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, p. 66.

Gene and Linda Kangas, Great Lakes Decoy Interpretations, OH, 2011, p. 216.

PROVENANCE : ESTIMATE :

Private Collection, Cambridge, Massachusetts

$30,000-$50,000

569

An unusual seven-piece laminated hunting decoy which was rigged to either hang or sit on a spike.

Appears to be original paint with gunning wear, slight separation at lamination seams, the right edge of the tail has been blunted and there is an old repair to bill.

PROVENANCE :

This bird was found in 1978, in a Niswa, Minnesota market, northeast of John Tax’s hometown of Osakis.

ESTIMATE :

$600-$900

263

570 Important Turned-Head Mallard Hen Robert Elliston (1847-1925) Bureau, IL, c. 1890 This exquisite Illinois decoy, with a dynamic turned head, shows Robert Elliston’s finest form with Catherine Elliston’s (1849-1953) best swirl paint. Only a few Elliston’s in original paint with this striking head position are know to exist. “C. H. W.” initials imprinted in the original Elliston weight.

This is the first time this bird has been offered at auction. Original paint with even gunning wear and two very faint age lines in the neck. Trace of old overpaint under tail.

LITERATURE : Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 188, nearly identical example illustrated.

PROVENANCE :

Private Collection, Wisconsin Private Collection, Midwest

ESTIMATE :

$35,000-$45,000

570

571

571 Over-Sized Mallard Hen Bert Graves (1887-1956) Peoria, Illinois, c. 1930 A rare, hollow, over-sized Illinois River mallard hen decoy, with two-toned glass eyes. This bird exhibits Catherine Elliston’s (1849-1953) finest original paint. It retains the original weight marked “G. B. Graves Decoy Co. Peoria Ill.” A large “7” has been stamped twice on the under side. Bert Graves, along with Robert Elliston (1847-1925), Charles Perdew (1874-1963), and Charles Walker (1873-1954), forged the Illinois River style that has become synonymous with carving excellence. Closely linked with the carvings of Elliston, Graves employed Catherine Elliston, Robert’s wife, along with his sister-in-law, Millie Graves, to paint his decoys. Bert Graves, who worked out of the shop behind his Peoria home, took great pride in his work, selling his decoys for $100 per dozen, a steep price in the 1930s and 1940s. Today Graves’ decoys continue to command strong prices as important examples of the Illinois River decoy tradition. Original paint with even gunning wear, chipped tail, neck crack, and old six-and-onehalf inch patch of cover paint on the bottom of bird..

PROVENANCE :

Private Collection, Minnesota

LITERATURE : Guyette & Schmidt, Inc., North American Decoys at Auction, July 29 & 30, 2006, lot 270, p. 61, similar examples illustrated.

Stephen O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 102.

ESTIMATE :

266

$8,000-$12,000

572

573

572 Mallard Drake Bert Graves (1887-1956) Peoria, IL, c. 1930 A superb “white sided” decoy by this maker with comb paint, fine feather detail and original “G. B. Graves. Decoy Co. Peoria, Ill.” weight and “E. I. Rodgers” brand. All original from tip to tail with light even gunning wear.

LITERATURE : Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 99-100.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 130, related example.

ESTIMATE :

$2,000-$3,000

573 Over-Sized Mallard Drake Bert Graves (1880-1956) Peoria, IL, 1935 Rare, hollow, over-sized Illinois River decoy, carved by Graves and painted by Catherine Elliston (1849-1953). The decoy is twenty-two-and-one-half inches long and ten inches wide. Original paint with heavy gunning wear including tail chips, three-inch area of roughness behind left wing patch, seam separation, neck crack, age lines to head, and moderate discoloration of varnish.

Missing weight.

PROVENANCE :

Private Collection, Minnesota

LITERATURE: Paul W. Parmalee and Forrest D. Loomis, Decoys and Decoy Carvers of Illinois, DeKalb, IL, 1969, p. 312, plate 264.

Stephen O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 102.

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 187, plate 150.

ESTIMATE :

$2,500-$3,500 267

574

574 Mallard Pair Charles Perdew (1874-1963) Henry, IL, c. 1947 Purchased directly from the carver after World War II, these carvings show Charles Perdew at the height of his craft. These mallards have their original strip weight with raised lettering reading “Henry • • • Perdew • • • ILL.” The drake has a slightly turned head, and both birds display perfect proportions, bead glass eyes, and the carver’s best paint. This is the first time these decoys have ever been offered for sale. Original paint with nice patina and light gunning wear, the hen has a hairline neck crack and a chip under the bill.

PROVENANCE :

Private Collection, New York, by descent in the family

LITERATURE : Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 68-72.

ESTIMATE :

268

$10,000-$15,000

575

575 Early Canada Goose William Shaw (1849-1927) Lacon, IL, c. 1875 In Donna Tonelli’s Decoy Magazine article, “Collectible Rarities,” which illustrates this exact bird, she writes, “Illinois River goose decoys were a special addition to a hunter’s rig. They’re now an exceptional addition to a collector’s shelf.” Stephen Lane (1843-1900) and William Shaw founded the Lacon school of carving, and their works represent some of the finest from the region. This rare and very early example by Shaw is the only one in original paint known to have surfaced. Its sharp lines and three-piece, hollow-body construction show the work of a master craftsman. The head features sharp bill carving and shoe-button eyes. This bird was exhibited at the Lakeview Museum of Arts & Sciences, Peoria, Illinois in 1996. Original paint with even gunning wear. Two-thirds bill repair by Gigi Hopkins, and slight crack through neck.

PROVENANCE :

Randy Root, acquired circa 1990 Private Collection

LITERATURE : Donna Tonelli, “Collectable Rarities: Canada Goose Decoys from the Illinois River,” Decoy Magazine, Lewes, DE, May/June, 1996, p. 16, exact decoy illustrated.

Oliver’s and the Ward Museum of Wildfowl Art, Auction of Waterfowl Decoys and Related Items, Salisbury, MD, October 1-2, 1994, lot 495, exact decoy illustrated.

ESTIMATE :

$15,000-$20,000

269

576

577

576 Mallard Pair Hiram “Hy” Hotze (1886-1977) Peoria, IL, c. 1930

577 Canvasback Pair Hiram “Hy” Hotze (1886-1977) Peoria, IL, c. 1930

This hollow Illinois River mallard pair displays all of the aspects of the maker’s master craftsmanship.

These angular birds have especially remarkable wing tips, which draw back to a sharp point before dropping abruptly into the tail. As is seen with their stippled paint, especially in the two-tone stippling on the hen, Hotze’s most elaborate detailing is found on his mallard decoys. Original paint with even gunning wear. Thin wash of old touch-up to one third of hen’s bill. Drake has professional touch-up around edge of tail.

Canvasbacks by this maker are rare. Each bird displays Hotze’s masterful painting techniques and has “E C” inscribed on its underside and “E Champ” on its weights. Original paint with even gunning wear. Each bird’s sides are in-use repaint.

PROVENANCE :

Private Collection, Midwest

LITERATURE :

Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 114, similar decoys illustrated.

Alan Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, p. 172, similar bird illustrated.

ESTIMATE :

270

$8,000-$12,000

LITERATURE : Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 115, similar decoy illustrated.

PROVENANCE : ESTIMATE :

Private Collection, Midwest

$8,000-$12,000

578

579

578 Canvasback Pair Edward Keller (1888-1963) Bartonville, IL, c. 1930

579 Mallard Pair Edward Keller (1888-1963) Bartonville, IL, c. 1930

A hollow pair of decoys from the maker’s personal rig with his “EK” initials painted on the bottom. Among the finest examples of this species by the maker to have surfaced.

Original paint with minor gunning wear.

A hollow pair of decoys from the maker’s personal rig with his “EK” initials painted on the bottom. Among the finest examples of this species by the maker to have surfaced.

Original paint with minor gunning wear. The drake’s bill is reset.

LITERATURE : Paul W. Parmalee and Forrest D. Loomis, Decoys and Decoy Carvers of Illinois, DeKalb, IL, 1969, pp. 340-345, plate 296, similar decoys illustrated.

Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 118-119, similar decoy illustrated.

ESTIMATE :

$4,000-$6,000

LITERATURE : Paul W. Parmalee and Forrest D. Loomis, Decoys and Decoy Carvers of Illinois, DeKalb, IL, 1969, pp. 340-345, plate 298, similar decoys illustrated.

Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 118-119, similar decoys illustrated.

ESTIMATE :

$4,000-$6,000

271

580

580 Three Paperweights A single mallard drake by Charles Perdew (1882-1964) Henry, Illinois, 1930, and a pair of mallards by his son, Charles Haddon Perdew (1910-1998). The hen is etched “C.H. Perdew” on an inset copper plate on the bottom and the drake is etched “Perdew” on an inset copper plate. The three have minor rubs to the bill tips and tail edges.

PROVENANCE :

Clark Collection Private Collection, Midwest

LITERATURE : Ann Tandy Lacy, Perdew, An Illinois River Tradition, Muncie, IN, 1993, p. 256, similar examples.

581

ESTIMATE :

$300-$600

581 Miniature Wood Duck and Duckling Charles Perdew (1882-1964) Henry, IL, c. 1930 A hen wood duck poking her head out of her nest with her baby duckling doing the same. Original paint with minor rubs along the burl edges and a reset bill.

PROVENANCE :

From the Charles Perdew Estate Sale Private Collection, Midwest

ESTIMATE :

582

$400-$600

582 Miniature Flying Canvasbacks Louis Frisino (b. 1934) Severn, MD, c. 1970 A pair of canvasbacks in flight, mounted on a natural wood oval wall plaque. Signed by the maker on the back. Frisino is a successful sporting artist whose original carvings are fairly rare.

Original condition.

ESTIMATE :

583

$400-$600

583 Miniature Standing Mallard Pair Illinois River, c. 1940 An exceptional pair of standing mallards. The hen has raised crossed primaries and the drake has two curled covert feathers.

The paint is highly detailed, especially the painted, outlined eyes, which are pin sized. They are mounted on rectangular wooden bases with a center post inserted in the bottom of the birds.

Original paint with fine age cracks in the legs.

PROVENANCE : ESTIMATE :

584

William Tosi Collection

$600-$800

584 Mallard Drake Robert Elliston (1847-1925) Bureau, IL, c. 1915 Re-weighted and repainted by Robert Weeks (1898-1982), Bureau, Illinois, and signed with his painted “RW” initials for use in his personal rig. Light gunning wear and a tight neck crack.

ESTIMATE :

272

$400-$600

585

586

587

588

585 Bluebill Ken Harris (1905-1981) Woodville, NY, c. 1940

587 Black Duck Sam Denny (1874-1953) Clayton, NY, c. 1950

An early long-bodied decoy with “Made By Ken Harris, Woodville, N.Y.” stenciled on the underside. Original paint with light gunning wear and an age crack in back.

A rare, long-tailed, special-order St. Lawrence River decoy.

Original paint with even gunning wear. A grain imperfection along the back was fastened down before the bird was painted.

PROVENANCE :

PROVENANCE :

ESTIMATE :

Private Collection, Westport, Connecticut

$200-$400

ESTIMATE :

Private Collection, Westport, Connecticut

$1,000-$2,000

586 Bluebill Pair Edward J. Sweet (1907-1978) Alexandria Bay, NY, c. 1930

588 Puddle Duck A St. Lawrence river decoy with glass eyes and nice form.

Refinished to natural wood with a neck crack and a tail chip.

Edward Sweet learned decoy carving in Chauncey Wheeler’s (1888-1945) shop. His high-head decoys resemble the work of another Wheeler apprentice, Frank “Goldie” Coombs (18821958), who may have been carving there at the same time. A lighthouse keeper by trade, Sweet made decoys for his own rig and several hundred others for sale to Alexandria Bay and St. Lawrence River sportsmen. Original paint with light wear.

ESTIMATE :

PROVENANCE : ESTIMATE :

$100-$200

William Tosi Collection

$600-$900

273

589

589 Flying Redhead Drake Chauncey Wheeler (1888-1945) Alexandria Bay, NY, c. 1925 This half-bodied duck model displays exceptional blended painted feather detail, with a comb painted back, a gently curved wing, incised bill and tail carving, and an eye groove.

On the back is a hand-crafted copper hanger and “Drake Red Head” written in script. Original paint with age lines at wing and neck joints. The original foot has been reset twice.

PROVENANCE :

Joel Barber Collection Private Collection, Greenwich, Connecticut gifted to Connecticut Audubon Society Private Collection, Cambridge, Massachusetts

LITERATURE : Harold W. Reiser III, Chauncey Wheeler, Lewes, DE, 2002, p. 98, similar carving (hen) illustrated.

ESTIMATE :

590

$10,000-$15,000

590 Flying Broadbill Hen Chauncey Wheeler (1888-1945) Alexandria Bay, NY, c. 1925 This half-bodied duck model displays exceptional blended painted feather detail, with a comb painted back, a gently curved wing, incised bill and tail carving, and an eye groove.

On the back is a hand-crafted copper hanger and “Female Broadbill” written in script. Original paint with an age line at the body seam, an age crack at the wing edge, a minor tail chip, a few small dents, and one-third of the foot missing.

PROVENANCE :

Joel Barber Collection Private Collection, Greenwich, Connecticut gifted to Connecticut Audubon Society Private Collection, Cambridge, Massachusetts

LITERATURE : Harold W. Reiser III, Chauncey Wheeler, Lewes, DE, 2002, p. 90, similar carving (drake) illustrated.

ESTIMATE :

591

$10,000-$15,000

591 Flying Mallard Drake Chauncey Wheeler (1888-1945) Alexandria Bay, NY, c. 1925 This half-bodied duck model displays exceptional blended painted feather detail, with extensive comb paint, a gently curved wing, incised bill and tail carving, and an eye groove.

On the back is a hand-crafted copper hanger and “Drake Mallard” written in script. Original paint with age lines at the rear of the inserted wing and at the neck joint. Foot is professionally restored and reset.

PROVENANCE :

Joel Barber Collection Private Collection, Greenwich, Connecticut gifted to Connecticut Audubon Society Private Collection, Cambridge, Massachusetts

LITERATURE : Harold W. Reiser III, Chauncey Wheeler, Lewes, DE, 2002, pp. 90 and 96, similar carvings illustrated.

ESTIMATE :

274

$10,000-$20,000

592

593

594

595

592 Canvasback Hen Ontario, Canada, c. 1920 A hollow decoy with one-quarter-inch bottom board and a finely sculpted head with carved bill detail. Old in-use repaint is worn to the wood with heavy gunning wear, chipped tail, and replaced eyes.

ESTIMATE :

$300-$500

593 Black Duck George Warin (1830-1905) Toronto Island, Ontario, Canada, c. 1890 An extremely hollow, low-head decoy with a “Geo. M. Hendrie” brand on the bottom. George M. Hendrie was a member of the St. Clair Flats Shooting Company from 1889 to 1943. Worn original paint mixed with light in-use repaint and gunning wear.

PROVENANCE :

Private Collection, Westport, Connecticut

LITERATURE :

Bernie Gates, Ontario Decoys II, Kingston, Ontario, 1986, pp. 19-21, rigmate illustrated.

ESTIMATE :

$1,000-$2,000

Copley Fine Art Auctions is pleased to donate 100% of the hammer price from the sale of the following lot (594) to benefit The Ward Museum of Wildfowl Art, Salisbury, MD. 594 Hollow Redhead Hen Toronto, Ontario, Canada, c. 1890 A hollow, feather-light decoy with elegant form from the North Shore of Lake Ontario. Original paint with overall light craquelure and minimal gunning wear. Head has been reset and has minor touch-up.

PROVENANCE : ESTIMATE :

Private Collection, Midwest

$2,000-$4,000

595 Bluebill Pair William H. Smith (1874-1953) Bloomfield, Ontario, Canada, c. 1895 A pair of hollow-carved decoys by William Smith that Laverne Wright had repainted by Davey Nichol (1890-1977) for his historic Prince Edward County hunting rig. The initials “LW” are painted on the bottom and Smith’s rigging has been removed. Nichol paint with light gunning wear.

LITERATURE : Jim Stewart, The County Decoys, Erin, Ontario, 2004, p. 98, rigmates illustrated.

ESTIMATE :

$1,000-$2,000

275

596

597

598

599

596 Gull Amateur “Mat� Savoie (1896-1983) Neguac, New Brunswick, Canada, c. 1940

598 Bluebill Hen William Cooper (1886-1975) Verdun, Quebec, Canada, c. 1930

A superb hunting decoy by this famed New Brunswick carver.

Original paint with gunning wear, including a chip to bill tip.

This Quebec decoy displays ornate feather and bill carving and a slightly turned head. Original paint and working repaint to the white sides with even gunning wear.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$1,500-$2,500

ESTIMATE :

$2,000-$3,000

597 Swimming Black Duck Prince Edward County, Canada, c. 1940

599 Bluebill Drake Canada, c. 1930

A glass-eyed, solid-bodied decoy with the head cocked to one side. This swimmer displays carved bill detail and scratchpainted feathering. Original paint with light gunning wear.

A Canadian decoy with painted eyes, delicately carved bill and tail, and a round inset weight in the bottom. A mixture of original and old in-use repaint with light gunning wear.

PROVENANCE : ESTIMATE :

276

Private Collection, Westport, Connecticut

$600-$900

PROVENANCE : ESTIMATE :

Private Collection

$400-$600

600

601

602

603

600 Canvasback Hen Davey W. Nichol (1890-1977) Smiths Falls, Ontario, Canada, c. 1945

602 Bluebill Pair Davey W. Nichol (1890-1977) Smiths Falls, Ontario, Canada, c. 1940

A finely carved hen with raised primary wing feathers, three incised tail feathers, and a coggled, carved bill. Original paint with gunning wear and some over-paint to the tail.

A rigmate pair with raised primary wing feathers, three incised tail feathers, and a coggled, carved bill. The drake’s head sits higher than the hen’s. Each is stamped “Hesford” on the underside. Original condition with even gunning wear.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$200-$400

PROVENANCE : ESTIMATE :

601 Goldeneye Pair Davey W. Nichol (1890-1977) Smiths Falls, Ontario, Canada, c. 1940 A finely carved pair with carved feather detail, stamped feathering between the primaries, incised tail feathers, and coggled, carved bills. Original condition with even gunning wear.

PROVENANCE : ESTIMATE :

John Collier Collection

$400-$600

John Collier Collection

$400-$600

603 Black Duck Davey W. Nichol (1890-1977) Smiths Falls, Ontario, Canada, c. 1950 A finely carved decoy with carved raised primary wing feathers, incised tail feathers, extensive scratch painting, and a coggled, carved bill. Original paint with even gunning wear. Crack in neck was professionally repaired.

PROVENANCE : ESTIMATE :

John Collier Collection

$300-$500

277

604

604 Goldeneye Hen and Bluebill Hen Quebec, Canada A swimming bluebill decoy exhibiting the form and wing carving style of Quebec’s finest carvers.

A goldeneye hen by Georges Guyon of Vercheres, Quebec. The decoy exhibits glass eyes, carved bill detail, raised wings, and incised tail carving. The swimming decoy is in a mixture of original and in-use repaint with gunning wear. The goldeneye has original paint with light gunning wear and a tight age crack along the bottom.

PROVENANCE : ESTIMATE :

605

William Tosi Collection

$500-$700

605 Goldeneye Hen Quebec, Canada, c. 1930 A painted-eye decoy with detailed bill carving and chip carving to the back of the head and between the wings and extensive raised wing and tail carving commonly found on decoys from the St. Lawrence River area of Quebec. Original paint with light gunning wear.

PROVENANCE : ESTIMATE :

606

William Tosi Collection

$500-$800

606 Bluebill Drake Reginald T. Bloom (b. 1916) Kingston, Ontario, Canada, c. 1960 This bluebill drake displays a slightly turned head a nd fine comb paint. Original condition with light wear from handling.

PROVENANCE : ESTIMATE :

278

John Collier Collection

$250-$350

607 High-Head Mallard Pair William Ellis (1865-1963) Whitby, Ontario, Canada, c. 1920

607

A pair of mallards with high heads, glass eyes and deep bill carving. Original paint with even gunning wear. Drake has filler under head which appears to be original. Both heads have been re-glued, and the drake’s is loose.

PROVENANCE : ESTIMATE :

John Collier Collection

$400-$600

608 High-Head Pintail Hen William Ellis (1865-1963) Whitby, Ontario, Canada, c. 1920

608

A high-head pintail hen with glass eyes and deep incised bill carving. Original paint with even gunning wear. Break in neck reset.

PROVENANCE : ESTIMATE :

John Collier Collection

$200-$400

609 Black Duck William Ellis (1865-1963) Whitby, Ontario, Canada, c. 1920

609

A high-head black duck with glass eyes and deep incised bill carving. Original paint with even gunning wear and professional touch-up to portions of head. Original area of filler in head has flaking.

PROVENANCE : ESTIMATE :

John Collier Collection

$300-$500

279

610

611

612

613

610 Standard Grade Widgeon Drake Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910

612 Premier Grade Bluebill Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1920

A tack-eye model. Original paint with gunning wear and traces of sealer. Has restoration to bill tip, neck filler and an age crack along the bottom.

Original paint with gunning wear, flaking, and slight neck and body seam separations.

ESTIMATE :

ESTIMATE :

$600-$900

$1,000-$1,200 613 Four Factory Decoys, c. 1930

611 Standard Grade Mallard Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 A glass-eye mallard drake and a tack-eye mallard hen. Both are in original paint with gunning wear, with chew marks to the hen’s bill, chips to the drake’s bill, neck filler missing, age cracks, and one glass eye missing.

PROVENANCE : ESTIMATE :

280

Private Collection, Westport, Connecticut

$400-$600

Two tack-eye mallard hens and a pair of bluebills from the same rig used in southeastern Massachusetts. They have their original keel weights, anchor lines, and weights. As found with a coat of sealer.

ESTIMATE :

$400-$600

614 Bluebill Drake Harvey Stevens (1847-1894) and George Stevens (1856-1905) Weedsport, NY, c. 1880

614

A classic bluebill by these carvers who often supplied decoys to sportsmen visiting nearby Howland Island, the Montezuma Swamp and the Finger Lakes. In the mid-nineteenth century, the Stevens Brothers’ decoys gained national acclaim and were shipped from their workshop near Weedsport along the Erie Canal. The bird exhibits Stevens’ finest scratch-comb paint along the back. Mostly original paint with some possible early working touch-up to the black areas and sides with light gunning wear, an age line at the neck seat, and a replaced eye.

ESTIMATE :

$2,000-$4,000

615 Mallard Hen Herter’s Inc. (1935-1970) Waseca, MN, c. 1940

615

George L. Herter (1911-1994) had these detailed decoys carved by the Artistic Wood Carving Company in Chicago, Illinois. They were sent to Herter’s, where they were hollowed out and stored for distribution.

They were Herter’s finest decoys and were available only for a short time. The model Perfect #963 are among the rarest decoys ever offered by the company.

This hen retains its curled tail feather (most were removed) and a “PLC” rig brand on the bottom.

Original paint with neck seam shrinkage.

ESTIMATE :

$750-$1,000

616 Brant Mason Decoy Factory (1896-1924) Detroit, MI, c. 1900

616

An early, solid-bodied decoy with strong swirled brush strokes. From the Hard rig, Long Island, New York, branded “Hard” on the bottom. Original paint with some in-use white over-paint, gunning wear, and a replaced bill tip.

ESTIMATE :

$2,000-$2,500

281

617

618

620

619 620 detail

617 Six Tin Folding Shorebirds Strater and Sohier (1874-1910) Boston, MA, c. 1890 A sanderling decoy with an 1874 patent stamp on the inside, two willet decoys, three snipe/yellowlegs decoys and three original copper-topped sticks. All have gunning wear, including flaking and rust. The robin snipe has repaint.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

618 Set of Six Yellowlegs “Tinnies” Strater & Sohier (1874-1910) Boston, MA, c. 1880 Six folding tin shorebird decoys with their original five copper-topped slotted sticks and tin storage box with initials “Y.L.” stenciled on the front. One displays original sponged-paint feathering, the other five display more commonly executed stippled handpainted feathering. Weathered paint with rust and gunning wear.

ESTIMATE :

$100-$200

619 Mallards and Black Ducks J.W. Reynolds Decoy Company (1904-1950) Forest Park, Chicago, IL, c. 1920 Two sets of Illinois River folding model silhouette decoys from this turn-of-the-century, Chicago-area factory. The mallard trio still retains the maker’s factory stencil. Original paint with gunning wear.

ESTIMATE :

620 Tin Black Duck Strater & Sohier (1874-1910) Boston, MA, c. 1890 One of the rarest and most difficult to find nineteenth-century factory decoys. This pressed-tin black duck exhibits a one-piece tin body and an expertly soldered two-piece tin head. It also displays a two-tiered wooden bottom board with its bronze and brass hardware and original cast lead swing weight. The inside of the tin body retains its original label, reading “Strater’s Patent Decoy, Pat. Oct. 27, 1874, Black Duck, By rubbing the Decoy with Tallow, will prevent reflection, and make the paint look dead.” The inside also bears a stencil reading “H. Strater & S., Pat. Oct. 27 1874.” Original paint with flaking and a dent in the head.

LITERATURE : William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 235, plate 186, similar decoy illustrated.

ESTIMATE :

282

$200-$300

$750-$1,500

621

622

623

624

621 Yellowlegs Pair Long Island, NY A pair of twentieth-century shorebird carvings with tack eyes.

Original paint with some wear from handling.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

625

624 Turned-Head Shorebird New Jersey, c. 1890 This bird displays raised, carved wings and inquisitive posture with the head both turned and shifted to the side. Original paint with heavy gunning wear, worn to the wood in places.

ESTIMATE :

$500-$800

622 Dove Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910

625 Black-Bellied Plover Harry Gale (attr.)

Costal New Jersey, c. 1900

An early, long-tailed mourning dove. Original paint with minor gunning wear, touch-up to neck crack, a tight age line through head, and some touch-up to the left side of the head.

Carved from a two-inch board, this decoy is believed to have been made by Harry Gale, who was known to have carved in the manner of Harry V. Shourds. Mix of original and working paint with gunning wear to wood in places. Bill has been professionally restored.

ESTIMATE :

$2,500-$3,500

623 Curlew Joe King (1835-1913) Manahawkin, NJ, c. 1870

ESTIMATE :

$200-$400

A curlew by one of New Jersey’s earliest carvers. This large bird features scratch paint, eye groove carving, a small tail shelf, and shoe-button eyes. Original paint with gunning wear, flaking to dark wood is primarily over the back. Bill is a replacement by Russ Allen.

PROVENANCE : ESTIMATE :

Ralph Ridolfino Collection

$1,500-$2,000 283

626

627

628

629

626 Three Yellowlegs Long Island, NY

628 Black-Bellied Plover Long Island, NY

One yellowlegs attributed to John Lee Baldwin (1867-1938) of Babylon, NY, c. 1930. The other two are flatties by an unknown maker. As found.

An early shorebird decoy displaying lightly carved eyes, a few shot scars, and warm deep patina. In old, possibly original, paint with gunning wear and an old cut bill tip.

PROVENANCE :

PROVENANCE :

ESTIMATE :

William Tosi Collection

$200-$300

627 Three Shorebirds Long Island, NY A black-bellied plover decoy by Capt. Al Ketcham of Copiague, NY, c. 1890. A yellowlegs decoy attributed to Andrew “Grubie” Verity(1881-1976), Seaford, NY, c. 1910. The yellowlegs appears to be hollow with a large wooden plug fit into a hole in the back.

It also features carved eyes and stylized wings. An early golden plover attributed to the unknown maker of the Theodore Roger’s (1831-1903) rig, c. 1880. The bird has painted eyes and scratched feather detail. The Ketcham plover has heavy gunning wear, mostly worn to the wood, an age crack along the bottom, and replaced tack eyes. The Verity yellowlegs has gunning wear with the top third of the decoy worn to the wood and a partial bill replacement. The golden plover has old paint, gunning wear, and an old replaced bill.

PROVENANCE :

William Tosi Collection

LITERATURE :

Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 70, XLI, exact yellowlegs illustrated.

ESTIMATE :

284

$600-$900

ESTIMATE :

William Tosi Collection

$1,000-$1,500

629 Pigeon James Buttonow Sag Harbor, NY, c. 1970 A Long Island rock dove decoy with glass eyes and applied laminated wings, signed by the maker on the bottom of the base. Original paint with light gunning wear and a few tight age cracks.

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

630

631

632

633

630 Six Crows Three Illinois River-style crow decoys, one with glass eyes and wire legs inserted in the same manner as birds by Charles Perdew of Henry, Illinois. The second with tack eyes and inserted wire legs, and a third with tack eyes and forged metal legs. Three crows with carved beaks and raised wings. Two have glass eyes, and the third has carved eyes. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$600-$900

631 Four Crows and a Can of Crow Repellent Two birds by the same maker. One is a long, sleek, feeding crow, and the second has raised wing and tail carving with a birch branch wall bracket. Both carvings have lightly incised eye outlines with brass brad pupil. Two other birds by a maker thought to be from New Jersey, with two-piece hollow bodies and attached heads. Both have glass eyes and carved beak detail. An empty can of “Stanley’s Crow Repellent” made by the Cedar Hill Formulae Co. of New Britain, Connecticut.

As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$250-$500

632 Five Crows and an Ear of Corn Five factory crow decoys. The first is a balsa-bodied model perfect featherweight decoy with spring mount by Herter’s Inc. of Waseca, Minnesota. The second is a metal silhouette decoy with silhouette wings and a metal jointed spring leg by Dewey’s Metal Folding Decoys of Elkhart, Indiana. The third is a wooden silhouette decoy with metal silhouette wings. The fourth is a full-bodied crow with glass eyes in a carved eye groove and life-like beak carving. The fifth decoy has tack eyes and incised beak definition by an unknown decoy factory. Also included is a turned wooden ear of corn. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$500-$900

633 Crow Pair Frank Kellum (1858-1930) (attr.)

Babylon, Long Island, NY, c. 1900 Two large flat-sided crow decoys with hand-carved knife marks and beak delineation. This pair of birds was purchased from the New York gallery that made the original attribution. Old, possibly original paint with gunning wear worn to the wood in places. One has a very small old tail chip and two equally small beak chips.

PROVENANCE : ESTIMATE :

William Tosi Collection

$1,000-$2,000

285

635

636

634

637

634 Balsa Crow Thomas Gelston (1851-1924) (attr.)

Quogue, Long Island, NY, c. 1900 A large balsa crow decoy with tack eyes, carved raised wings, and a scalloped edge tail. The bird was purchased from the New York gallery that made the original attribution.

As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$500-$800

635 Miniature Red-Crested Bird with Chick c. 19th Century An very early bird carving with chick.

Original paint with patina, an old tail chip and a leg separated from the body.

ESTIMATE :

$400-$600

636 Yellow-Bellied Sapsucker An early, anatomically correct bird carving with wire feet and a modern custom-made base. Original paint with wear, some flaking, and tail feather chips.

PROVENANCE : ESTIMATE :

286

William Tosi Collection

$200-$400

637a

637 Five Wall Plaques A half-sized barn swallow, in flight, on a tree limb wall plaque. A life-size thrush carving on a birch wall plaque.

A half-sized red-headed woodpecker

by Lee W. Dewey, c. 1910, on a natural branch plaque. A folk art bird carving on a birch wall plaque. A red-breasted song bird on a natural branch plaque.

As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

637a Bufflehead with Cattails Russell Marr (b. 1957) Lincoln, NE, c. 2010 A sculpted bronze and copper lifesize diver with cattails. The finish exhibits patina with verdigris signed by the artist on the base and the underside of the bird.

ESTIMATE :

$2,000-$3,000

638

639

640

641

638 Red-Breasted Merganser Osterville, MA, c. 1900 A South Shore of Cape Cod sheldrake decoy with a rounded spoke-shaved body. Similar to the work of Captain Preston Wright, this decoy displays the distinct form of the Cotuit makers. Original paint with even gunning wear and a replaced horsehair crest.

PROVENANCE : ESTIMATE :

Private Collection, Westport, Connecticut

$2,000-$4,000

639 Bluebill Drake Henry Keyes Chadwick (1865-1958) Oak Bluffs, Martha’s Vineyard, MA, c. 1930 A nice gunned-over decoy from this famed Vineyard carver. A mixture of original and in-use repaint with gunning wear and an age crack along the back.

ESTIMATE :

$500-$1,000

640 Red-Breasted Merganser Hen Benjamin D. Smith (1866-1946) Oak Bluffs, Martha’s Vineyard, MA, c. 1920 A full-bodied decoy from this revered carver who taught his friend and fellow Oak Bluffs resident Keyes Chadwick (1865-1958) to make decoys. Original paint with gunning wear, a few age lines, a missing eye, and a reset head with neck filler missing.

PROVENANCE :

Stephen H. Churchill Collection

LITERATURE : Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, p. 108, plate 85, similar decoy illustrated.

ESTIMATE :

$2,000-$4,000

641 Bluebill Drake Henry Keyes Chadwick (1865-1958) Oak Bluffs, Martha’s Vineyard, MA, c. 1920 Original paint with gunning wear and flaking. Head may have old in-use repaint.

PROVENANCE : ESTIMATE :

Stephen H. Churchill Collection

$200-$400

287

642

643

644

645

646

647

642 Flattie Shorebird South Shore, MA, c. 1890 An one-and-one-half-inch thick twelve inch long shorebird decoy with flowing form. Mixture of original and in-use paint with heavy gunning wear and flaking. The metal bill may be an old in-use replacement.

ESTIMATE :

$200-$400

643 Golden Plover Flattie New England, c. 1900 A shorebird with beveled splittail carving and a square nail bill.

Original paint with gunning wear.

ESTIMATE :

$200-$300

644 Curlew Alfred Gardner (1881-1971) Accord, MA, c. 1940 A life-size shorebird mantel carving.

Original paint.

ESTIMATE :

$300-$500

645 White-Winged Scoter Northeast Coastal, c. 1900 A fine sea duck decoy with incised eyes. A through dowel, splined on both ends, secures the well-sculpted head to the low-profile body. Original lamp black paint and in-use white touch-up with gunning wear to wood in places.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$800

646 Goldeneye Drake New York, c. 1910 A diminutive working decoy with good form, painted eyes, and incised bill detail. Old paint, possibly original, with some darkening to flaked areas on the head. The decoy has gunning wear, including an old bill chip.

PROVENANCE : ESTIMATE :

$400-$600

647 Swimming Roothead Brant Virginia or North Carolina, c. 1900 A round-bottomed decoy with original rigging and appealing form.

Old paint with gunning wear and several age cracks. The roothead does not appear to be original to the piece.

ESTIMATE :

288

William Tosi Collection

$200-$400

648

649

650

651

652

653

648 Bluebill Drake and Hen A bluebill drake by Henry Kilpatrick (1868-1945) of Barnegat, NJ, c. 1915 and a bluebill hen by Stanley Grant (1877-1953) of Barnegat, NJ, c. 1920.

The drake has in-use repaint by Lester “Dipper” Ortley (1898-1978) from Lovelandtown, NJ. Both have minor seam separation and gunning wear.

The hen has an age crack in the neck.

ESTIMATE :

$300-$500

649 Two Canvasback Drakes Mike Pavlovich Estral Beach, MI, c. 1940 These decoys were made in the workshop of Edward “One-Arm” Kellie (1883-1955), in Monroe, Michigan.

Original paint with gunning wear.

ESTIMATE :

$400-$600

650 Tucked-Head Black Duck c. 1950 A low-head decoy with raised primaries.

Original paint with a primary feather tip missing.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

651 Black Duck Robert “Turk” Libensperger (b. 1932) Levittown, PA, c. 1955 A hollow, snuggle-head decoy with painted feather detail. Original paint with light gunning wear. The keel has been removed.

LITERATURE :

Henry Fleckenstein, New Jersey Decoys, Exton, PA, 1983, p. 201, plate 483, rigmate pictured.

ESTIMATE :

$200-$400

652 Three Decoys A high-head bluebill hen with glass eyes, carved bill detail, and a rasped body with incised primary feather and tail carving. A mallard with glass eyes, incised bill detail and a slender body. A swimming black duck displaying glass eyes, incised bill detail, and raised wing and tail carving. As found. All appear to be in original paint with gunning wear.

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

653 Two Puddle Ducks Ken Harris (1905-1981) Woodville, NY, c. 1940 Among his earliest decoys, this mallard drake and black duck hen have cork bodies with thin bottom boards and original keels. They retain the maker’s stencil on the bottom. Original paint with heavy gunning wear and paint loss.

The black duck’s bill is blunted and has some touch-up.

ESTIMATE :

$200-$400

289

654

655

656

657

658

659

654 Old Squaw and Goldeneye Drake Eugene “Gene” Wells (c. 1850-$1930) (attr.)

Long Island, NY, c. 1910

656 American Merganser Pair Otto Saidler Lindenhurst, Long Island, NY, c. 1930

An early drake long-tailed duck with lightly raised wings and an over-sized goldeneye drake with incised wing delineation. Both have painted eyes and the whistler has carved bill detail. The old squaw has a mixture of original and old in-use repaint with heavy gunning wear and a neck chip. The goldeneye has been completely restored with light gunning wear.

A pair of solid-bodied Great South Bay decoys with glass eyes and incised bill detail. Their original weights are fastened with copper nails, the heads of which are marked with the astrological sign of Sagittarius and the name “Chase.”

Original paint with light gunning wear.

Each has a tight neck crack.

PROVENANCE : ESTIMATE :

William Tosi Collection

ESTIMATE :

William Tosi Collection

$400-$600

$400-$600

655 Goldeneye Drake Long Island, NY A painted-eye, swimming decoy with heart-shaped carved wings and another cut to delineate primaries. Original paint with gunning wear. The head and body seam have been reset.

PROVENANCE : ESTIMATE :

PROVENANCE :

William Tosi Collection

$400-$800

657 Red-Breasted Merganser Pair Otto Saidler Lindenhurst, Long Island, NY, c. 1930 A pair of solid-bodied Great South Bay decoys with glass eyes and incised bill detail. Their original weights are fastened with copper nails, the heads of which are marked with the astrological sign of Sagittarius and the name “Chase.”

Original paint with light gunning wear.

The hen has a tight neck crack and both have bill tip chips.

PROVENANCE : ESTIMATE :

William Tosi Collection

$400-$600

658 Two Black Ducks and a Gull Long Island, NY The two black duck decoys have hollowed two-piece bodies. One has tack eyes and the other has glass eyes. The early tack-eyed gull is hollowed horizontally from under the tail. The decoy exhibits a slightly turned head and good form.

The original weight and the fore and aft anchor loops are half inset in the bottom.

It appears be painted as a mallard hen.

The black ducks are in as found condition with heavy gunning wear. The gull is in old repaint with gunning wear and an in-use bill repair.

PROVENANCE : ESTIMATE :

$400-$600

659 Bluebill Pair Long Island, NY, c. 1930 A pair of painted-eye, folky decoys with upswept tails. The drake’s head is slightly turned and the hen’s head is reclined back. Although seen in live birds, this is extremely rare to find in a decoy. Old and likely original paint with gunning wear and rubs to the wood.

Provenance: William Tosi Collection ESTIMATE :

290

William Tosi Collection

$400-$600

660

661

662

663

664

665

666

667

668

660 Rig of Four Decoys Long Island, NY A black duck attributed to Sam Smith from Copiague, NY, c. 1920. A sturdy redhead drake, a long-bodied hen decoy with an inserted bill, and a bluebill hen and has nice lines. As found.

PROVENANCE : ESTIMATE :

William Tosi Collection

$300-$600

661 Over-Sized Black Duck and Bluebill Drakec. 1950 A bluebill with a hollow-carved twopiece body and a well-sculpted head. A preening, balsa-bodied black duck with carved wing delineation. The bluebill is possibly original paint with gunning wear and a reset neck. The black duck is in original paint with gunning wear.

PROVENANCE : ESTIMATE :

William Tosi Collection

$200-$400

662 Swan Don Bennett Long Island, NY, c. 1990 A hollow life-size confidence decoy with glass eyes, carved bill detail, and the maker’s signature incised in the bottom.

Original paint with light wear from handling.

PROVENANCE : ESTIMATE :

William Tosi Collection

$500-$800

664 Eight Miniature Fliers Two wall mounted full-bodied miniature flying ducks by Riley of Watertown, NY. The mallard has the maker’s stamp under the wing and an original $3.50 price. A pair of full-bodied miniature mallards with a brass wall mount bracket, displaying metal feet, inserted raised wings with incised feather delineation and light overall texture found in some Aubrey J. Dando (b. 1885) and Jess Blackstone (1909-1988) carvings. A miniature half-model flying widgeon hen with good painted feathering. Two miniature green-winged teal. One is a full-bodied stick-up and the other is a coat pin. A miniature flyer with nice form in white paint with patina and a straight pin back. As found.

PROVENANCE : ESTIMATE :

A trio of traditional-style bayou decoys.

As found.

PROVENANCE :

Private Collection, Westport, Connecticut

ESTIMATE :

$100-$200

$300-$500

665 Three Birds A miniature standing black duck with carved raised wings by A.H. Patience of Redwood, NY, c. 1973. A life-size decorative woodcock carving by Gus Geant, c. 1985. A life-size robin silhouette with tack eyes and appealing surface. The woodcock has a reset bill.

The robin has been weathered and is worn to wood in places.

PROVENANCE : ESTIMATE :

663 Three Pintail Drakes Louisiana, c. 1980

William Tosi Collection

William Tosi Collection

$200-$400

corner. These framed Whipple bird boxes were sold through Abercrombie & Fitch in New York City. Original condition with minimal wear.

ESTIMATE :

$100-$200

667 Two Miniature Gamebird Shadow Boxes Joseph Q. Whipple (1917-2008) c. 1940 A woodcock and a grouse shadow box each measuring five-and-a-quarter inches square. The birds are hand painted on sculpted plaster of parism and both are signed in the lower right corner. These framed Whipple gamebird boxes were sold through Abercrombie & Fitch in New York City. Original condition with minmal wear.

ESTIMATE :

$200-$300

668 Two Miniature Wildfowl Shadow Boxes Joseph Q. Whipple (1917-2008) c. 1940 A bobwhite quail and a pair of scaup shadowboxes, each measuring five-anda-quarter inches square. The birds are hand painted on sculpted plaster of paris and both are signed in the lower right corner. These framed Whipple gamebird boxes were sold through Abercrombie & Fitch in New York City.

Original condition with minimal wear.

ESTIMATE :

$200-$300

666 Pintail Drake Shadow Box Joseph Q. Whipple (1917-2008) c. 1940 A pintail shadow box, measuring fiveand-a-quarter inches square. The bird is hand painted on sculpted plaster of paris and signed in the lower right 291

Bibliography Berg, Vern E. New England Gunning Boxes, North American Decoys. Spanish Fork, UT: Hillcrest publications, 1975.

Forrest, Michael. Art Bronzes. West Chester, PA: Schiffer Publishing Ltd., 1988.

Bergh, Peter. The Art of Ogden M. Pleissner.

Boston, MA: David R. Godine, 1984.

Guyette, Dale and Gary. Decoys of Maritime Canada.

Exton, PA: Schiffer Publishing Ltd., 1983.

Bourne Co. Inc., Richard A. The Rare Decoy Collection of George Ross Starr Jr., M.D. Hyannis, MA: Richard A. Bourne Inc., 1986.

Hagerbaumer, David and Sam Lehman. Selected American Game Birds: An Artistic Triumph. Caldwell, ID: The Carton Printers, Ltd., 1973.

Bourne Co. Inc., Richard A. Rare American Decoys and Bird Carvings. Hyannis, MA: Richard A. Bourne Inc., 1985.

Headley, Somers and John Levinson. Shorebirds: The Birds, The Hunters, The Decoys. Centerville, MD: Tidewater Publishers, 1991.

Cullen, Jim. Finely Carved and Nicely Painted The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941. Rye, NH: Jim Cullen, 2009.

Heilner, Van Campen. A Book on Duck Shooting.

Philidelphia, PA: The Penn Publishing Company, 1939.

Cullity, Brian. The Songless Aviary: The World of A.E. Crowell and Son. Sandwich, MA: Heritage Plantation, 1992.

Hewitt, C. Gordon. The Conservation of the Wildlife of Canada. New York, NY: C. Scriber’s Sons, 1921.

Delph, John and Shirley. New England Decoys.

Exton, PA: Schiffer Publishing, 1990.

Howe, Octavius T. and Matthews, Frederick C. “American Clipper Ships, 1833-1858.” Marine Research Society, Vol. 13. 1926.

Doherty, James R. Classic New Jersey Decoys. Louisville, KY: 2001.

James, Everette A. and Kroghie Anderson, “The Roothead Decoy.”

Decoy Magazine. Lewes, DE: Decoy Magazine, July/August 2000.

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

Ellis, Joseph H. Birds in Wood and Paint: American Miniature Bird Carvings and their Carvers, 1900-1970.

Lebanon, NH: University Press of New England, 2009.

Engers, Joe, ed. The Great Book of Wildfowl Decoys.

San Diego, CA: Thunder Bay Press, Inc., 1990.

Johnson, Frank M. Forest, Lake and River: The Fishes of New England and Eastern Canada. New York, NY: 1901.

Kangas, Gene and Linda. “Phillip Sirois-Maine Folk Artist.”

Decoy Magazine. Lewis, DE: Collector Books, 2000.

Kangas, Gene and Linda. Decoys: A North American Survey.

Spanish Fork, UT: Hillcrest Publication, Inc., 1983.

Field and Stream Magazine. September, 1941.

Fleckenstein, Jr., Henry A. Shore Bird Decoys.

Exton, PA: Schiffer Publishing Ltd., 1980.

Kangas, Gene and Linda. “Connecting the Dots: Exploring the Provenance of Elmer Crowell’s Decoys.” Decoy Magazine.

Lewis, DE: Decoy Magazine, March/April 2010.

Fleckenstein, Jr., New Jersey Decoys. Exton, PA: Schiffer Publishing Ltd., 1983.

Lacy, Ann Tandy. Perdew, An Illinois River Tradition. Muncie, IN: D.A. Galliher, Indianapolis Guild Press of Indiana, 1993.

Fleckenstein, Jr., Shorebird Decoys. Exton, PA: Schiffer Publishing Ltd., 1980.

Lanier, Henry W. A.B. Frost: The American Sportsman’s Artist. New York, NY: Derrydale Press, 1933.

292

Levinson, John M. and Somers Headley. Shorebirds: the Birds, the Hunters, the Decoys. Centerville, MD: Tidewater Publishers, 1991.

Shooter’s Bible. Edition 46, 1955.

Shooter’s Bible. Edition 50, 1967.

Mackey, James. The Animaliers: The Animal Sculptors of the 19th and 20th Centuries. London, 1973.

Mackey, William Jr. American Bird Decoys. New York, NY: E.P. Dutton & Co., Inc., 1965.

Murphy, Stanley. Martha’s Vineyard Decoys.

Boston, MA: David R. Godine, 1978.

O’Brien, Jr., Stephen B. American, Sporting & Western Paintings, Antique Decoys and American Folk Art. Boston, MA: Stephen O’Brien Fine Arts LLC, 2001.

Ripley, A. Lassell and Dana S. Lamb. Sporting Etchings. Barre, MA: Barre Publishers, 1970.

Samfundet, Sjohistoriska. “The Maritime History Virtual Archives,” The Boston Daily Atlas. Lars Bruzelius Co., 1997.

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

Shooter’s Bible. Edition 59, 1968.

Shooter’s Bible. Edition 55, 1964.

Sotheby’s and Guyette & Schmidt. Americana, January 18, 2008. New York, NY: Sotheby’s, 2008.

Starr, Jr., M.D., George Ross. Decoys of the Atlantic Flyway. New York, NY: Winchester Press, 1974.

Tarrant, Bill. How to Hunt Birds With Gun Dogs, Mechanicsburg, PA, 1994.

The Crossroads of Sport, Inc. New York, NY: 1973-74.

The Glenbow Museum, Carl Rungius: Artist and Sportsman, Toronto, ON: 2001.

Tonelli, Donna. Fish and Fowl Decoys of the Great Lakes.

Atglen, PA: Schiffer Publishing Ltd., 2002.

Tuttle, Emerson. Emerson Tuttle: Fifty Prints. Vol. 28.

New Haven, CT: Yale University Press. 1948.

Vinal, Cap. Joseph W. Lincoln. Rockland, MA: Cap Vinal, 2002.

Waingrow, Jeff. American Waterfowl Decoys. New York, NY: 1985.

293

Index Adams, Frank: 358, 427-9, 456

Conklin, Jr., Roy A.: 300-2

Goodwin, Richard LaBarre: 78

Anderson, Andy: 65

Cooper, William: 598

Grant, Gordon: 44-7

Anderson, Harold N.: 134

Corbin, Peter: 97, 98

Grant, Stanley: 648

Audubon, after John James: 127, 128, 132

Cornell, William: 404, 405

Graves, Bert: 571-73

Audubon, after John Woodhouse: 130, 131

Cranford, Ralph: 444

Gromme, Owen: 562

Baldwin, John Lee: 178, 424-6, 626

Crowell, A. Elmer: 307-10, 315, 326-31, 332-37, 338-43, 344, 349 352-54, 355, 449, 450, 504-7, 508-13, 514-17, 520

Gunderson, E.: 487

Barker, Al: 105, 106 Baumhofer, Walter Martin: 114, 117, 118 Bellamy, John Haley: 240 Bennet, William Henry: 438 Bennett, Don: 662 Benson, Frank W.: 32, 34-43, 147-158, 163 Birch, Charles: 550 Bishop, Richard: 145 Blackstone, Jess: 320-5 Bloom, Reginald T.: 606 Borrett, Mike: 563, 564 Boulton, Joseph M. Lorkowski: 125 Bowman, William: 448 Boyd, George: 311, 312 Boyle, John H. B.: 433 Bracken, Davy: 249 Bradshaw, John D.: 232 Brown, Dorothy: 521 Bunn, Charles Sumner: 448 Burgess: 139 Burns, Milton James: 120 Burns Family: 362 Burr, Russ P.: 518 Buttonow, James: 629 Campbell, William: 242 Chadwick, Henry Keyes: 357, 371, 375, 377, 378, 639, 641 Chipman, Isaac K.: 460 Chipman, William C.: 460 Chipman Family: 461 Clark, C. Myron: 95 Clark, Roland: 33, 146 Clem, Robert Verity: 81 Cobb, Jr., Nathan: 551 Colt’s Patent Firearms Manufacturing Co.: 251 Conard, Charlotte: 15

294

Cuffee, Eugene Chief: 413-7, 434, 435, 654 Daly, Thomas Aquinas: 91, 92 Dando, Aubrey J.: 190a, 190b de Gavre, Brig. Gen. Chester Braddock: 496-9 Delabrierre, Paul Édouard: 14, 16 DeMott, Daniel: 405 Denny, Sam: 587 Dilley, John: 457 Ditman, Albert J.: 519 Doubleday Family: 356a Doughty, Chester E.: 347, 527, 530 Duluth Fish Decoys: 176 Dye, Benjamin F.: 539 E. Remington and Sons: 250 Ellis, William: 607-9 Elliston, Robert: 570, 584 Ettinger, Churchill: 172 Fabens, Captain Samuel Augustus: 366 Finney, Frank S.: 492 Fitzpatrick, Tom: 348 Franco, Jack: 522 Frazier, Luke: 12, 62-4 Freeman, Ducker Dan: 526 Frisino, Louis: 582 Frost, Arthur Burdett: 27, 28, 29, 72, 160, 164-5

Haertel, Harold: 350 Haff Family: 412 Hagerbaumer, David: 89, 90 Hall, Parker: 451 Hanemann, William: 483 Hanson, Martin: 478 Hardy Brothers (Alnwick) Ltd.: 186 Harris, James: 104, 107 Harris, Ken: 585, 653 Hart, Charles: 432 Havens, Sidney Arthur: 436 Hemming, Nigel: 173 Herter’s Inc.: 615 Hickman, Harry Lewis: 135 Hintermeister, Henry: 108-113 Hoker, Jim: 482 Hotze, Hiram Hy: 576, 577 Howell, Lewis: 439 Hudson, Ira D.: 548, 549 Hunt, Lynn Bogue: 1, 73, 83, 84 Huntley, Victoria Ebbels Hutson: 50 Irvine, Lawrence C.: 187-90 J.W. Reynolds Decoy Company: 619 James, Captain Thomas: 225 James Heddon & Sons: 178 Jaques, Francis Lee: 123 Jasper N. Dodge Decoy Company: 383

Fulcher, John: 553

Jenkins, L.: 103

Gale, Harry: 625

Joiner, Charlie: 542

Galli, Stanley W.: 102

Kappel, Philip: 51, 52

Gardner, Alfred: 644

Kears, Mark: 392

Geant, Gus: 665

Keller, Edward: 578, 579

Gelston, Thomas H.: 402, 403, 422, 445, 634

Kellum, Frank: 440, 633

Gibbs Family: 461a

Kelvin & Hughes Ltd.: 231

Gibian, William: 484-6, 488

Ketcham, Captain Al: 380, 399, 420, 627

Goodspeed, David S.: 359, 360

Ketcham, James Jimmy: 437

Kilpatrick, Henry: 648

Pitz, Henry C.: 49

Strong, Helen Lay: 346

King, Allen J.:313-6, 501, 523

Pleissner, Ogden M.: 19-23, 161

Structo Manufacturing Company: 191

King, Joe: 623

Propp, Herman: 558

Stuart, Allen: 374, 376

King, Joseph S.: 393, 395

Raynor Family, Raynor Family: 419

Stuart, Ralph E.: 525

King, Joseph S.: 394

Reason, Jamie: 490

Swan, John: 93, 94

Kirby, Ken: 491

Reece, Maynard: 85

Sweet, Edward J.: 586

Kirby, Nate: 489

Reindahl, Enoch: 557, 561

Tax, John: 568, 569

Koelpin, William J.: 66-9

Richardson, Frank: 373, 379

Terry, Albert: 410

Koerner, William Henry Dethlef: 82

Ripley, Aiden Lassell: 3, 4, 24, 166-71, 174

The Hoge Mfg. Co. Inc.: 193

Kossowski, Henryk: 70

Ripper, Chuck: 138

Thomas, Abram: 384

Kuhn, Bob: 74, 75

Roger, Theodore: 627

Tully, John: 185

Kuhnert, Friedrich Wilhelm: 76

Ross, Willie: 532

Turner, A.D.: 99

Lazarus, David: 140-4

Rosseau, Percival Leonard: 8

Tushenske, Dan: 437

Levi, Julian: 48

Rungius, Carl Clemens Moritz: 53-9

Tuttle, Emerson: 100, 101

Libensperger, Robert Turk: 651

Saidler, Otto: 656, 657

Verity, Andrew Grubie: 437, 438, 627

Lincoln, Joseph W.: 317-9, 368, 370

Sarnoff, Arthur: 115, 116

Verity, Obediah: 398, 408

Look, James: 369

Savoie, Amateur Mat: 596

Verity Family: 381, 421, 442, 458

Louis Marx and Company: 192

Sawdo, Richard: 525

Vidal, Louis: 5

Maass, David: 87, 88

Schaldach, William J.: 25, 60

Voorhees, Clark: 227

Magnus, Les: 433, 437

Schmedtgen, Hermann: 96

Ward, Stephen: 540

Marr, Russel: 637a

Schmiedlin, Jim: 481

Ward Brothers, Lemuel T. and Stephen: 545-7

Mason, George F.: 173

Schreyvogel, Charles: 71

Warin, George: 593

Mason Decoy Factory: 610-2, 616, 622

Schultz, William: 555, 556, 559

Waters, Donald Jordan: 80

Matia, Walter: 17

Scott, John Walter: 26

Watson, Dave Umbrella: 554

McCarthy, Frank: 136

Seiss, George J.: 249

Wells, Eugene: 421, 436

McGaw, Robert Bob: 541

Shaw, William: 575

Wheeler, Charles Shang: 446

McIntyre, Cameron T.: 472-7

Shourds, Harry V.: 389, 396, 397

Wheeler, Chauncey: 589-91

McNair, Mark S.: 462, 463-71, 493-5

Shourds, Harry M.: 397

Whipple, Joseph Q.: 666-8

MĂŞne, Pierre Jules: 7

Shute, Arthur: 363

White, Robert Bob: 479, 480

Michael L. Lynch Co.: 249

Simmons, Will: 159

Whorf, John: 133

Moigniez, Jules: 6

Sirois, Phillippe: 189

Wilcox, Moses H.: 357a

Moline Pressed Steel Company: 194

Smith, Abrem: 441

Wilkinson, Henry: 162

Morse, Henry Dutton: 79

Smith, Benjamin D.: 356,640

Williams, Roger: 409

Morse, Robert: 345, 502, 503

Smith, Brett J.: 86

Willis, Thomas: 122

Muss-Arnolt, Gustav: 2, 9, 11

Smith, Captain Abraham: 382

Wilson, Augustus Aaron: 531, 533-8

Nichol, Davey W.: 600-3

Smith, Sam: 660

Wilson, Tom: 372

Osthaus, Edmund H.: 10

Smith, William H.: 595

Winchester Repeating Arms Company: 248, 252

Paff, Adam: 273a

Sohier & Strater: 617, 618, 620

Winsor, John: 361

Parker, Howland: 500

Southard, William J.: 401

Wozny, Eddie: 565-7

Parsons, E. B.: 126

Southard, William (attr.): 406

Yorke, Murray: 119

Patience, A. H.: 665

Sprague, Isaac: 77

Young, Paco: 18

Pautrot, Ferdinand: 13

Starr Jr. M.D., George Ross: 364

Pavlovich, Mike: 649

Steele, Thomas Sedgewick: 30

Penn, Captain Watts: 390

Stevens Brothers Decoys: 614

Perdew, Charles: 303-6, 574, 580, 581

Stoddard, Herbert L.: 31

Peters, Leslie H.: 137

Stratford School: 650 295

Buyer Pre-Registration Form COPLEY FINE ART AUCTIONS | 268 Newbury Street | Boston, Massachusetts 02116 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | www.copleyart.com Name

City

Company Name

Telephone (#1)

Agent acting on behalf of

Telephone (#2)

Invoice Address (PO Box not sufficient)

Telephone (#3)

State

Zip

email Signature (required)

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 2012 Sporting Sale.

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.

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

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 Contact Name Bank Telephone Bank Fax

296

Telephone Number

Absentee/Telephone Bid Form (circle appropriate bid type) COPLEY FINE ART AUCTIONS | 268 Newbury Street | Boston, Massachusetts 02116 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | c.c.com 1 All bids must be received at our office by 5 pm EST, Tuesday, July 10, 2012. We cannot guarantee that bids placed after this date and time will be accepted. A Copley representative will call 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.

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.

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 #

Print Name (required)

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 15% of the final bid price up to and including $1,000,000, plus 10% 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

PRICE BID US$

Signature (required) 297

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 15% (18% for online bidding) of the final bid price up to and including $1,000,000, plus 10% 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 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.

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

6 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.

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.

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 no later than 5 PM EST on Tuesday, July 10, 2012.

11 Buyers wishing to pick up items at the sale must do so by 5 PM on Friday, July 13, 2012. Buyers wishing to pick up items after the auction may do so only by appointment after Wednesday, July 18, 2012 and as per schedule announced by the auction house at the conclusion of 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 Increment To 999.99 1,000 – 2,999.99 3,000 – 4,999.99 5,000 – 9,999.99 10,000 – 29,999.99 30,000 – 49,999.99 50,000 – 99,999.99 Over 100,000

50 100 250 500 1,00 2,500 5,000 10,000

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.

298

Authorized Shipping Release Form COPLEY FINE ART AUCTIONS | 268 Newbury Street | Boston, Massachusetts 02116 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | c.c.com

Please be aware that shipping is the responsibility of the successful buyer. You may contact one of the firms listed below, or one of your choosing to arrange for shipping. Agents pick up frequently at our offices.

SUGGESTED SHIPPERS: The UPS Store

781-224-2500 or email store4423@theupsstore.com

Boston Pack and Ship 781-849-8696 or 1-800-400-7204 U.S. Art

781-986-6500 or 1-800-872-7826

Item(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 cleared before property is released For more information regarding the collection of property please see the Terms & Conditions of Sale.

Print Name (as invoiced) Shipping Address (if different from billing address)

Phone Email

I authorize

to pick up my item(s)

(Please specify shipping company, franchise location or 3rd party) Sale Date Lot #s

Signature (required)

299

The Winter Sale 2013 JANUARY 21 | NEW YORK, NY Now accepting consignments

Ansel Easton Adams (1902-1984) Grand Tetons and the Snake River, Grand Teton National Park, Wyoming, 1942 Signed “Ansel Adams” lower right Gelatin silver print, 15.5 by 19.5 inches Estimate: $40,000-$60,000

Copley Fine Art Auctions is pleased to announce our upcoming Winter Sale 2013 featuring paintings, prints, decoys, and American folk art

COPLEY FINE ART AUCTIONS 268 Newbury Street Boston, MA 02116 www.copleyart.com

INFORMATION & CATALOG Aimee Stashak-Moore 617.536.0030 aimee@copleyart.com

CONSIGNMENTS Stephen O’Brien, Jr. 617.536.0030 info@copleyart.com

ART ADVISORY Appraisers & Fine Art Consultants

Keno Art Advisory is an independent, discrete advisory and art appraisal firm covering a full range of services for collectors, corporations, executors and not-for-profit organizations.

Opening hours by appointment Monday through Saturday.

Leigh Keno President leigh@kenoartadvisory.com

Tina Teel Managing Director tina@kenoartadvisory.com

127 East 69th Street New York, NY 10021 212 734 2381 kenoartadvisory.com

COLLECTORS: Tina & Philip DeNormandie,

John Henry Dick, Joseph H. Ellis, Robert French, William B. Gumbart, David O. Hill, Julianne Mehegan, Agnes & Elizabeth Mongan, Albert W. Nickerson, Barry Van Dusen, Cap & Paige Vinal and a private fishing club

Private Passions: The Art of Collecting

ARTISTS: Milton Avery, Leonard Baskin,

Frank Benson, Albert Bierstadt, Jess Blackstone, George Boyd, Allan Brooks, Mark Catesby, Robert V. Clem, Louis A. Fuertes, Francis L. Jaques, Lars Jonsson, A. J. King, Robert Morse, Alexander Pope, Aiden L. Ripley, Charles A. Safford, Keith Shackleton, Isaac Sprague, Alexander Wilson & more

Reception & Gallery Talk Amy Montague & Gigi Hopkins, exhibition curators Saturday, July 14, 2-4pm Mass Audubon Visual Arts Center

May 20-September 16 / Tuesday-Sunday, 1-5pm 963 Washington Street Canton, MA 02021 massaudubon.org/visualarts 781-821-8853 amontague@massaudubon.org S

S

Images: Canada Goose by Charles A. Safford, c. 1930, Collection of Cap and Paige Vinal; Hooping Crane by Mark Catesby, 1731, Mass Audubon Collection

Sporting rifle, David M. Varney, Burlington, Vermont, ca. 1829-1875. Collection of Shelburne Museum.

Lock, Stock and Barrel: The Terry Tyler Collection of Vermont Firearms May 13 - October 28 A rare collection of 107 Vermont firearms recently acquired by Shelburne Museum, made from 1790 through 1900. On view for the first time, the collection represents every gunmaker of the period and features hunting rifles, target rifles, pistols, military guns, and more.

SPONSORED BY:

M E D I A S U P P O R T:

Special exhibitions at Shelburne Museum are made possible by a grant from the Donna and Marvin Schwartz Foundation.

Open daily May 13 - Oct. 28, 2012. 6000 Shelburne Road, Shelburne, Vermont, 802-985-3346 Admission to Shelburne Museum is half-price for Vermont residents.

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Notes