Copley Art Winter Sale 2012 by Copley Fine Art Auctions

The Winter Sale 2012 JANUARY 16 | 980 PARK AVENUE | NEW YORK, NEW YORK

www.copleyart.com |

COPLEY FINE ART AUCTIONS | 617.536.0030

Welcome Winter 2012 I recently came across this rather amusing photograph of me while cleaning out a drawer of old photographs. I find it amazing that at the age of three I possessed the strength to lift what appears to be a sixteen pound gander. Upon seeing this photo, the first question that came to my mind was “Could I have ever ended up in a non-waterfowl related field?” With an avid hunter as a father and the past Chairman of National Audubon Society as my uncle and Godfather, the sporting field was a profession I couldn't refuse. Little has changed in the last forty years, I still love picking up Canada Geese. As goose-related lots 44, 254, 302 and others in this catalog attest, we at Copley have once again picked up some grand ganders. We are excited to return to Wallace Hall in New York with our major offering of top-notch sporting art. Copley’s Winter Sale brought rave reviews last year, and with an additional one hundred lots, the event will be even bigger this year. Our specialists have canvassed the United States in search of the best artwork that the sporting field has to offer and their findings will not disappoint. Carl Rungius’s In the Cedar Swamp, a large fresh-to-market oil of a bull moose and its mate leads the herd in the painting section. Alexander Pope’s oil of a dutiful English setter in Awaiting Its Master is an eminent canine work and Louis Agissez Fuertes’ Wild Turkey rises to the same level in the gamebird realm. Stunning works by Frank W. Benson, George Browne, R. LeBarre Goodwin, Bob Kuhn, Ogden Pleissner, Aiden Lassell Ripley, and John Whorf offer us timeless renderings of days spent in the field. Exceptionally rare preening life size carvings by Elmer Crowell include a curlew, greater yellowlegs, and black duck. A complete set of perhaps the finest twenty-five Crowell miniature waterfowl carvings ever to cross the auction block is sure to turn heads as will a full size green-winged teal that appears to soar across the wall. World class gunning birds by Charles Birch, John Blair, Jr., Newton Dexter and Dr. Clarence Gardiner, Bert Graves, Ira Hudson, Gus Moak, Harry V. Shourds, Herman Trinosky (rig), Obediah Verity, and the Ward brothers read like a Who's Who in the decoy carving Hall of Fame. The Mason Factory offerings in this sale are truly spectacular with carefully curated examples of mallards, canvasbacks, black ducks, golden plover, robin snipe, and willet occupying the realm of rarefied air amongst Mason and folk art collectors. Wood carvings by Gus Wilson, John Halley Bellamy, Oscar Peterson, Charles Hart, Charles Perdew, and Lawrence Irvine offer the collector of folk art numerous possibilities. Navajo blankets, Nantucket baskets, and sporting books round out a sale that contains over five hundred hand-selected lots. My advice, get to New York and make it for our Scotch and Smoked Salmon Preview Party on Saturday the 14th. Enjoy all that New York has to offer and kick off Americana Week with friends and like-minded collectors in a relaxing setting befitting the sporting tradition. This auction and weekend is not to missed. We hope to see you there!

Sincerely,

Stephen B. O’Brein, Jr. Chairman

The Winter Sale Schedule of Events

AUCTION to be held at WALLACE HALL AT THE CHURCH OF ST. IGNATIUS LOYOLA 980 PARK AVENUE | NEW YORK, NEW YORK

SATURDAY, JANUARY 14 Auction Preview

10 AM - 8 PM

SUNDAY, JANUARY 15 Auction Preview

10 AM - 8 PM

MONDAY, JANUARY 16 Auction Preview

8 AM - 10:30 AM

Auction

11 AM

CONTACTS THE DAY OF THE SALE On Site: 617.536.0030 Cinnie Oâ&#x20AC;&#x2122;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 238 in the back of this catalog.

Please review the conditions of sale in the back 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 291 Inside Front Cover: Lots 25, 27, 29, 32, 35, 30 Inside Back Cover: Lot 256 Left Table of Contents: Lot 290 (detail) Title Page: Lots 32, 31, 30, 33 Left Properties: Lot 194

CATALOG Stephen B. O’Brien Jr., Chairman, Fine Art Specialist, Decoy Specialist 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 Alizzandra Baldenebro, Intern Georgia Dixon, Intern PHOTOGRAPHY David Allen DESIGN Kim Noonan WEBSITE Smallfish Design, www.smallfish-design.com Printed in the USA on recycled paper by Spire Boston, MA

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Table of Contents

Chairmanâ&#x20AC;&#x2122;s Welcome

Schedule of Events

Important Notices

Session 1: Decoys and Folk Art

146

Session 2: Paintings, Works on Paper, and Books

232

Bibliography

234

Index of Artists and Makers

236

Terms and Conditions of Sale

237

Buyer Pre-Registration Form

238

Absentee/Telephone Bid Form

239

Authorized Shipping Release Form

The Winter Sale Important Notices 7. 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.

1. Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for our upcoming Sporting Sale. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com 2. 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 236 of this catalog prior to bidding. 3. Pre-registration Although you may register at the time of sale, we strongly encourage pre-registration to save you time at check-in. Preregistration forms are available online, as well as in this catalog. If you wish to pre-register, please be certain that we receive your registration form no later than 10 am EST, Saturday, January 14, 2012. 4. 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 10 am EST, Saturday, January 14, 2012. Any bids received after this date cannot be guaranteed. 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 238 of the catalog. 5. Sales Tax Purchases picked up at the auction will be subject to the New York State and local tax of 8.875% unless purchaser provides a valid New York State resale certificate or copy thereof while registering. Purchases delivered to New York after the auction will be subject to the applicable New York state and local taxes and purchases picked up or delivered to Massachusetts after the sale will be subject to the 6.25% Massachusetts Sales Tax unless exempted by applicable law.

9. Flat Art Dimensions Please be aware that all flat art dimensions are rounded to the nearest quarter inch. 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, shot scars, seam separations, popped grain and rust. 11. Item Pick Up Buyers wishing to pick up items at the sale must do so by 8 pm January 16th, 2012. Buyers wishing to pick up items after the auction may do so only by appointment after January 24, 2012 and as per schedule announced by the auction house at the conclusion of the sale. 12. Auction results Unofficial auction results will be available online approximately one week after the auction at www.copleyart.com.

6. 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.

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

13. Auction day contact numbers Onsite: 617.536.0030 Cinnie O’Brien: 617.501.7544 Auctioneer: Michael Grogan, NY License #1377121 268 Newbury Street, Boston, MA 02116 Tel: 617.536.0030 Fax: 617.266.4896 www.copleyart.com

268 Newbury Street | Boston, Massachusetts 02116 | 617.536.0030

The Winter Sale JANUARY 16, 2012 NEW YORK, NEW YORK

Properties from A GREAT-GRANDSON OF FRANK W. BENSON JIM AND DEB ALLEN COLLECTION JOHN CLAYTON COLLECTION OAKLEY BLAIR COLLECTION CHARLIE CHAPIN III COLLECTION REV. CLAUDE C. CURTIS COLLECTION PHILLIP Y. DENORMANDIE COLLECTION GEORGE DEVOE COLLECTION THE ESTATE OF ANTHONY ELLIOT BETSEY BURHAMS FOWLER COLLECTION ALAN G. HAID COLLECTION DONALD KIRSON COLLECTION JOHN E. LENNON COLLECTION A DESCENDANT OF RICHARD W. LISLE NANCY D. MITTON COLLECTION THOMAS W. SHEPPARD COLLECTION DON STILWELL COLLECTION WILLIAM V. TRIPP III COLLECTION LEE WULFF COLLECTION

PRIVATE COLLECTION, CALIFORNIA PRIVATE COLLECTION, FLORIDA PRIVATE COLLECTION, CAPE COD, MASSACHUSETTS PRIVATE COLLECTION, MARTHA’S VINEYARD, MASSACHUSETTS PRIVATE COLLECTION, MIDWEST PRIVATE COLLECTION, NEW YORK PRIVATE COLLECTION, RHODE ISLAND

SESSION I Decoys and Folk Art

1 Swordfish Weathervane Mark S. McNair (b. 1950) Craddockville, VA, c. 2010 A unique thirty-three-inch long billfish weathervane with a wind-driven spinning tail and inserted fins. Over the last thirty-five years the artist has made only three other fish weathervanes. A swordfish without a moving tail served as the prototype for this model and resides in a private collection. An Atlantic salmon remains in the family and the fourth resides in a private collection in the Midwest. This fork art carving was inspired by the artist’s recent travels along the Atlantic seaboard. Signed by the maker with an incised “McNair” on the underside. The McNair crafted base is included. Original condition. ESTIMATE:

$4,000-$6,000

2 Preening Whistling Swan Mark S. McNair (b. 1950) Craddockville, VA, c. 1985 A solid-bodied life-size decoy with tack eyes, a mortised bill, and the maker’s “McNair” signature incised in the bottom. A related example resides in the Shelburne Museum Collection, Shelburne, Vermont. Original condition. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$5,000-$10,000 Mark McNair in his studio circa 1985

3 Yellowlegs Mark S. McNair (b. 1950) Craddockville, VA, c. 1985 A hollow shorebird with carved raised wings, glass eyes, a splined bill, and a dove-tailed neck which allows the head to be removed from the body. The bird is signed with an incised “McNair” signature on the underside and also bears three marks from the J. B. French Collection. Original condition. PROVENANCE:

Joseph B. French Collection Private Collection, Connecticut ESTIMATE:

$1,000-$2,000

4 Eskimo Curlew Mark S. McNair (b. 1950) Craddockville, VA, c. 1990

∆

5 Eskimo Curlew Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 Signed with the maker’s incised “McNair” signature on the underside. Original condition. ESTIMATE:

$800-$1,200

6 Dove Mark S. McNair (b. 1950) Craddockville, VA, c. 1980 A mourning dove decoy with carved raised primaries and an incised “McNair” signature on the underside. Original condition. ESTIMATE:

$600-$900

A split-tail shorebird decoy with carved raised wings and an incised “McNair” signature on the underside. Original condition. ESTIMATE:

$800-$1,200

∆

7 Canvasback Drake Cameron McIntyre New Church, VA, c. 1995

8 Red-Breasted Merganser Pair Robert “Bob” White (b. 1939) Tullytown, PA, 1974

An alert, turned head decoy exhibiting carved bill detail and swirled paint that shows Mason Factory influence. Signed with the maker’s “CTM” incised initials on the bottom. Original condition.

An early pair of decoys from the carver’s hunting rig. Both have slightly turned heads, his early engraved “Bob White Decoys” weights, a pencil written rig identification statement, and are signed and dated. Original paint with a coat of sealer.

ESTIMATE:

$2,000-$4,000

10 detail

9 Redhead Pair George Strunk (b. 1958) Glendora, NJ, 2008 A slightly over-sized pair of hollow, preening decoys with carved wings and tails. This pair shows the talented southern New Jersey carver at the top of his craft. The drake exhibits superb comb-painted detail and the hen has finely delineated painted feathers. Each is signed and dated by the maker and retains a stamped “G Strunk” weight on the bottom. This is one of the finest Strunk pairs ever offered for sale. Original condition. PROVENANCE: ESTIMATE:

10.1

Don Stilwell Collection

$1,000-$1,500

10 Twelve Puddle Ducks George Strunk (b. 1958) Glendora, NJ, c. 1990 A rig of contemporary hunting decoys, consisting of six black ducks, four mallards, and a pair of pintails. The head positions vary and each has a stamped “G Strunk” weight on the bottom. Original condition. PROVENANCE: ESTIMATE:

10.2

Don Stilwell Collection

$4,000-$6,000

∆

13a

11 Snow Goose James P. Hand (b. 1953) Cape May, NJ, c. 1980

13 Swimming Merganser Clarence Miller (b. 1936) Brockville, Ontario, Canada, c. 1970

An early, hollow, life-size decoy out of the Cape May Court House Rig. Branded “CMCH NJ” and “J P Hand.” Original paint with light wear from handling.

A competition grade red-breasted merganser hen decoy with carved primaries and tail feathers. Original paint with a hairline age crack along one side of the bottom into the breast.

ESTIMATE:

$200-$400

12 Green-Winged Teal Hen New Jersey, c. 1960 A lower Barnegat Bay decoy with a rectangular weight affixed with countersunk screws. Original paint with in-use repaint on the bottom, minor gunning wear and an age line in the neck. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$100-$200

$1,000-$1,500

13a Life-Size Running Whimbrel Keith Mueller (b. 1956) Killingworth, CT, 2011 An alert, slightly turned head curlew decoy with raised wings and blended paint feather detail. The underside displays the maker’s “Keith Mueller” signature brand. Original condition. ESTIMATE:

$1,000-$2,000

14 Calling Mallard Drake Frank Finney (b. 1947) Pungo, VA, c. 1990 This decoy represents a pinnacle carving for the maker and is one of the most intricate standing decoy carvings by any carver. A hollow, mechanical, articulated decoy with hand-turned and carved boxwood wheels and pulleys in its interior. The two rear pulley strings have antler buttons which when extended turn the bird’s head to one side and open the bill as if calling. The feet are carved from cherry with the maker’s incised “F” signature on the bottom of each. The bird is set upon, but maybe removed from its hard wood base. Original condition. PROVENANCE: ESTIMATE:

Private Collection, New York

$2,000-$4,000

15 Ruddy Turnstone Pair Frank Finney (b. 1947) Pungo, VA, 1995

16 Hooded Merganser Drake Jim Schmiedlin Bradford Woods, PA, 1980

A pair of shorebirds with raised wing feather carving, signed and dated on the bottom of the base. The base also displays an incised “F” and the maker’s ink stamp. Original condition.

A decorative decoy in a slightly turned-head, swimming posture, with carved feather detail and slightly raised wing tips. Signed “Hooded Merganser, Jim Schmiedlin, Bradford Woods, PA, 1980” on the bottom. Original condition.

PROVENANCE: ESTIMATE:

Private Collection, New York

$1,000-$2,000

ESTIMATE:

$1,000-$2,000

17 Over-sized Red-Breasted Merganser Drake Keith Mueller (b. 1956) Killingworth, CT, 2011

20 Green-Winged Teal Drake Keith Mueller (b. 1956) Killingworth, CT, c. 1980

A swimming decoy with carved raised crossed primaries and incised tail feathers. The underside displays the maker’s “Keith Mueller” signature brand and an oval maker’s brand. Original condition with light gunning wear.

A tucked-head decoy with the maker’s “Mueller” brand on the bottom. Original paint with minor wear and flaking.

ESTIMATE:

$1,000-$2,000

18 Turned-Head Black Duck Keith Mueller (b. 1956) Killingworth, CT, 2011 A traditional Stratford School preening decoy displaying carved bill detail, scratch paint head feathering and subtle blended paint on the body. The underside displays the maker’s “Keith Mueller” signature brand. Original condition. ESTIMATE:

$1,000-$2,000

19 Old Squaw Drake Keith Mueller (b. 1956) Killingworth, CT, c. 1985 A hollow Stratford School decoy with a mortised long tail. The underside is signed and bears the maker’s “Mueller” brand. Original paint with light gunning wear. ESTIMATE:

$1,000-$1,500

ESTIMATE: ∆

21 Miniature Bobwhite Quail in Flight Eddie Wozny (b. 1959) Cambridge, MD, 2011 A pair of bobwhite quail with detailed wing and tail feather carving, signed and dated by the maker on the bottom of the base which measures 14.5 inches tall. Eddie Wozny, a native of Maryland’s Eastern Shore, is a professional wood-carver and wildlife conservationist. His interest in woodcarving stems from his appreciation of wildlife and the environment as well as his enjoyment of working with his hands. After receiving a degree in Biological Sciences from Salisbury State College, his interests compelled him to try to reproduce the abundance he saw in nature. Basically self-taught, Wozny developed his own techniques and unique carving style. Without detailed carving and texturing, his works convey realism and capture the movement of his subjects. Original mint condition. ESTIMATE:

$600-$900

$1,000-$2,000

â&#x2C6;&#x2020;

22 Flying Widgeon Pair Eddie Wozny (b. 1959) Cambridge, MD, 1991 A life-size pair of widgeon or baldpate with life-like bill detail and carved wing and tail feathers. A dynamic pair that conveys a sense of motion mounted on the wall. Both birds are signed and dated. Original condition. ESTIMATE:

$2,000-$4,000

â&#x2C6;&#x2020;

23 Widgeon Drake Eddie Wozny (b. 1959) Cambridge, MD, 2011

24 Preening Black Duck Eddie Wozny (b. 1959) Cambridge, MD, 2011

A hollow, slightly turned head decoy with detailed bill, wing, and tail feather carving. Signed and dated on the bottom. Original condition.

A turned-head decoy with a raised wing, displaying life-like bill detail, carved wing and tail feathers. Signed, dated, and identified on the bottom by the maker. Original condition.

ESTIMATE:

$800-$1,200

26 detail

MASON DECOY FACTORY (1896-1924)

26 drake

25 Mallard Drake Salesman’s Sample Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 An exceedingly rare, premier grade, two-thirds-size salesman’s sample. This decoy exhibits all of the carved features and the paint pattern of the Mason Decoy Factory’s finest Premier line, but on a smaller scale. Of the few Mason salesman’s samples known to exist, only two premier grades are believed to have surfaced. For the folk art, decoy or Mason collector this lots rarity cannot be overstated. Outstanding original paint with a tight age line along the bottom and a minor rub to the neck. PROVENANCE:

Jim and Deb Allen Collection, acquired from Alan. G. Haid

LITERATURE: Russ Goldberger and Alan Haid, Mason Decoys, A Pictorial Guide, Lewes, DE, 1993, pp. 139-140, similar “salesman’s” decoys illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 46-47, similar salesman’s decoy illustrated. ESTIMATE:

$10,000-$15,000

26 Premier Grade Snakey Head Mallard Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 An exceedingly rare and important pair of hollow mallards in unused condition. According to decoy author Donna Tonelli, there are only a dozen of these Schmidt rig mallards known to exist. Of the twelve known, only four are hens. This perfectly matched pair with their superb condition, beautifully swirled paint, ‘ribbon candy’ speculums, snakey neck form, and impeccable historic provenance ranks amongst the finest Mason Decoys known to exist. The rig was commissioned by George K. Schmidt (1869-1939), the president of the Prudential State Savings Bank in Chicago. From approximately 1930 to 1970 the rig of decoys resided in the basement of a bank. This pair was purchased in St. Charles, Illinois in 1971 and was again stored in a safety deposit box until 1987, when they were purchased by the consignor. This “out of the box” pair still retains faint remnants of the newsprint from the papers that were used in packing and shipping from the factory. Both birds are branded “G. K. Schmidt,” and the hen has an additional smaller “G. K. Schmidt” brand. Near mint condition. The hen has a hairline crack just above the neck seam and a small old nick to top of bill. Weights removed.

PROVENANCE: George K. Schmidt Collection Private Collection, acquired in St. Charles, Illinois, 1971 Ronald Zelnick Collection, acquired from the above, 1987 LITERATURE: Russ J. Goldberger, and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 23, rigmate illustrated. Donna Tonelli, Fish and Fowl of the Great Lakes, Atglen, PA, 2002, p. 41, rigmate illustrated. ESTIMATE:

$50,000-$70,000

26 detail

27 Premier Grade Merganser Hen Mason Decoy Factory (1896-1924) Detroit, MI, c. 1900 From the decoy rig ordered by John Ware Willard (1859-1914), grandson of the famous Colonial Massachusetts clockmaker, Simon Willard (1753-1848). This historic Massachusetts rig contained goldeneyes and red-breasted mergansers by A. Elmer Crowell and the Mason Decoy Factory. The decoy displays heavy swirled paint and Willard’s “J. W. W.” brand on the bottom. The provenance of the Willard decoy rig is discussed by noted decoy authors Linda and Gene Kangas in the March 2010 issue of Decoy Magazine and this exact decoy is illustrated on the top of page 31 in “Connecting the Dots: Exploring the Provenance of Elmer Crowell’s Decoys.” Original paint with minor gunning wear, a reset neck, and repair to two shot scars in the bill. PROVENANCE:

John Ware Willard Rig, Massachusetts Jim and Deb Allen Collection, acquired from Alan G. Haid

LITERATURE: Linda and Gene Kangas, “Connecting the Dots: Exploring the Provenance of Elmer Crowell’s Decoys,” Decoy Magazine, Lewes, DE, March/April, 2010, p. 31, exact decoy illustrated. Russ Goldberger and Alan Haid, Mason Decoys, A Pictorial Guide, Lewes, DE, 1993, p. 72, similar decoy illustrated. ESTIMATE:

$10,000-$15,000

27 detail

Illustration from an original Mason Decoy Factory catalogue

29 Premiere Grade Canvasback Drake Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 A rare Mammoth Chesapeake Bay model in untouched condition. With its graceful form and exceptional swirled paint, this example has few peers. A related example sold in this firmâ&#x20AC;&#x2122;s Winter Sale 2011, lot 165. Untouched original paint with minor gunning wear and an age line along the bottom.

John and Shirley Delph, Factory Decoys, Exton, PA, 1980, p. 55, rigmate illustrated. Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Lewes, DE, 2003, p. 52, similar decoy illustrated. LITERATURE:

ESTIMATE:

$8,000-$12,000

30 Exceedingly Rare Salesman’s Sample Golden Plover Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 A one of a kind Mason shorebird salesman’s sample decoy displaying the inscription “Golden Plover, $7.50 . Dz.” on the underside. This decoy exhibits fall to winter plumage in its painted feather detail as well as an early swirled, stippled, and outlined speculum. The only doucumented evidence of this golden plover’s form and plumage comes from the orginal Mason Factory catalog, on page thirteen, as an “A-1” grade shore bird. Historically, salesmen would carry examples of the decoys illustrated in the catalog in their pursuit of orders for their company. This example was one of six salesman’s sample decoys, each a different species, acquired by famous New Jersey collector Mort Hanson.

30 detail

For the collector of Mason Factory decoys, shorebirds, or folk art this lot represents a rare opportunity to acquire one of the most elusive Mason species and forms known to exist. Outstanding original paint with a few minor paint rubs from handling. PROVENANCE:

Mort Hanson Collection Jim and Deb Allen Collection, acquired from Alan G. Haid

LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 101, related bird illustrated in summer plumage. Byron Cheever, Mason Decoys, Spanish Fork, UT, 1974, p. 132, related decoy illustrated in the Mason Factory catalog. ESTIMATE:

$12,000-$16,000

Detail from a Mason Decoy Factory catalogue c. 1910 from Mason Decoys – A Complete Pictoral Guide. Courtesy of Russ Goldberger and Alan Haid.

31 Robin Snipe Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 In superb condition with rich color, this Mason “A-1” grade shorebird in spring plumage stands as one of the finest robin snipe or red knots by the maker ever offered. Outstanding original paint. PROVENANCE:

Private Collection, Midwest

Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 99, similar decoy illustrated

LITERATURE: ESTIMATE:

$8,000-$12,000

32 Rare Robin Snipe Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 A red knot or, as they were historically known, a robin snipe shorebird decoy in rare fall-winter plumage. The decoy, in Mason’s finest “A-1” grade, displays swirled paint, glass eyes, an iron bill and three small shot holes. Excellent original paint with minor gunning wear. PROVENANCE:

Jim and Deb Allen Collection, acquired from Russ J.

Goldberger LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, pp. 98-99, similar bird illustrated. Byron Cheever, Mason Decoys, Spanish Fork, UT, 1974, p. 125, similar decoy illustrated in spring plumage. ESTIMATE:

$6,000-$9,000

33 Lesser Yellowlegs Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 An exceedingly rare tack-eyed shorebird decoy. Only ten-and one-half inches long, this petite decoy is shorter and more delicate than most Masons of this species. Outstanding original paint with minor gunning wear. PROVENANCE: Alan and Elaine Haid Collection Jim and Deb Allen Collection, acquired from the above LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, pp. 102-103, similar decoys llustrated. Byron Cheever, Mason Decoys, Spanish Fork, UT, 1974, p. 121, plate 9-13, similar larger decoys illustrated. ESTIMATE:

$5,000-$8,000

34 Dowitcher Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 An exceptional example of a tack-eye dowitcher in fall plumage. This exact shorebird decoy is illustrated in Goldberger and Haidâ&#x20AC;&#x2122;s Mason Decoys. Outstanding original paint with minimal gunning wear. PROVENANCE:

Private Collection, Midwest

Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 109, exact decoy illustrated. LITERATURE: ESTIMATE:

$8,000-$12,000

35 Tack-Eye Willet Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 An early untouched Mason shorebird example in fall plumage. This exact bird is illustrated in Fleckensteinâ&#x20AC;&#x2122;s Shorebird Decoys. In fine original paint with minimal gunning wear. PROVENANCE:

Jim and Deb Allen Collection

LITERATURE: Henry A. Fleckenstein, Jr., Shorebird Decoys, Exton, PA, 1980, plates L and 37, exact bird illustrated. John Levinson and Somers Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centerville, MD, 1991, p. 120, plate 9-10, similar decoy illustrated. Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 105, similar bird illustrated. Byron Cheever, Mason Decoys, Spanish Fork, UT, 1974, p. 116, similar decoy illustrated. ESTIMATE:

$4,000-$7,000

36 Split-Tail Dowitcher Mason Decoy Factory (1896-1924) Detroit, MI, c. 1900 Originally collected by decoy author John Delph, this tack-eyed, split-tailed, wooden-billed shorebird is one of the earliest identified Mason shorebird examples. Original paint with light gunning wear. PROVENANCE:

John Delph Collection Private Collection, Midwest John and Shirley Delph, Factory Decoys of Mason, Stevens, Dodge, and Peterson, Exton, PA, 1980, p. 145, similar decoy illustrated. Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 109, similar decoy illustrated.

LITERATURE:

ESTIMATE:

$7,000-$11,000

37 Dove Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 A rare, glass eye, iron-billed decoy. Clearly taken down to original paint with gunning wear. Traces of overpaint still visible especially on the bill and one replaced eye. ESTIMATE:

$2,000-$3,000

38 Brant Mason Decoy Factory (1896-1924) Detroit, MI, c. 1900

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 overpaint, gunning wear and a replaced bill tip. ESTIMATE:

39 Premier Grade Canvasback Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910

$2,500-$3,500

A pair of hollow decoys from the Brannum rig. Original paint with gunning wear. Both decoys have minor neck repairs. Hen has minor touch-up to head and sides. Drake has an attached aluminum Brannum rig tag. LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Complete Pictorial Guide, Lewes, DE, 2003, p. 50, similar decoys illustrated. ESTIMATE:

$2,500-$4,500

40 Premier Grade Mallard Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 The hen is branded “F.D.” on the bottom and is stamped “Penn,” possibly for the collection of pioneer Midwest decoy collector Willis Pennington. Original paint with gunning wear. Both have touch-up to bill and tail chips. ESTIMATE:

$2,000-$4,000

41 Premier Grade Broadbill Drake Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910

A wide-billed, large-body style hollow decoy with a “Raymond Lead Co., Chicago” lead strip weight and the initials “EG” carved in the bottom. Original paint with light gunning wear, touch-up to neck filler and seam separation. ESTIMATE:

$500-$800

42 Challenge Grade Goldeneye Hen Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910

Goldeneye hens by this maker are a difficult species to find. Original paint with gunning wear and touch-up to neck filler and a small bill chip. LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 65, similar decoy illustrated. ESTIMATE:

43 Two Factory Decoys

$200-$400

A pintail drake by the Evans Duck Decoy Co. (19211932), Ladysmith, WI, c. 1925. A premier grade black duck by the Mason Decoy Factory (1896-1924), Detroit, MI, c. 1920. The pintail is in original paint with gunning wear and flaking, most notably on the head. The black duck has been restored and repainted possibly by Charles Moore of DeKalb, Illinois. ESTIMATE:

$200-$300

The dust jacket cover of Richardson’s book Chesapeake Bay Decoys displays an old photo of W. Grayson Winterbottom, Walter P. Chrysler and Col. Albanus Phillips at the Bishops Head Gun Club at days end in 1936. Photograph courtesy of Decoy Magazine.

“…the reputation of Lem and Steve spread throughout the Chesapeake region, and they produced decoys for gunners in the Upper Bay as well. A few of the gunning clubs ordered Ward decoys, and in some cases a particular Ward style became associated with a specific club. One example is the Canada goose model carved for the Bishops Head Gun Club of Dorchester County.” – C. John Sullivan “Waterfowling on the Chesapeake, 1819-1936”

44 Swimming Canada Goose The Ward Brothers, Lemuel T. (1896-1983) and Stephen (1895-1976) Crisfield, MD, c. 1936 In the 1930s the Ward Brothers received a custom order for goose decoys from Colonel Albanus Phillips for his gun club just south of Cambridge, Maryland. Phillips was widely known throughout the Eastern Shore and Presidents Teddy Roosevelt and Franklin Roosevelt were known to have been guests at his lodge. Historically, Phillips used dozens of live goose decoys at his Bishops Head Gun Club in Dorchester County, however, in 1935 the Federal Government banned the use of live decoys. Following this announcement Lem, Steve, and the Colonel met to design and create the Wards’ very best gunning model for his club. Bishops Head was a two-story lodge with its own man-made tidal pool. Phillips originally purchased the eight square mile property in 1921 for the sole purpose of using it as a private game preserve. The lodge had a large great room with a fireplace, a locker room and bedrooms on the second level. There was also a caretaker's house, live decoy pens, kennels, and a boat dock. The boat dock was often used by members of the Cambridge Yacht Club, which Phillips also founded. An avid hunter, this camp provided Phillips, his brother Levi, and W. Grayson Winterbottom (their business partner) with a place of respite from their booming food canning business. At the time Bishops Head was considered one of the Eastern Shore's great hunting clubs.

Of the numerous goose patterns designed by the Ward brothers, the Bishops Head Gun Club model is the most coveted. It exhibits a long reaching neck that gracefully moves the head forward in an appealing swimming position. This example with its bold body possesses Lem’s deep ice groove and highly defined carving under the tail. With its full cheek carving, articulated bill profile, and crescent shaped cheek delineations, this bird exemplifies the finest of the Bishops Head style. The decoy displays an appealing dry surface with tight craquelure. The back and sides of the bird have detailed feather paint, which is more visible on one side. The bottom bears three of the Ward’s rubber ink stamps as well as the original rigging. Acquired by the consignor directly from John H.Hillman, this Canada goose resided on the fireplace hearth of the Hillman home for many years. The consignor had always admired the decoy on his visits to the Hillman’s home and after a day of hunting together at the Sandy Island Gun Club, Hillman finally relented and sold the decoy to the consignor. Original paint with gunning wear, and touch up to white on cheeks. LITERATURE: Robert H. Richardson, Chesapeake Bay Decoys: The Men Who Made and Used Them, Burtonsville, MD, 1991, dust jacket and p. 119. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 148-149, rigmate illustrated. PROVENANCE:

John H. Hillman Collection Private Collection, New Jersey, acquired from the above c. 1975

ESTIMATE:

$30,000-$50,000

∆

45 Pintail Hen The Ward Brothers, Lemuel T. (1896-1983) and Stephen (1895-1976) Crisfield, MD, 1945 A classic 1940’s Ward with turned head, superb dry original paint, and the Ward Brothers best “razor sharp” bill carving. A few rubs and an age line at the neck seam. Keel has been removed. ESTIMATE:

$5,000-$10,000

46 Black Duck The Ward Brothers, Lemuel T. (1896-1983) and Stephen (1895-1976) Crisfield, MD, c. 1936 A solid cedar decoy with a “P” and a “WHP JR” brand for the William Purnell collection. Retains a second coat of Ward paint, c. 1950, an old reset tail chip and a bill chip. PROVENANCE: William H. Purnell Jr. Collection Private Collection, Maryland ESTIMATE:

$3,000-$4,000

47 High-Head Canvasback Upper Chesapeake Bay, MD, c. 1890

An outstanding high-head Susquehanna Flats decoy. Mix of original and very early working paint. PROVENANCE: ESTIMATE:

Private Collection, Midwest

$2,000-$4,000

48 Black Duck Leonard E. Pryor (1876-1967) Elkton, MD, c. 1930

Exhibiting carved eyes, bill detail, and raised primaries, this exemplary Pryor is illustrated in Richardson’s book Chesapeake Bay Decoys. Original paint with light gunning wear. LITERATURE: Robert H. Richardson, Chesapeake Bay Decoys: The Men Who Made and Used Them, Burtonsville, MD, 1991, p. 39, exact decoy illustrated. ESTIMATE:

$2,000-$4,000

49 Swan Cecil County, MD

Made in the second half of the 20th century, this swan closely resembles the work of Horace D. Graham (1893-1981) from Charlestown, Maryland. A Cecil County confidence decoy with a removable head and heavily weighted swing keel. The swan displays a laminated neck and head like that seen in the construction of the famous Holly swan decoys. Solid body with some age cracks. Branded “CAPH” on the bottom. Original paint with heavy gunning wear. PROVENANCE: ESTIMATE:

Private Collection, New York

$3,000-$6,000

Ira Hudson c. 1930, photograph courtesy of Henry Stansbury

50 Hollow Brant Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1925 An exceptional hollow Hudson brant decoy, this early two-piece brant displays carved bill detail, tack eyes, strong feathering and a rare white stripe across the tail. A probable rigmate is featured in â&#x20AC;&#x153;Call to the Skyâ&#x20AC;? featuring the decoy collection of Dr. James M. McCleery. Excellent original paint with even gunning wear. Henry H. Stansbury, Ira D. Hudson and Family: Chincoteague Carvers, Lewes, DE, 2002, pp. 74-79, similar decoys illustrated. Barry R. and Velma A. Berkey, Chincoteague Carvers and Their Decoys, Gettysburg, PA, 1981, p. 45, fig. 59, similar decoy illustrated. Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 35, plate VII, p. 36, plate VIII, p. 53, plates 46 and 47, p. 56, plates 49 and 50, similar decoys illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery M.D., Houston, TX, 1992, p. 80, probable rigmate illustrated. LITERATURE:

PROVENANCE: Jack Cathcart Collection, Beach Haven, New Jersey Private Collection, New Jersey, acquired from the above c. 1980 ESTIMATE:

$5,000-$7,000

51 Bluebill Drake Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1920 An example of Hudson’s fat-bodied football-style decoy with tack eyes and a fluted paddle tail. Original paint with gunning wear, minor flaking at neck seam and tail, and two age cracks along the bottom. Tip of bill may be reset. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$1,000-$2,000

52 Black Duck Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1920 A full-bodied, solid decoy with tack eyes, carved bill detail, and fluted tail carving. Retains a branded “P” on the bottom, for the William Purnell collection. Original paint with gunning wear and a few age cracks. PROVENANCE: William H. Purnell Jr. Collection Don Stilwell Collection ESTIMATE:

$1,000-$1,500

53 Hutchins Goose Ira D. Hudson (1876-1949) Chincoteague, VA, c. 1920 A tack-eye brant decoy with raised wing carving and two-piece, pegged body construction. Painted for use as a Canada goose. Originally collected by William J. Mackey, Jr. of New Jersey in the middle of the twentieth century and retains his collection ink stamp on the bottom. Old in-use repaint with gunning wear including body seam separation and a neck crack. PROVENANCE:

William J. Mackey, Jr. Collection Don Stilwell Collection

ESTIMATE:

$300-$500

54 Canada Goose Dave “Umbrella” Watson (1851-1938) Chincoteague, VA, c. 1928 Goose decoys by this maker are extremely rare. A bold, hollow carving with pronounced eye grooves, glass eyes, and V-carved raised primaries. This decoy was part of a rig of geese and black ducks ordered from Watson by a Hampton Bay, Long Island bayman in 1928. His rig brand “ACP” is impressed twice in the bottom. A hole in the bottom reveals that it was also used as a field decoy. Mostly original paint with touch-up to areas of filled nails and some overpaint professionally removed. Gunning wear including a neck crack and seam separation.

55 Punt Gun with Mount New England, c. 1850 A fifty-five-inch long, three bore, muzzleloading percussion market gun, set on a bread board, antique-style mount. Overall good condition with nice patina. PROVENANCE: George Combs Jr. Collection Don Stilwell Collection ESTIMATE:

$5,000-$6,000

LITERATURE: Henry A Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, pp. 77-78, plate 98, exact decoy illustrated. ESTIMATE:

$10,000-$15,000

CHARLES BIRCH (1867-1956)

56 detail

56 Swan Charles Birch (1867-1956) Willis Wharf, VA, c. 1920 There are only a handful of Birch swan decoys known to exist. Born in Maryland and raised on Chincoteague, Birch moved south to Willis Wharf, Virginia in Northampton County at age thirty-nine where he was a boat builder, waterman and decoy carver. This hallow swan, with its graceful down-turned head and long slender neck features an inserted oak bill, tack eyes and a raised neck seat. Its bold form places it amongst the top tier of the known Birch swan examples. Used at the Gooseville Gun Club in Hatteras, North Carolina, this confidence decoy came out of the rig of the clubâ&#x20AC;&#x2122;s founder, George Albert Lyon (1882-1961), an industrialist, avid sportsman and long-time friend of the sporting author Van Campen Heilner, who documented the club and wrote A Book on Duck Shooting. Charles Birch swans have achieved a coveted status amongst decoy collectors today, as few carvers made more graceful designs. The hollow patterned birds with their proud breasts and sweeping arched necks have long captured the attention of folk art collectors. Working Swan decoys of any type are exceptionally rare as most were used as confindence decoys. When they were employed in a rig, which was not that frequent, it would typically only be a single decoy. Old working repaint with light gunning wear. Weights removed. PROVENANCE: George Albert Lyon Rig, Gooseville Gun Club, North Carolina Private Collection, by descent in the Lyon family Private Collection, Marthaâ&#x20AC;&#x2122;s Vineyard, Massachusetts LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 213, similar decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 160-161, similar example illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, color plate 3, similar decoy illustrated. ESTIMATE:

$90,000-$120,000

57 Brant Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1900 A hollow Barnegat Bay brant in a swimming posture, with carved bill detail, tack eyes, strong painted flank striping and an inletted weight. A probable rigmate is illustrated on page 99 of Henry Fleckensteinâ&#x20AC;&#x2122;s New Jersey Decoys. Original paint with even gunning wear including paint worn to wood around weight and a small repaired check to one side of neck crack. Gene and Linda Kangas, Decoys, Paducah, KY, 1992, p. 125, plate 189, similar decoy illustrated. Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, pp. 98-100, plates 198-202, similar decoys illustrated. Henry A. Fleckenstein, Jr., Decoys of the Mid-Atlantic Region, Exton, PA, 1979, p. 48, similar decoy illustrated.

LITERATURE:

PROVENANCE: Jack Cathcart Collection, Beach Haven, New Jersey Private Collection, New Jersey, acquired from the above c. 1980 ESTIMATE:

$5,000-$7,000

58 Canada Goose Nathan Rowley Horner (1882-1942) West Creek, NJ, c. 1920 Extremely rare Canada goose with schooner-like construction by one of New Jersey’s crowned makers. There is a refined simplicity to Horner’s work that mirrors Joseph W. Lincoln’s decoys. Horner, like Lincoln, captured the essence of a swimming goose leaving only that which he felt was necessary to create an impression of the real bird. This elegant carving was meticulously hollowed to its featherlight state. The bottom bears the “EDT” brand for the “Townsend” rig. Original paint with touch up to cheeks, light gunning wear including a chip under the bill, two very old tail chip repairs and one-inch-thick section of the neck professionally replaced. James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, plate 192, p. 97, rigmate illustrated.

LITERATURE: ESTIMATE:

$12,000-$18,000 58 detail

59 Black Duck Daniel G. English (1883-1962) Florence, NJ, c. 1930

60 Black Duck Harry M. Shourds (1890-1943) Ocean City, NJ, c. 1925

A superb black duck decoy by this Delaware River maker originally acquired by Bob White of Tullytown, Pennsylvania. English often repainted his decoys and it is difficult to find untouched examples in original paint. This virtually pristine example is one of the finest Dan English black ducks known to exist. Outstanding original condition with minimal gunning wear.

A hollow, tack-eye decoy with scratch-painted feathering. Original paint with even gunning wear and an age line along the back.

PROVENANCE:

Robert L. White Collection Private Collection, Midwest ESTIMATE:

$6,000-$9,000

PROVENANCE:

Don Stilwell Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, plate 309, p. 152, similar example illustrated. ESTIMATE:

$1,500-$2,500

61 Bufflehead Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890

61 detail

An extremely rare Shourds decoy out of the famed Hazelhurst Club rig. Branded “Hazelhurst” and retains the “Hillman Collection” ink stamp. This museum quality decoy exhibits the graceful, ship-like traits that New Jersey decoy and folk art collectors covet and has been featured in no less than three books. Outstanding original paint with minor gunning wear; two very fine stress cracks in the neck, slight body seam separation, otherwise the condition is near mint. PROVENANCE: Hazelhurst Rig John Hillman Collection Private Collection, Cambridge, Massachusetts LITERATURE: Henry A. Fleckenstein, Jr., Decoys of the Mid-Atlantic Region, Exton, PA, 1983, p. 140, exact decoy illustrated. Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, color plate XIV, p. 38, exact decoy illustrated. Gary Guyette and Frank Schmidt, Inc., The Hillman Collection: Rare Antique Waterfowl Decoys, St. Michaels, MD, April 25-26, 1996, lot 635, p. 153, exact decoy illustrated. ESTIMATE:

$30,000-$50,000

62 Black Duck Daniel G. English (1883-1962) Florence, NJ, c. 1930

64 Black Duck William Kuhn Tullytown, PA, c. 1900

An early hollow Delaware River decoy with a low head, incised wing feathers with outlined paint detail, raised primaries, and a notched tail. Painted “H. Lynn, Bristol, PA” on underside. Original paint with gunning wear.

A low-head Delaware River decoy with glass eyes, a square notched tail, and raised primaries. The decoy has a rounded keel, the bottom portion of which is a lead weight stamped “H Updyke Tullytown.” Old repaint and keel by John “Tuffy” Updike (1886-1955).

PROVENANCE: ESTIMATE:

Don Stilwell Collection

$500-$800

63 Black Duck John English (1852-1915) Florence, NJ, c. 1890 A classic Delaware River decoy. In old repaint with heavy gunning wear. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$300-$500

PROVENANCE:

Jack Morris Collection Don Stilwell Collection

ESTIMATE:

$300-$500

65 Black Duck Joe Thomas Paul (1881-1951) Manahawkin, NJ, c. 1920 A tack-eye swimming black duck with original square weight. Original paint with gunning wear including seam separation and a neck crack. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$200-$400

66 Preening Canvasback Pair Hurley Conklin (1913-1983) Manahawkin, NJ, c. 1940

68 Canada Goose Joseph Bounds (1851-1938) (attr.) Manahawkin, NJ, c. 1900

A very early pair of turned head, painted eye, hollow decoys with carved bill detail and incised tail feathers. Original paint with some shrinkage, even gunning wear and minor seam separations.

An early hollow decoy in a swimming posture. Working repaint with gunning wear.

ESTIMATE:

$2,000-$3,000

67 Canvasback John W. McLoughlin (1911-1985) Bordentown, NJ, c. 1940 A high-head Delaware River diver decoy with ink signature by the carver and inscribed “Appraised $1,500.00 1987” in marker on the bottom. Outstanding original condition. PROVENANCE: ESTIMATE:

Don Stilwell Collection

ESTIMATE:

$750-$950

69 Merganser Pair J. Eugene Hendrickson (1896-1971) Northfield, NJ, c. 1920 The drake has the maker’s initials stamped in the inletted weight and the hen is branded with his “JEH” on the underside of the tail. The hen is in original paint, the drake appears to be repainted and both have minor gunning wear. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$600-$900

$1,000-$1,500

70 Preening Brant Birdsall Ridgeway (1912-1982) Barnegat, NJ, c. 1935

71 Redhead Drake John S. Kimble Columbus, NJ, c. 1910

An early, hollow, preening brant decoy by this Barnegat carver, who was influenced by Sam Soper (1863-1943). A brant with similar paint and form, and two Canada geese by this maker are held in the Shelburne Museum Collection in Vermont. A mixture of original paint and inuse repaint with gunning wear.

An extremely hollow Delaware River decoy with stylized carved raised wings and incised secondary feather detail. The head exhibits small glass shoe button eyes, and carved bill detail, including a carved mandible. Old paint with craquelure and light gunning wear.

LITERATURE:

David S. Webster and William Kehoe, Decoys at Shelburne Museum, Shelburne, VT, 1961, p. 95, similar example illustrated. ESTIMATE:

$6,000-$9,000

PROVENANCE:

Don Stilwell Collection

LITERATURE:

H. Harrison Huster and Doug Knight, Floating Sculpture, Spanish Fork, UT, 1982, p. 151, similar decoys illustrated.

ESTIMATE:

$1,000-$1,500

∆

72 Canada Goose Joe Tom Cranmer (1864-1944) Manahawkin, NJ, c. 1910

73 Green-Winged Teal Pair Lloyd Johnson (1910-1965) Bay Head, NJ, c. 1960

A traditional hollow decoy with the maker’s classic eye grooves, bold body and a pronounced paddle tail. Illustrated in Doherty’s book, Classic New Jersey Decoys, this is one of the finest Cranmer goose decoys known to exist. Original paint with light gunning wear. A tight crack in the neck has been professionally reset.

The birds have forty-five-degree turned heads and display raised wing and tail carving. The hen exhibits intricate feather painting and the drake has very fine comb painted detail. Both are branded “Lloyd Johnson” on the bottom. Original paint.

LITERATURE:

James R. Doherty, “Classic New Jersey Decoys,” Louisville, KY, 2011, plate 309, p. 152, exact decoy illustrated.

ESTIMATE:

PROVENANCE: ESTIMATE:

Don Stilwell Collection

$2,000-$2,500

$3,000-$6,000

John Blair, Sr., photograph courtesy of the Blair family. (please note the gun in this photograph is not the one offered with this lot).

John Blair, Jr., Elkton, MD, 1940, photograph courtesy of the Blair family.

74 Swimming Bluebill Drake and Antique Gun John Blair, Jr. (1881-1953) Philadelphia, PA, c. 1920 This bluebill drake decoy was made by John Blair, Jr. and identified by Blair’s grandson, who inherited the piece. It exhibits a two-piece body with a beveled edge rectangular weight, subtle painted feathering, a gently curved lower mandible, and glass eyes. The exquisite form of this Delaware River carving, with its elegant swimming attitude, raised hump and paddle tail is virtually unsurpassed. The bird’s superb dry paint, incredible condition, and impeccable provenance place it amongst the finest bluebill decoys ever to come to market. This bluebill decoy is offered with John Blair Sr.’s (1843-1929) Belgian side-by-side, muzzle loading, eight gauge shotgun which he brought with him when he left Scotland and emigrated to Pennsylvania in 1864. It is a high-quality engraved guild gun with thirty-two inch barrels, a Liege “E,L,G,star” proof mark, dog head hammers, a walnut stock with a checkered wrist and steel butt plate. Original condition with minor gunning wear to include an age line in the neck. PROVENANCE: John Blair Jr. Rig Private Collection, by descent in the family

H. Harrison Huster and Doug Knight, Floating Sculpture, Spanish Fork, UT, 1982, pp. 4041, similar decoys illustrated.

LITERATURE: ESTIMATE:

$20,000-$40,000

75 No Lot 76 Green-Winged Teal Drake John Blair, Sr. (1843-1929) Philadelphia, PA, c. 1910 A hollow round-bottomed Delaware River decoy with glass shoe button eyes. The decoy is held together with four-plugged screws. â&#x20AC;&#x153;A. B. Vance, Nov 12 1875â&#x20AC;? is written in pencil inside the top half of the bird. Judge Vance was a 19th century court justice in Philadelphia, PA. Original paint with wear to the wood and gunning wear including two small holes in the underside. H. Harrison Huster and Doug Knight, Floating Sculpture, Spanish Fork, UT, 1982, pp. 31-36, similar decoys illustrated.

LITERATURE: ESTIMATE:

$3,000-$6,000

77 Pintail Drake Anthony Bianco (1915-1968) Bordentown, NJ, c. 1940

79 Bluebill Drake Anthony Bianco (1915-1968) Bordentown, NJ, c. 1940

A hollow Delaware River decoy with extensive comb painting, raised primaries, and the maker’s “Bianco” brand on the bottom. Original paint with minor gunning wear.

A hollow Delaware River decoy with a comb-painted back, incised primaries, and the maker’s “Bianco” brand on the bottom. Original paint with minor gunning wear.

PROVENANCE:

ESTIMATE:

Don Stilwell Collection

$1,000-$1,200

78 Canvasback Drake Anthony Bianco (1915-1968) Bordentown, NJ, c. 1950 A hollow low-head Delaware River decoy with carved wing feather groups. Retains the maker’s “Bianco” brand and collector’s initials “DSC” on the bottom. Original paint with an age line in the bill and a tail edge dent. PROVENANCE: Jack Morris Collection Don Stilwell Collection

Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, p. 252, exact bird illustrated. LITERATURE: ESTIMATE:

ESTIMATE:

Don Stilwell Collection

$1,000-$1,200

80 Two Widgeon Hens William H. Cranmer (1917-2008) Beach Haven, NJ, c. 1950 & 1965 A life-size, turned head, widgeon hen with an inletted round weight on the bottom. A miniature baldpate decoy signed and dated by the maker on the bottom. Original paint with light wear. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$600-$900

$1,000-$1,200

81 Yellowlegs Capt. J. Lewis Barkalow (1875-1960) Forked River, NJ, c. 1900 A delicate shorebird decoy that retains the maker’s “LB” brand on one side and on the underside. This shorebird was once in the collection of New Jersey decoy collector John Hillman, who signed the bottom of the base and wrote “Yellow leg made for & used for gunning on Meadows near Cape May Court House, NJ, J. A. Hillman Collection.” Original paint with craquelure and even gunning wear. The bill has been replaced and the base’s dowel is glued into the bird’s stick hole. PROVENANCE: Capt. J. Lewis Barkalow rig John Hillman Collection Private Collection, Florida

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, plate 365, p. 171, similar decoy illustrated.

LITERATURE: ESTIMATE:

$4,000-$6,000

82 Black-Bellied Plover Pair Bill Harris Atlantic City, NJ, c. 1890

Originally known as “Brigantine Bullheads,” these exact shorebirds are illustrated in Doherty’s book, Classic New Jersey Decoys. Singularly unique amongst the ranks of shorebird decoys, these beetle heads are great examples of American folk art. Both are in original paint with even gunning wear. One has a chip to the bill and tail. PROVENANCE: Dr. Jack Conover Collection John Clayton Collection LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, plate 380, p. 173, exact decoys illustrated. ESTIMATE:

$6,000-$8,000

83 Yellowlegs Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890

A good example of Shourd’s work with provenance from a famed collection. Marked on the underside with a conjoined “JF” and other marks from Joe French’s collection. Original paint with touch-up to the cheeks and painted eye areas. PROVENANCE: Joseph Bard French Collection Private Collection, Midwest LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, plate 113, p. 66, similar decoy illustrated. ESTIMATE:

$3,000-$5,000

84 Yellowlegs Flattie Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890

A rare Shourds silhouette shorebird decoy, one of only five known, displaying the maker’s earliest style of painted feathering. Original paint with minor gunning wear. PROVENANCE: ESTIMATE:

Private Collection, Midwest

$1,000-$2,000

85 Curlew Swain Family Cape May, NJ, c. 1890 A superb tack-eyed shorebird decoy with graceful lines, including a slightly dropped tail that mirrors the arch of the intact original bill. This, along with one other example are the only two curlew forms by this maker to have surfaced. Original paint with light gunning wear to include minor flaking, mostly under the tail. PROVENANCE: ESTIMATE:

John Clayton Collection

$5,000-$8,000

86 Ruddy Turnstone William Roberts (attr.) Cape May, NJ, c. 1880 This drop-tail, tack-eye shorebird decoy is branded â&#x20AC;&#x153;J. W. McCrayâ&#x20AC;? on the underside. The bird has a stringing hole through the tail and it was recently discovered with lots 88 and 89 in a Cape May residence. Old in-use repaint with gunning wear and an old bill replacement. ESTIMATE:

$1,000-$3,000

87 Curlew William Roberts Cape May, NJ, c. 1880 Though curlews were common in Cape May, few, if any, matched the quality of those by William Roberts. This observation was first documented in American Bird Decoys, when William J. Mackey, Jr. discussed a Roberts curlew in his colection which he had endearingly named “Ol’ Hookbill.” This full-bodied bird with drop-tail carving and a hook bill measures over 16 inches from bill tip to tail and displays bold lines. The dramatic 90 degree bend in the bill is perfectly mirrored in the bill-to-throat carving and creates an appealing negative space not typically seen in shorebird decoys. The oak bill of this bird would have been soaked or steamed while it was still green so that it could be easily bent and held in a form until it dried. Upon drying the bill would retain both the strength of its straight grain and its new curved shape. Original paint with light gunning wear including a chip to the top edge of the original bill. PROVENANCE: Bill Staplin Collection Davidson Hawthorne Collection, Salisbury, Maryland Private Collection LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 134, plate 114, similar bird illustrated. Gary Guyette and Frank M. Schmidt, North American Bird Decoys at Auction, St. Michaels, MD, 2010, p. 80, lot 364, similar bird illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 55, similar bird illustrated. ESTIMATE:

$20,000-$30,000

88 Ruddy Turnstone Cape May, NJ, c. 1880 An early running shorebird decoy with an old pattern of paint similar to birds attributed to the Roberts Family from Cape May. The bird has a stringing hole through the tail and was recently discovered along with lots 86 and 89. Old in-use repaint with gunning wear and the tip of the original bill missing. ESTIMATE:

$600-$900

89 Curlew Pair Cape May, NJ, c. 1880 Two curlew shorebirds, each with a “J.D. Bennett” brand on the underside. One also retains a partial “....J. P or B” brand. Both had glass shoe button eyes and rear stick-holes which were filled. These birds were recently discovered with lots 86 and 88 in a Cape May residence. Old in-use repaint with gunning wear. One has an age crack on one side and both have one eye missing. ESTIMATE:

$800-$1,200

90 Red Knot New Jersey A painted eye, iron-billed, flat-bottomed, robin snipe for use as a stick-up or beach bird. Original paint with significant restoration to sides of head and tail. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$300-$600

91 Black-Bellied Plover Virginia, c. 1900

92 Dowitcher Coastal Virginia, c. 1890

A carved eye shorebird with a tenoned bill. A mixture of original and in-use repaint with gunning wear including a reset neck.

A two-piece root-head shorebird decoy. Original paint worn to the wood in one area, gunning wear, and a bill repair.

ESTIMATE:

PROVENANCE:

$1,500-$2,500

ESTIMATE:

Vince Oâ&#x20AC;&#x2122;Neal Collection

$1,500-$2,500

93 Two Early Yellowlegs David S. Goodspeed (1862-1943) (att.) Duxbury, MA, c. 1880 A nicely matched rigmate pair both in alert positions, one has glass eyes and the other has painted eyes. Original paint with light gunning wear, one has professional touchup to a reset neck. ESTIMATE:

$2,000-$4,000

94 Sanderling Pair A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 Rare matched pair of sanderlings by New England’s most famous maker. Very few of these “palm sized” gunning birds are known to have survived. A famous example resides in a private New England collection and another example resided in the John H. Hillman Collection. Remnants of original paint mostly worn to bare wood along their backs. One bird has a bill tip missing, a few age lines along the breast and some possible minor putty fill around eyes. ESTIMATE:

$6,000-$9,000 94a

94a Black-Bellied Plover George Boyd (1873-1941) Seabrook, NH, c. 1910 An excellent example of a Boyd plover decoy in winter or non-breeding plumage. Original paint with a very minor tail chip. PROVENANCE:

Private Collection, Connecticut

Joe Engers, ed., The Great Book of Wildfowl Decoys, Lewes, DE, 1990, p. 68, rigmate illustrated. Jim Cullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH,1873-1941, Rye, NH, 2009, p. 23, similar examples illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, plate 52, similar bird illustrated. LITERATURE:

ESTIMATE:

$3,000-$5,000

95 Hollow Turned Head Willet Dr. Clarence T. Gardner (1844-1907) and Newton Dexter (d. 1901) Little Compton, RI, c. 1885 In the 1930s Frank D. Lisle, the grandfather of the consignor of this shorebird, purchased the summer home of Dr. Clarence Gardner. The summer home built in 1883 was perfectly located on the productive shores of Sakonnet Point ideal for fishing and hunting. Soon after the purchase, Lisle discovered Gardner and Dexter’s rig of shorebirds in an out-building on the property. Newton Dexter was an excellent taxidermist and both gentlemen carved shorebirds while Dexter painted them. Information regarding this important rig was first published by the father and uncle of the consignor in Hal Sorenson’s 1966-67 Decoy Collector’s Guide. This boldly carved shorebird decoy is of the same quality and exhibits the same threepiece, pegged-body construction as its rigmates, the famous dowitchers collected by the late Dr. James M. McCleery of Texas. This bird has a slightly turned head, with individually carved raised wings and a superb dry original surface. This grand shorebird decoy ranks as one of the finest willet decoys to ever come on the market. Outstanding original paint with very minor seam shrinkage. PROVENANCE: Frank D. Lisle Collection Richard W. Lisle Collection Private Collection, by descent in the family

Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 32-33, similar examples illustrated. Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22, 2000, lots 541 and 542, similar examples illustrated. Hal Sorensen ed., Decoy Collector’s Guide: 1966-67 Annual, Burlington, IA, pp. 63-67, similar examples illustrated.

LITERATURE:

ESTIMATE:

$40,000-$60,000 95 detail

96 Dunlin Cape Cod, MA, c. 1900

98 Three Eskimo Curlew Decoys Coastal New England, c. 1900

A rare species of shorebird decoy with tack eyes and an alloy bill. The size, bill shape and paint also suggest that this could be an even rarer curlew sandpiper decoy. Previous to this birds discovery only a handful of these alloy-billed shorebirds by this talented Cape Cod carver have surfaced. The tail retains a curved metal wire insert, designed for stringing the decoy, for carrying it in the field. Original paint with an appealing, old second coat of white on the underside with gunning wear and age cracks to head and neck.

These three split-tail shorebird decoys from the same New England rig have high heads with small glass shoe button eyes, one has a slightly turned head. All three are in original paint with gunning wear. Two have reset necks and half-restored bills.

ESTIMATE:

â&#x2C6;&#x2020;

$3,000-$6,000

97 Hollow Golden Plover Charles F. Coffin (1835-1919) Nantucket, MA, c.1880 A hollow shorebird decoy with tack eyes and detailed painted surface, lightly hit by shot. Original paint with light gunning wear. Half inch chip to underside of tail, replaced bill. PROVENANCE:

Donal C. Oâ&#x20AC;&#x2122;Brien Jr. Collection Joseph B. French Collection Private Collection, Massachusetts

ESTIMATE:

$1,000-$2,000

ESTIMATE:

$1,500-$2,500

99 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:

$1,000-$2,000

100

101

100 Black-Bellied Plover Charles Morey Lewis Nantucket, MA, c. 1890 A hollow, four-piece laminated shorebird decoy from this talented Nantucket craftsman, who also made lightship baskets. The bird exhibits a split tail, tack eyes, detailed painted feathering and a baleen bill. Marked on the underside with a small conjoined “JF” for the Joe French Collection. Original paint with minor gunning wear.

101 Golden Plover Nantucket, MA, c. 1900 An extremely hollow shorebird decoy exhibiting a vertically laminated three-piece body joined with square pegs. The bird has glass shoe button eyes and displays intricately stippled green and white painted feathering. Original paint with minimal gunning wear and a small wing chip. ESTIMATE:

PROVENANCE: Joseph Bard French Collection Private Collection, Massachusetts ESTIMATE:

$3,500-$5,500

102

∆

102 High Head Yellowlegs Nantucket, MA, c. 1830 A shorebird decoy from Nantucket’s early nineteenth century High-Head rig. 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 gunning wear including a re-set neck and possible wire bill replacement. ESTIMATE:

$1,000-$2,000

$5,000-$8,000

103

∆

103 Black-Bellied Plover Elisha Burr (1839-1909) Hingham, MA, c. 1880 The Burrs were masters of capturing the postures of live birds, and their decoys were carved in animated poses with complex wing and tail treatments. This carving style, coupled with their lively brush strokes, created decoys that seem alive with movement. When Adele Earnest curated the World’s Fair in 1967, she selected a rigmate to this decoy, which now resides in the collection of the American Folk Art Museum in New York. This running shorebird decoy has small glass shoe button eyes set in a deeply carved eye groove. The split wing tips, with detailed primaries and drop tail carving, have remained whole despite the bird’s gunning past, as shown by the few shot holes in the decoy. A great majority of Burr’s decoys were never hunted and were sold as decorative objects. Original paint with minimal gunning wear. Working touch-up to breast and very tip of bill.

LITERATURE: Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 72, similar decoy illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, plate 69, similar bird illustrated. Richard A. Bourne Co. Inc., Very Rare and Important American Bird Decoys, From the Collection of the Late William J. Mackey, Jr. of Belford, New Jersey, Boston, MA, 1973, Session II, Lot 481, similar decoy illustrated. Hal Sorenson ed., Decoy Collector’s Guide: 1968 Annual, Burlington, IA, pp. 113-114, similar decoy illustrated. John and Shirley Delph, New England Decoys, Exton, PA, p. 89, similar decoy illustrated. Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1985, similar decoy illustrated. ESTIMATE:

104 Black-Bellied Plover Coastal New England, c. 1890 A New England, possibly Nantucket, shorebird decoy with glass shoe button eyes, a split tail, and a few shot scars. Original condition with light gunning wear. ESTIMATE:

$400-$800

105 Yellowlegs Coastal New England, c. 1890 A rigmate to the black-bellied plover decoy in the previous lot. This New England shorebird decoy displays shoe-button glass eyes, a reset original bill, a slightly split tail, a stringing hole through the wings and numerous shot scars. Original condition with heavy gunning wear. ESTIMATE:

$400-$800

104

$5,000-$8,000

105

106 No Lot

107

108

107 Nantucket Lightship Basket Capt. Andrew Jackson Sandsbury (b. 1830) Nantucket, MA, c. 1880 An open oval basket with the top opening measuring fourteen by nine inches. Most likely woven at sea aboard the Nantucket New South Shoal Lightship #1 on which Sandsbury was a captain. The basket displays a slightly carved handle attached with a brass rivet and a copper burr, a finely riveted brass handle ear, slightly beveledged staves and an inside baseboard carved with a smooth edge. Original condition with fine patina with one missing weaver. ESTIMATE:

$1,000-$2,000

108 Nantucket Lightship Basket Davis Hall (attr.) Nantucket, MA, c. 1870 An open round basket with the top opening measuring six inches in diameter. Most likely woven at sea aboard the Nantucket New South Shoal Lightship #1 where Hall was a crew member. The basket displays a slightly carved handle attached with a copper rivet and a brass burr, a carved handle ear beveled to a point, wide staves, a baseboard carved with a smooth edge inside and out, and a circular row of fine tacks on the bottom. Original condition with a couple missing weavers and a fine age crack on one side of the base. ESTIMATE:

$800-$1,200

109

109 Swordfish Weathervane Cape Cod, MA, c. 1920 A twenty-eight-inch long, one-inch thick, wooden silhouette weathervane with lightly carved eyes and incised gill and mouth detail. Old paint with minor touch-up to the tip of the dorsal fin. PROVENANCE: ESTIMATE:

Found in a boathouse, Orleans, Massachusetts

$3,000-$5,000

110

110 Flying Old Squaw Hen James Walter Folger (1851-1918) Nantucket, MA, c. 1905 A relief carving on board measuring 9.5 by 18.5 inches. Signed lightly in pencil on the back, “James Walter Folger” and appears to be titled “Quandy from Nantucket- Brant Point.” Several examples of Folger’s work currently reside in the Nantucket Whaling Museum. Two other relief-carved flying duck plaques reside in private Cape Cod collections. This old squaw represents an important folk art carving from this historic island.

Michael A. Jehle, Picturing Nantucket: An Art History of the Island With Paintings from the Collection of the Nantucket Historical Association, Mystic, CT, 1999, pp. 108-110.

LITERATURE:

ESTIMATE:

$10,000-$15,000

Folger took his inspiration from his surroundings on the island. During the fall months, flocks of old squaw by the tens of thousands fly near the south facing beaches from the east off Siasconset to the west off Madaket. This impressive migration was no doubt part of the inspiration behind this important Nantucket carving. Original paint with light craquelure, superb patina and even wear.

111

James Walter Folger at work in his studio, 1912. A related merganser carving is visible top center. Photo courtesy of the Nantucket Historical Association.

111 Great Horned Owl Herter’s Manufacturing Inc. (Est. 1890s) Waseca, MN, c. 1940 A balsa-bodied great horned owl decoy. Original paint with gunning wear and a one and a halfinch dent in the breast. LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 100, similar decoy illustrated. ESTIMATE:

$1,000-$2,000

112 Isaiah C. Wagner (b. 1876) Bluefish, 1917 Signed “Wagner” lower right Wood, 24 by 35 inches

112

Isaiah C. Wagner followed in the footsteps of fellow New Bedford artist, Leander Allen Plummer (1857-1914). Plummer was one of the pioneers of modern “relief painting” as a result of his dual expertise in painting and wood carving. His “relief paintings” were well received, particularly by members of the Eastern Yacht Club in Marblehead in 1902. He completed forty or fifty relief paintings by 1906. Few examples of Plummer’s work remain intact today, as many of them were dismantled in the late 20th century. This piece by Wagner shows the same detail and process of his predecessor, and it is highly likely that Wagner was familiar with Plummer’s work. The two artists had similar interests in depicting aquatic scenes and Wagner’s piece shows the same attention and animated detail. The hatch marks along the body of the bluefish create a realistic scale pattern that looks as if the fish is immersed in water. A work with the same title was included in a 1916 exhibit at the New Bedford Art Club. Also included in the exhibit were two other works by Wagner entitled The Trout and The Deluge. In 1917, the same year this carving was made, another work by Wagner depicting bluefish was exhibited titled Fishing. Mary Jean Blansdale, Artists of New Bedford, New Bedford, MA, 1990, pp. 144-145, pp. 198-199.

LITERATURE: ESTIMATE:

$3,000-$5,000

113

113 Four Flying Mallards Wisconsin, c. 1925 Four stick-up field decoys, three mallard drakes and a hen, displaying unique three-dimensional, crossed-wood construction. These decoys were mounted on tall stakes in the rushes and attached to cords which, when pulled, would simulate landing mallards. One pair was originally discovered at a Green Bay, Wisconsin flea market. Two other drakes from this same rig are featured in the recently published “Great Lakes Decoy Interpretations” by Gene and Linda Kangas. Original paint with light craquelure and even gunning wear. PROVENANCE:

William Birch Collection

Gene and Linda Kangas, Great Lakes Decoy Interpretations, Louisville, KY, 2011, p. 189, rigmate decoys illustrated.

LITERATURE: ESTIMATE:

$8,000-$12,000 79

114

114 Flying Bufflehead Pair Chauncey Wheeler (1888-1945) Alexandria Bay, NY, c. 1920 and 1930 In his 2002 biography of Chauncey Wheeler, Harold Reiser writes of this exact hen, “This half-flying bufflehead is the only bufflehead hen known to have been made by Wheeler.” The hen measures 15 inches from bill to tail tip. The drake, measuring 17 inches, is an earlier carving than the hen and is identified on the back, “Male Butter Ball.” Reiser’s thoroughly researched book on Wheeler’s carvings did not include an illustration of a drake, and it is considered to be as rare as the hen. The drake exhibits a vertically laminated three-piece body and is suspended by two hand-cut copper hangers. In original paint. The drake has a scrape on the wing and some touch-up under and in front of the wing seam, with the foot professionally replaced. The hen has touch-up to the the top of the wing seam. LITERATURE: Harold W. Reiser III, Chauncey Wheeler, Lewes, DE, 2002, p. 88, exact hen illustrated. ESTIMATE:

$20,000-$40,000

115

115 Goldeneye Drake Lothrop Holmes (1824-1899) Kingston, MA, c. 1880 An exceedingly rare decoy from the personal rig of one of New England’s most respected decoy carvers. Only two examples of this species by Holmes have ever surfaced. This solid-bodied decoy exhibits a gently sloped breast, a finely sculpted body and tail, and a well-patterned head with glass shoe button eyes. The bottom of the decoy displays the seldom seen “L.T. Holmes” brand applied twice, designating his personal rig. A “TWD” brand for the later rig of T. W. Douglas, also from Kingston, Massachusetts, and a “Q” brand for the Quandy collection also appear on the bottom. A mixture of original paint, in-use repaint, and professional touch-up showing nice even craquelure, with lower third of bill replaced. PROVENANCE: Lothrop T. Holmes Rig T. W. Douglas Rig Quandy Collection Private Collection, New York LITERATURE: George Ross Starr, Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 173, figure 87, only other known Holmes goldeneye drake illustrated. ESTIMATE:

$10,000-$20,000

Lot 116 shown atop a slant top desk with bookcase, along with two other Wilson carvings. c. 1960

Lot 117 sandhill crane (lower left) on display in the original owner’s library. c. 1960

116 Gull Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1920

117 Sandhill Crane Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1920

A rare, life-size, standing gull carving by this important Maine decoy and folk art carver. The bird exhibits an inserted bill, carved raised eyes, an inletted head, raised wings, and heavy wire legs with looped wire feet. Original paint with an old coat of sealer and thin gray touch-up to areas of wear. Expected age lines and tight cracks.

An exceedingly rare life-size crane carving with two wooden legs tenoned into a base board. The only other large wading bird believed to have been made by this carver is a heron carving, which is in the collection of the Abby Aldrich Rockefeller Folk Art Museum in Williamsburg, Virginia. Surface is a mix of original paint, varnish, and overpaint. Missing a wing tip, the body has been broken from the legs and needs to be reset. A larger base board was added to the original base to increase stability.

LITERATURE: Gene Kangas, Gus Wilson, Folk Artist, Decoy Magazine, Lewes, DE, November/December 1994, p. 10, similar carving illustrated. PROVENANCE: ESTIMATE:

Private collection, Masschusetts

$3,000-$6,000

LITERATURE: Gene Kangas, Gus Wilson, Folk Artist, “Decoy Magazine,” Lewes, DE, November/December 1994, p. 10, similar carving illustrated. PROVENANCE: ESTIMATE:

Private collection, Masschusetts

$8,000-$12,000

116

117

118

119

120

121

118 Surf Scoter Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1890

120 Black Duck Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1910

A wide-bodied, Monhegan Island sea duck decoy with carved eyes, a rocked-back head, and carved raised wings. Working repaint with gunning wear.

In a swimming posture, this decoy displays Wilsonâ&#x20AC;&#x2122;s signature carved head detail and raised wings. The decoy retains its original rigging on the underside. Original paint with in-use touchup and gunning wear.

ESTIMATE:

$1,500-$2,500

ESTIMATE:

119 Eider Drake Augustus Aaron Wilson (1864-1950) South Portland, ME, c. 1900 A down-east sea duck decoy from the rig of Alger Pike from South Lubec, Maine. Displays an inletted head, carved eyes and bill detail. Working repaint with gunning wear. ESTIMATE:

$400-$800

$400-$600

121 Green-Winged Teal Maine, c. 1940 A slightly turned head decoy found in a down-east hunting rig. Mixture of original and in-use paint with light gunning wear. ESTIMATE:

$200-$400

122 Eider Drake Amos G. Wallace (1882-1968) West Point, ME, c. 1910

122

A full-bodied sea duck displaying incised bill and eye detail with tack centers, an inletted head and a curled iron rod weight. Amos and his son, Alton (1909-1995) were boat builders as well as decoy carvers. The West Point Skiff, originally designed by Amos, is still being made in Maine by Richard Nichols, who knew both men and continues their maritime tradition. Working re-paint with gunning wear and a repaired bill. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 43, similar decoy illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 28, similar decoys illustrated. John and Shirley Delph, â&#x20AC;&#x153;New England Decoys,â&#x20AC;? Exton, PA, 1990, pp. 36-37, similar decoy illustrated. LITERATURE:

ESTIMATE:

$6,000-$8,000

123 Stick-Up Brant Prince Edward Island, Canada

123

A life-size decoy exhibiting a two-piece head with tack eyes, carved raised wings, mounted on a steel rod and a partial oak beam base. Old in-use repaint with gunning wear and an old gouge on one side of the breast. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$200-$400

124 Goldeneye Drake Pete Mitchell (attr.) Coastal Maine, c. 1920

124

Displays an inletted head and an unusual top board. Original paint with heavy gunning wear and newer eyes. ESTIMATE:

$200-$400

125

126

125 Emperor Penguin Charles Hart (1862-1960) Gloucester, MA, c. 1930

126 Standing Wood Duck Drake Charles Hart (1862-1960) Gloucester, MA, c. 1900

An eighteen-inch high standing penguin with carved eyes and incised detail on an inserted bill. The bird also exhibits the maker’s classic, stylized attached wings, and a rare inletted tail. The mortised legs are inserted into the body and extend through the gently chamfered edge base. A large Hart carving presented to Admiral Byrd, noted South Pole explorer, was exhibited in a Massachusetts decoy exhibit at the Peabody Essex Museum in Salem, Massachusetts. Old paint with appropriate wear for its age, a vertical age crack and missing feet.

An exceptional stick-up decoy showcasing Hart’s intricate carving ability. This bird displays an anatomically correct carved bill, a carved crest, inset wings with layered primary feathers, and incised tail detail. It was originally acquired by a Virgina gentleman whose collection was noted for its exceptional southern decoys and noteworthy examples of wood ducks. This stick-up along with a standing black are considered to be two of the makers very best waterfowl carvings. Outstanding original condition. The base is not original to the carving.

PROVENANCE:

Donald Kirson Collection

Richard Bishop, American Folk Sculpture, New York, NY, 1985, p. 177, similar carving illustrated. LITERATURE: ESTIMATE:

$6,000-$9,000

PROVENANCE: Private Collection, Virginia Private Collection, Rhode Island ESTIMATE:

$10,000-$20,000

Norma Hart Anderson on the steps of her grandfather, Charles Hart’s, home in Gloucester, MA, c. 1940s. Photo courtesy of Norma Hart Anderson.

127 Framed Silk Butterflies 24 by 34.5 inches

127

Nine silk panels, each measuring seven by eleven inches. One central panel depicting red-crowned cranes in a feeding position in their natural landscape. The eight surrounding panels depict seventy-two hand painted insects and other smaller creatures common in crane diets. Most striking in this work are the butterflies, which overlap and are oriented in various directions, sizes, and colors. ESTIMATE:

128

129

$500-$1,000

128 â&#x20AC;&#x153;Mammyâ&#x20AC;? Doorstop Hubley Manufacturing Inc. (attr.) Lancaster, PA, c. 1920 A ten-inch high hollow cast iron doorstop. Original paint with some old in-use white repaint and wear. PROVENANCE: Presented to a gentleman from Maine prior to 1954 Private Collection, Massachusetts, by descent in the family from the above ESTIMATE:

$400-$600

129 Hound Doorstop England, c. 1890 A fourteen-inch patinated brass doorstop on a breakfront plinth base with a raised British registration mark and #19 on the reverse. Original with patina. ESTIMATE:

130

$800-$1,200

130 Canada Goose Pair Mississippi Flyway, c. 1920 Two hand-stitched, high-head stuffed canvas geese. Original surface with gunning wear including old darned repairs to the larger goose. ESTIMATE:

$500-$700

131

131 Carved Eagle John Haley Bellamy (1836-1914) Kittery, ME, c. 1890

132 Relief Carved Brook Trout Oscar W. Peterson (1887-1951) Cadillac, MI, c. 1935

This classic carved eagle and banner, measuring eight and three-quarter by twenty-six 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 and surface, this eagle ranks amongst the maker’s best work. Original paint with minor restoration to beak and one banner tip.

This folk art carving shows the vibrant colors of the species with custom made glass eyes and splined back board. Original paint with professional restoration to body and water. Ronald J. Fritz, Michigan’s Master Carver; Oscar W. Peterson; 1887 - 1951, Boulder Junction, WI, 1987, pp. 77-78 similar examples illustrated,

LITERATURE:

ESTIMATE:

$10,000-$15,000

PROVENANCE:

Private Collection, New Hampshire By descent in the family to Judge Douglas Gray Private Collection, Maine, aquired from the above ESTIMATE:

$20,000-$30,000

132

133-134-135-136

133 Duck Call Clyde “Sharpie” Shaw Reelfoot Lake, TN, c. 1930

135 Duck Call John “Sandy” Alexander Morrow Flint, MI, c. 1930

A seven-inch walnut duck call with the maker’s “Sharpie Shaw” stamp on the side of the barrel. Original condition.

A five and one-half inch “Pocket Model” or “6-Ring” model wooden duck call. Original condition.

ESTIMATE:

$1,500-$2,000

134 Duck Call John “Sandy” Alexander Morrow Flint, MI, c. 1925

136 Duck Call Tom Turpin Memphis, TN, c. 1930

A six-inch Shotgun Sight or Baby Butt model wooden duck call with flattened sides on the stopper and raised carving on the barrel. Original condition.

A six and one-half inch walnut duck call with three embossed flying ducks on the barrel and the letter “P” on the possible later Turpin stopper. Turpin and Shaw both hunted and tested their calls on Reelfoot Lake in Tennessee. Original condition.

ESTIMATE:

$2,500-$3,500

ESTIMATE:

137

138

$1,000-$1,500

139

140

140 verso

3893

137 Shotgun Box A nine-inch by four-inch walnut lift top desk box with a doublebarreled brass Parker-style shotgun applied to the top and inverted brass shells in the corners. The interior of the box is divided into three compartments. In original condition with light wear. ESTIMATE:

$200-$300

138 A Dozen Wooden Corn Cob Decoys Bedard and Morency Mill Co. Oak Park, IL, c. 1935 An original set of eleven wooden “Cobbe Decoys” along with their original printed canvas drawstring bag and a hand-carved wooden ear of corn with an older “Cobbe Decoy” canvas bag. These wooden cobs were used along with field decoys, to attract ducks and geese to land in harvested corn fields. Original condition with light wear and nice patina.

140 Pair of Calls Charles Perdew (1874-1963) Henry, IL, c. 1940 According to collector and author Donna Tonelli, this matched set of fancy duck and crow calls is one of only four known sets by Charles Perdew. It’s comprised of a carved duck call displaying Perdew’s triple mallard design and a carved crow call displaying a crow and nest in a tree with a brass schimstock band. Both calls have stylized “LW” carved raised initials designating those of the original owner. Original condition. Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p.145, one of four matched call sets illustrated. Ann Tandy Lacy, Perdew: an Illinois Tradition, Muncie, IN, 1993, pp. 195-197, similar calls illustrated. LITERATURE:

ESTIMATE:

$10,000-$20,000

Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, p. 107, similar decoys illustrated.

LITERATURE: ESTIMATE:

$1,000-$2,000

139 Shotgun Box Cincinnati, OH, late 19th century A wooden cased shotgun shell reloading kit, featuring old brass shells, an empty tin of Kings FFG Semi-smokeless powder from the King Powder Co. of Cincinnati, Ohio, a tin of Winchester primers, a box of cardboard wads, and other gun tools. As found condition. ESTIMATE:

$100-$200 91

141 High Head Pintail Hen Herman R. Trinosky (1874-1956) rig Kankakee Marsh, IN, c. 1895 Defined by its elegant, singular form, this decoy displays sweeping lines. The bird’s refined head features subtle cheek carving and a highly unusual flared bill that widens toward the tip. The graceful neck is extended, accurate for the species and the body exhibits a smooth humped back that tapers to a long thin tail. The bird’s intact survival is remarkable given the three major areas (bill, neck, and tail) that were prone to potential damage while being hunted and transported. Only seven of these Kankakee pintails have surfaced to date, of these there are three drakes and three other hens. The body’s surface features strong swirled paint with appealing craquelure. The right side has two wood screws original to the construction. The bottom retains three screw-eyes for rigging with a swing-weight. Throughout history, decoy carvers often amended or altogether discarded early patterns in favor of sturdier designs. A perfect example of this evolution is Henry Keyes Chadwick (1865-1958) of Martha’s Vineyard whose earliest redheads started out with stylish thin necks, long bodies, and thin sharp paddle tails. Later he modified his designs to have shorter bodies and thicker necks thus acknowledging the flaws of his earlier designs. With limited output, easily broken heads and tails, few of these intact redheads exist today. These early flawed designs however are the ones most coveted by collectors today. A good early Chadwick decoy will command ten times that of his middle or late period birds. While no examples of middle period or late period Kankakee pintails are known to exist, more conventional and less fragile examples of Kankakee mallards and bluebills attest to the makers more practical side.

In original paint with gunning wear. An old age line through base of neck, and another on right side of body is original to the construction and typical of other birds in the rig. Two paint drips under the right speculum were professionally removed. Minor darkening to areas of primer on neck and around screw holes. PROVENANCE:

Herman R. Trinosky (1874-1956) Hunting Rig Ron Gard Collection Private Collection, Midwest

LITERATURE: Gene and Linda Kangas, Great Lakes Interpretations, Concord, OH, 2011, p. 182, exact decoy illustrated, front cover, similar examples illustrated Gene and Linda Kangas with Ron Gard, “Kankakee Marsh Pintails: The Magnificent Seven,” from Hunting and Fishing Collectibles Magazine, Lawsonville, NC, JulyAugust 2009, pp. 16-26, exact bird illustrated on p. 22. Christie’s “Important American Furniture, Folk Art, Silver, Prints and Decoys,” New York, NY, January 18-19, 2007, lot 365, exact decoy illustrated. ESTIMATE:

$50,000-$70,000

141 detail

141

“In the early 1800s, the Grand Kankakee Marsh was recognized as the largest fresh water wetland in the Midwest, extending for approximately a million acres mostly through northwest Indiana (600,000 acres) and partially into Eastern Illinois. The fertile, ancient marshland provided a welcomed safe haven for migrating waterfowl. It was once a winding, thriving wetland providing lush habitats for a diverse menagerie of creatures from insects to fish, birds, and buffalo. Ducks that migrated through that area more recently are descendants of millions of transient waterfowl which once frequented the Grand Marsh.

Some prominent notables who regularly visited Kankakee Marsh were Theodore Roosevelt, Grover Cleveland, Benjamin Harrison, and Civil War General, Lew Wallace (author of Ben Hur – 1880). In fact, the original name of the Valley Hunt Club was changed to the White House Hunt Club because of the frequent presidential visits by Grover Cleveland.” Gene and Linda Kangas with Ron Gard

142

∆

142 Hooded Merganser Pair Harold Haertel (1904-1995) Dundee, IL, 1963 These two decoys were gifted with the inscription on the bottom: “To Bill Mackey from Harold Haertel, 1963.” This forward-preening hen and a slightly turned-head drake represent two of the most important Haertel decoys to ever come on the market. In his pioneer decoy collecting book, Mackey writes, “The unsung folk art of decoy making has survived with all its traditions and has passed into a fresh phase in the work of eminent contemporary carvers as Lloyd Johnson and Harold Haertel of Dundee, IL.” Near mint original condition. PROVENANCE:

William J. Mackey, Jr. Collection Private Collection, Massachusetts Richard A. Bourne Co. Inc., Collection of the Late William J. Mackey, Jr., Hyannis, MA, July 10, 1974, lot 585, exact decoys illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 248.

LITERATURE:

ESTIMATE:

$5,000-$10,000

142 detail

143

∆

143 Redhead Pair Edward Keller (1888-1963) Bartonville, IL, c. 1940 An exceptional pair of redhead decoys from Keller’s own rig with his “EK” initials painted on the bottom of each. Original paint with light gunning wear. The drake has a faint seam separation at the neck, the hen has a faint age line on one side of the neck. Each has its keel removed. Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 119, similar decoy illustrated.

LITERATURE: ESTIMATE:

$4,000-$8,000

144

144 Mallard Drake Hiram “Hy” Hotze (1886-1977) Peoria, IL, c. 1930 This hollow Illinois River mallard decoy displays all the aspects of the maker’s master craftsmanship including its original rigging. Hotze often signed and dated the inside of his hollow decoys, and this unusual identification placement attests to the pride the maker took in creating these lifelike gunning decoys. As seen on this example, the most elaborate paint detailing is found on his mallard decoys. Originally collected by Illinois doctor E.C. Burhans, in lieu of payment for medical services. This decoy descended to his daughter, Betsey Fowler, wildlife artist and the spouse of Jim Fowler, noted zoologist and host of the Emmy Award-winning Mutual of Omaha’s Wild Kingdom. Original paint with gunning wear. PROVENANCE:

Dr. E. C. Burhans Collection Betsey Burhans Fowler Collection Stephen O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 114, similar decoy illustrated. Alan Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, p. 172, similar decoy illustrated.

LITERATURE:

ESTIMATE:

$3,000-$5,000

145

∆

145 Mallard Drake George A. Kessler (1868-1955) Pekin, IL, c. 1910 An early tack-eyed, hollow Illinois River decoy with a two-piece neck and original lead strip weight. An exemplary example by this maker in all respects. Original paint with light craquelure and gunning wear. ESTIMATE:

$800-$1,200

146

146 Swimming Mallard Drake Hector Whittington (1907-1981) Oglesby, IL, 1949 This hollow, over-sized bird, carved and painted for competition by the maker, exhibits a turned head, detailed bill carving, fine comb painting, carved raised primaries, and a curled metal tail sprig. This boldly carved decoy was awarded a first place ribbon at the 1949 International Decoy contest in New York City. Inscribed “Entered International Decoy Contest at Grand Central Palace New York, N.Y.” on the bottom. Original paint with wear from handling and minor touch-up to age line in head and underside of bill. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$2,500-$3,500

147

∆

147 Mallard Pair Iowa, c. 1930 Two hollow Mississippi Flyway decoys with carved and slightly raised primaries. Original paint with light gunning wear. The hen has a tight crack in the neck. ESTIMATE:

$600-$900 97

148 Pintail Pair Bert Graves (1880-1956) Peoria, IL, c. 1925 A pair of Illinois River pintails carved by Bert Graves and painted by Catherine Elliston. The hen is one of the finest examples known to exist and is comparable to the famous hen illustrated on page 103 in O’Brien and Carlson’s Masterworks of the Illinois River. It retains its original “G.B. Graves. Decoy. Co. Peoria. Ill.” lead strip weight and was originally collected by William J. Mackey and later by Dr. James McCleery. The drake was originally collected by Joseph B. French. Original paint with minor gunning wear including a tail chip on the hen and both have bill dents. PROVENANCE:

Hen: William J. Mackey Jr. Collection Dr. James M. McCleery Collection Private Collection, Midwest Drake: Joseph B. French Collection Private Collection, Midwest LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 105, exact decoy illustrated. Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 97 and 103, similar decoys illustrated. ESTIMATE:

$15,000-$25,000

148

149

149 Canvasback Drake August Moak (1852-1942) Tustin, WI, c. 1920 An exceptional example of this maker’s work, this hollow decoy has a bottom board, a slightly turned head, carved bill detail, and displays the maker’s most desirable paint pattern. Original paint with minor gunning wear. PROVENANCE: Ron Koch Collection Donald Kirson Collection

Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 211, similar decoy illustrated.

LITERATURE: ESTIMATE:

100

$8,000-$12,000

150 Blue-Winged Teal William L. Schultz (1923-2009) Milwaukee, WI, 1968

150

Inscribed “Blue-Wing Teal Drake, Eclipse Plumage, Carved Spring 1968, For Dick Steinman, by William L. Schultz” by the maker on the bottom of the decoy next to its keel. The decoy exhibits finely carved bill and wing detail. Original paint with minor sap bleeds along the waterline of the right side and two faint rubs on the left side. PROVENANCE: ESTIMATE:

Private Collection, Midwest

$2,000-$4,000

151 Shoveler Drake William L. Schultz (1923-2009) Milwaukee, MN, 1967

151

This decoy exhibits vivid blended brush strokes, a slightly turned head, and raised wings. The underside has a felt bottom and is inscribed “Shoveler Drake, Spatula Clypeata, Carved For Bill Anderson, William L. Schultz, Second Place-Decorative, International Decoy Show 1967.” Original paint with very minor scrapes. PROVENANCE: ESTIMATE:

Private Collection, Midwest

$3,000-$5,000

152 Herring Gull William L. Schultz (1923-2009) Milwaukee, WI, c. 1965

152

A rare confidence decoy by this national champion carver, one of only three gulls that Schultz is known to have carved. Original paint with light wear from handling. PROVENANCE: ESTIMATE:

Private Collection, Midwest

$2,500-$3,500

101

153

154

155

156

153 Swimming Bluebill Thomas Schroeder (1886-1976) (attr.) Detroit, MI, c. 1950 A hollow decoy, possibly made by Schroeder when he was carving for mid-twentieth century national decoy competitions. Original condition with minor wear from handling. PROVENANCE: ESTIMATE: ∆

Don Stilwell Collection

$300-$600

∆

155 Canvasback Drake Realistic Decoy Company (attr.) Kewaunee, WI, c. 1935 A rare factory decoy. The company closed in 1939 and was in business for less than a decade. Painted tack eyes, carved bill detail, a weighted keel and a dry original surface. Original paint with minimal gunning wear. ESTIMATE:

$600-$900

154 Canvasback Drake Dannie Scriven (1880-1942) Detroit, MI, c. 1911

156 Canvasback Drake Ralph Reghi (1910-1995) Detroit, MI, c. 1990

A classic lower Detroit River bobtail with refined head and bill carving. This fine example by the maker retains its original keel. Original paint with even gunning wear.

One of the last decoys carved and painted by Reghi. The bird was collected from the vise of Reghi’s workbench and retains the wooden block on the bottom that secured the decoy in that vise. The slightly turned head decoy has detailed bill and primary feather carving. Original condition with an age line along the bottom board.

ESTIMATE:

$400-$600

ESTIMATE:

102

$300-$600

157 Brown Trout Lawrence C. Irvine (1918-1998) Winthrop, ME, 1976

157

After weighing and tracing his client’s trophies Irvine produced custom fish carvings as reminders of their successful days afield. The twenty-two-inch carving is mounted on a faux birch bark painted oval with a beveled edge. The back of the plaque reads “Brown Trout, Feb. 1, 1976, 4 lb., 22” long, Round Pond.” Original condition. PROVENANCE: ESTIMATE:

Private Collection, Midwest

$2,000-$4,000

158 Salmon Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1970

158

A twenty-five-inch Atlantic Salmon carving mounted on a rarely found twenty-nine by fifteen-inch, framed painting on board. “Carved & Painted by Lawrence C. Irvine, Winthrop, Me.” is inscribed in ink on the back of the painting. Original condition. PROVENANCE: ESTIMATE:

Private Collection, Midwest

$3,000-$5,000

Lawrence Irvine, c. 1960, busy filling orders in his workshop. Photo courtesy of Morning Sentinel Newspaper, Waterville, Maine, Staff Photograph Archives.

103

159

159 Preening Mallard Drake Edward “Ted” Mulliken (1896-1964) Old Saybrook, CT, c. 1940 A solid-bodied decoy with a presentation felt bottom made by Wildfowler Decoy founder Ted Mulliken. Illustrated in Decoys of the Atlantic Flyway by Dr. Starr, in color plate 29 and sold as lot number 635 in the 1986 sale of his collection. Original paint with minor flaking and wear. PROVENANCE: Dr. George Ross Starr, Jr. Collection Don Stilwell Collection LITERATURE: George Ross Starr, Jr., M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, p. 61, plate 29, exact decoy illustrated. ESTIMATE:

160

$2,000-$4,000

160 Preening Canvasback Drake Edward “Ted” Mulliken (1896-1964) Old Saybrook, CT, c. 1940 A solid-bodied decoy with a presentation felt bottom made by Wildfowler Decoy founder Ted Mulliken. This rare decoy was made at the same time as the mallard preener illustrated in Decoys of the Atlantic Flyway by Dr. Starr. Original paint with light wear from handling. PROVENANCE: ESTIMATE:

161

Don Stilwell Collection

$2,000-$4,000

161 Black Duck Joel Barber (1876-1952) Wilton, CT, c. 1940 A classic Barber designed decoy with scratch-painted feather detail on the head. This decoy was sold as lot 625 in the 1986 sale of Dr. Starr’s collection and his stamp is on the bottom. Original paint with wear from handling and head reset with minor touch-up. PROVENANCE: Dr. George Ross Starr, Jr. Collection Don Stilwell Collection LITERATURE: George Ross Starr, Jr., M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, p. 211, figure 110, similar decoy illustrated. Richard A. Bourne Co. Inc., The Rare Decoy Collection of George Ross Starr Jr., M.D., Hyannis, MA, 1986, p. 153, lot 625, exact decoy illustrated. ESTIMATE:

104

$1,000-$2,000

162 Broadbill Pair Joel Barber (1876-1952) Wilton, CT, c. 1940

162

A paper label on the bottom of the drake reads “Lloyd Johnson Collection, Joel Barber Broadbill.” The hen is inscribed “acquired 12/1960, made by Joel Barber, as per Lloyd Johnson, @1940” and displays the Headley “SGH” collection stamp and the J.B. French Collection stamp on the underside. Original condition with gunning wear. The hen’s eyes have been reset. Lloyd Johnson Collection Somers G. Headley Collection Joseph B. French Collection Don Stilwell Collection

PROVENANCE:

ESTIMATE:

$3,000-$6,000

163 Bronze Black Duck Head Joel Barber (1876-1952) Wilton, CT, 1927 Of this bronze black duck head, Joel Barber writes in Wild Fowl Decoys, “In Plate No. 99 I show a decoy head cast in bronze. I whittled it myself but used as a model an old decoy from the lower Jersey Coast. The body of this decoy was little more than a float to receive a skin but the head was very fine. My jackknife copy of this head reproduced in bronze was sold by art galleries over a period of several years and in considerable numbers. I have always considered the unknown original maker a real artist. Even though he lived and worked, unknown on the Jersey barrens, his Black Duck head has been perpetuated. The feather of accomplishment does not belong to me. I merely whittled what he conceived. After a fashion, however, it vindicates my interest in the art of decoy making. The decoy itself is now a highly prized item of my collection. After my coveting it for several years, the former owner, Mr. J. H. Phillips of Babylon, gave it to me for my records of Barnegat Bay.”

163

This bronze is believed to be one of an edition of 26. On the right hand side of the base is “B/26(c)” and on the left hand side of the base is “Gorham Co. Founders OFSV.” Very few of these pieces were ever cast and this represents one of only a handful that have surfaced in the last fifty years. This bronze duck head was given by Barber to his friend and co-worker John Blair, Jr., son of famous Delaware River decoy carver, John Blair. Original polished surface. PROVENANCE:

John Blair, Jr. Collection Private Collection, Virginia

LITERATURE:

Joel Barber, Wild Fowl Decoys, Garden City, NY, 1937,

plate 99. ESTIMATE:

164

$1,000-$2,000

164 Bluebill Hen Joel Barber (1876-1952) Wilton, CT, c. 1940 A slightly turned head decoy with a “Barber Decoys” brand and a Dr. Starr collection stamp on the bottom. This decoy is illustrated in Dr. Starr’s book Decoys of the Atlantic Flyway on page 211, and was lot 623 in the 1986 sale of his collection. Original paint by the maker, possibly two coats at the time the bird was made, with light gunning wear. PROVENANCE: Dr. George Ross Starr, Jr. Collection Don Stilwell Collection LITERATURE: George Ross Starr, Jr., M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, p. 211, figure 111, exact decoy illustrated. ESTIMATE:

$1,000-$1,500

105

165

165 Wood Duck Hen Eugene â&#x20AC;&#x153;Chiefâ&#x20AC;? Cuffee (1866-1941) Shinnecock Reservation, Long Island, NY, c. 1910 The decoy displays intricately carved eyes, raised wings and subtle patina. Original condition with minor wear. ESTIMATE:

166

$2,000-$4,000

166 Two Mergansers St. James, NY, c. 1880 Originally collected on the north shore of Long Island near Stony Brook Harbor, these two early folk art carvings were possibly crafted by Native Americans. They exhibit carved bills, brass octagon eyes fastened with a central tack, raised tails and raised carved wings. Original paint with small areas of flaking. PROVENANCE: ESTIMATE:

167

Private Collection, Massachusetts

$500-$1,000

167 Preening Brant H. O. Kruger Patchogue, NY, c. 1920 A backward-turned, high-head, Long Island decoy with black glass shoe button eyes. Original paint with gunning wear. PROVENANCE: ESTIMATE:

106

Don Stilwell Collection

$5,000-$8,000

168 Two Old Squaw Hens Long Island Sound, c. 1930

168

This pair displays painted eyes, delicate bill carving and two-piece body construction. Original paint with white repaint to the heads and gunning wear. ESTIMATE:

$300-$500

169 Redhead Drake Wildfowler Decoys (1939-1957) Old Saybrook, CT, c. 1945

169

A superior hollow grade decoy with an inletted head, bottom board, and a circular factory stamp. Original paint with gunning wear and flaking. ESTIMATE:

$200-$400

170 Mallard Pair Wildfowler Decoys (1958-1961) Quogue, Long Island, NY, c. 1960

170

A pair of balsa-bodied, low-head decoys with their original keels. The hen bears a Wildfowler Decoys, Quogue, Long Island, NY circular brand. Original paint with light wear from handling. ESTIMATE:

$400-$600

107

171

172

171 Black-Bellied Plover Verity School Long Island, NY, c. 1890

172 Yellowlegs Andrew Verity (1881-1976) (attr.) Seaford, NY, c. 1915

This full-bodied shorebird decoy displays carved and raised wings, incised primaries and a bill that is tenoned and splined. Original paint with light gunning wear.

A Long Island shorebird decoy with carved eyes, raised wings and through-splined bill.

PROVENANCE: ESTIMATE:

108

Alan G. Haid Collection

$5,000-$8,000

Original paint with light gunning wear. ESTIMATE:

$1,000-$2,000

173 detail

173

OBEDIAH VERITY (1813-1901)

109

173 Black-Bellied Plover Obediah Verity (1813-1901) Seaford, NY, c. 1880 A plump bird with fine square beetle head form, deeply carved heart-shaped wings, forwardlooking, deeply incised eyes and a tenoned-through and splined hardwood bill. This alert shorebird displays the makers very best stippled feather paint and is one of the finest straight-head Verity carvings to come on the market. This bird is nearly identical in form and patination to the four black-bellied plovers illustrated in E. Jane Townsend’s Gunner’s Paradise. Retains dry original paint, with the typical second coat of black to the breast and bill. A few shot marks and even gunning wear. Beautiful tight, even craquelure throughout. A hairline crack runs through one wing. PROVENANCE: Peter Brams Collection, acquired from Bud Ward Private Collection, Martha’s Vineyard, Massachusetts

Henry Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, pp. 42-43, color plates XII, XIV and XVI, similar birds illustrated. Quintina Colio, American Decoys, New York, NY, 1972, p. xiii, similar birds illustrated. William Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 102, similar birds illustrated. E. Jane Townsend, Gunner’s Paradise: Wildfowling and Decoys on Long Island, Lanham, MD, 1988, pp. 115-116, similar birds illustrated.

LITERATURE:

ESTIMATE:

110

$25,000-$40,000

173

111

after John James Audubon (1785-1851), Long billed Curlew. Hand-colored engraving by R. Havell (detail). Image courtesy of the Audubon Gallery.

112

173a

A. ELMER CROWELL (1862-1952)

Lot 195 detail

113

173a Standing Preening Black Duck A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 A rare life-size turned-head black duck mantel carving retaining the makerâ&#x20AC;&#x2122;s oval brand on the bottom. This exceptional carving exhibits blended detailed feather painting, life-like bill detail, carved primary wing feathers and fluted tail carving. Crowell made far fewer life-size decorative waterfowl carvings than shorebirds and miniatures. The scale and detail required far more time, and as a result the number of life-size waterfowl carvings can only be counted in the dozens. Original paint with craquelure on the fore and aft end grain. A small piece of one gesso foot and some toes are missing. PROVENANCE:

Private Collection, Midwest

Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992, p. 82, figure 44, similar bird illustrated.

LITERATURE:

ESTIMATE:

114

$30,000-$60,000

173a

115

∆

175

176

177

178

179

174 Miniature Oriole A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

∆

176 Miniature Towhee A. Elmer Crowell (1862-1952) East Harwich, MA, c.1929

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to beak tip.

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original condition.

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 & Son, Sandwich, MA, 1992, p. 52, plate XII, similar bird illustrated.

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:

∆

174

$1000-$2000

175 Miniature Bluebird A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Retains the maker’s rectangular stamp on the bottom of the base. Original paint with minor wear including a chip to the beak tip and some roughness to the tail edges. LITERATURE: Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, pp. 70-72, similar miniature illustrated. Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992, p. 52, plate XII, similar bird illustrated. ESTIMATE:

116

$1,000-$2,000

ESTIMATE:

∆

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to beak tip and a rub on the crown. 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.

$1,000-$2,000

178 Miniature Scarlet Tanager A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with minor wear to edge of tail and beak tip. 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. LITERATURE:

$1,000-$2,000

177 Miniature Goldfinch A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

ESTIMATE:

∆

ESTIMATE: ∆

$1,000-$2,000

179 Miniature Red-Headed Woodpecker A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with light craquelure, minor wear to edge of tail, crown, and beak tip. 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. LITERATURE:

ESTIMATE:

$1,000-$2,000

∆

180

181

182

183

184

185

180 Miniature Flicker A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

∆

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a beak and tail chip. The tail has been reset and both legs need to be reset. 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: ∆

$1000-$2000

181 Miniature Robin A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to 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:

∆

182 Miniature Kingbird A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

∆

184 Miniature Red-Winged Blackbird A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to beak.

Retains the maker’s rectangular stamp and redwing species identification on the bottom of the base. Original paint with a beak chip.

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.

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-$2,000

183 Miniature Hooded Warbler A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to 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-$2,000

∆

$1,000-$2,000

185 Miniature Catbird A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 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-$2,000

$1,000-$2,000 117

186

187

188

189

190

∆

186 Miniature Downy Woodpecker A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

191

∆

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. LITERATURE:

∆

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with chips to the beak tip and tail.

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-$2,000

190 Miniature Brown Thrasher A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a chip to beak tip.

118

191 Miniature Pewee A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

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.

189 Miniature Golden-Winged Warbler A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

LITERATURE:

$1,000-$2,000

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a minor chip to beak tip.

$1,000-$2,000

Retains the Maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a minor chip to beak tip.

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. Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992, p. 52, plate XII, similar birds illustrated. ESTIMATE:

∆

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.

$1,000-$2,000

187 Miniature Chickadee A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

ESTIMATE:

LITERATURE:

ESTIMATE: ∆

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.

188 Miniature Tree Swallow A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with rubs to wingtip and beak and a minor scratch on a primary feather.

Retains the maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a minor chip to beak.

ESTIMATE:

192

ESTIMATE:

∆

$1,000-$2,000

192 Miniature Oven Bird A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Retains the Maker’s rectangular stamp and species identification on the bottom of the base. Original paint with a rub to the beak tip and the tail edge. 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-$2,000

194

HARRY V. LONG (1857-1949)

“Jim, Prince & 100 Years.” A mid-day break during an upland shoot. From the journal of Harry V. Long, 1927.

119

193 Black-Bellied Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early “dust jacket” plover is painted in emerging plumage. A related example is pictured on the cover of American Bird Decoys by William J. Mackey, Jr. The bird’s details include: raised heartshaped carving to the top of each wing, fully carved concave primaries that join at the tips, and deeply carved wing separation between the primary tips. A hollowed out cut bores through to the dropped tail. There is an original inset metal sleeve inside the stick hole. Crowell’s “dust jacket” plovers are amongst the most highly sought after shorebird decoys; less than eighteen examples in original paint are thought to exist. Original paint with even gunning wear; hairline check to right side of the body – original to the piece; minor paint loss to face around eyes and bill; original bill has a hairline crack. Provenance: Commissioned by Harry V. Long, Cohasset, Massachusetts Private collection, by descent in the family

193 detail

120

Copley Fine Art Auctions, LLC, The Harry V. Long Collection of A. Elmer Crowell Decoys, The Sporting Sale, Boston, MA, 2009, P. 68, 77-79, exact bird illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 48, 51. Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Hyannis, MA, 1992, pp. 43, 49, 59. John and Shirley Delph, New England Decoys, Exton, PA, 1990, dust jacket cover and p. 119. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 53. Guyette & Schmidt, Inc., North American Decoys at Auction, November 8-9, 2004, cover and pp. 82-83. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 14-15. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, dust jacket cover, color plate 3. Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p. 87. ESTIMATE: $60,000-$90,000 LITERATURE:

193

121

194 Preening Greater Yellowlegs A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 Magnificent preening greater yellowlegs, with a slightly open bill, cradling an inserted metal feather. The “ticking” on the inner primaries constitutes some of the most intricate paint treatment seen on any Crowell carving and closely relates to an important lesser yellowlegs sold by this firm in July, 2011 at our Sporting Sale. This grand wing-up mantel bird has carved tail feather detail and is mounted on a carved rock base. Signed by the maker on the bottom of the base “A. E. Crowell, Cape Cod,” also impressed with his rectangular stamp.

This decoy was featured in the 2009 A. Elmer Crowell: Master of Decoys & More exhibit at the Mass Audubon Visual Arts Center in Canton, MA. This exhibit featured some of the finest Crowells known, including the Harry V. Long Collection. From this exhibit this bird was chosen to illustrate the exhibit’s banner and the cover of the proposed book A. Elmer Crowell: Master of Decoys. Excellent original paint with minimal touchup to metal feather area and a few toes. PROVENANCE:

ESTIMATE:

122

Private Collection

Joseph H. Ellis, Birds in Wood and Paint, American Miniature Bird Carvings and their Carvers, 1900-1970, Lebanon, NH, 2009, p. 55, Fig 5-4 and 5-5, similar bird illustrated. Brian Cullity, The Songless Aviary, Hyannis, MA, 1992, p. 78, plate 35, similar bird illustrated. LITERATURE:

$40,000-$60,000

194

123

195 Hudsonian Curlew A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 An exceptional life-size mantel bird carving displaying a graceful turned-head posture with an arching bill, the finest imported glass eyes, and tail feather detail. The bird’s paint, gently blended, is an accurate portrayal of a jack curlew, hudsonian curlew (historical names) or whimbrel (modern nomenclature), exhibiting intricate feather paint detail, even on the eyelids. Retains Crowell’s rectangular stamp on the underside of the base along with written species identification. One of three preening Crowell curlews with this form believed to exist. In 1982, a preening curlew with a rectangular stamp was illustrated and offered as the cover lot of the Richard A. Bourne Company’s July auction catalog. A second preening

124

curlew originally in the collection of Constance Crowell resides in an important New Jersey collection. This third example originally resided in the important John S. du Mont collection of Crowell mantle carvings. Outstanding original condition with a faint age line along the neck seam. PROVENANCE:

John S. du Mont Collection Private Collection, Cape Cod, Massachusetts

Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992, p. 24, figure 25, similar bird illustrated. Richard A. Bourne Co. Inc., Rare American Decoys and Bird Carvings, July, 13 and 14, 1982, lot 529 and front cover, similar example illustrated.

LITERATURE:

ESTIMATE:

$60,000-$90,000

195

125

fowl 196 Complete Set of Twenty-Five Miniature Water -1952) (1862 ll A. Elmer Crowe East Harwich, MA, c. 1915 g, this group A very early custom set by the father of bird carvin of Americana tor collec s seriou the for tunity represents an oppor miniature ll to obtain perhaps the finest complete set of Crowe s with an come set The n. waterfowl carvings ever offered at auctio for a ned desig m custo was that original wood and glass case fowl. water ture minia ll Crowe y-five complete set of twent carvings Crowell’s typical list for a set of twenty-five waterfowl and a hen ill blueb a hen, rd included a merganser hen, a malla replaced were s specie theses er, howev set, bufflehead drake. In this scoter surf a teal, d -winge green a hen, neye golde a by Crowell with in found rarely are s drake and an eider drake. The last two specie . works dual indivi as any set, and are difficult to find even sheldrake to Aside from using early names like gooseander and Crowell identifies identify the carvings on the bottom, in this set, mon eider), and (com others as green teal, blue teal, “sea duck” “skunk scooter” (surf scoter). Crowell, maker, Each miniature is stamped with Crowell’s “A. E. species is written the East Harwich, Mass” circular ink stamp, and g. writin e in pencil in Crowell’s distinct cursiv , old squaw The set includes the following species: bluebill drake on drake, widge , drake nser merga d hoode , drake duck drake, ruddy ed -wing green , drake blue-winged teal drake, black duck, mallard , drake neye golde hen, neye teal hen, canvasback hen, golde eider drake, pintail redhead hen, red-head drake, surf scoter drake, , red-breasted drake, canvasback drake, American merganser drake , brant, drake teal ed merganser drake, pintail hen, green-wing condition al origin g andin Outst . Canada goose, wood duck drake with minor craquelure. ding, Boston, PROVENANCE: George Abercrombie Spaul na Massachusetts, from his South Caroli Plantation Collectable Old Decoys, South Carolina Private Collection, Cape Cod, Massachusetts Private Collection, New England Memories,” in Duck Shooting LITERATURE: A.E. Crowell, “Cape Cod V. Connett, ed, New York, e Eugen ater, along the Atlantic Tidew . 1947, pp. 59-60 1992, pp. 90-99, Brian Cullity, The Songless Aviary, Hyannis, MA, similar birds illustrated. ESTIMATE:

126

$100,000-$150,000

127

196.1

196.2

196.3

196.4

196.5

196.6

196.7

196.8

196.9

196.10

196.11

196.12

128

196.13

196.14

196.15

196.16

196.17

196.18

196.19

196.20

196.21

196.22

196.23

196.24

196.25

129

197 Flying Green-Winged Teal Drake A. Elmer Crowell (1862-1952) East Harwich, MA, 1931 This rare life-size carving exhibits superb wet-on-wet dry brush feathering, nicely carved wing and tail feathers, concise nail, nostrils, and mandible bill carved detail. Inscribed “To my Dear Friend J.B. Chase from Elmer Crowell 1931” with the maker’s rectangular stamp. This teal represents one of the finest life sized decorative waterfowl carvings by the maker ever to come to auction. Crowell rarely carved these life size wall mounts. The incredible detail, full body carving aspect and early date place it amongst the artist’s elite works. Original paint with an area of professional touch-up to a one half-inch seam along the edge of each wing where it connects to the body. PROVENANCE: J.B. Chase Collection Private Collection, Massachusetts ESTIMATE:

$50,000-$70,000

197.1 detail

130

197

131

198 Nineteen Miniature Waterfowl Carvings A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 This grouping offers a rare opportunity to acquire a large group of early matched Crowell miniatures from an important New England collection. The ducks bear the makerâ&#x20AC;&#x2122;s early, blue paper label on the bottom, with the labelâ&#x20AC;&#x2122;s center band identifying each species in script. This important group was originally purchased by Edward J. Mitton, one of the founders, of the Jordan Marsh and Company department store in Boston, Massachusetts. This set includes a Canada goose, brant, canvasback drake, black duck, blue-winged teal drake, blue-winged teal hen, green-winged teal hen, mallard hen, American merganser drake, redhead hen, bufflehead drake, hooded merganser drake, bluebill drake, widgeon drake, bluebill hen, old squaw drake, eider drake, goldeneye hen, and a goldeneye drake. Fourteen of the miniatures are in original condition with minimal wear from handling. The green-wing teal and goldeneye hens have chips to their bills. The eider has a tail chip. The Canada goose and hooded merganser have reset heads. The blue-winged teal has lost its label. Overall the collection is in very good condition, with each bird displaying bright colors, fine blended feathering and pleasing patina. PROVENANCE: Mr. and Mrs. Edward J. Mitton Collection Private Collection, by descent in the family

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

LITERATURE: ESTIMATE:

$30,000-$60,000

198.1

198.2

198.10 detail

132

198.4

198.3

198.5

198.6

198.7

198.8

198.9

198.10

133

134

198.11

198.12

198.13

198.14

198.15

198.16

198.17

198.18

198.19

199 Miniature Stilt

199

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929 A slightly larger four and one-half inches high, miniature black-necked stilt. The carving displays fine painted feather detail. “Stilt” is written in script on the bottom above the maker’s rectangular stamp. Original condition. PROVENANCE:

Jim and Deb Allen Collection

Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992, p. 101, figure 82, similar bird illustrated.

LITERATURE:

ESTIMATE:

$2,000-$4,000

200 Miniature Canada Goose A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1929

200

With nicely blended paint the number “25”, its set number, is written in script on the bottom with the maker’s rectangular stamp. Original condition. PROVENANCE:

Jim and Deb Allen Collection

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

$1,500-$2,500

201 Miniature Redhead Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910

201

202

This early carving bore the maker’s circular “Maker” ink stamp which has faded. Original paint with touch-up to an age line in the bill and scratch on the top of the head. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

$800-$1,200

202 Miniature Mallard Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early carving bore the maker’s circular “Maker” ink stamp which has faded. Original paint with a reset head and scratches in bill paint. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

$1,000-$1,500 135

203

204

205

206 Miniature Goldeneye Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early carving bore the maker’s circular “Maker” ink stamp which has faded. Original paint with touch-up to a very small scratch on the back and a rub on the tail edge. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

207

206

208

$1,000-$1,500

207 Miniature Bufflehead Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early carving bore the Maker’s circular “MAKER” ink stamp which has faded. Original paint with light craquelure. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

209

210

211

$800-$1,200

208 Miniature Hooded Merganser Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early carving bore the maker’s circular “Maker” ink stamp which has faded. Original paint with touch-up to a reset original bill tip. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

$800-$1,200

209 Miniature American Merganser Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 203 Miniature Red-Breasted Merganser A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early carving bore the maker’s circular “Maker” ink stamp which has faded. “A. E. Crowell, East Harwich,” was printed on the bottom at a later date. Original condition. PROVENANCE:

Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

$1,000-$1,500

204 Miniature Bufflehead Hen A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 A rare species of miniature duck carving by Crowell. This early carving bore the maker’s circular “Maker” ink stamp which has faded on this carving. Original condition with minor wear. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

$1,000-$1,500

205 Miniature Green-Winged Teal Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early carving bore the maker’s circular “Maker” ink stamp which has faded. Original condition. PROVENANCE:

Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

136

$800-$1,200

This early carving bore the maker’s circular “Maker” ink stamp which has faded. Original paint with minimal touchup to the paint on the bill tip. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

$800-$1,200

210 Miniature Black Duck A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early carving retains a faded maker’s circular “Maker” ink stamp. Original condition. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

$800-$1,200

211 Miniature Brant. A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 This early carving retains the maker’s circular “Maker” ink stamp. Original paint with touch-up to a bill crack. PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family. ESTIMATE:

$1,000-$1,500

213

215

212

214

212 Miniature Ruffed Grouse Helen Lay Strong (1915-1995) Seneca Falls, NY, c. 1960

214 Miniature Pintail Drake Helen Lay Strong (1915-1995) Seneca Falls, NY, c. 1960

The bird is signed and identified by the maker on the underside of the base. These birds were originally purchased from the artist by the well-known American fly fisherman and conservationist, Lee Wulff. They are some of the finest H.L. Strong carvings ever to come on the market. Original condition.

The bird is signed and identified by the maker on the underside of the base. Original paint with a minor chip to tail tip.

PROVENANCE: ESTIMATE:

Lee Wulff Collection

$200-$400

213 Miniature Bobwhite Quail Pair Helen Lay Strong (1915-1995) Seneca Falls, NY, c. 1960 The birds are signed and identified by the maker on the underside of the base. Original paint with a chip to the crest of the male. PROVENANCE: ESTIMATE:

PROVENANCE: ESTIMATE:

Lee Wulff Collection

$200-$400

215 Miniature Flying Blue-Winged Teal Drake Helen Lay Strong (1915-1995) Seneca Falls, NY, c. 1960 The bird is signed, dated and identified by the maker on the underside of the base. Original paint with light wear to wing tips. PROVENANCE: ESTIMATE:

Lee Wulff Collection

$200-$400

Lee Wulff Collection

$200-$400

137

216

217

218

219

220

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

218 Miniature Pheasant Hen Albert J. Dittman (1884-1974) Williamstown, MA, c. 1940

A flying miniature mallard half-model with an inset curved wing. The bird measures almost seven inches from tip to tail. The inserted foot is made from hammered wire and the maker’s rectangular stamp is on the flat side of the bird. Original paint with a minute rub to wing tip. The plaque is a later addition and detachable from the carving.

Signed with the maker’s AJ within a D mark on the side of the base. A species identification and signature also appear on the bottom. Original paint with minor touch-up to the tail.

ESTIMATE:

$2,000-$3,000

217 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 .

ESTIMATE: ∆

$200-$400

219 Miniature Canada Goose John Byron Garton Smith Falls, Ontario, Canada, c. 1970 Signed “J.B. Garton” in pencil and with the maker’s brand on the bottom. Garton is a two-time World Champion bird carver. Original paint with minor wear from handling. ESTIMATE:

$100-$200

PROVENANCE:

220 Two Miniature Geese Robert G. Kerr (b. 1935) Smith Falls, Ontario, Canada, 1975

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.

A snow goose and a white-fronted goose, each measuring almost eight inches in length. The snow goose has a signed and dated inscription on the underside. Original paint with minor wear including a small tail chip on the white-fronted goose.

Eve DuPont Remer Collection, purchased at the Crossroads of Sport Private Collection, by descent in the family LITERATURE:

ESTIMATE:

$1,000-$1,500

ESTIMATE:

138

$300-$500

221

222

223

224

221 Canada Goose Joseph W. Lincoln (1859-1938) Accord, MA, c. 1920

223 Stacked Sleds of Scoter Decoys Joseph W. Lincoln (1859-1938) (attr.) Accord, MA, c. 1920

A life-size solid-bodied decoy by this famed South Shore, Massachusetts carver. A later repaint or restoration with gunning wear and a check along the base.

A set of white-winged scoter silhouette decoys, joined to their cross-boards with nautical anchor-headed nails. In old gunning paint with wear, one head has been reset.

ESTIMATE:

$1,000-$1,500

222 Scoter Joseph W. Lincoln (1859-1938) Accord, MA, c. 1900

$400-$800

224 Three Scoter Silhouettes South Shore, MA, c. 1920

A self-bailing sea duck decoy branded on the top and bottom â&#x20AC;&#x153;CGR.â&#x20AC;? Working repaint with gunning wear.

A white-winged scoter shadow and a pair of scoter shadows sled-rigged. The pair has heavy gunning wear. The other has heavy gunning wear, neck cracks, and a reset chip on head.

ESTIMATE:

$400-$600

$50-$100

139

225

226

227

228

229

230

225 Red-Breasted Merganser Hen Allen Stuart (b. 1866) (attr.) Martha’s Vineyard, MA, c. 1920 An early, painted eye, solid-bodied decoy. In-use repaint with some traces of original paint, gunning wear, and head and bill reset with bill tip missing. ESTIMATE:

$200-$400

226 Edward Takacs (b.1952) Joseph W. Lincoln brant decoy c. 2000 Signed lower right A painting of a Lincoln brant decoy from the famous Dr. James McCleery Collection. Antique Massachusetts decoys are often painted by artists interested in entering the state’s duck stamp competition. ESTIMATE:

$100-$200

227 Live Bait Sign A two-sided vintage advertising sign, c. 1940 Signed “Burrell” lower right Oil on board, 25 by 50 inches ESTIMATE:

$800-$1,200

228 Miniature Duck’s Unlimited Dishes A collection small dishes, most about four inches in diameter with decoy motif centers, made for the New Jersey Ducks Unlimited Committee. The collection includes four from 1970 and 1971 and dozens of others through to 1990. ESTIMATE:

$50-$100

229 Bald Eagle An immature eagle carving with carved eyes, laminate wood construction and applied wings with incised feather detail. Original surface with light wear, seam shrinkage, and a tail chip. ESTIMATE:

230 Ivory-Billed Woodpecker Roy J. Legaux, Sr. Braithwaite, LA, c. 2000 The senior member of the Legaux family of Cajun bird carvers has handcrafted a life-size woodpecker, a critically endangered species. He has generously donated 100% of his proceeds from the sale of this piece to the Jimmy Fund to help find a cure for cancer in children. Original condition. ESTIMATE:

140

$500-$1,000

$1,500-$3,000

230a

230b

230c

230d

230e

230f

230a Canada Goose F. Edward Snyder (b. 1928) Rio Vista, CA, c. 1970

230c Snow Goose F. Edward Snyder (b. 1928) Rio Vista, CA, 1974

230e Three Mergansers Frank C. Willis (1917-1997) Redwood City, CA, 1996 and 1997

An alert finely detailed decoy with carved primary feathers. Titled “Canadian Honker” on the bottom and signed by the maker. Original paint with a reset primary feather.

A hollow, life-size decoy with detailed feathering carved for competition. Inscribed “2nd Place, Snow Goose, Pacific Flyway Decoy Contest, Santa Rosa, CA, 5/ 22/ 74” on bottom. Original condition.

A three-quarter-size pair of red-breasted mergansers, the maker’s “model S” size, and a life-size hooded merganser drake carved from redwood. Each bird identified and signed on the bottom. A Willis decoy is contained in the presidential library of Richard M. Nixon. The red-breasted pair are in original condition. The hooded merganser has a reset neck, bill and tail chips.

LITERATURE:

Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Davis, CA, 1989, pp. 286-293, similar decoys illustrated.

LITERATURE: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Davis, CA, 1989, pp. 286-293.

ESTIMATE:

$750-$1,500

230b Eurasian Widgeon Pair Frank C. Willis (1917-1997) Redwood City, CA, 1968 A pair of life-size, slightly turned head decoys, identified, signed and dated on the bottom. Both are in original paint with minor wear. The hen has a tight age crack in the tail. The drake has a minor tail chip. ESTIMATE:

$300-$600

$500-$1,000

230d High Head Pintail and Standing Pintail Drake F. Edward Snyder (b. 1928) Rio Vista, CA, 1973 A high-head pintail drake decoy signed and dated on the bottom and an earlier life-size standing pintail drake, unsigned, on a driftwood base, attributed to Snyder. Original condition, the bill of the standing pintail has been reset. LITERATURE: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Davis, CA, 1989, pp. 286-293. Similar decoys illustrated. ESTIMATE:

ESTIMATE:

$600-$900

230f White-Winged Scoter Pair and Ruddy Duck Drake Frank C. Willis (1917-1997) Redwood City, CA, 1966 and 1964 Three of his S-model, scaled down decoys consisting of a pair of slightly turned head sea ducks and a tucked head ruddy duck. Each is identified, signed and dated on the bottom. All three are in original paint and the drake scoter has a minor tail chip. ESTIMATE:

$400-$800

$600-$1,200 141

231

232

233

233b

231 Two Reels Ingvar Nilsson (attr.) 2 3/4” left-handed trout reel with wooden tail and head plates. In unused condition. Ingvar Nilsson 2 1/2” left-handed trout reel with wooden tail and head plates. Engraved “Ingvar, Sweden.” In wooden box. In unused condition; one has an irregular wind. PROVENANCE:

Thomas W. Sheppard

Collection ESTIMATE:

$500-$800

232 Two Reels Otto Zwarg Model 600 Maximo salt water reel, St. Petersburg, FL, c. 1950. Zwarg was a master reel maker at Edward vom Hofe Company. When vom Hofe closed the Company, Zwarg bought their designs and patents and continued production under his own name until 1960. In used, as found condition with its original worn leather case.

233c

233 Three Reels Saracione A 3 3/4” left-handed salmon reel, with 1 1/2” spool width. Stamped “024, Saracione.” Drag adjustment on tail plate. In good condition with light wear from use. Saracione 3 1/4 inch Deluxe Trout Reel stamped “182, Saracione.” Appears to be unused, in original case and box. Bill Ballan Left-handed trout reel with 3 3/8” diameter and 7/8” spool width. In unused condition. PROVENANCE:

Thomas W. Sheppard

Collection ESTIMATE:

$800-$1,200

233a Five Fishing Rods (not illustrated) An Orvis 7’ 9” HLS graphite two-piece fly rod, five weight. An A&F 7’ two-piece Coaster 70 H spin rod. One of the two tips is broken.

The Orvis Battenkill 8/9 fly fishing reel, Made in England, c. 1990. In lightly used, as found, condition with its original case.

Two Garcia Conolon 7’ two-piece light spinning rods.

ESTIMATE:

A vintage 4.5’ two-piece steel fishing rod. A canvas carrying case. As found.

$200-$400

ESTIMATE:

142

$100-$200

233b Two Bamboo Fly Rods A J.C. Higgins 7’ 6” No. 3048 two-piece bamboo fly rod with two tips. Used condition. An antique 10’ three-piece bamboo fly rod with two tips. In used condition; one tip has a new tip end, which does not affect length, and a broken guide ring. ESTIMATE:

$100-$200

233c Two Bamboo Fly Rods A Goodwin and Granger Company, 9’, three-piece (middle piece missing), 5 1/4 oz., “Denver Special” bamboo fly rod with two tips. As found. A F.E. Thomas, Bangor, ME., 9’ 6”, “Special,” three-piece bamboo fly rod with two tips. In used condition with one tip, re-tipped and shorter than the other.

234

235

236

237

236 Goldeneye Hen Alphonse Emond Montreal, Canada, c. 1930

234 Bluebill Hen Quebec, Canada, c. 1930 A St. Lawrence River decoy with painted eyes, a slightly turned head and extensive chip-carved feather detail. Original paint with gunning wear. ESTIMATE:

This decoy from Verdun, along the St. Lawrence River, displays a carved bill, glass eyes, and comb painting with lightly incised feather detail. Original paint with gunning wear.

$200-$400

ESTIMATE:

235 Black Duck Toronto, Canada, c. 1920 An extremely hollow, high-head Toronto School decoy. Old in-use repaint with crazing and gunning wear. ESTIMATE:

$200-$400

∆

$300-$600

237 Black Duck Julius E. Mittlesteadt (1888-1957) Buffalo, NY, c. 1920 A fine example of this carver’s work, out of his personal gunning rig with his initials “JEM” carved in the bottom. Original paint with appealing even craquelure and light gunning wear to include minor neck seam separation. ESTIMATE:

$800-$1,200

143

237a

237a Canvasback Drake Thomas Chambers (1860-1948) Wallaceburg, Ontario, Canada, c. 1900 A hollow long-bodied decoy with a lead strip weight. Original paint with even gunning wear. ESTIMATE:

$2,000-$4,000

237b

237b Tucked Head Black Duck Thomas Chambers (1860-1948) Wallaceburg, Ontario, Canada, c. 1900 A hollow low-head decoy with a â&#x20AC;&#x153;G NILLUPâ&#x20AC;? brand on the bottom. In old working paint with even gunning wear to include an old reset bill. ESTIMATE:

144

$800-$1,200

238

239

239a

239b

239c

239d

239e

239f

239g

238 Bluebill Drake Blair School Delaware River, c. 1890 An early tack-eye decoy with “WS & JP” stamped on the bottom. Traces of old paint, mostly worn to the wood with gunning wear. PROVENANCE: ESTIMATE:

Don Stilwell Collection

$200-$400

239b Two Goose Decoys A Canada goose decoy by Arthur Landry (b. 1920), Inkerman, New Brunswick, Canada, c. 1950. A brant decoy from Cape Cod, MA, c. 1910 from the Monomoy Brant Club rig. The Canada goose is in original paint with gunning wear. The brant has old inuse repaint, with gunning wear and a replaced bill.

239 Swimming Black Duck Delaware River, c. 1980

ESTIMATE:

An over-size, thirty-one-inch long Delaware River decoy with tack eyes and raised primaries. The decoy has an anchor loop but was also drilled for use in the field. Original condition.

239c Two Contemporary Decoys and a Shot Box A Canada goose carved in the Mason Decoy Factory style, c. 1990.

Provenance: Don Stilwell Collection ESTIMATE:

$200-$400

239a Four Coot Decoys A canvas-covered coot decoy by Nick Sapone, Wanchese, NC, c. 1980. A narrowbodied coot by Roy Christiansen, c. 1970 A coot decoy marked “AN-13” on the bottom, c. 1960 A balsa-bodied coot by Herter’s Inc., Waseca, MN, c. 1940. As found condition. ESTIMATE:

$100-$200

$400-$600

A preening pintail drake with carved raised primaries, c. 1980 with an ‘antiqued’ finish. A wooden shell box, advertising Remington ammunition, c. 1990, made for Ducks Unlimited. As found condition. ESTIMATE:

$200-$400

239d Three Decoys A goldeneye drake by Ferman R. Eyre (18821969), Brockville, Ontario, Canada, c. 1930. A hollow Horner-style brant by the Wildfowler Decoy Factory (1961-1977), Point Pleasant, NJ, c. 1970. A turned head canvasback drake by Butch Parker, Holtwood, PA, c. 1980 with his brand and a metal maker’s tag. All three

are in original paint. The goldeneye has gunning wear and craquelure. ESTIMATE:

$400-$600

239e Two Vintage Decoys 1974 A two-third-size wood duck drake by Dr. David A. Frier (1931-2010), Macomb, IL, signed and dated on the bottom. A life-size turned head pintail drake by Charles Moore, DeKalb, IL, signed and dated on the bottom. Both are in original paint. ESTIMATE:

$200-$400

239f Green-Winged Teal Pair Robert Bates Shiremanstown, PA, c. 1940 This pair of finely detailed decoys is carved with contoured bodies and carved raised wings. They are signed and dated on the underside with a stylized initial brand. Original condition. ESTIMATE:

$400-$600

239g Swimming Mallard Drake Michigan, c. 1950 A swimming mallard with carved wing and bill detail and a weighted keel. Original condition. ESTIMATE:

$200-$400

145

SESSION II Paintings, Works on Paper, and Books

240 Chet Reneson (b. 1934) Fly Fishing Signed “Reneson” lower left Watercolor, 15.5 by 26.5 inches PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

$3,000-$5,000

241 Chet Reneson (b. 1934) Early Morning on the Marsh Signed “Reneson” lower left Watercolor, 17 by 28 inches PROVENANCE: ESTIMATE:

241

Thomas W. Sheppard Collection

$3,000-$6,000

242 Chet Reneson (b. 1934) Grouse Moor Shooting, 2005 Signed and dated “Reneson 05” lower left Watercolor, 17.5 by 28 inches PROVENANCE: ESTIMATE:

240

242

Thomas W. Sheppard Collection

$3,000-$6,000

147

242a

242a Chet Reneson (b. 1934) St. Paul River, Quebec Signed “Reneson” lower right Watercolor, 19 by 28 inches ESTIMATE:

243

$3,000-$6,000

243 Arthur Shilstone (b. 1922) Almost There Signed “Arthur Shilstone” lower right Watercolor, 17 by 24 inches PROVENANCE: ESTIMATE:

244

Thomas W. Sheppard Collection

$2,000-$4,000

244 Arthur Shilstone (b. 1922) Fishing Below the Bluffs, 1986 Signed “Arthur Shilstone” lower right Watercolor, 13.5 by 19.5 inches PROVENANCE:

Thomas W. Sheppard Collection

Diane K. Inman, The Fine Art of Angling, Incline Village, NV, 2007, p. 135, illustrated.

LITERATURE: ESTIMATE:

148

$1,000-$2,000

245

245 David A. Maass (b. 1929) Green-Winged Teal Signed “Maass” lower right Oil on board, 24 by 36 inches An avid sportsman and ardent contributor to conservation organizations, David Maass has been actively painting game birds for more than thirty years. In the past twenty years he has designed more than thirty conservation stamps and prints, a distinction few artists can claim. Over the last several years, Ducks Unlimited, the National Wild Turkey Federation, and the Minnesota Wildlife Heritage Foundation have each named David Maass their Artist of the Year. Mr. Maass’ original paintings and limited edition prints have been exhibited in galleries and shows throughout the country, including the Smithsonian Institution’s National Collection of Fine Arts in Washington, D.C., the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and the annual Minnesota Wildlife Heritage Foundation Show in Minneapolis. An original Canada Goose painting by David Maass is also part of the Minneapolis Institute of Arts’ permanent collection. PROVENANCE: ESTIMATE:

246

Private Collection

$8,000-$12,000

246 Owen J. Gromme (1896-1991) Canada Geese Signed “O.J. Gromme” lower right Oil on canvas, 16 by 20 inches Owen Gromme was born in Wisconsin in 1896, and spent much of his childhood hunting in the wetlands and forests near his home. Gromme made his career as the Curator of Birds and Mammals at the Milwaukee Public Museum, staying in this position for over four decades. In this capacity he traveled across the United States and to Africa documenting the wildlife he encountered. Although he was a high school dropout, by the time of his death in 1991 Owen Gromme had received five honorary doctorates, as well as published and illustrated Birds of Wisconsin. Known for his conservation ethos, Gromme’s paintings reflect his love of the outdoors. PROVENANCE: ESTIMATE:

Private Collection

$5,000-$10,000

149

247

247 Richard Plasschaert (b. 1941) Wood Ducks, 1992 Signed “Plasschaert” lower left Oil on masonite, 24 by 36 inches PROVENANCE: ESTIMATE:

Private Collection

$2,000-$4,000

248

248 Don Kloetzke (b. 1951) Owl, 2005 Signed and dated “Kloetzke 05” lower right Oil on board, 25.5 by 37 inches PROVENANCE:

150

ESTIMATE:

Private Collection

$600-$900

249 David Hagerbaumer (b. 1921) Winter Flush, 1962 Signed and dated “David Hagerbaumer 1962” lower right Watercolor, 16 by 22 inches PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

$1,000-$2,000

250 David Hagerbaumer (b. 1921) Mallards, 1959 Signed and dated “David Hagerbaumer 1959” lower left Watercolor, 15 by 21 inches ESTIMATE:

250

$1,000-$2,000

251 David Hagerbaumer (b. 1921) Canada Geese, 1960 Signed and dated “David Hagerbaumer 1960” lower left Watercolor, 21 by 29 inches ESTIMATE:

249

251

$1,000-$2,000

151

252 Richard LaBarre Goodwin (1840-1910) Hanging Game, 1884 Signed and dated “R. LaBarre Goodwin 1884” lower right Oil on canvas, 48 by 29 inches Born in Albany, New York, Richard LaBarre Goodwin was the son of portrait painter Edwin Wyburn Goodwin (1800-1845). Taking after his father, he painted portraits before turning to the gibier mort genre. Most famous for his “cabin door” paintings featuring a variety of hanging game birds, Goodwin worked in a highly realist 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 (who is best known as the 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. An idea for one of his cabin door paintings came about in 1905 when he was in Portland, Oregon, and attended the one-hundreth anniversary fair to commemorate the Lewis and Clark Expedition. He saw the exhibit of the door of a cabin where Theodore Roosevelt had lived when he was ranching in the Dakotas in 1890. Goodwin used it as a model for his painting, Theodore Rossevelt’s Cabin Door. This work relates closely to Theodore Roosevelt’s Cabin, showing a hunter’s bounty of a woodcock, a ruffed grouse, and mallards hanging from a door. The artist spared no detail, masterfully crafting every feather on each bird. This Goodwin is one of approximately six “cabin door” paintings known to exist. PROVENANCE:

Private Collection, New York By descent in the family to the current owner

ESTIMATE:

152

$20,000-$30,000

252

153

253

253 John Whorf (1903-1959) Early Morning East Harbor Signed “John Whorf” lower right Watercolor, 14 by 20 inches. Born in Winthrop, Massachusetts, John Whorf spent many years painting the seascapes around Provincetown, Massachusetts. As a young man, he studied in Boston, at the School of the Museum of Fine Arts and the St. Botolph Studio under Philip Leslie Hale (1865-1931) and Sherman Kidd. Whorf traveled to Europe in 1919, where he gradually made the change from oil painting to watercolors. Known primarily for his scenes of Cape Cod and the surrounding area, as well as his urban scenes, Whorf is noted for painting “watercolors with deep hues and striking passages of blue and black.” He was an active member of the National Academy of Design and the American Watercolor Society. His work is held in the permanent collections of the Museum of Modern Art, the Smithsonian, and the Metropolitan Museum of Art, among many others. A striking waterfowl composition, Early Morning depicts a Cape Cod gunner picking up a drake mallard on a bright windy day. ESTIMATE:

154

$8,000-$12,000

254

254 Harry Curieux Adamson (b. 1916) Autumn’s Echelon- Canada Geese, 1973 Signed “Harry Curieux Adamson” lower left Oil on canvas, 24 by 36 inches Adamson was born in Seattle, Washington in 1916. After serving four years in WWII, he pursued painting full time and today has become internationally known for his wildlife paintings. Among other accomplishments, Adamson was the first artist to be awarded the California Waterfowl Association’s Artist of the Year and in 1979 he was named Ducks Unlimited Artist of the Year. Known primarily for his dynamic paintings of pintails and mallards, this is a rare subject for the artist. Wild Wings published a print of Autumn’s Echelon in an edition of 480 in 1973. PROVENANCE:

Private Collection

LITERATURE: Diane K. Inman, From Marsh to Mountain: The Art of Harry Curieux Adamson, San Francisco, CA, 1999, p. 125, illustrated. Wild Wings, Inc., The Wildlife Sporting Collection, Fall 1976-77, Lake City, MN, p. 15, illustrated. ESTIMATE:

$14,000-$18,000 255

255 Harry Curieux Adamson (b. 1916) Flight to the Backwaters Signed “Harry Curieux Adamson” lower right Oil on canvas, 18 by 24 inches ESTIMATE:

$8,000-$12,000

155

“The turkey ought to be our national bird...The turkey – our geologists can prove – have been here forty million years. We know the Pilgrims killed these big bronze birds a half mile from Plymouth Rock. We hope where they are now extinct the conservationists can put them back and teach them that they must take care.” -Dana Lamb

256 Louis Agassiz Fuertes (1874-1927) Wild Turkey, 1924 Signed and dated “Louis Agassiz Fuertes 1924” lower right Oil on canvas, 30 by 50 inches The successful reintroduction of the wild turkey to nearly its historical range of the entire continent is one of the great conservation stories of the last century. The onslaught of this majestic bird began with the landing of the Pilgrims at Plymouth, Massachusetts in 1620. The number of wild turkey at the time of their arrival was, by some estimations, as many as ten million birds. Clear-cutting, a common practice in the colonies, destroyed the forests where the turkey made its home. As a result of the loss of its habitat, by 1700 local bird populations had dwindled. Benjamin Franklin was an early admirer of the wild turkey and in a letter to his daughter in 1784 he pronounced his displeasure over the choice of the bald eagle as the national bird instead of the iridescent bronze game bird. John James Audubon (1785-1851) reported seeing wild turkey by the hundreds along the upper Mississippi in 1810. By 1951, the entire population in North America was estimated at a little over 300,000 birds, with a legal annual harvest in fifteen states of 47,000 birds. This clearly unsustainable quota placed the bird in dire straits. Due to the tireless efforts of conservation groups and hunters around the country, by 1999 the wild turkey population had rebounded to over five million birds present in forty-nine of the United States. Louis Agassiz Fuertes is considered one of the master avian artists of the late nineteenth and early twentieth century. Wild Turkey, seamlessly integrates the birds into the composition in a variety of stances, from feeding to preening. Fuertes’ talent was recognized in his lifetime in exhibitions at the Art Institute of Chicago, the Pennsylvania Academy of Fine Art, and the Society of Independent Artists. Fuertes weaves this southern landscape into a cohesive tapestry, incorporating such details as Spanish Moss and Live Oaks. This spectacular oil is not only one of the most important works by the artist to come on the market, but also one of the best depictions of the American wild turkey, convincingly shown in its natural habitat. This painting was originally commissioned by the Mebane family, to hang in the dining room of their country estate. PROVENANCE: The Estate of Harry Bartlett Mebane Private Collection, acquired from the above

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, p. 63. James E. Cardoza, The Wild Turkey: An Astonishing Success Story, MA, 2002.

LITERATURE: ESTIMATE:

156

$20,000-$40,000

256

157

257

257 Quail in Snow, c. 1850 Oil on canvas, 24 by 32 inches ESTIMATE:

158

$8,000-$12,000

258.1

258.2

258.3

258.4

258.5

258.6

258.7

258.8

258.9

258.10

258.11

258.12

258 Arthur Burdett Frost (1851-1928) Shooting Pictures, set of twelve, 1895 Chromolithographs, 12.25 by 19.25 inches Each inscribed “A.B. Frost” in plate Published by Charles Scribner’s Son Lot includes original folio and information sheets 258.1 Autumn Grouse 258.2 Autumn Woodcock 258.3 Rail Shooting 258.4 English Snipe 258.5 Quail Shooting 258.6 Bay Snipe 258.7 Rabbit Shooting 258.8 Shooting Ducks from a Battery 258.9 Prairie Chickens 258.10 Shooting Ducks from a Blind 258.11 Quail, A Dead Stand 258.12 Summer Woodcock

Frost is well known for his numerous drawings that appeared in Harper’s Weekly and for the accurate detail in his works. The use of the lighter, French style of chromolithography gives the prints the warmth and richness of the original watercolors. LITERATURE: A.B. Frost, Shooting Pictures, New York, 1895. Whitman Bennett, A Practical Guide to Nineteenth Century American Color Plate Books, New York, NY, 1949, p. 44. Henry M. Reed, The A.B. Frost Book, Rutland, VT, pp. 79-89, illustrated. ESTIMATE:

$7,000-$10,000

159

259

259 William J. Koelpin (1938-1996) Storm Warning, 1990 Signed and dated “Wm. J. Koelpin © 90” on base Bronze, 27 by 12 by 11.5 inches Inscribed “Storm Warning” and “1/24” on base William Koelpin was an avid hunter and fisherman from Wisconsin. He went on to become a celebrated sporting artist, who excelled in a number of mediums including bronze, paint, and wood. Throughout his career he displayed his passion for the outdoors through his accurate and detailed works. His first sold out exhibit was at the Midwest Decoy Collectors’ annual show in the mid 1970s. Koelpin enjoyed many honors in his time, including the “Best in World” award from the Ward Museum in Salisbury, Maryland, and he was also named “One of America’s Premier Artists” by the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin. Since its creation Storm Warning has been coveted by collectors, becoming one the most iconic waterfowling bronzes of all time. PROVENANCE: ESTIMATE:

160

Private Collection

$10,000-$15,000

260

260 William J. Koelpin (1938-1996) Ruffed Grouse, 1987 Signed and dated “Wm. J. Koelpin © 87” on base Bronze, 7 by 9.5 by 15.5 inches Inscribed “Ruffed Grouse” and “8/24” on base PROVENANCE: ESTIMATE:

Private Collection

$2,000-$4,000

161

261

261 William J. Koelpin (1938-1996) Le Voyageur, 1991 Signed and dated “Wm. J. Koelpin © 91” on base Bronze, 27 by 11 by 12.5 inches Inscribed “Le Voyageur” and “16/24” on base ESTIMATE:

$3,000-$6,000

262 William J. Koelpin (1938-1996) Conflict, 1992 Signed “Wm. J. Koelpin © 92” above base Bronze, 9 by 13 by 20 inches Inscribed “2/24” above base Although the edition size is stated as twenty-four, according to the Koelpin family only two of these bronzes were ever cast. PROVENANCE: ESTIMATE:

162

Private Collection

$5,000-$8,000

262

163

263

264

265

266

164

263 Navajo Late Classic Serape, c. 1880 72 by 56 inches

267

A Navajo weaving of yarn from Germantown, Pennsylvania, from a period when weavings of this type were still made for Native American use as well as for sale to traders: such as L. Hubbell or C.N. Cotton. The predominant use of deep red made this a very desirable weaving at the time it was created. “Late Classic” refers to blankets woven shortly after the “Classic” weaving period that ended with the Navajo’s internment at Bosque Redondo. In excellent condition. PROVENANCE: Robert Bauver Collection, author of Navajo and Pueblo Earrings 1850-1945 Nancy D. Mitton Collection ESTIMATE:

$8,000-$12,000

264 Navajo Weaving, c. 1950 72 by 40 inches A Navajo weaving with a bold white, black and ochre geometric pattern on a variegated gray-brown background. In excellent condition. PROVENANCE: ESTIMATE:

Nancy D. Mitton Collection

$600-$1,200

265 Double Saddle Blanket, c. 1890 54 by 35 inches Navajo double saddle blanket, a finely woven textile of Germantown yarn in a pattern of concentric, serrated diamonds and cross elements on a red field. Applied fringe on one end. In excellent condition. PROVENANCE: Nancy D. Mitton Collection, purchased from Shiprock Trading Company, Santa Fe, New Mexico ESTIMATE:

268

$6,000-$10,000

266 Navajo Geometric Rug, c. 1910 57 by 33 inches Woven in a simplified early 20th century design, in natural brown, ivory and red wool. In excellent condition. PROVENANCE: ESTIMATE:

Nancy D. Mitton Collection

$600-$900

267 Storm Pattern Rug, c. 1930 59 by 40 inches The central design element represents Navajo Nation. The corner squared lines represent the four sacred mountains of the reservation. The zigzag elements represent lightening, connecting Navajo Nation to the sacred mountains. In excellent condition. PROVENANCE: ESTIMATE:

Nancy D. Mitton Collection

$2,500-$4,500

268 Navajo Stripe Diyugi Blanket, c. 1870 68 by 51 inches Navajo banded Diyugi/wearing blanket, woven of handspun wool in natural fleece. Brown and white with indigo blue and unidentified red. In very good condition. PROVENANCE: ESTIMATE:

Nancy D. Mitton Collection

$3,000-$5,000

165

269

271

270

269 Navajo Transitional Weaving, c. 1890 57 by 45 inches Transitional weaving with Navajo homespun yarn dyed with imported aniline dyes, woven in an “eye dazzler” pattern. These weavings were woven to be marketed to an off-reservation clientele. No restoration, shows wear on edges and minor fading on one side. Larry Frank Collection, author of Indian Silver Jewelry of the Southwest 1868-1930 Robert Bauver Collection, author of Navajo and Pueblo Earrings 1850-1945 Nancy D. Mitton Collection

PROVENANCE:

ESTIMATE:

$2,500-$4,500

270 Navajo Chinle Banded Weaving, c. 1930 45 by 31 inches A superb vegetal dyed “Chinle” Navajo weaving. In very good condition. PROVENANCE: ESTIMATE:

Nancy D. Mitton Collection

$200-$400

271 Chief Blanket, c. 1900 48 by 44 inches Navajo woman’s manta, chief blanket variant, woven of handspun wool in natural brown and white with aniline dyed red. Banded field with banded overlay nine spot design comprised of three squares, two diamonds and four half diamonds. In excellent condition. PROVENANCE: Steve Getzwiller Collection, author of The Fine Art of Navajo Weaving Nancy D. Mitton Collection ESTIMATE:

166

$5,000-$8,000

272

272 Robert Elmer Lougheed (1910-1982) Alaska Moose Signed “R. E. Lougheed” lower left Oil on board, 12 by 16 inches Inscribed “567” and “Alaska Moose R. E. Lougheed” on back Kennedy Galleries, Inc., New York, New York label on back Kennedy Galleries, Inc., New York, New York exhibition label inscribed “K'Exh: 'Wild Life Paintings' 5/8-6/13/70” on back National Cowboy Hall of Fame, Oklahoma City, Oklahoma label inscribed “IL.90.1.44 ALASKA MOOSE, oil, by Robert Lougheed, Lender: Mrs. Robert Lougheed” on back Robert Lougheed worked as an illustrator for several notable publications such as National Geographic, Reader's Digest, and Sports Afield. He specialized in depicting animals, and was chosen to design the flying red horse logo for the gasoline company Mobil. He was extremely active in the art community and helped to found the National Academy of Art at the National Cowboy Hall of Fame. ESTIMATE:

$8,00-$12,000

167

“There is not likely to be another fellow who will have the opportunity to study big game as you are doing, and I think records of us fellows who are doing the ‘Old America’ which is so fast passing will have an audience in posterity.” -Frederic Remington in a letter to Carl Rungius

273 Carl Clemens Moritz Rungius (1869-1959) In the Cedar Swamp Signed “C. Rungius” lower right Oil on canvas, 36 by 42 inches Inscribed “In the Cedar Swamp, C. Rungius” on back Best known for his majestic landscape and wildlife scenes of the North American frontier, Carl Clemens Moritz Rungius was twenty-six when he first saw the West. In the years that followed the artist visited Montana, Wyoming, Arizona, Yellowstone Park, the Yukon, and the Canadian Rockies, capturing big game animals in their natural habitats. In 1922 Rungius built his studio in Banff, Alberta, where he painted every summer until his death in 1959. In the Cedar Swamp relates closely to a painting titled During the Rut, which hangs at the National Museum of Wildlife Art in Jackson Hole, Wyoming. A slightly smaller canvas, During the Rut also features a bull and cow in a wooded landscape, and was completed circa 1925. In both images the bull leads the viewer’s eye in towards the cow, which stands in three-quarter perspective, bridging the gap between foreground and background. These paintings are texturally rich canvases with flawless compositions, representing some of the artist’s finest work. PROVENANCE: The Estate of Harry Bartlett Mebane Private Collection, acquired from the above LITERATURE: ESTIMATE:

168

The Carl Rungius Papers, Glenbow Museum, Calgary, Alberta, 1908.

$150,000-$250,000

273

169

274

274 Michael B. Coleman (b. 1946) Moose in Wintry Marsh Signed “Michael Coleman ©” lower left Oil on board, 24 by 29 inches PROVENANCE: ESTIMATE:

170

Private Collection

$10,000-$15,000

275

275 James W. Marshall (1810-1885) Bear, 1848 A thirty-seven-inch high carved wooden cinnamon bear cane stand. The Oakland Tribune newspaper photographed the bear carving and wrote a feature news article on June 2, 1921. The article states that Mrs. Anna Glud was to donate this treasured relic to the Oakland Chapter of the Women and Girl Workers of the Civil War of 1861 and 1865. The newspaper reports that engravers prepared a plaque stating â&#x20AC;&#x153;This cinnamon bear was carved by James Marshall in 1848 with a penknife out of redwood grown in Yosemite Valley, California,â&#x20AC;? which is set at the center of the base of the carving. James W. Marshall was the son of a cabinet, coach, and wagon maker in Lambertville, NJ. He was a skilled carpenter and woodworker, who moved to California, at a doctor's suggestion, for health reasons. In 1846 he served with Major John C. Fremont during the bear flag revolt. In 1847 he was hired to construct and manage Capt. Sutter's mill. In 1848, the year he carved the bear, he discovered gold at the mill and he and the Captain were run off their mill site by hoards of gold rushers. Mrs. Anna Glud (1853-1929) was a girl worker during the Civil War. As a part-time prospector, she and other prospectors sought out Marshall who was believed to have a nose for gold. In 1895, she discovered and filed her own gold claim. Anna Guld was a collector, a gardener, and a woman of historic note in the Oakland, CA and "Gold Country." Original surface with patina, minor chips and age cracks. ESTIMATE:

$8,000-$10,000

171

276

276 Francis Lee Jaques (1887-1969) Elk, 1965 Signed and dated â&#x20AC;&#x153;F.L. Jaques 65â&#x20AC;? on base Bronze, 14 by 5 by 19 inches This elk is one of the only Jaques bronzes known to exist. It belonged to the owner of the foundry where the artist cast the piece. Jaques kept one of the castings for himself, with only five other lifetime castings created. Of the original six, only four are believed to remain intact, making this an extraordinarily rare piece. PROVENANCE:

Harry Shannon Collection By descent in the family to the current owner

ESTIMATE:

172

$5,000-$10,000

276a

276a Luke Frazier (b. 1970) Pushing to the Meadow Signed “L. Frazier” lower right Oil on board, 34 by 48 inches PROVENANCE: ESTIMATE:

Thomas W. Sheppard Collection

$10,000-$15,000

173

277 Bob F. Kuhn (1920-2007) A Two Brooks Idyll, 1974 Signed and dated “Kuhn 74” lower left Acrylic on board, 17.75 by 25.75 inches This classic salmon angling scene depicts famous reel maker Stan Bogdan and his guide casting on the banks of the Restigouche River. Artist Luke Frazier (b. 1970) describes this work as “A rare one. While Kuhn loved fly fishing, this painting is one of only a handful of fly fishing pictures he ever completed. The picture is classic Kuhn: with the artist’s masterly brush strokes highlighted in his handling of the rippling water, the tapestry design on the background trees, and his exquisite capturing of light.” LITERATURE: ESTIMATE:

174

Graydon R. Hilyard, Bogdan, Portland, OR, 2006, p. 87, illustrated.

$20,000-$40,000

277

175

278 Brett James Smith (b. 1958) Strike on a Dry, 2006 Signed “Brett J. Smith ©” lower right Oil on linen, 20 by 24 inches

278

PROVENANCE:

Thomas W. Sheppard Collection

Diane K. Inman, The Fine Art of Angling, Incline Village, NV, 2007, p. 154, illustrated.

LITERATURE:

ESTIMATE:

279 Gordon Allen (b. 1953) Village on Flatlands, Restigouche, 1999 Signed and dated “G. Allen 99” lower right Oil on board, 11.5 by 14.25 inches Inscribed “Village on Flatlands, Restigouche R” lower right ESTIMATE:

279

$500-$800

280

280 Bob F. Kuhn (1920-2007) Tiger Signed “K.” lower left Conte crayon drawing, 8 by 6.75 inches ESTIMATE:

176

$2,000-$3,000

$3,000-$6,000

281

281 William Joseph Schaldach (1896-1982) Rocky Run, Rainbow Trout Signed “Wm. J. Schaldach” lower right Watercolor, 12.25 by 16.75 inches ESTIMATE:

$4,000-$6,000

282

282 Henry Emerson Tuttle (1890-1946) Grouse, 1943 Signed “Tuttle” lower center Acrylic on board, 18 by 22 inches Inscribed “Emerson Tuttle 17 Aug 1943” on back ESTIMATE: $500-$800

177

283

283 Anton Otto Fischer (1882-1962) Surprised Fisherman Signed “Anton Otto Fischer” lower left Oil on canvas, 24 by 30 inches Anton Fischer began his artistic career as a printer’s devil before working under fellow illustrator Arthur Burdett Frost (1851-1928). He studied at the Académie Julian in Paris for two years and was influenced strongly by American painters N.C. Wyeth (1882-1945) and Howard Pyle (1853-1911). In 1910, Fischer moved to New York City to become an illustrator, where he found success selling his work to Harper’s Weekly and later to The Saturday Evening Post. Among the full-length novels he illustrated are Moby Dick, Twenty Thousand Leagues Under the Sea, and Treasure Island. ESTIMATE:

178

$4,000-$6,000

283a

283a Frank Vining Smith (1879-1967) Bear Cubs Signed “Frank Vining Smith” lower right Oil on board, 16 by 20 inches PROVENANCE: ESTIMATE:

Jack Tullish Collection

$800-$1,200

284

284 Fred T. Everett (early 20th century) Indian Rock, 1936 Signed “Fred T Everett” lower right Oil on canvas, 28 by 22 inches Inscribed “Fred T. Everett, Indian Rock, Nyack, NY 1936” on back Please note that this work has a tear measuring approximately three quarters of an inch near the hunter’s head. ESTIMATE:

$2,000-$4,000 179

285

285 Robert Nisbet (1879-1961) Raymonds Barn Signed “Robert Nisbet N.A.” lower right Oil on canvas, 30 by 36 inches Inscribed “Raymonds Barn by Robert Nisbet. N/A/ So. Kent Conn.” on back Born in Providence, Rhode Island, Robert Nisbet studied at the Rhode Island School of Design before teaching at Brown University. From 1910 to 1911 he served as president of the Art Students League in New York City, and in 1928 was elected as a National Academician. He enjoyed rifle shooting from a young age and his skill earned him first place in several competitions, as well as a spot as a rifle instructor during World War II. Nisbet and his wife settled in South Kent, Connecticut after summering for several years at Old Lyme. They built a large home, with a studio, and founded the Kent Art Association. The artist’s works have been exhibited across the United States at Yale University, the Metropolitan Museum of Art, the New York Library, the National Gallery, the Smithsonian Institution, and the Library of Congress in Washington, D.C. ESTIMATE:

180

$6,000-$9,000

286

Lot 286 Frank Weston Benson (1862-1951) Springing Pintails, 1923 Signed and dated “F. W. Benson 1923” Watercolor, gouache and graphite on paper, 20.25 by 14.5 inches Springing Pintails is a classic waterfowl scene that reveals the artist’s mastery of composition. The viewer’s eye is drawn to the widest section of water in the lower left part of the canvas and then vaulted upward. Painting the birds in a rising spiral, the artist uses not only placement, but frontal and back views of the birds in order to create depth of plane. Painted during one of his most productive periods, this early 1920s work shows Benson at his best. PROVENANCE: Descended within the family of Robert Morse of Boston, Massachusetts Private Collection ESTIMATE:

$35,000-$45,000

181

287

287 Ogden Minton Pleissner (1905-1983) Driven Grouse Scene Signed “Pleissner” lower right Watercolor, 18 by 28 inches In Peter Bergh’s The Art of Ogden M. Pleissner, the artist discusses some of his driven grouse shooting experiences in the United Kingdom. He writes, “Drumour 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: LITERATURE: ESTIMATE:

182

Private Collection

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

$30,000-$50,000

288

288 Ogden Minton Pleissner (1905-1983) Coming to Net Signed “Pleissner” lower left Watercolor, 9 by 14 inches This rare work, depicting the artist and his guide bringing a salmon to net, ranks as one of Pleissner’s most accomplished small works. ESTIMATE:

$20,000-$30,000

183

288a

288a Ogden Minton Pleissner (1905-1983) Poling Up River Signed “Pleissner” lower right Watercolor, 10 by 16 inches Pleissner’s subjects range from European landscapes, to quail plantations in Georgia. His style is informed by classical traditions, including rigorously realistic draftsmanship, perfect perspective, and exacting composition. His work is displayed in more than thirty public collections, including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Philadelphia Museum of Art, the Brooklyn Museum, the Minneapolis Institute of Arts, and hangs in the offices of the Pentagon, West Point, and the Air Force Academy. PROVENANCE: ESTIMATE:

288b

Thomas W. Sheppard Collection

$10,000-$20,000

288b Ogden Minton Pleissner (1905-1983) Wood Duck Still Life Signed “Pleissner” lower left Watercolor, 20 by 14 inches PROVENANCE: ESTIMATE:

184

Thomas W. Sheppard Collection

$8,000-$12,000

288c

288c George Browne (1918-1958) Pintails Signed “George Browne” lower left Oil on canvas, 16 by 20 inches Along with Harry Curieux Adamson (b. 1916), George Browne is considered one of the greatest depicters of waterfowl of the Pacific Flyway. In his brief life spanning forty years, Browne created some of the finest waterfowl paintings of all time. ESTIMATE:

$8,000-$12,000

185

289

289 Aiden Lassell Ripley (1896-1969) Woodcock, 1943 Signed and dated “A. Lassell Ripley 1943” lower right Watercolor, 20.5 by 29.5 inches “...a depictor of birds in flight, and of sportsmen tensed in action, whether in Southern fields or on the salmon rivers of Canada, he informed his canvases with the zest, the love for light and nature which were inherent in his character.” Edward Weeks Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country’s top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951). Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors en plein air in North Africa, France, and Holland. On his return, in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside, as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works, and following a successful one-man show in 1930 of his sporting art, Ripley decided to change his tack and specialize in hunting, fishing, and outdoor scenes as subjects.

186

Along with his contemporary, Ogden Pleissner (19051983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art. Ripley’s technique and style changed over the course of his career. While the loose Impressionism of the Museum School marks his early work, his later work is progressively tighter, following a trend in American Realism. Ripley was an expert watercolorist as well as a brilliant draftsman, with an outstanding ability to render natural light. His recognition was abundant. Among his many awards, Ripley was honored with election into the National Academy of Design and served as president of the Guild of Boston Artists for the ten years preceding his death. His works now hang in the collections of the Boston Public Library, The Museum of Fine Arts Boston, The Art Institute of Chicago, and the Atlanta Artists Association. PROVENANCE:

Private Collection, Texas

LITERATURE: Edward Weeks, A. Lassell Ripley Paintings, Barre, MA, 1972, foreword. ESTIMATE:

$10,000-$20,000

290

290 George Browne (1918-1958) Yellow Birch and New Snow Signed “George Browne” lower right Oil on canvas, 24 by 20 inches Following in the footsteps of artist sportsmen like Frank W. Benson (1862-1951), Carl Clemens Moritz Rungius (1869-1859), and Aiden Lassell Ripley (1896-1969), George Browne painted the waterfowl and upland game birds that he also hunted. Like Ripley, his images of grouse are carefully and accurately rendered. Browne’s deft handling of paint and his incredible attention to detail are exemplified in Yellow Birch in New Snow, with each feather on the birds and each flake of frozen snow masterfully depicted. PROVENANCE: ESTIMATE:

Melinda Gardner Collection

$15,000-$25,000

187

291 Alexander Pope (1849-1924) Waiting for its Master Signed “Alexander Pope” lower left Oil on canvas, 36.5 by 30.5 inches Alexander Pope, Jr. was born in Boston, Massachusetts, and began his art career as a young boy carving animals from the spare wood of his father’s lumber business. Although Pope had some formal instruction under Boston painter and sculptor Walter Rimmer, he was for the most part self-taught. An avid outdoorsman, Pope belonged to the Laurel Brook Club, a fly fishing and shooting club in Uxbridge, Massachusetts. A member from 1902 to 1908, he served on its Executive Committee with Aiden Lassell Ripley (1896-1969). He was passionate about fishing and hunting and chose these subjects for his paintings and sculptures. Along with his contemporaries R. LaBarre Goodwin (1840-1910) and George Cope (1855-1929), Pope created trompe l’oeil still lifes, often featuring game birds. During his lifetime, art critics not only admired his still lifes, but increasingly recognized Pope’s skill at painting dogs. Citing his ability to bestow intelligence and personality on his canine subjects, the Boston Pilot, The Courier, and the Boston Post all praised his work in their reviews. Describing the pieces exhibited by Pope in December of 1886, a writer from The Courier noted, “The excellence of the composition, the attractiveness of the subject, the technical ability shown, and perhaps more than all, the verve and dash of the work arouse enthusiasm to an unusual degree.” Waiting for its Master displays all of these attributes. The deep hues, variation of brushwork, uncluttered composition, and impressive size rank this as one of Pope’s monumental accomplishments. The direct gaze of the dog, which is believed to be the same subject from the widely publicized Brook Hill whiskey advertisements (see lot 292), draws the viewer into this carefully crafted scene. Although the dog is clearly the focus of the work, Pope has not ignored the background. The thoughtful detailing on the leather gloves and hat, and the reflection of the dog’s paws on the freshly waxed wood floor, add narrative, depth, and texture to the work. His blending of animal with interior, and of portrait painting with genre painting, is seamless. Of the nearly three dozen Pope dog portraits to come on the market in the last twenty years, Waiting for its Master, given its size and detail, stands in a class by itself. PROVENANCE:

Private Collection, Maine

Joe French, “Alexander Pope, Jr.,” Decoy Magazine, July/August 1999, pp. 40-43. F. Turner Reuter, Jr., Animal & Sporting Artists In America, Middleburg, VA, 2008, p. 547.

LITERATURE: ESTIMATE:

188

$100,000-$200,000

291

189

292

292 Alexander Pope (1849-1924) The “Brook Hill” Dog, 1911 Signed and dated “Alexander Pope -11” lower right Lithograph on tin, 38 by 29 inches Inscribed “The “Brook Hill” Dog” lower center These advertising tins were distributed by Friedman, Keiler & Co. Distillers to hang in bars and saloons. ESTIMATE:

190

$5,000-$8,000

293

293 Luke Frazier (b. 1970) Setter with Woodcock, 2011 Signed “L. Frazier” lower left Oil on canvas, 12 by 16 inches ESTIMATE:

$3,000-$5,000

294

294 James Fields (1926-2008) Fly Fishing Signed “James Fields” lower right Oil on board, 16 by 20 inches Inscribed “Taos, N.M.” lower right ESTIMATE:

$200-$400

191

295

295 Alexander Pope (1849-1924) Pointer with Grouse, 1887 Signed and dated “Alex Pope 87” lower right Oil on canvas, 30 by 24 inches ESTIMATE:

192

$10,000-$20,000

296

296 Brett James Smith (b. 1958) Camp on the Flathead Signed “Brett J. Smith ©” lower right Oil on canvas, 24 by 40 inches PROVENANCE: ESTIMATE:

Thomas W. Sheppard Collection

$8,000-$12,000

298

297

297 John Frederick Herring, Sr. (attr.) (1795-1865) Ducks with Ducklings Oil on canvas, 23.5 by 23.5 inches ESTIMATE:

$2,000-$4,000

298 Charles M. Jenckes (fl. late 19th century) Hanging Golden Plover, 1883 Signed and dated "C.M. Jenckes 1883" lower left Oil on board, 16 by 12 inches ESTIMATE:

$800- $1,200 193

299

299 Three Dogs (19th century) Oil on canvas, 28 by 40 inches This thoughtful rendering of dogs shows the skilled handing of an adept, yet unknown folk artist. ESTIMATE:

$8,000-$12,000

301

300

300 Pierre Jules Mêne (1810-1879) Game Plaque with Stag and Heron Signed “P.J. Mêne” lower left Bronze, 14 by 9 inches

301 Arthur Beckwith (1860-1930) Hunter Retrieving Duck, 1893 Signed and dated “A. Beckwith 1893” lower right Oil on canvas, 25.25 by 29.5 inches

ESTIMATE:

194

$500-$1,000

302

302 Frank Vining Smith (1879-1967) Let’s Get Out of Here Signed “Frank Vining Smith” lower left Oil on canvas, 28 by 36 inches Born and raised in South Abington, Massachusetts, Frank Vining Smith grew up sailing and with a love of other New England outdoor pursuits. After graduating from high school, Smith attended the Boston School of the Museum of Fine Arts, where he studied under such notable artists as American Impressionist Frank W. Benson (1862-1951), Phillip L. Hale (1865-1931), and Edmund C. Tarbell (1862-1938). After graduating he worked as an illustrator for several newspapers in New York City and Boston, in addition to painting covers for national publications such as the National Sportsman. After working as a staff artist for the Boston Herald for nearly fifteen years, Smith quit his post to focus on his painting career. He was ultimately rewarded with several one-man shows across the United States and a painting career spanning four decades. The striking fall colors and strong composition make Let’s Get Out of Here one of Smith’s most important works ever to come to market. ESTIMATE:

$8,000-$12,000 303

303 David Lazarus (b. 1952) Canada Geese, Taking Off Signed “D. Lazarus” lower right Oil on canvas, 16 by 20 inches ESTIMATE:

$900-$1,200

195

304

304 Thomas Aquinas Daly (b. 1937) The River in June Signed “T A daly” lower left Watercolor, 12.75 by 19.5 inches

305

This is a classic Daly Atlantic salmon fishing scene, showing his detailed rocks, canoe, and anglers amid evergreens in the mist. ESTIMATE:

$3,000-$5,000

305 John Swan (b. 1948) Children Fishing by the Brook, 1977 Signed and dated “John Swan 1977” lower left Watercolor, 9 by 13.5 inches

306

This work is based on a photograph by Chansonetta Stanley Emmons (1857-1937), taken at Chesham, New Hampshire, circa 1900. ESTIMATE:

$2,000-$3,000

306 Brett James Smith (b. 1958) Grass Blind Signed “Brett J. Smith” lower left Watercolor, 17 by 29 inches PROVENANCE: ESTIMATE:

196

Thomas W. Sheppard Collection

$2,000-$4,000

307

308

307 John Swan (b. 1948) Down the Kedgwick Signed “John Swan” lower right Oil on canvas, 24 by 36 inches

308 John Swan (b. 1948) Two Loons, 1990 Signed and dated “John Swan 90” lower left Oil on board, 21.25 by 37.75 inches

PROVENANCE:

ESTIMATE:

Thomas W. Sheppard Collection

$3,000-$6,000

$8,000-$12,000

197

309

309 Francis Golden (1916-2008) Striped Bass Fishing Signed “Francis Golden” lower left Watercolor, 17 by 27 inches The Sportsman’s Edge, Ltd., New York, New York label on back PROVENANCE: ESTIMATE:

310

310 James W. Harris (b. 1946) Quiet Repose, 2003 Signed “J.W. Harris” lower right Acrylic on board, 20 by 24 inches ESTIMATE:

311

Thomas W. Sheppard Collection

$1,000-$2,000

$2,000-$3,000

311 Mel Smothers (b. 1947) Dear Andy #218 Signed and dated “Mel Smothers 2011 Lake Tahoe” on back Oil on canvas, 24 by 24 inches Inscribed “Dear Andy #218” on back “Andy Warhol was the epitome of a non-naturalist, non-outdoors style person. My postcards to him are introducing him to the natural world...I read in the “New York Times” that Andy Warhol’s ocean-side estate at Montauk, Long Island was sold, so I made a point of driving out from California to get a feel for the place… I introduce Mr. Warhol to flora, fauna and fish that I’ve found in the area of his property” – Mel Smothers ESTIMATE:

198

$800-$1,200

312

313

314

312 Charles E. Murphy (fl. 20th century) Mallards, 1976 Signed and dated “Charles E. Murphy © 76” Gouache, 20 by 26.25 inches PROVENANCE: ESTIMATE:

Private Collection

$600-$900

313 Two Hunters and Springer by Fireplace (Mid 20th century) Oil on canvas, 30 by 25 inches Please note this painting has a five inch tear in the center of the work. ESTIMATE:

$400-$600

315

314 Paul Desmond Brown (1893-1958) Congratulations Dam and Sire Watercolor, 12 by 9 inches Inscribed “Congratulations Dam and Sire Sincerely Paul Brown” lower right ESTIMATE:

$500-$700

315 Paul Desmond Brown (1893-1958) Misty Morn, 1932 Signed and dated “Paul Brown 32” lower right Pencil and crayon drawing, 13 by 10 inches Inscribed “Misty Morn” lower right ESTIMATE:

$500-$700

199

316

316 Aiden Lassell Ripley (1896-1969) Canada Goose Shooting Signed “A. Lassell Ripley ©” lower right Watercolor, 17 by 29 inches PROVENANCE:

Thomas W. Sheppard Collection

LITERATURE:

Stephen B. O’Brien Jr. and Julie Carlson Wildfeuer, The Art of Aiden Lassell Ripley, Boston, MA, 2009, p.140, illustrated.

ESTIMATE:

$10,000-$20,000

317

317 J.D. Knap (20th century) Canvasbacks Signed “J.D. Knap” lower left Watercolor, 14 by 20.5 inches PROVENANCE: ESTIMATE:

200

Charlie Chapin III Collection

$100-$300

318

318 William Simmons (1884-1949) Eagle Feeding Chicks, 1910 Signed “Will Simmons Paris 1910” lower right Gouache, 13 by 19 inches Inscribed “Spi**elus Coronalis” lower center LITERATURE: George Spaulding DeVoe, Will Simmons American Impressionist, p. 63, illustrated. ESTIMATE:

$1,000-$1,500

Known primarily as a painter and etcher of natural history subjects, William Simmons was the son of Edward Emerson Simmons (1852-1931) who was one of the original Ten American Painters. From a distinguished Massachusetts family, Will’s father was first cousin to Ralph Waldo Emerson and he grew up in the Old Manse, the house in Concord, Massachusetts in which Nathaniel Hawthorne wrote the volumes of short stories, Mosses from an Old Manse. Will Simmons was born in Elche, Spain, while his parents were traveling. His early studies were under his father’s tutelage in Baltimore, Maryland, and his formal education followed at the Académie Julian in Paris. With family heritage rich in the arts and observation of the natural world, it is not surprising that Will was drawn to painting and etching the wildlife he loved. Simmons was a member of the Society of American Artists, the Chicago Society of Etchers, California Print Makers, and Prairie Printmakers. He exhibited at the Art Institute in Chicago, the Whitney Museum of American Art, and the United States National Museum, of Washington, D.C. His works hang in the New York Public Library, Smithsonian Library of Congress in Washington, D.C., the Bibliothèque in Paris, and the Public Library in Liverpool, England.

319

319 William Simmons (1884-1949) Three Cranes, 1909 Signed and dated “Will Simmons, 1909” lower left Ink and gouache, 8.5 by 11.5 inches Inscribed “W.H.S. 185” lower right Inscribed “à la - adorahon sit spaso amoroso - 1917” lower left Translation: “to my adored one her loving husband 1917” lower left LITERATURE: George Spaulding DeVoe, Will Simmons American Impressionist, p. 75, illustrated. ESTIMATE:

$800-$1,200

201

320

320 William Simmons (1884-1949) Mallards Taking Flight, 1917 Signed and dated “Will Simmons 1917” center right Watercolor, 12 by 18 inches ESTIMATE:

321

$400-$800

321 William Simmons (1884-1949) Afternoon on the Seine, 1910 Signed and dated “Will Simmons ‘10” lower right Watercolor, 9.5 by 12.5 inches LITERATURE: George Spaulding DeVoe, Will Simmons American Impressionist, p. 11, illustrated. ESTIMATE:

322

322 William Simmons (1884-1949) Mallards Coming In, 1909 Signed “Will Simmons ‘09” upper right Watercolor and gouache, 9.25 by 12.5 inches ESTIMATE:

202

$800-$1,200

$400-$600

323 Elizabeth Leary Strazzulla (b. 1970) The Competition, 2011 Signed “Elizabeth Leary Strazzulla” lower left Oil on canvas, 24 by 30 inches

323

Boston artist Elizabeth Leary Strazzulla describes her painting method “Having trained classically, I firmly believe in working from life. Landscapes are worked en plein-air or in the studio from sketches done on site.” ESTIMATE:

$3,000-$4,000

324 Elizabeth Leary Strazzulla (b. 1970) Returning, 2011 Signed “Elizabeth Leary Strazzulla” lower left Oil on canvas, 22 by 28 inches ESTIMATE:

$3,000-$4,000

325 Franz Biberstein (1850-1930) Two paintings 325.1 Mountainous Landscape Signed and dated “Fr. Biberstein 191*” lower right Oil on board, 6 by 9 inches

324

325.2 Mountain Signed and dated “F. Biberstein 1926” lower right Oil on board, 4 by 5 inches ESTIMATE:

325.1

$500-$700

325.2

203

326.1

326.2

327.2

327.1

328.1

327.3

328.2

328.3

326 Lot of Two Paintings Reed Prescott, II Dead Creek Mallards Signed “Reed A. Prescott” lower right Oil on board, 4.5 by 6.5 inches

327 John M. Standish (b. 1949) Three Watercolors A Second Thought Signed “JM Standish” lower right Watercolor, 9.5 by 4 inches

328 John M. Standish (b. 1949) Three Watercolors An Unfinished Story Signed “JM Standish” lower right Watercolor, 9 by 21.25 inches

Hanging Mallard Pair Gouache on paper, 18 by 10 inches

A Woman’s Touch Signed “JM Standish” lower right Watercolor, 10.5 by 5 inches

Come on In Signed “JM Standish” lower right Watercolor, 16 by 10.75 inches

In’s and Out’s Signed “JM Standish” lower right Watercolor, 12.75 by 6.75 inches

Seeing Double Signed “JM Standish” lower right Watercolor, 14 by 9 inches

ESTIMATE:

204

$200-$400

$300-$600

329.1

329.2

329.3

330.1

329.4

330.2

330.3

329 Harry A. Thompson (b. 1946) Four Watercolors Winter Marsh Scene, 1975 Signed and dated, “Harry A. Thompson III ‘75” lower right Watercolor, 11.25 by 23.5 inches

330 John M. Standish (b. 1949) Three Watercolors Lilacs Along the Road Signed “JM Standish” lower right Watercolor, 11 by 19.25 inches

White Column Doorway, 1978 Signed and dated, “Harry A. Thompson III ‘78” lower right Watercolor, 11.5 by 19.5 inches

Just a Thought Signed “JM Standish” lower right Watercolor, 10 by 20.5 inches

Lighthouse Scene, 1997 Signed and dated, “Harry A. Thompson III ‘97” lower right Watercolor, 9.5 by 13.5 inches

End of May Signed “JM Standish” lower right Watercolor, 9.25 by 19.5 inches

Boat on Land, 1997 Signed and dated “Harry A. Thompson III ‘97” lower right Watercolor, 9.5 by 13.5 inches

ESTIMATE:

$300-$600

205

330a.1

330a.2

330a.3

330a.4

330a Alexander Pope (1849-1924) Set of four prints, c. 1880 Each Chromolithograph, 9.5 by 13 inches 330a.1 Coin Inscribed “#19 - Coin” on back

∆

330a.2 Dan Inscribed “#2 - Dan” on back 330a.3 Trimbush Inscribed “#7 - Trimbush” on back 330a.4 Bow Inscribed “#6 - Bow” on back This is an exceedingly rare set of sporting dog prints. ESTIMATE:

206

$800-$1,200

331.1

331.2

332.1

332.2

331 Percival Leonard Rosseau (1859-1937) Two Prints, c. 1925 Each signed “Percival Rosseau” lower right Lithographs, 13.5 by 21.5 inches

333

331.1 Pointers 331.2 Setters The Crossroads of Sport, New York, New York label on back PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

$500-$700

332 Leslie Shaw Two Drawings 332.1 Cocker Spaniel Signed “Leslie Shaw” lower right Charcoal drawing, 10 by 13 inches 332.2 Dog Signed “Leslie Shaw” lower right Pencil and charcoal drawing, 5.5 by 7 inches ESTIMATE: $100-$200 333 Marguerite Kirmse (1885-1954) Steady Now!, 1930 Signed “Marguerite Kirmse” lower right Etching, 9 by 6.5 inches Inscribed “Steady Now!” lower left ESTIMATE:

$300-$500 207

334.1

334 Complete Set of Federal Duck Stamp Prints (one shown) From 1934-1986 1934 Jay N. “Ding” Darling Signed “Ding Darling” lower right Engraving, 6 by 8.5 inches Inscribed “Design for First Federal Duck Stamp – 1934” lower left 1935 Frank W. Benson Signed “Frank W. Benson” lower left Engraving, 3 by 5 inches (2) 1936 Richard E. Bishop Signed “Richard E. Bishop” lower right Etching, 5 by 8 inches Inscribed “1936 Federal Duck Stamp Design” lower left 1937 Joseph D. Knap Signed “J.D. Knap” lower right Print, 5.75 by 8.75 inches Inscribed “Federal Duck Stamp 1937” lower left 1938 Roland H. Clark Signed “Roland Clark” lower right Etching, 6.75 by 10.75 inches Inscribed “Duck Stamp Design, 1938” lower left 1939 Lynn B. Hunt Signed “Lynn Bogue Hunt” lower right Lithograph, 7.75 by 10.75 inches Inscribed “# 61 2nd. Ed. Federal Duck Stamp – 1939” lower left 1940 Francis L. Jaques Signed “F.L. Jaques” lower right Lithograph, 8.75 by 11 inches Inscribed “Duck Stamp Design 1940” lower left 1941 Edwin R. Kalmbach Signed “E.R. Kalmbach” lower right Lithograph, 6.75 by 8.75 inches Inscribed “Duck Stamp Design, 1941” lower left 1942 Aiden Lassell Ripley Signed “A. Lassell Ripley” lower right Etching, 6 by 8.5 inches Inscribed “American Widgeon” lower left 208

1943 Walter E. Bohl Signed “Walter E. Bohl” lower right Etching, 4.75 by 7 inches Inscribed “Federal Duck Stamp Design – 1943” lower left 1944 Walter A. Weber Signed “Walter A. Weber” lower right Lithograph, 7 by 9.25 inches Inscribed “Duck Stamp Design – 1944” lower left 1945 Owen J. Gromme Signed “Owen J. Gromme” lower right Lithograph, 5 by 7 inches Inscribed “Federal Duck Stamp Design 1945” lower left 1946 Robert W. Hines Signed “Rob Hines 1946” lower right Lithograph, 8 by 11 inches Inscribed “A-154 Redheads” lower left 1947 Jack Murray Signed “Jack Murray 1947 ©” lower right Lithograph, 8 by 11.25 inches Inscribed “From Beyond the North Wind” lower left 1948 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “Duck Stamp Design – 1948” lower left 1949 Roger E. Preuss Signed “Roger E. Preuss” lower right Lithograph, 6.5 by 9 inches Inscribed “American Goldeneye 1949 ©” lower left 1950 Walter A. Weber Signed “Walter A. Weber” lower right Lithograph, 4.75 by 7 inches Inscribed “Duck Stamp Design – 1950” lower left 1951 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “Duck Stamp Design – 1951 2nd ed.” lower left

1952 John H. Dick Signed “John H. Dick” lower right Lithograph, 7 by 9.25 inches Inscribed “Duck Stamp Design 1952” lower left 1953 Clayton B. Seagears Signed “Clayt Seagears” lower right Lithograph, 6.75 by 9 inches Inscribed “Early Express (B. W. teal)” lower left 1954 Harvey D. Sandstrom Signed “Harvey D. Sandstrom” lower right Lithograph, 5 by 7 inches Inscribed “Ring-Necks” lower left 1955 Stanley Stearns Signed “Stanley Stearns” lower right Aquatint etching, 7 by 10 inches Inscribed “Blue Geese” lower left 1956 Edward J. Bierly Signed “Edward J. Bierly” lower right Aquatint etching, 4.75 by 6.75 inches Inscribed “American Mergansers” lower left 1957 Jackson M. Abbott Signed “Jackson M. Abbott” lower right Lithograph, 7.5 by 9.5 inches Inscribed “American Elder” lower left 1958 Leslie C. Kouba Signed “Les C. Kouba” lower right Etching, 6.75 by 9 inches Inscribed “Federal Duck Stamp Design, 1958-9” lower left 1959 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “Labrador Retriever – 1959” lower right 1960 John A. Ruthven Signed “John A. Ruthven” lower right Lithograph, 6.75 by 9 inches Inscribed “Redhead Ducks” lower right 1961 Edward A. Morris Signed “Edward A. Morris” lower right Etching, 6.5 by 9 inches Inscribed “Federal Duck Stamp Design 1961-‘62” lower left 1962 Edward A. Morris Signed “Edward A. Morris” lower right Etching, 6.5 by 9 inches Inscribed “Federal Duck Stamp Design 1962-‘63” lower left 1963 Edward J. Bierly Signed “Edward J. Bierly” lower right Etching, 6.75 by 9 inches Inscribed “American Brant” lower left 1964 Stanley Stearns Signed “Stanley Stearns” lower right Lithograph, 7.25 by 10.25 inches Inscribed “Nene” lower left

1965 Ron Jenkins Signed “Ron Jenkins” lower right Lithograph, 6.5 by 9.25 inches Inscribed “Canvasbacks” lower left

1978 Albert Gilbert Signed “Al Gilbert” lower left Color lithograph, 6.75 by 9.75 inches Inscribed “1534/5800” lower right

1966 Stanley Stearns Signed “Stanley Stearns” lower right Lithograph, 7.5 by 10.5 inches Inscribed “257/300 Whistling Swans” lower left

1979 Ken Michaelson Signed “Ken Michaelson” lower right Color lithograph, 6.75 by 9.75 inches Inscribed “6739/7000” lower left

1967 Leslie C. Kouba Signed “Les C. Kouba” lower right Etching, 6.5 by 9 inches Inscribed “Federal Duck Stamp Design, 1967-68” lower left 1968 Claremont G. Pritchard Signed and dated “© C. G. Pritchard 1968” lower right Lithograph, 6.5 by 9 inches Inscribed “558/750 Federal Duck Stamp Design 1968-69” lower left 1969 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “717/750 Duck Stamp Design – 1969- 1st ed.” lower left 1970 Edward J. Bierly Signed “Edward J. Bierly” lower right Lithograph, 6.5 by 9.75 inches Inscribed “419/700 Ross’ Geese” lower left 1971 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “890/950 Duck Stamp Design – 1971- 1st ed.” lower left 1972 Arthur M. Cook Signed “Arthur M. Cook” lower right Color lithograph, 6.5 by 9 inches Inscribed “772/950 Emperor Geese” lower left 1973 Lee LeBlanc Signed “Lee LeBlanc” lower right Lithograph, 6.5 by 9 inches Inscribed “486/1000” lower left

1980 Richard Plasschaert Signed “Richard Plasschaert” lower right Photolithograph, 6.25 by 9 inches Inscribed “7118/12950” lower left (2) 1981 John S. Wilson Signed “John S Wilson” lower right Photolithograph, 6.5 by 9 inches Inscribed “284/400 Conservation Edition” lower left 1982 David A. Maass Signed “David A. Maass” lower right Color lithograph, 6.5 by 9 inches Inscribed “1656/22,250” lower left (2) 1983 Phil Scholer Signed “Phil Scholer” lower right Photolithograph, 6.5 by 9 inches Inscribed “2091/17400” lower left (3) 1984 William C. Morris Signed “William C. Morris” lower right Photolithograph, 6.5 by 8.75 inches Inscribed “453/11,500” lower center 1985 Gerald Mobley Signed “G. Mobley” lower right Color lithograph, 6.5 by 9 inches Inscribed “785/18,200” lower left 1986 Burton E. Moore Signed “Burton E. Moore Junr” lower right Color lithograph, 6.5 by 9 inches Inscribed “1337/16310” lower left 1992 Joseph Hautman Signed “Joe Haut” lower right Lithograph, 6.5 by 9 inches Inscribed “1298/10500” lower left ESTIMATE:

$15,000-$25,000

1974 David A. Maass Signed “David A. Maass” lower right Photolithograph, 6.5 by 9 inches 1975 James P. Fisher Signed “James P. Fisher” lower center Color lithograph, 7.5 by 9 inches Inscribed “2737/3150” lower left 1976 Alderson Magee Signed “Alderson Magee” lower right Lithograph, 6.5 by 9 inches Inscribed “201/3600” lower left (2) 1977 Martin R. Murk Signed “Martin R. Murk” lower left Photolithograph, 6.5 by 9.25 inches Inscribed “469/5800” lower left

209

335

336

337

338

335 Richard Evett Bishop (1887-1975) Bog Sprites (Jack Snipe), 1931 Signed and dated “R.E. Bishop © 31” lower right Drypoint, 8 by 12 inches Inscribed “Bog Sprites” lower left Edition of 65 Richard E. Bishop, Bishop’s Birds-Etchings of Water-Fowl and Upland Game Birds, Philadelphia, PA, 1936, pl.53, illustrated. Russell A. Fink, Richard E. Bishop Etchings, Drypoints, and Aquatints, St. Paul, MN, 2008, p. 140, illustrated.

339

337 Roland H. Clark (1874-1957) Dropping In Signed “Roland Clark” lower left Aquatint, 19 by 15.5 inches Inscribed “250112.4” lower left and “Roland Clark” lower right ESTIMATE:

$600-$900

LITERATURE:

ESTIMATE:

$200-$400

336 Richard Evett Bishop (1887-1975) On the Flats, 1929 Signed “R.E. Bishop” lower right Drypoint, 10.5 by 14 inches Inscribed “On the Flats” lower left and “(HH2257)” lower right Edition of 65 LITERATURE: Russell A. Fink, Richard E. Bishop Etchings, Drypoints, and Aquatints, St. Paul, MN, 2008, p. 119, illustrated. ESTIMATE:

$200-$400

338 Roland H. Clark (1874-1957) Drake Widgeon, 1934 Signed “Roland Clark” lower right Etching, 11.75 by 8.75 inches Inscribed “Ed. 75” lower left “Drake Widgeon” lower center Edition of 75, etched June 1934 LITERATURE: ESTIMATE:

$100-$200

339 Roland H. Clark (1874-1957) Pintail Drake, 1928 Signed “Roland Clark” lower right Drypoint, 8.75 by 11.5 inches Edition of 65 ESTIMATE:

210

Roland Clark’s Etchings, New York, NY, 1938, no. 6,

illustrated.

$300-$500

340 Frank Weston Benson (1862-1951) Old Tom, 1926 Signed “Frank W. Benson” lower left Etching, 15.75 by 9.75 inches Paff # 246, edition of 150

340

“By the time this etching [Old Tom] had been done in 1925, Tom Nickerson, the longtime caretaker of Benson’s house on Nauset Marsh, had been dead for many years. The etching was undoubtedly copied from the 1923 watercolor Benson had painted of Tom in the same pose. Both were based on affectionate memory and perhaps some sketches or photos. Tom made a picturesque and commanding figure in his flapping oilskins with his gun clasped firmly in one hand and a dead goose dangling limply from the other. The editor of the Crafton Collection book, Charles Morgan, called the etching ‘one of the most majestic figure subjects ever etched which for eloquence and power can only be compared with the greatest of [French painter] Millet’s powerful presentations of the human form.’” Faith Andrews Bedford LITERATURE: Faith Andrews Bedford, Frank W. Benson American Impressionist, New York, NY, 1994, p. 205. ESTIMATE:

341 Frank Weston Benson (1862-1951) Marsh Gunner, 1918 Signed “Frank W. Benson” lower left Etching, 11 by 9 inches Paff # 149, edition of 150 ESTIMATE:

$8,000-$12,000

341

$7,000-$10,000

211

342

343

344

345

346

347

348

349

350

342 Frank Weston Benson (1862-1951) Rainbow Cove (trial proof #B-1), 1927 Signed “Frank W. Benson” lower left Etching, 7.75 by 9.75 inches Inscribed “p 263 B-1 Rainbow Cove” lower left and appears to be inscribed “Landscape changed in form, reflections ducks redrawn” lower center Paff # 263, edition of 150 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson ESTIMATE:

$300-$600

343 Frank Weston Benson (1862-1951) Canada Goose, 1917 Signed “Frank W. Benson” lower left Etching, 4 by 5 inches Inscribed “Canada Goose #115” lower left Paff # 115, edition of 150 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson ESTIMATE:

212

$300-$600

344 Frank Weston Benson (1862-1951) Pointer Dog, 1925 Signed “Frank W. Benson” lower left Etching, 5.75 by 7.75 inches Inscribed “251 Pointer Dog 30 -” lower left Paff # 251, edition of 150 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson ESTIMATE:

$1,000-$2, 000

346 Frank Weston Benson (1862-1951) Sunset at Long Point, 1933 Signed “Frank W. Benson” lower left Etching, 10 by 7.75 inches Inscribed “Sunset at Long Point # 333” lower left Paff # 333, edition of 150 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson ESTIMATE:

$600-$900

345 Frank Weston Benson (1862-1951) Portrait, 1923 Signed “Frank W. Benson” lower left Drypoint, 7.75 by 6 inches Inscribed “Chin rounded, Light wear ****” lower center and “# 218 portrait F” lower left Paff # 218

347 Frank Weston Benson (1862-1951) Scaling Down, 1917 Signed “Frank W. Benson” lower left Etching, 4 by 3 inches Inscribed “Scaling Down #120” lower left Paff #120, edition of 150

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

ESTIMATE:

$200-$400

$300-$600

351

354

352

356

355

348 Frank Weston Benson (1862-1951) Flying Brant, 1925 Signed “Frank W. Benson” lower left Drypoint, 4.75 by 6.65 inches Inscribed “#241 Flying Brant” lower left Paff # 241, edition of 150

350 Frank Weston Benson (1862-1951) Rain Squall, 1931 Signed “Frank W. Benson” lower left Etching, 6.75 by 8.75 inches Inscribed “317” lower left Paff # 317, edition of 150

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

ESTIMATE:

$300-$600

349 Frank Weston Benson (1862-1951) The Darkening Sky (trial proof #B-2), 1925 Signed “Frank W. Benson” lower left Drypoint, 4.75 by 6.75 inches Inscribed “B-2 P 253 the Darkening Sky” lower left Paff # 253 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson ESTIMATE:

$300-$400

$200-$400

351 Frank Weston Benson (1862-1951) Soaring Fish Hawk, 1923 Signed “Frank W. Benson” lower left Drypoint, 5.5 by 7.5 inches Paff # 225, edition of 150 ESTIMATE:

$800-$1,200

352 Frank Weston Benson (1862-1951) Male Whistler, 1915 Signed “Frank W. Benson” lower left Etching and drypoint, 4 by 6 inches Inscribed “16” lower right Paff # 87, edition of 100 ESTIMATE:

353 No Lot 354 Frank Weston Benson (1862-1951) The Anchorage, 1915 Signed “Frank W. Benson” lower left Etching, 3.75 by 6.75 inches Inscribed “#57 second proof” lower left Paff # 57, edition of 25 ESTIMATE:

$1,000-$1,500

355 Frank Weston Benson (1862-1951) Bunch of Bluebills, 1931 Signed “Frank W. Benson” lower left Drypoint, 4 by 5 inches Paff # 312, edition of 300 ESTIMATE:

$400-$600

356 Frank Weston Benson (1862-1951) Ducks Swimming, 1914 Signed “Frank W.. Benson” lower left Etching, 5 by 10 inches Paff # 30, edition of 50 ESTIMATE:

$600-$1,000

$800-$1,200

213

357 after John James Audubon (1785-1851) Common Gull, 1834 Hand-colored engraving, 21 by 24.75 inches “Engraved, Printed, & Colored by R. Havell, 1834.” lower right “Drawn From Nature by J.J. Audubon, F.R.S.F.I.S.” lower left “Common Gull Larus Canus 1. Adult 2. Young” lower center “No. 43” upper right “Plate CCXII” upper left

357

ESTIMATE:

$2,500-$5,000

Audubon’s single great passion was the observation and description of birds. The illegitimate son of a French sea captain and a Creole chambermaid, he spent most of his time observing and drawing birds in the Ohio Valley region, as well as the swamps and bayous of the Mississippi Valley. Audubon drew, painted, and wrote. He hunted, trapped and even tried domesticating some of the hundreds of birds he studied. Fascinated by the American wild turkey, great white heron, and Canada goose, Audubon decided to publish a great ornithological treatise describing with illustrations and text every known North American bird in their natural habitat and life-size. An undertaking as grand as the one Audubon envisioned was far from easy. Publishing was enormously expensive and paper and the production of illustrations was costly. To finance his endeavor Audubon offered his “Birds of America” by subscription, issuing the illustrated plates and accompanying text in groups of five. Unable to find an American publishing house that could take on a project of this magnitude, he traveled to England to find an engraver who was able to translate his great vision onto paper. The first ten plates (Plates 1-10) were engraved by William Lizars of Scotland (1788-1859). However, his colorists went on strike and Lizars was unable to continue. Audubon found another equally talented and like minded engraver in Robert Havell, Jr. of London (1793-1878), whose meticulous workmanship, attention to detail and artistic sensibility was pivotal to Audubon’s great success. Havell reproduced Audubon’s drawings on sheets of Whatman paper, (known as double elephant folio–a reference to their size) using aquatint engraving, a labor intensive process reserved for all but the most expensive publications. “The Birds of America” took twelve years to complete. The four volume work included four hundred thirty-five hand colored illustrations, with text issued separately in an octavo sized publication of five volumes entitled “Ornithological Biography”. It is estimated that between one hundred seventy-five and two hundred copies were made in all.

358 after John James Audubon (1785-1851) Mergansers, 1836 Hand-colored engraving, 24.5 by 37 inches “Engraved, Printed & Colored by R. Havell, 1836.” lower right “Drawn from Nature by J.J. Audubon, F.R.S.F.I.S.” lower left “Goosander Mergus Merganser L Male 1. Female 2.” lower center ESTIMATE:

214

$2,500-$5,000

358

359.1

359.2

360.1

360.2

361

362

359 Aiden Lassell Ripley (1896-1969) Two Drypoints

360 Aiden Lassell Ripley (1896-1969) Two Drypoints

359.1 Quail Shooting Signed “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches 359.1 Inscribed “Quail Shooting” lower left

360.1 Quail Shooting Signed “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches Inscribed “Quail Shooting” lower left

LITERATURE:

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 38-39, illustrated. 359.2 Point on Quail Signed “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches Inscribed “Point on Quail” lower left

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

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 38-39, illustrated. John T. Ordeman, The American Sporting Print: 20th Century Etchers and Drypointists, Ringwood, NJ, p. 82, illustrated. PROVENANCE:

John E. Lennon Collection

360.2 Pointers and Quail Signed “A. Lassell Ripley” lower right Drypoint, 9.75 by 14 inches Inscribed “Pointers and Quail ©” lower left

361 Aiden Lassell Ripley (1896-1969) Grouse on a Pine Bough Signed “A. Lassell Ripley” lower right Etching, 8.75 by 11.75 inches Inscribed “Grouse on a Pine Bough” lower left PROVENANCE: ESTIMATE:

Private Collection, Rhode Island

$200-$400

362 Aiden Lassell Ripley (1896-1969) Woodcock Hunt, 1940 Pencil and charcoal on board, 8.5 by 12 inches Stamped “From the Estate of A. Lassell Ripley” lower center ESTIMATE:

$400-$600

LITERATURE: A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 22-23, illustrated. ESTIMATE:

$300-$500 215

363.1

363.2

364.1

364.2

365

366

363 Aiden Lassell Ripley (1896-1969) Two Drypoints

364 Aiden Lassell Ripley (1896-1969) Two Drypoints

363.1 Hunting Pheasants Signed “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches Inscribed “Hunting Pheasants ©” lower left

364.1 Woodcock Shooting Signed “A. Lassell Ripley” lower right Drypoint, 10 by 14 inches Inscribed “Woodcock Shooting” lower left

PROVENANCE:

LITERATURE:

ESTIMATE:

Literature: A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 24-25, illustrated. 363.2 Bluebills Signed “A. Lassell Ripley” lower right Drypoint, 8.75 by 14 inches Inscribed “Bluebills ©” lower left LITERATURE:

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 34-35, illustrated.

PROVENANCE: ESTIMATE:

216

John E. Lennon Collection

$300-$500

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 30-31, illustrated. 364.2 Pheasant Hunting Signed “A. Lassell Ripley” lower right Drypoint, 9.75 by 14 inches Inscribed “Pheasant Shooting” lower right LITERATURE:

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 14-15, illustrated. PROVENANCE: ESTIMATE:

John E. Lennon Collection

$300-$500

365 Aiden Lassell Ripley (1896-1969) Dove Shooting Signed “A. Lassell Ripley” lower right Drypoint, 9 by 13.5 inches Inscribed “Dove Shooting ©” lower left John E. Lennon Collection

$200-$400

366 Aiden Lassell Ripley (1896-1969) Duck Hunter Signed “A. Lassell Ripley” lower right Drypoint, 7 by 9.5 inches PROVENANCE:

John E. Lennon Collection

LITERATURE:

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 88-89, illustrated.

ESTIMATE:

$200-$400

367.1

367.2

368.1

368.2

369.1

369.2

367 Aiden Lassell Ripley (1896-1969) Two Drypoints

368 Aiden Lassell Ripley (1896-1969) Two Drypoints

369 Aiden Lassell Ripley (1896-1969) Two Drypoints

368.1 American Widgeon Signed “A. Lassell Ripley” lower right Drypoint, 6 by 8.5 inches Inscribed “American Widgeon” lower left

369.1 Grouse Shooting Signed “A. Lassell Ripley” lower right Drypoint, 9 by 11.75 inches Inscribed “p316.10.19” lower right

LITERATURE:

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 50-51, illustrated.

LITERATURE:

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

LITERATURE:

367.2 Goose Shooting Signed “A. Lassell Ripley” lower right Drypoints, 10 by 14 inches Inscribed “Goose Shooting ©” lower left

368.2 Snipe at Dawn Signed “A. Lassell Ripley” lower right Drypoint, 9 by 12 inches Inscribed “Snipe at Dawn ©” lower left

LITERATURE:

369.2 Grouse Shooting, Artist’s Proof Signed “A. Lassell Ripley” lower right Drypoint, 9 by 11.75 inches Inscribed “a little more tone in these areas” mid-right

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 64-65, illustrated.

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

PROVENANCE:

ESTIMATE:

John E. Lennon Collection

$300-$500

ESTIMATE:

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 48-49, illustrated.

PROVENANCE: ESTIMATE:

John E. Lennon Collection

$300-$500

John E. Lennon Collection

$300-$500

217

370.1

370.2

371.1

371.2

372

370 Aiden Lassell Ripley (1896-1969) Two Drypoints

371 Aiden Lassell Ripley (1896-1969) Two Drypoints

370.1 Ruffed Grouse in Snow Signed “A. Lassell Ripley” lower right Drypoint, 10 by 12 inches Inscribed “Ruffed Grouse in Winter ©” lower left

371.1 European Street Scene Signed “A. Ripley” lower right Drypoint, 9.5 by 12.75 inches

LITERATURE:

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 90-91, illustrated. 370.2 Grouse on a Pine Bough Signed “A. Lassell Ripley” lower right Drypoint, 9 by 12 inches Inscribed “Grouse on Pine Bough” lower left

LITERATURE:

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

PROVENANCE: ESTIMATE:

218

John E. Lennon Collection

$300-$500

371.2 Antwerp, 1932 Signed and dated “A. Lassell Ripley, 32” lower right Drypoint, 8 by 10 inches Inscribed “Antwerp” lower left PROVENANCE: ESTIMATE:

John E. Lennon Collection

$300-$500

372 Aiden Lassell Ripley (1896-1969) City Winter Scene Pencil and charcoal drawing, 8.5 by 13.5 inches PROVENANCE: ESTIMATE:

John E. Lennon Collection

$200-$400

373

374

375

376

377

378

373 Ogden Minton Pleissner (1905-1983) Quail Hunters, 1973 Signed “Ogden M. Pleissner” lower left Print, 17 by 25.5 inches Published by the Crossroads of Sport in a limited edition of 425 PROVENANCE:

Charlie Chapin III Collection

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 108, illustrated.

LITERATURE:

ESTIMATE:

$600-$900

374 Ogden Minton Pleissner (1905-1983) Hillside Orchard, 1975 Signed “Ogden M. Pleissner” lower right Prints, 16.5 by 26 inches Published by the Crossroads of Sport in a limited edition of 270 ESTIMATE:

$600-$900

375 Ogden Minton Pleissner (1905-1983) The Run Downstream, 1981 Signed “Ogden M. Pleissner” lower right Print, 18.25 by 27.25 inches Printed for the members of the Angler’s Club of New York on the occasion of the 75th Anniversary of the club in a limited edition of 300 PROVENANCE:

Charlie Chapin III Collection

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 109, illustrated.

LITERATURE:

ESTIMATE:

$600-$900

376 Ogden Minton Pleissner (1905-1983) June Trout Fishing, 1967 Signed “Ogden M. Pleissner” lower right Print, 16 by 19.75 inches Printed by Theodore Gordon Flyfishers in a limited edition of 350 PROVENANCE:

377 Ogden Minton Pleissner (1905-1983) Woodcock Cover, 1977 Signed “Ogden M. Pleissner” lower right Print, 16 by 25 inches Published by the Crossroads of Sport in a limited edition of 270 ESTIMATE:

$800-$1,200

378 Ogden Minton Pleissner (1905-1983) Beaverhill Bridge, 1953 Signed “Pleissner” lower right Print, 13.5 by 23.5 inches Privately printed for the Anglers’ Club of New York in a limited edition of 221 Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 107, illustrated.

LITERATURE:

ESTIMATE:

$600-$900

Charlie Chapin III Collection

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 108, illustrated.

LITERATURE:

ESTIMATE:

$600-$900

219

379

380

381

382

384

383

379 Aiden Lassell Ripley (1896-1969) Duck Shooting from a Blind, 1963 Signed “A. Lassell Ripley” lower right Print, 17.25 by 26.25 inches Inscribed “2037 10-9-64” on back PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

$200-$400

380 Arthur Burdett Frost (1851-1928) October Woodcock Shooting, 1933 Hand-colored print, 16.5 by 21 inches Published by the Derrydale Press, New York. The Derrydale press painted the details along with John Frost, brother of the artist. ESTIMATE:

$1,000-$2,000

381 after John James Audubon (1785-1851) Print, 23.5 by 36 inches “Drawn from Nature by J.J. Audubon. F.R.S.F.I.S.” lower left 220

“Canvas backed Ducks. Fuliguia Vallisneria 1.2. Male 3. Female View of Baltimore” lower center PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

$200-$400

382 Frank Weston Benson (1862-1951) Canada Geese Signed “Frank W. Benson” lower left Lithograph, 11.5 by 16 inches John T. Ordeman, Frank W. Benson: His Sporting Art, at The Ward Museum of Wildfowl Art, Hudson, WI, 1996, p. 66, illustrated. LITERATURE:

ESTIMATE:

$400-$600

383 William Joseph Schaldach (1896-1982) Two Etchings (one shown) Pheasant Signed “W.J. Schaldach” lower right Etching, 5 by 3.5 inches

Quail Signed “W.J. Schaldach” lower right Etching, 4 by 5 inches ESTIMATE:

$100-$200

384 Frank Weston Benson (1862-1951) Single Duck, 1917 Signed “Frank W. Benson” lower left Drypoint, 4 by 5.25 inches Inscribed “64” lower right Paff # 123, edition of 95 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson ESTIMATE:

$200-$300

385

386

387

388

389

390

385 Frank Weston Benson (1862-1951) Black Ducks No. 2, 1919 Signed “Frank W. Benson” lower left Drypoint, 9.75 by 7.75 inches Paff # 165, edition of 145 Frederic Keppel & Co., Inc., Rare Engravings and Etchings, New York, New York label on back PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

389 Frank Weston Benson (1862-1951) Ducks at Dawn, 1920 Signed “Frank W. Benson” lower left Drypoint, 7 by 8.75 inches Paff # 198, edition of 150 Kennedy & Co., New York, New York label on back

PROVENANCE:

ESTIMATE:

Charlie Chapin III Collection

$400-$600

ESTIMATE:

Charlie Chapin III Collection

$300-$500

$200-$400

386 Frank Weston Benson (1862-1951) Rippling Water, 1920 Signed “Frank W. Benson” lower left Etching, 9.75 by 7.75 inches Paff # 174, edition of 150 Kennedy & Co Rare Prints, New York, New York label on back PROVENANCE: ESTIMATE:

387 Frank Weston Benson (1862-1951) On Swift Wings, 1925 Signed “Frank W. Benson” lower left Etching, 11.75 by 9.75 inches Paff # 264, edition of 150 Kennedy & Co., New York, New York label on back

Charlie Chapin III Collection

388 Frank Weston Benson (1862-1951) Ducks at Play, 1923 Signed “Frank W. Benson” lower left Drypoint, 10.75 by 13.75 inches Paff # 217, edition of 150 PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

$200-$400

390 Frank Weston Benson (1862-1951) Mates, 1918 Signed “Frank W. Benson” lower left Etching, 6 by 8 inches Paff # 132, edition of 147 Kennedy & Co. Rare Prints, New York, New York label on back PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

$200-$400

$300-$500

221

391

392

393

394

395

396

391 Hans Kleiber (1887-1967) Duck Shooting from a Blind Signed “Hans Kleiber” lower right Etching, 5 by 6.25 inches

393a Levon West (1900-1968) Stem Christina Signed “Levon West imp.” lower right Etching, 15.75 by 8.5 inches

LITERATURE:

ESTIMATE:

John T. Ordeman, “The American Sporting Print: 20th Century Etchers and Drypointists,” Ringwood, NJ, p. 58, illustrated.

ESTIMATE:

$100-$200

392 Roland H. Clark (1874-1957) Storm Signed “Roland Clark” lower right Etching, 8 by 11 inches ESTIMATE:

$200-$300

393 Levon West (1900-1968) Early Gunners Signed “Levon West imp.” lower right Etching and drypoint, 15.75 by 8.75 inches Inscribed “54” lower left ESTIMATE:

222

393a

$100-$200

394 Reinhold H. Palenske (1884-1954) Two Etchings (one shown) Feeding Time - The Sportsman’s Club Signed “R.H. Palenske” lower right Etching, 8 by 5.75 inches Inscribed “Feeding Time - The Sportsman’s Club” lower left and “To Albert R. Copeland” lower center Goodnight Till Spring Signed “R.H. Palenske” lower right Etching, 8 by 9.75 inches Inscribed “Goodnight Till Spring” lower left ESTIMATE:

$100-$200

395 Gordon Allen (b. 1953) Brook Trout Signed “G. Allen” lower right Etching, 6.5 by 3.75 inches Inscribed “14/160” lower left and “Brook Trout” lower center ESTIMATE:

$50-$100

396 Edward King (1886-1962) Polo Signed “Edward King” lower left Lithograph, 10 by 17.75 inches ESTIMATE:

$100-$200

397.1

397.2

398

399

400

401

402

403

404

405

406

407

408

223

397 Lyman Byxbe (1886-1980) Two Etchings 397.1 Cottonwood Signed “Lyman Byxbe” lower right Etching, 4.75 by 3 inches Inscribed “Rangers Cabin” lower left 397.2 Ranger’s Cabin Signed “Lyman Byxbe” lower right Etching, 5 by 3.5 inches Inscribed “Cottonwood” lower left ESTIMATE:

$50-$100

398 Roland H. Clark (1874-1957) Canada Geese, 1922 Signed “Roland Clark” lower right Etching, 12.75 by 9.25 inches Arthur Ackermann & Son, New York, New York label on back Edition of 75 PROVENANCE: ESTIMATE:

Charlie Chapin III Collection

$200-$400

399 Lot of Fourteen Prints (one shown) A.B. Frost (1851-1928) Hunter Poling Boat 18.25 by 27.25 inches Inscribed in plate “A.B. Frost 1901” lower left Richard E. Bishop (1887-1975) Cans Signed in plate “Richard E. Bishop” lower right Talio-crome, 10.5 by 7.25 inches Flight’s End Signed in plate “Richard E. Bishop” lower right Talio-crome, 10 by 8 inches Lake Erie Mallards Signed in plate “Richard E. Bishop” lower right Talio-crome, 9.5 by 7.75 inches Churchill Ettinger (1903-1984) Mallards Rising Signed “Churchill Ettinger” lower right Etching, 8.75 by 11.75 inches Inscribed “Mallards Rising 1/100”

224

Three Pintails at Dusk Mallards Jumping Broadbills Coming in to Raft Black Ducks in the Sunshine

1979 First of State, Nevada, Larry Hayden Signed “Larry Hayden” lower right Lithograph, 6.5 by 9 inches Inscribed “995/1990” lower left

ESTIMATE:

1991 New Mexico, Robert Steiner Signed “R. Steiner” lower right Lithograph, 6.5 by 9 inches Inscribed “639/12,000” lower left

$200-$400

400 Six State Duck Stamp Prints (one shown) 1985 New York, Larry Barton Signed “Larry Barton” lower right Lithograph, 6.5 by 9 inches Inscribed “2952/14,040” lower left

1990 Colorado, Robert Steiner Signed “R. Steiner” lower right Lithograph, 6.5 by 9 inches Inscribed “1336/14,500” lower left

1984 First of State Maine, David A. Maass Signed “David A. Maass” lower right Lithograph, 6.5 by 9 inches Inscribed “1499/11,115” lower left

1987 First of State, Idaho, Robert Leslie Signed “Rob Leslie” lower right Lithograph, 6.5 by 9 inches Inscribed “2231/13,200” lower left

1986 First of State Vermont, James Killen Signed “James Killen” lower right Lithograph, 6.5 by 9 inches Inscribed “4824/13,910” lower left

ESTIMATE:

1975 Massachusetts, Tom Hennessey Signed “Tom Hennessey” lower right Lithograph, 7 by 10 inches Inscribed “426/500 Massachusetts Duck Stamp – 1975” lower left 1989 Rhode Island, Robert Steiner Signed “R. Steiner” lower right Lithograph, 6.5 by 9 inches Inscribed “6888/10,874” lower left 1983 First of State New Hampshire, Richard W. Plasschaert Signed “Richard W. Plasschaert” lower right Lithograph, 6.5 by 9 inches Inscribed “614/5507” lower left ESTIMATE:

$100-$300

401 Nine State Duck Stamp Prints (one shown) Daniel Smith Signed “Daniel Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “3764/10,064” lower left

$200-$400

402 Eleven State Duck Stamp Prints (one shown) 1981 First of State, Arkansas, Lee LeBlanc Signed “Lee LeBlanc” lower right Lithograph, 6.5 by 9 inches Inscribed “3529/7200” lower left 1990 Louisiana, David Noll Signed “David Noll” lower right Lithograph, 6.5 by 9 inches Inscribed “4304/20,500” lower left 1987 First of State, Kansas, Guy Coheleach Signed “Guy Coheleach” lower left Lithograph, 6.5 by 9 inches Inscribed “1163/10,015” lower left 1979 First of State, Alabama, Barbara Keel Signed “Barbara Keel” left center Lithograph, 6.5 by 8.75 inches Inscribed “446/1750” lower left 1985 First of State, Kentucky, Ray Harm Signed “Ray Harm” lower left Lithograph, 6.5 by 9 inches Inscribed “3415/8189” lower right 1981 First of State, Texas, Larry Hayden Signed “Larry Hayden” lower right Lithograph, 6.5 by 9 inches Inscribed “828/16,500” lower left

Honkers Signed “Churchill Ettinger” Etching, 9 by 6.75 inches Inscribed “Honkers ed. 100” lower left

1982 First of State, North Dakota, Richard W. Plasschaert Signed “Richard W. Plasschaert” lower right Lithograph, 6.5 by 9 inches Inscribed “3086/9939” lower left

Roland H. Clark (1874-1957) Coming In Signed “Roland Clark” lower right Talio-crome, 10 by 7.75 inches Inscribed “Coming In” lower left

1985 First of State, Wyoming, Robert Kusserow Signed “Robert Kusserow” lower right Lithograph, 6.5 by 9 inches Inscribed “1934/4750” lower left

1991 Nebraska, Neal R. Anderson Signed “Neal R. Anderson” lower right Lithograph, 6.5 by 9 inches Inscribed “413/12,000” lower left

Redheads Signed “Roland Clark” lower right Etching, 10.25 by 8 inches Inscribed “Redheads” lower left

1987 First of State, Arizona, Daniel Smith Signed “Daniel Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “1570/10,400” lower left

1972 First of State, Iowa, Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 11 inches Inscribed “35/500 Iowa Duck Stamp Design – 1972 – 1st ed.” lower left

Sir Peter Scott (1909-1989), 1953 Six prints, each 10 by 14.25 inches Canvasbacks on a Still Afternoon Canada Geese After a Squall

1986 First of State, Utah, Leon Parson Signed “Leon Parson” lower right Lithograph, 6.5 by 9 inches Inscribed “696/14,028” lower left

1982 First of State Ohio, John A. Ruthven Signed “John A. Ruthven” lower right Lithograph, 6.5 by 9 inches Inscribed “3004/9000” lower left

1979 Missouri, Charles W. Schwartz Signed “C.W. Schwartz” lower left Lithograph, 6.5 by 9 inches Inscribed “291/2000” lower right

1975 First of State Illinois, Robert F. Eschenfeldt Signed “Robert F. Eschenfeldt” lower right Lithograph, 7 by 9 inches Inscribed “47-50 AP 1975-76 Illinois Duck Stamp Design” lower left

1971 First of State, California, Paul B. Johnson Signed “Paul B. Johnson” lower right Lithograph, 5 by 7.75 inches Inscribed “1971 350/500 California Duck Stamp” lower left

ESTIMATE:

$200-$400

403 Eight State Duck Stamp Prints (one shown) 1983 First of State North Carolina, Richard W. Plasschaert Signed “Richard W. Plasschaert” lower right Lithograph, 6.5 by 9 inches Inscribed “5073/13,652” lower left 1981 First of State, South Carolina, Lee LeBlanc Signed “Lee LeBlanc” lower right Lithograph, 6.5 by 9 inches Inscribed “874/4500” lower left 1985 First of State, Georgia, Daniel Smith Signed “Daniel Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “4323/14,100” lower left

$100-$300

405 Seven Maryland Duck Stamp Prints (one shown) 1975 Maryland, Stanley Stearns Signed “Stanley Stearns” lower right Lithograph, 6.5 by 9 inches Inscribed “289/650 Warehouse Creek” lower left 1976 Maryland, Louis Frisino Signed “Louis Frisino” lower right Lithograph, 6.5 by 9 inches Inscribed “Canvasback 454/500 1976-77 MD, Duck Stamp” lower left 1981 Maryland, Arthur R. Eakin Signed “Arthur Eakin” lower right Lithograph, 6.5 by 9 inches Inscribed “187/1250” lower left

1980 First of State, Delaware, Ned Mayne Signed “Ned Mayne” lower right Lithograph, 6.5 by 9 inches Inscribed “428/1980” lower left

1974 Maryland, John W. Taylor Signed “John W. Taylor” lower right Lithograph, 6.5 by 9 inches Inscribed “436/500 Maryland Waterfowl Stamp 1974-75” lower left

1991 Maryland, David T. Turnbaugh Signed “David T. Turnbaugh” lower right Lithograph, 6.5 by 9 inches Inscribed “317/1400” lower left

1988 Maryland, Christopher White Signed “Christopher White” lower right Lithograph, 6.5 by 9 inches Inscribed “214/1500” lower left

1983 First of State Pennsylvania, Ned Smith Signed “Ned Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “2683/7380” lower left

1986 Maryland, Louis Frisino Signed “Louis Frisino” lower right Lithograph, 6.5 by 9 inches Inscribed “379/2000” lower left

1988 First of State Virginia, Ron Louque Signed “Ron Louque” lower right Lithograph, 6.5 by 9 inches Inscribed “2581/14,500” lower left 1984 First of State New Jersey, Thomas Hirata Signed “Thomas Hirata” lower right Lithograph, 6.5 by 9 inches Inscribed “4909/10,011” lower left ESTIMATE:

$200-$400

404 Four State Duck Stamp Prints (one shown) 1985 First of State Alaska, Daniel Smith Signed “Daniel Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “5487/14,650” lower left 1986 First of State, Washington, Keith Warrick Signed “Keith Warrick” lower right Lithograph, 6.5 by 9 inches Inscribed “3157/12,180” lower left 1984 First of State, Oregon, Michael Sieve Signed “Michel Sieve” lower right Lithograph, 6.5 by 9 inches Inscribed “1033/11,825” lower left

1987 Maryland, Francis E. Sweet Signed “Francis E. Sweet” lower right Lithograph, 6.5 by 9 inches Inscribed “909/1500” lower left ESTIMATE:

$100-$300

406 Four Ducks Unlimited Prints (one shown) Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “3674/5300” lower left David A. Maass Signed “David A. Maass” lower right Lithograph, 6.5 by 9 inches Inscribed “291/2000” lower right Larry Toschik Signed “Larry Toschik” lower right Lithograph, 6.5 by 9 inches Inscribed “4164/5000” lower left John A. Ruthven Signed “John A. Ruthven” lower right Lithograph, 6.5 by 9 inches Inscribed “1836/4300” lower left ESTIMATE:

407 Thirteen Miscellaneous Prints 1985 First of Canada, Robert Bateman Signed “Robert Bateman” lower right Lithograph, 6.5 by 9 inches Inscribed “11,219/41,740” lower left 1978 Montana, Marlowe Urdahl Signed “Marlowe Urdahl” lower right Lithograph, 6.25 by 9 inches Inscribed “434/1300” lower left 1979 California, Ken Michaelson Signed “Ken Michaelson” lower right Lithograph, 6.5 by 9 inches Inscribed “367/500” lower left 1976 Mississippi, Carroll G. Perkins Signed “Carroll Gwen Perkins” lower right Lithograph, 6.5 by 9.25 inches Inscribed “5/50 A.P. 1976 Mississippi Duck Stamp Print” lower left 1976 South Dakota, Robert Kusserow Signed “Robert Kusserow” lower right Lithograph, 6.5 by 8.75 inches Inscribed “430/500 South Dakota Duck Stamp Print Design” lower left 1976 Indiana, Sonny Bashore Signed “Sonny Bashore” lower right Lithograph, 6.5 by 8.75 inches Inscribed “37/50 AP 1976 Indiana Duck Stamp Print Design” lower left 1976 Michigan, Oscar Warbach Signed “Oscar Warbach” lower right Lithograph, 5 by 8 inches Inscribed “A.P. – 1976 Michigan Duck Stamp Designs” lower left 1980 First of State Oklahoma, Patrick Sawyer Signed “Patrick Sawyer” lower right Lithograph, 6.5 by 9 inches Inscribed “853/1980” 1977 Minnesota, David A. Maass Signed “David A. Maass” lower right Lithograph, 6.5 by 9 inches 1978 First of State Wisconsin, Owen J. Gromme Signed “OJ Gromme” lower right Lithograph, 6.5 by 9 inches Inscribed “826/5800” lower left. 1979 Tennessee, Richard Elliott Signed “Elliott” lower left Lithograph, 6.5 by 9 inches Inscribed “207/1979” lower right 1979 First of State Florida, Robert Binks Signed “Binks” lower right Lithograph, 6.5 by 9 inches Inscribed “119/1000” lower left 1989 South Dakota, Rosemary Millette Signed “R Millette” lower right Lithograph, 6.75 by 9 inches Inscribed “519/8000” lower left ESTIMATE:

$100-$300

$100-$300 225

408 Twelve Miscellaneous Prints (one shown) 1982 National Wild Turkey Fed. Print, Autumn Monarch Signed “Robert K. Abett” lower right Lithograph, 6.5 by 9 inches Inscribed “42/1600” lower left 1985 First Wildlife Habitat Conservation Stamp Signed “Robert Bateman” lower right Lithograph, 6.5 by 9 inches Inscribed “2339/7691” lower left 1986 Waterfowl Stamp Print, Canada Geese Signed “Thornbrugh” lower right Lithograph, 6.5 by 9 inches Inscribed “2798/9212” lower left 1984 National Wild Turkey Fed. Print, Nature’s Legacy Signed “Richard W. Plasschaert” lower right Lithograph, 6.5 by 9 inches Inscribed “42/1300” lower left 1985 National Wild Turkey Fed. Print, Royal Domain Embossed in gold “Ned Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “42/1985” lower left 1983 National Wild Turkey Fed. Print, Sultan Stroll Signed “Lee LeBlanc” lower right Lithograph, 6.5 by 9 inches Inscribed “42/1600” lower left

Inscribed “1450/1500” lower left ESTIMATE:

$100-$300

All dates listed in descriptions represent the latest date printed in book. 409 BASEBALL. Group of 3 signed baseballs and 14 volumes. The baseballs include one Bobby Brown era official American League baseball signed “Joe Dimaggio”, one NY Yankees team baseball c. 1950 including signatures of Dimaggio, Martin, Berra and others, one National League, NY Giants team baseball c. 1950. The book subjects include The Baseball Encyclopedia, and books on Berra, Cobb, Mantle, Gehrig, The Yankees, The Brooklyn Dodgers, The Giants, The Mets and baseball pitchers. 410 BOLLES, FRANK. Group of 8 volumes, as listed below. From Blomidon to Smoky and Other Papers. 1895 * Land of the Lingering Snow. 1898 * At the North of Bearcamp Water. 1896 * Chocorua’s Tenants. 1895 * At the North of Bearcamp Water. 1893. STATED 5th IMPRESSION * Land of the Lingering Snow. 1901 * From Blomidon to Smoky and Other Papers. 1894 * Chocorua’s Tenants. Cambridge. 1895

411

1979 National Wild Turkey Fed. Print, Merriami Signed “Ken Cavison” lower right Lithograph, 6.5 by 9 inches Inscribed “139/1300” lower left

1976 Wild Turkey Stamp Print Signed “Russ Smiley” lower right Lithograph, 6.5 by 9 inches Inscribed “Artist’s Proof” lower right, with pencil drawing of turkey lower center 1980 National Wild Turkey Fed. Print, Explosion in Corn Signed “Walter Wolfe” lower right Lithograph, 6.5 by 9 inches Inscribed “86/1400” lower center 1977 Wild Turkey Stamp print, Silvestris Signed “Chuck Ripper” lower right Lithograph, 6.5 by 9 inches 226

413 BUCKINGHAM, NASH. Group of 15 volumes, as listed below and 9 others; 8 by Patrick McManus and 1 by George Bird Evans. Buckingham, N. The Shootinest Gent’man. 1941 * ditto. * ditto. (4 edition). * ditto. (1983. NUMBER 343 OF 3000 COPIES). * Buckingham, N. Hallowed Years. 1953 * Buckingham, N. Mark Right! 1944 * Buckingham, N. Game Bag. 1945 * Buckingham, N. Ole Miss.’ 1946 * ditto. (1986. NUMBER 343 OF 3000 COPIES) * Buckingham, N. Blood Lines. 1947 * ditto. (1989. NUMBER 343 OF 3000 COPIES). * Buckingham, N. Tattered Coat. 1944 * ditto. (1944 SIGNED. NUMBER 727 OF 995 COPIES). * Buckingham, N. Once Upon a Time. 1992 * ditto. (NUMBER 46 OF 150 COPIES). 414 DERRYDALE PRESS. Group of 5 volumes, as listed below. Some Early American Hunters. 1928 * Walden II, H.T. Upstream and Down. 1938. NUMBER 858 OF 950. * Connett III, E.V. A Decade of American Sporting Books and Prints by the Derrydale Press 1927-1937. 1937 * Spiller, B.L. More Grouse Feathers. 1938. NUMBER 88 OF 950. SIGNED. * Spiller, B.L. Thoroughbred. 1936. NUMBER 353 OF 950.

1981 National Wild Turkey Fed. Print, Majestic Trio - Wild Turkeys Signed “David A. Maass” lower right Lithograph, 6.5 by 9 inches Inscribed “2905/3200” lower left

1978 National Wild Turkey Fed. Print, Intermedia Signed “Richard Amundsen” lower right Lithograph, 6.5 by 9 inches Inscribed “556/1600” lower left

Sportsmen. 1992 * Heller, M. American Hunting and Fishing Books, Vol. 1. 1997 * Fain, Barry. Barry Fain’s Private Blue Book of Gun Values. Vol. 2, No. 1. 1982 * Phillips, J.C. A Bibliography of American Sporting Books. 1991 * Liu, A.J. The American Sporting Collector’s Handbook. 1982

415 DERRYDALE PRESS. Group of 10 volumes, as listed below.

411 BOOK OF SPORT Patten, William Illustrated, Edition de Luxe, One of 1500 Numbered Copies, this one number 142. J. F. Taylor & Company 1901 Malcolm D. Whitman Collection (original contributor) PROVENANCE: Private Collection, Massachusetts, by descent in the family ESTIMATE:

$500-$1,000

412 BOOKS and Collectibles. Group of 6 volumes, as listed below. FIRST IN SLIPCASE Fadiman, Clifton, ed. Fifty Years. 1965 * Biscotti, M. L. The Borzoi Books for

Montgomery, Rutherford G. High Country. 1938. NUMBER 353 OF 950. * Smith, E.W. Tall Tales and Short. 1938. NUMBER 892 OF 950. * Williams, B.A. The Happy End. 1939. NUMBER 911 OF 1250. * Anonymous. Some Early American Hunters. 1928 * Spiller, B.L. Throughbred. 1936. NUMBER 625 OF 950. * Markland, A.B. Pteryplegia: The Art of ShootingFlying. 1931. EDITION OF 500. * Connett, E.V. Feathered Game. 1929 * The Sportsman’s Portfolio of American Field Sports. 1929. EDITION OF 400. * Hunt, L.B. An Artist’s Game Bag. 1936. NUMBER 32 OF 1225. SIGNED. * Sheldon, H.P. Tranquility Revisted. 1940. NUMBER 231 OF 485.

416 DERRYDALE PRESS. Group of 7 volumes, as listed below.

Hazelton. Days Among the Ducks. 1938

Forester, F. The Hitchcock Edition of Frank Forester including vols. I, II, III, IV : The Warwick Woodlands, My Shooting Box, The Quorndon Hounds. The Deer Stalkers. 1930 * Hatch, A. and Keen, F. Full Tilt. 1938. REVIEW COPY. * Spiller, B.L. More Grouse Feathers. 1938. Number 373 of 950. * Annabel, Russell. Tales of a Big Game Guide. 1938. NUMBER 801 OF 950.

421 DUCK HUNTING. Group of 10 volumes, as listed below.

417 DERRYDALE. Group of 5 volumes, as listed below. Last 2 with slip cases. Harris. Memories of Manhattan in the Sixties and Seventies. 1928 * Ordeman. The Aquatints, Drypoints, and Etchings of the Derrydale Press. 1995 * Pollard, Smith, and Connett. British & American Game-Birds. 1993 * Brand. The Thunder. 1933. ONE OF 950 COPIES * Siegel, Marschalk, Jr., and Oelgart. The Derrydale Press: A Biography. 1981

Sheldon, Col. Harold P. Tranquility, Tranquility Revisited, and Tranquility Regained. 1945. SEPARATELY BOUND IN DJ, ALL IN ONE SLIPCASE. * Hazelton, William C. Supreme Duck Shooting Stories. 1934 * ditto. (1944). * Hazelton, William C. et. al. Tales of Duck and Goose Shooting. 1922. 2 copies * Hazelton, William C. Ducking Days. 1919 * Cay Jr., J.E. Ward Allen: Savannah River Market Hunter. 1958. NUMBER 157 OF 350 COPIES SIGNED. * Cay Jr., J.E. Ducks, Dogs and Friends. 1979 * Bigelow, Horatio. Scatter-Gun Sketches. 1922 * Salisbury, Howard M. Duck Guns, Shooting and Decoying. 1947 422 EVANS, GEORGE B. Group of 15 volumes related to and by the author, as listed below. All but one in slipcase.

420 DUCK HUNTING. Group of 10 volumes, as listed below.

Harper, Catherine A. George Bird Evans: Life of a Shooting Gentleman. 1999. NUMBER 120 OF 1500. * George Bird Evans Introduces, 1990. SIGNED INSCRIPTION NUMBER 343 OF 1150. * Grouse on the Mountain. 1994. SIGNED INSCRIPTION NUMBER 343 OF 150O. * A Dog, A Gun and Time Enough. 1987. SIGNED INSCRIPTION NUMBER 43 OF 1250. * Nash Buckingham’s Letters to John Bailey. 1984. SIGNED INSCRIPTION NUMBER 43 OF 575. * The Upland Gunner’s Book. 1979. SIGNED INSCRIPTION NUMBER 143 OF 1000. * October Fever. 1989. SIGNED NUMBER 43 OF 1250. * From my Covers. 1995. SIGNED INSCRIPTION NUMBER 43 OF 1250. * Grouse & Woodcock in the Blackwater / Canaan. 1997. SIGNED INSCRIPTION NUMBER 1000 OF 1500. * Living with Gun Dogs. 1992. SIGNED NUMBER 43 OF 1500. * An Affair with Grouse. 1982. SIGNED NUMBER 101 OF 1000. * ditto. (no slipcase, unsigned and not numbered). * Grouse Along the Tramroad. 1986. SIGNED INSCRIPTION NUMBER 646 OF 1500. * The Woodcock Book. 1977. SIGNED NUMBER 343 OF 1000. * The Ruffed Grouse Book. 1977. SIGNED NUMBER 343 OF 1000.

Hazelton. Supreme Duck Shooting Stories. 1989 * Haynes. Ducks and Duck Shooting. 1924 * Hazelton. Duck Shooting and Hunting Sketches. 1943 * Hazelton. Tales of Duck and Goose Shooting. 1916 * Hazelton. Supreme Duck Shooting Stories. 1936 * Salisbury. Duck Guns, Shooting and Decoying. 1947 * Hazelton. Fred Kimble Master Duck Shot of the World. 1923 * Haynes. Goose and Duck Shooting. 1961 * Hazelton. Wildfowling Tales. 1921 *

423 FISHING. Group of 11 volumes, as listed below. First 6 with slip case, the following 3 share a slip case. Reiger. The Silver King. 1992 * Reiger. The Bonefish. 1993 * Rat. Summer’s Salmon. 1997. ONE OF 1,500 COPIES * Gierach. Fishing Bamboo. 1997. ONE OF 1,750 COPIES SIGNED. * McGuane. Live Water. 1996. ONE OF 1,500 COPIES SIGNED. *

418 DOGS. Group of 2 volumes, as listed below. Lytle, Horace. Gundogs Afield. 1942. SIGNED BY ARTIST (L.B. HUNT) AND AUTHOR NUMBER 10 OF 100. INCLUDES ORIGINAL PENCIL SIGNED LITHOGRAPH BY LYNN BOGUE HUNT. * Sands, Leonard. The Bird, the Gun and the Dog. 1939. SIGNED NUMBER 77 OF 100. FRONTISPIECE IS ORIGINAL ETCHING BY ANTHONY LA PAGLIA. 419 DOGS. Group of 5 volumes, as listed below and 23 others. Humphrey, G.M. ed. The Georgia-Florida Field Trial Club 1916-1948. 1948. NUMBER 154 OF 600 COPIES. * Holland, R.P. Bird Dogs. 1948. SIGNED BY ARTIST AND AUTHOR. NUMBER 169 OF 250 COPIES. * Hochwalt, A. F. Greymist. 1925 * Hammond, S. T. Practical Dog Training. 1892 * Hazelton, W. ed. Classic Hunting Stories by America’s Premier Writers. 1940

Lamb. Fishing’s Only Part Of It. 1982. NUMBER 343 OF 1,000 SIGNED. * Sheldon. Tranquility. ONE OF 5,000 COPIES PRINTED IN 1945. * Sheldon. Tranquility Revisited. ONE OF 5,000 COPIES PRINTED IN 1945. * Sheldon. Tranquility Regained. ONE OF 5,000 COPIES PRINTED IN 1945. * Lyons. Fishing Widows. 1974. SIGNED. * Gruber. Zane Grey: A Biography. 1969. STATED FIRST EDITION. 424 FISHING. Group of 6 volumes, as listed below. First 2 with slip case. McGuane. Sons. 1993. NUMBER 109 of 250 COPIES SIGNED. * McGuane. Sons. 1993. NUMBER 108 of 250 COPIES SIGNED. * Norman. Meanderings of a Fly Fisherman. 1996. NUMBER 43 of 250 COPIES SIGNED. * Connett. Any Luck? 1933 * Goodspeed. A Treasury of Fishing Stories. 1964 * Claflin. Blazed Trails for Anglers. 1949 425 FISHING. Group of 9 volumes, as listed below. Farrington Jr. S.K. Fishing in the Atlantic. 1949 * Farrington Jr. S.K. Fishing in the Pacific. 1953. STATED SECOND IMPRESION. * Wise, Hugh D. Tigers of the Sea. 1937. NUMBER 829 OF 950. DERRYDALE. * Boyce, William D. A Strike. 1894 * Wells, H. P. The American Salmon Fisherman. 1886 * Whynott, Douglas. Giant Bluefin. 1995 * Grey, Zane. Tales of Fishes. 1919 * Phair, Charles. Atlantic Salmon Fishing. 1993. LIMITED EDITION OF 2500. DERRYDALE. * Connett, E.V. American Big Game Fishing. 1993. LIMITED EDITION OF 2500. DERRYDALE. 426 FISHING. Group of 13 volumes. Jennings, P.J. A Book of Trout Flies. 1935. NUMBER 194 OF 850. DERRYDALE. * ditto (later editions). * ditto. * Marbury, M.O. Favorite Flies and Their Histories. 1892 * Knight, J.A. The Modern Angler. 1936 * Mershon, W.B. Recollecting My Fifty Years Hunting and Fishing. 1923 * Hackle, S.G. Fishless Days. 1954 * Forester, Frank. Trouting Along the Catasauqua. 1927 * Thompson, L.P. Fishing in New England. 1955. NUMBER 508 OF 1200 IN GREAT BRITAIN * ditto. 1082 OF 1200 IN GREAT BRITAIN * Walton, Izaak. The Complete Angler. 1953 * Arms, D.N. Fishing Memories. 1938 * Smith, J.V.C Trout and Angling. 1929 427 FORD, COREY ET AL. Group of 22 volumes, as listed below. You Can Always Tell A Fisherman. 1958 * The Horse of Another Color. 1946 * ditto. * Coconut Oil. 1931 * The Gazelle’s Ears. 1926 227

* Every Dog Should Have a Man. 1952. STATED FIRST EDITION. * A Peculiar Service. 1965. STATED FIRST EDITION. * Minutes of the Lower Forty. 1962. STATED FIRST EDITION. * The Time of Laughter. 1967. FIRST SIGNED EDITION. * The Day Nothing Happened. 1959 * Clark and Dagger. 1946. STATED FIRST PRINTING. * Three Rousing Cheers for the Rollo Boys. 1925 * Salt Water Taffy. 1929 * What Every Bachelor Knows. 1961. STATED FIRST EDITION.* From the Ground Up. 1943 * The Office Party. 1951 * The Best of Corey Ford. 1975 * Cold Noses and Warm Hearts. 1958 * Donovan of Oss. 1970. STATED FIRST EDITION * Has Anybody Seen Me Lately. 1958. SIGNED INSCRIPTION. * Short Cut to Tokyo. 1943 * Uncle Perk’s Jug. 1964 428 GUNS. Group of 6 volumes, as listed below. Hatch, A. Remington Arms. 1956 * Baer, Larry L. The Parker Gun. 1974 * Means W.G. My Guns. 1941 * Peterson, H.L. The Remington Historical Treasury of American Guns. 1966 * Winders, G.H. Sam Colt and His Gun. 1959 * Rohan, J. Yankee Arms Maker. 1948 429 HUNTING AND FISHING. Group of 10 volumes, as listed below. Truax, ed. A Breed Apart Volume I. 1993. NUMBER 343 of 500 COPIES SIGNED, LIMITED EDITION. * Truax, ed. A Breed Apart Volume II. 1994. NUMBER 343 of 500 COPIES SIGNED, LIMITED EDITION. * Wehle. Snakefoot: The Making of a Champion. 1996. SIGNED. * Buckingham. Once Upon a Time. 1992. NUMBER 343 of 500 COPIES SIGNED, LIMITED EDITION. * Buckingham. Tattered Coat. 1944 * Buckingham. Tattered Coat. 1944. NUMBER 252 of 995 COPIES SIGNED, LIMTED EDITION. * Connett, ed. Upland Game Bird Shooting in America. 1930 * Connett, ed. American Big Game Fishing. 1935 * Simmons. Wing Shots. 1936. NUMBER 463 OF 950 COPIES. * Wehle. Wing & Shot. 1964 430 HUNTING. Group of 16 volumes, as listed below. Brasher, Rex. Secrets of the Friendly Woods. 1926 * Merrill, Samuel. The Moose Book. 1916 * Woodcock, E.N. Fifty Years a Hunter and Trapper. 1941 * ditto. * Curtis Jr., P.A. American Game Shooting. 1927 * Bruette, William. American Duck, Goose and Brant. 1929 * Long, W.J. Fowls of the Air. 1901 * Kellogg, F.E. The Boy Duck Hunters. 1900 * Curtis, Paul A. Guns and Gunning. 1934 * ditto. (1946). * Hazelton, W.C. et. al. Tales of Duck and Goose Shooting. 1916 * Mershon, Wm. B. 228

Recollections of My Fifty Years Hunting and Fishing. 1923 * Samuels, Edward A. With Rod and Gun. 1897 * Heilner, Van Campen. A Book on Duck Shooting. 1947 * ditto. (1945). * Gaspar, Howland. The Complete Sportsman. 1893 * Bumstead, John. On the Wing. 1869

434

431 HUNTING. Group of 13 volumes, as listed below. Miller, W.H. The Boys’ Book of Hunting and Fishing. 1926 * Hawker, P. Instructions to Young Sportsmen. 1846 * Woodcock, E.N. Fifty Years a Hunter and Trapper. 1913 * Sears, H. Fur and Feather Tails. 1899 * Lynch, V.E. Thrilling Adventures. 1928 * Winch, F. The American Hunter. 1923 * Parker, Eric ed. Colonel Hawker’s Shooting Diaries. DERRYDALE. * Paker, Eric. Field, River and Hill. 1927 * Shields, G. O. Cruisings in the Cascades. 1889 * Where to Hunt American Game. 1898 * Long, William J. Stories from Northern Trails. 1908 * Long, William J. Wilderness Ways. 1901 * Martindale, Thomas. Hunting in the Upper Yukon. 1913 432 HUNTING. Group of 15 volumes, as listed below. Hightower, John. Pheasant Hunting. 1946. SIGNED IN SLIPCASE NUMBER 329 OF 350. * Sands, L. The Bird, the Gun and the Dog. 1939 * Knight, J.A. Woodcock. 1944. SIGNED EDITION OF 275 IN SLIPCASE. * Edminster, F.C. American Game Birds on Field and Forest. 1954 * Bigelow, H. Flying Feathers.1937 * Curtis, P.A. American Game Shooting. 1927 * Pollard, H. Game Birds and Game Bird Shooting. 1936 * Leffingwell, W. The Art of Wing Shooting. 1895 * Popowski, B. Olt’s Hunting Handbook. 1948 * Everitt, S. Tales of Wild Turkey Hunting. 1928 * Huntington, D. Feathered Game. 1903 * Grinnell, G.B. American Game-Bird Shooting. 1910 * Everett, F. Fun with Game Birds. 1954 * Buckingham, N. Game Bag. 1945. SIGNED NUMBER 944 OF 1250. 433 HUNTING. Group of 10 volumes, as listed below. Roosevelt, T. Hunting Trips of a Ranchman. 1886 * Roosevelt, T. African Trails. 1926. Vols. 1 and 2. * Roosevelt, K. The Long Trail. 1921. SIGNED. * Cleveland, G. Fishing and Shooting Sketches. 1906. 2 copies * Roosevelt, T. and Grinnell, G.B. eds. Hunting in Many Lands. 1895 * Roosevelt, T. and Grinnell, G.B. eds. American Big-Game Hunting. 1901 * Grinnell, G.B. ed. et. al. Hunting Trails on Three Continents. 1933. NUMBER 2 OF 250. * Grinnell, G.B. ed. American Big Game in its Haunts. 1904

434 KINGFISHERS AND RELATED BIRDS Forshaw, Joseph M. A large folio (14.5” x 20.5”) ornithological series with illustrations and numerous full page color plates. The six volumes are in three solander boxes with leather labels and velvet lined interiors. Limited to 1000 copies of which this is number 517. Signed by both the author and William T. Cooper, the illustrator. Lansdowne Limited Editions 1983-1994. ESTIMATE:

$1,000- $2,000

435 MURRAY, W.H.H. (ADIRONDACK MURRAY). Group of 9 volumes, related to and by the author. Radford, H.V. Adirondack Murray. 1906 * Adirondack Museum, ed. Journal of a Hunting Excursion to Louis Lake. 1961 * How Deacon and Tubman and Parson Whitney Kept New Years and Other Stories. 1887 * ditto. * Cones for the Camp Fire. 1891 * Adventures in the Wilderness. 1869 * ditto. (later edition) * Adirondack Tales. 1886 * Holiday Tales. 1897. DATED AND INSCRIBED BY AUTHOR. 436 PHILLIPS, JOHN C. Group of 6 volumes, as listed below. The Sands of Muskeget. 1931 * American Game Mammals and Birds. 1930 * A Sportman’s Scrapbook. 1928 * A Sportsman’s Second Scrapbook. 1933 * Wenham Great Pond. 1938 * American Waterfowl. 1930 437 RUTELEDGE, ARCHIBALD, et. al. Group of 24 volumes, as listed below. Ruteledge, Irvine. We Called Him Flintlock. 1974 * Home by the River. 1941. SIGNED * ditto * Plantation Game Trials. 1994. NUMBER 343 OF 3000. * Plantation Game Trials. 1921 * The Everlasting Light and Other Poems. 1949 * Life Extras. 1983 * Those Were the Days. 1955 * An American Hunter. 1937 * Peace in the

Heart. 1932 * It Will Be Daybreak Soon. 1938 * Old Plantation Days. 1921 * Children of Swamp and Wood. 1927 * Hunter’s Choice. 1993. NUMBER 343 OF 3000. * Hunter’s Choice. 1946 * Santee Paradise. 1956 * From the Hills to the Sea. 1958. SIGNED. * God’s Children. 1947 * Wildlife of the South. 1935. SIGNED. * The World Around Hampton. 1960 * An American Hunter. 1990. NUMBER 343 OF 3000. * Cassada, J. ed. America’s Greatest Game Birds. 1994 * Cassada, J. ed. Tales of Whitetails.1992 * Cassada, J. ed. Hunting & Home in the Southern Heartland. 1992 438 SCHALDACH, WILLIAM, et.al. Group of 9 volumes, as listed below. The Wind on Your Cheek. 1972. NUMBER 85 OF 200 LIMITED COPIES WITH SIGNED ORIGINAL ETCHING IN SLIPCASE. * Schaldach, W. The Wind on Your Cheek. 1972 * Schaldach, W. Upland Gunning. 1996 * Schaldach, W. Coverts and Casts. 1945 * ditto. (1946). * ditto. SIGNED LIMITED EDITION NUMBER 26 OF 160. * Schaldach, W. Currents and Eddies. 1944 * Ordeman, J. William J. Schaldach. 1988. SIGNED NUMBER 343 OF 1150. * Taylor, D. ed. Schaldach. Etchings. 1987. SIGNED INSCRIPTION BY THE EDITOR. NUMBER 343 OF 1000. 439 SPORTING ART. Group of 7 volumes, as listed below. Audubon, John J. “The Birds of America”. New York: Macmillan Company. 1941” * Duncan, Stanley; and Guy Thorne. “The Complete Wildflower: Ashore and Afloat”. 1907 * Ferguson, Henry L. “The English Springer Spaniel in America”. 1932 * Gordon, Granville. “Sporting Reminisces”.1902 * Nimrod (Apperley). “The Life of John Mytton, Esq. of Halston, Shropshire.” 1869 * Newton, Edward A. “John Mytton.” 1924 * Roe, Gordon F. “Sporting Prints of the Eighteenth and Early Nineteenth Centuries”.1927. FIRST EDITION. * Roe, Gordon F. “Sporting Prints of the Eighteenth and Early Nineteenth Centuries”. 1927. FIRST EDITION. ESTIMATE:

$200 - $400

440 SPORTING ART. Group of 5 volumes, as listed below. Schaldach, W. J. Fish by Schaldach. 1937. NUMBER 372 OF 1560. * Lanier, H. W. A.B. Frost. 1990 LIMITED DERRYDALE EDITION OF 2500. * Reed, H. M. The A.B. Frost Book. 1967. SLIPCASE. * The Waterfowl Editions of Gray’s Sporting Journal. 1976-78. BOUND. * The Upland Birds Editions of Gray’s Sporting Journal. 1975-79. BOUND.

441 SPORTING ARTISTS. Group of 8 volumes, to include books about Smith, Cowan, Pleissner, Reneson and Gray, Maass, and Schaldach. DJ. 442 SPORTING ARTISTS. Group of 10 volumes, to include books about Benson, Cobb, Frost, Hunt, Pleissner, and Schaldach. 443 SPORTING ARTISTS. Group of 4 volumes in slipcases, as listed below. Bishop, Richard E. Bishop’s Birds. 1936. NUMBER 207 OF 250 FOR GREAT BRITAIN. * Jones, Thomas ed. The Ways of Wildfowl. 1971. NUMBER 34 OF 3000 SPECIALLY BOUND COPIES. * Holland, Ray P. Shotgunning in the Uplands. 1945 * Holland, Ray P. Shotgunning in the Uplands. 1945. NUMBER 2 OF 350 SIGNED COPIES. 444 SPORTING ARTISTS. Group of 5 volumes, as listed below. Schaldach, William. The Wind on Your Cheek. 1972. NUMBER 104 OF 200 LIMITED COPIES WITH SIGNED ORIGINAL ETCHING. * Hall, Henry. The Ruffed Grouse. 1946 * Lanier, Henry. A.B. Frost: The American Sportsman’s Artist. 1933. DERRYDALE. * Hunt, Lynn B. An Artist’s Game Bag. 1936. DERRYDALE NUMBER 253 OF 1225. * Ordeman, John T. To Keep a Tryst with the Dawn. 1989. NUMBER 342 OF 1100 SIGNED COPIES. 445 SPORTING ARTISTS. Group of 12 volumes, as listed below. Wechsler, Charles. The Animal Art of Wilhelm Kuhnert. 1995. NUMBER 343 OF 450 IN SLIPCASE. * Remington F. The Way of an Indian. 1906 * Russell, C.M. Good Medicine. 1930 * Remington, F. Frederic Remington’s Own West. 1960 * Remington, F. Frederic Remington’s Own Outdoors. 1964 * Schaldach, W. Path to Enchantment. 1963 * Ballinger, J. Frederic Remington. 1989 * Hassrick, P. Frederic Remington. 1975 * Morgan, C. American Etchers Volume 7 Frank W. Benson, NA. 1931. STATED SECOND PRINTING. * McCracken, H. The Charles M. Russell Book. 1957 * Chapin, L. Charles M. Russell. 1978 * Ewers, J. Artists of the Old West. 1973 446 SPORTING ARTISTS. Group of 12 volumes, including four books on Frank Benson, 3 on Aiden Lassell Ripley, one on Ogden Pleissner, one on William Schaldach and one on David Hagerbaumer.

447 SPORTING FICTION AND JOURNALS. Group of 15 volumes, including: Ruark, R. Horn of the Hunter. 1953, Ruark, R. Something of Value. 1955, Ruark, R. The Old Man and the Boy. 1957, Ruark, R. The Old Man’s Boy Grows Older. 1961, Ruark, R. Use Enough Gun. 1966; Leoplold, A. A Sand County Almanac. 1949, Leopold, A. Round River. 1953; Traver, R. Trout Madness. 1960, Traver, R. The Jealous Mistress. 1967. STATED SECOND PRINTING, Traver,R. Hornstein’s Boy. 1962, 2 copies, Traver, R. Laughing Whitefish. 1965. STATED FIRST EDITION, Traver, R. Trouble-Shooter. 1943 448 SPORTING FICTION. Group of 18 volumes, as listed below. 7 in slipcases. Includes: Lyons, Mari. My Secret Fish-Book Life. 1996 * Strong, W.E. Canadian River Hunt. 1960. INCLUDES FOLD OUT MAP. * Lamb, Dana S. On Trout Streams and Salmon Rivers. 1996 * Lamb, Dana S. Bright Salmon and Brown Trout. 1996 * McCord, D. ed. Well Dressed Lines. 1962 * McGuane, Thomas. Live water. 1996. SIGNED. * Cole, John N. Fish of My Years. 1995. SIGNED. * Sage, D. The Ristigouche and Its Salmon Fishing. 1993. NUMBER 343 OF 500. * Reiger, George. Profiles in Saltwater Angling. 1973 * Voelker, John D. Trout Madness. 1992. SIGNED NUMBER 10 OF 25. * Weeks, Edward. The Miramichi Fish and Game Club: A History. 1984; and others, must be seen. 449 SPORTING, FOREIGN. Group of 3 volumes, as listed below. Endicott. The Saga of the Tented Cities. 1952. INSCRIBED BY AUTHOR. * Capstick. A Man Called Lion. 1994. NUMBER 343 of 1,000 COPIES SIGNED, LIMITED EDITION. * Wolff. Der Wilde Jäger. 1887 450 SPORTING, WESTERN. Group of 5 volumes, as listed below. Murphy. Sporting Adventures in the Far West. 1880 * VanDyke. Flirtation Camp: or the Rifle, Rod, and Gun in California. 1881 * Vachell. Sport and Life on the Pacific Slope. 1908 * Wallace. Saddle and Camp in the Rockies. 1911 * Beach. Oh, Shoot! Confessions of An Agitated Sportsman. 1921 451 SPORTING. Group of 16 volumes, as listed below. Shields, G.O. Camping and Camp Outfits. 1890 * Stonehenge, et. al. The Dogs of Great Britain, America and Other Countries. 1883 * E.J. Lewis. Hints to 229

Sportsman. 1851 * Bradford, Charles. The Wild Fowlers. 1901 * Ubique. Gun, Rod, and Saddle. 1869 * Murphy, J.M. American Game Bird Shooting. 1882. * ditto. * Marksman. The Dead Shot. 1863 * Warren. T. R. Shooting, Boating and Fishing, for Young Sportsmen. 1871 * Gillmore, Parker. Prairie and Forest. 1874 * Long, J.W. American Wild-Fowl Shooting. 1874. * ditto. * Forrester, Frank. The Warwick Woodlands. 1851 * Bogardus, A.H. Field, Cover, and Trap Shooting. 1899 * Gilmore, Parker. Leaves from a Sportsman’s Diary. 1896 * Bruette, William A. Sportsmen’s Encyclopedia. 1923 452 SPORTING. Group of 9 volumes. Stearns, Marshall. Along the Trail. 1936 * Stearns, Marshall. Just Memories. 1932 * Stearns, Marshall. Memories and Reflections. 1935 * The Major. Hank. 1937. NUMBER 2 OF 150. * Haynes, William. Sandhills Sketches. 1916 * Werich, J.L. Pioneer Hunters of the Kankakee. 1920 * Brasher, Rex. Secrets of the Friendly Woods. 1926. SIGNED INSCRIPTION. * Anonymous. The American Shooter’s Manuel. 1928 * Rambler. Hunting and Shooting Incidents. 1904 453 SPORTING. Group of 14 volumes, as listed below. Clafin Jr. W.H. Partridge Adventures. 1951 * Enders, John O. Random Notes on Hunting. 1955. SIGNED. * Gibson, C.D. Shoot if You Must. 1950. INSCRIBED. * Pidcock, J. R. Wings, Water and Dogs. 1962 * Carter, C.M. Shooting in the Early Days. 1919. SIGNED AND DATED. INCLUDES LETTER WRITTEN BY THE AUTHOR. * Prescott, M.W. Tales of a Sportsman’s Wife. 1939 * ditto. (1936) * ditto. (1937) * Lincoln, F.C. Migration of Birds. 1950 * McElya, G.E. How I Learned to Hunt. * Denninson, Earl. Duck Calling. * Anonymous. Partridge Rambles. 1937 * Anonymous. The Uncertainties of Travel. 1880 * Hammond, S.T. My Friend the Partridge.1908. NUMBER 343 OF 1025. Reprint. 454 SPORTING. Group of 9 volumes. The first two with slipcase. Holland, R.P. Shotgunning in the Uplands. 1944. SIGNED BY AUTHOR AND ARTIST. NUMBER 131 OF 250 COPIES. * Holland, R. P. Shotgunning in the Lowlands. 1945. SIGNED BY AUTHOR AND ARTIST. EDITION OF 350. * Foster, W.H. New England Grouse Shooting. 1947 * Schaldach, W. J. Upland Gunning. 1946 * Everett, F. Fun With Game Birds. 1954. SIGNED. NUM230

BER 167 * ditto. (regular edition). * Pettingill, O.S. The American Woodcock. 1936 * Rich, W.H. Feathered Game of the Northeast. 1907 * Norris, C. C. Eastern Upland Shooting. 1946

457

455 SPORTING. Group of 15 volumes, as listed below. Forbush, E.H. Game Birds, Wild-Fowl and Shore Birds. 1912 * Terres, J.K. ed. Discovery. 1961 * Gabrielson, Wildlife Conservation. 1941 * Gibson, W.H. Eye Spy. 1897 * Wordway, S.H. A Conservation Handbook. 1949 * U.S. Dept of Agriculture, Outdoors USA, the Yearbook of Agriculture 1967 * Grice, D. The Wood Duck in Massachusetts. 1965 * Hall, H.M. The Ruffed Grouse. 1946 * Linduska, J.P. ed. Waterfowl Tomorrow. 1964 * Hawes, H.B. Fish and Game Now or Never. 1935 * Burroughs, J. Afoot and Afloat. 1907 * Collins, H.H. Complete Field Guide to American Wildlife. 1959 * Wiley, F.A. ed. John Burroughs’ America. 1951 * Gaddy. Lockhart Gaddy with his Friends—The Wild Geese. 1954 * Schwartz, C. W. The Prairie Chicken in Missouri. 1944 456 THE PREMIER PRESS. Group of 9 volumes, as listed below. Lanier, H.W. A.B. Frost. 1985. NUMBER 2805 OF 3000 COPIES. * ditto. NUMBER 2736 OF 3000 COPIES. * Clark, R. Stray Shots and Pot Luck (one volume). 1986. NUMBER 657 OF 3000 COPIES. * ditto. NUMBER 1209 OF 3000 COPIES. * ditto. NUMBER 1053 OF 3000 COPIES. * Clark. R. Gunner’s Dawn. 1983. NUMBER 2413 OF 3000. * Buckingham, N. The Shootinest Gent’man. 1984. NUMBER 761 OF 3000 COPIES. * Annabel, R. Tales of a Big Game Guide. 1985. NUMBER 696 OF 3000 COPIES. * Babcock, H. My Health is Better in November. 1984. EDITION OF 3000. 457 THREE VOLUMES. Daniel, William Barker (1754-1833) Illustrated, Volume 1, Volume 2, and Supplement. Bunny and Gold Vol. 1- 1801, Vol. 2- 1802, Suppl.- 1813 Thomas Roberts Esq. Collection (original subscriber). PROVENANCE:

Private Collection, Massachusetts

ESTIMATE:

$500-$1,000

458 TWO BOOKS. As listed below. DeWar, George A.B.The Book of the Dry Fly. 1897. ILLUSTRATED. * Hamilton, Edward. Recollections of Fly Fishing for Salmon, Trout and Grayling. 1884. ILLUSTRATED WITH ETCHING, NUMBER 38 OF 100 COPIES.

459 UPLAND and DUCK HUNTING. Group of 17 volumes, as listed below. First 3 volumes with slipcase. Rosene, W. The Bobwhite Quail. 1969. SIGNED. NUMBER 203 OF 250 COPIES. * Haight, A.D. The Biography of a Sportsman. 1939 * Babcock, H. Tales of Quails ‘n Such, 1951. SIGNED. NUMBER 291 OF 299 COPIES. * ditto. (standard edition). * Holland, B., D. & R. Good Shot!. 1946 * Norris, C. Eastern Upland Shooting. 1946 * Boardman, E. Wings in the Blue. 1936. INSCRIBED. * Pullman, F. C. Julie, Eat Your Prairie Chicken. 1993 * Truax, D. ed. Pheasant Tales. 1995 * Buckley, J.W. Manque. 1988 * Scruggs, E. The Bird Dog. SIGNED. * MacQuarrie, G. MacQuarrie Miscellany. 1987 * Hanlon, J.E. Memorable Hunting Episodes. 1966. SIGNED. NUMBER 67 OF 100 COPIES. * Mathewson, W. Big December Canvasbacks.1997. SIGNED. NUMBER 235. * Babcock, H. My Health is Better in November. 1947 460 UPLAND GAME BIRDS. Group of 18 volumes, as listed below. Evans, G.B. Grouse & Woodcock in the Blackwater / Canaan. 1997. NUMBER 343 OF 1500 IN SLIPCASE. SIGNED INSCRIPTION. * Timberdoodle Club ed. Timberdoodle Days. 2002. NUMBER 84 OF 250 IN SLIPCASE. * Knight, J.A. Ruffed Grouse. 1947. LEATHERBOUND. * ditto. (DJ). * Knight, J.A. Woodcock. 1944. LEATHERBOUND * ditto. (DJ). * Waters, T.F. Timberdoodle Tales. 1993 * ditto. 4 copies. * Culler, J.M. Purple Heaven. 1995. SIGNED. * Sheldon, W.G. The Book of the American Woodcock. 1971 * Grinnell, G.B. American Game-Bird Shooting. 1995. NUMBER 343 OF 3000. * Sisley, Nick. Grouse Magic. 1981. SIGNED NUMBER 343 OF 1500. * Whitney, Casper. On Snow-Shoes to the Barren Grounds. 1996 * The Earl of Dunraven. Canadian Nights. 1995. NUMBER 343 OF 3000. * Knight, J.A. Ol’Bill. 1942. SIGNED NUMBER 73 OF 1929

461 UPLAND SPORTING. Group of 12 volumes, as listed below. Babcock, H. Tales of Quails ‘N Such. 1951 * ditto. * Casada, Jim ed. Robert Ruark. 1995. DELUXE EDITION NUMBER 343 of 500. * Richardson, Lee. Those Were the Days. 1985. NUMBER 340 OF 500. * Pringle, J.J. Twenty Years’ Snipe-Shooting. 1988 * Hammond, S.T. My Friend the Partridge. 1908. NUMBER 43 OF 1025. * Grozik, Richard S. Birdhunter. 1997. NUMBER 343 OF 500 SIGNED EDITIONS IN SLIPCASE. * Jones, R.F. Dancers in the Sunset Sky. 1996. SIGNED. * Spiller, B.L. Drummer in the Woods. 1962. SIGNED INSCRIPTION. * Lundrigan, Ted N. Hunting the Sun. 1997. NUMBER 43 OF 250 SIGNED LIMITED EDITION. * Mathewson, W. Reflections on Snipe. 1995. SIGNED AND DATED, NUMBER 343 OF 600. * Gohdes, C. ed. Hunting in the Old South. 1967 462 WATERFOWL and Decoys. Group of 12 of volumes, as listed below. First 8 in DJ. Starr, G.R. Decoys of the Atlantic Flyway. 1974 * Connett, E.V. ed. Duck Shooting Along the Atlantic Tidewater, 1947 * Squire, L. Wildfowling with a Camera, 1938 * Elman, R. The Atlantic Flyway. * Bovey, Martin. The Saga of Waterfowl. 1949 * Guyette. Decoys of Maritime Canada. 1983 * Starr, G.R. How to Make Working Decoys, 1978 * Reiger, George. Floaters and Stick-Ups, 1986 * Berkey, B.R. Pioneer Decoy Carvers. 1977 * Merkt, D.M. Shang. 1984. SIGNED LIMITED EDITION IN SLIPCASE NUMBER 343 OF 550. * Bourne, R. The Rare Decoy Collection of Ross Starr, Jr., M.D. 1986 * Sotheby’s ed. American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery. 2000 463 WATERFOWL. Group of 8 volumes, as listed below and 6 related pamphlets. Gilmore, Jene C. Art for Conservation: The Federal Duck Stamps. 1971 * Merkt, Dixon. Shang. 1984. SIGNED LIMITED EDITION NUMBER 550 OF 550. * Sheehan, L. The Sporting Life. 1992 * Bruette, W. American Duck, Goose and Brant Shooting. 1934 * Townsend, E.J. Gunners Paradise. 1979 * Hagerbaumer, D. Waterfowling These Past Fifty Years: Especially Brant. 1998. SIGNED NUMBER 44 OF 1000. * Connett, E.V. ed. Duck Shooting Along the Atlantic Tidewater. 1947 * Coykendall, R. Duck Decoys. 1955 * 6 related pamphlets.

464 WATERFOWL. Group of 13 volumes, as listed below. First 8 with slipcase Newburry, Dr. S. Lloyd. Pages of Time. 1996. SIGNED. NUMBER 97. * ditto. (NUMBER 98).* Underwood, L. ed. The Duck Hunter’s Book. 1982. SIGNED NUMBER 880 OF 1000 COPIES. * Howard, J.E. North American Big Game Hutning in the 1800’s. 1982. SIGNED NUMBER 343 OF 1000 COPIES. * Williamson, F.P. ed. The Waterfowl Gunner’s Book. 1979. SIGNED NUMBER 143 OF 1000 COPIES. * Bovey, M. Whistling Wings. 1995. NUMBER 343 OF 500. * Cook, E. Hollica Snooze. 1995. NUMBER 343 OF 500 COPIES. * Heilner, V.C. A Book on Duck Shooting. 1994. NUMBER 343 OF 500 COPIES. * Thomas, Jr., E.D. Fool Hen Blues. 1994. SIGNED NUMBER 43 OF 250 COPIES. * Hall, Dr. J.W. Doc Hall’s Journal. 1995. SIGNED NUMBER 43 OF 250 COPIES. * Ford, C. The Trickiest Thing in Feathers. 1996. NUMBER 43 of 250 COPIES. * Richardson, L. Those Were the Days. 1985. NUMBER 331 OF 500 COPIES. * ditto. (NUMBER 480 OF 500 COPIES). 465

465 WILDFOWL DECOYS Barber, Joel. A 1st edition limited to fiftyfive numbered and signed copies, of which this is number twenty-nine. Dedicated to C. J. Church, in 1937. The top and bottom edges of the spine are worn as is the original cardboard sleeve. Derrydale Press 1934. ESTIMATE:

$2,000-$4,000

231

Bibliography Barber, Joel. Wild Fowl Decoys. Garden City, NY: Garden City Publishing Co. Inc., 1937. Bedford, Faith Andrews. Frank W. Benson: American Impressionist. New York, NY: Rizzoli, 1994. Bennett, Whitman. A Practical Guide to Nineteenth Century American Color Plate Books. New York, NY: Bennett Book Studios, 1949. Bergh, Peter. The Art of Ogden M. Pleissner. Boston, MA: David R. Godine, 1984. Berkey, Barry R. and Velma A. Chincoteague Carvers and Their Decoys. Gettysburg, PA: Herff Jones University Publications, 1981. Bishop, Richard E. Bishop’s Bird Etchings of Water-Fowl and Upland Game Birds. Philadelphia, PA: J.B. Lippincott Company, 1936. Blasdale, Mary Jean. Artists of New Bedford. New Bedford, MA: Old Dartmouth Historical Society, 1990. Bourne Co. Inc., Richard A. Very Rare and Important American Bird Decoys, From the Collection of the late William J. Mackey, Jr. of Belford, New Jersey. Boston, MA: Richard A. Bourne Co., 1973. Cardoza, James E. The Wild Turkey: An Astonishing Success Story. Westborough, MA, 2002. Cheever, Byron. Mason Decoys. Spanish Fork, UT: Hillcrest Publications, Inc., 1974. Colio, Quintina. American Decoys. Ephrata, PA: Science Press, 1972. Crowell, A.E. “Cape Cod Memories.” Duck Shooting along the Atlantic Tidewater edited by Eugene V. Connett. New York, NY: William Morrow, 1947.

232

Cullity, Brian. The Songless Aviary: The World of A.E. Crowell & Son. Sandwich, MA: Heritage Plantation, 1992.

Gosner, Kenneth L. Working Decoys of the Jersey Coast and Delaware River Valley. Cranbury, NJ: Cornwall Books, 1985.

Delph, John and Shirley. Factory Decoys of Mason, Stevens, Dodge, and Peterson. Exton, PA: Schiffer Publishing Ltd., 1980.

Guyette and Schmidt, Inc. North American Decoys at Auction, April 28 & 29, 2005. St. Michaels, MD: Guyette & Schmidt Inc., 2005.

Delph, John and Shirley. New England Decoys. Exton, PA: Schiffer Publishing Ltd., 1990. DeVoe, George S. Will Simmons, American Impressionist. ¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬

Haid, Alan. Decoys of the Mississippi Flyway. Exton, PA: Schiffer Publishing Ltd., 1981.

Doherty, James R. Classic New Jersey Decoys. Louisville, KY: Four Colour Print Group, 2011. 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. Fink, Russell A. Richard E. Bishop: Etchings, Drypoints, and Aquatints. St. Paul, MN: Brown and Bigelow, 2008. Fleckenstein, Jr., Henry A. Decoys of the MidAtlantic Region. Exton, PA: Schiffer Publishing Ltd., 1983. Fleckenstein, Jr., Henry A. New Jersey Decoys. Exton, PA: Schiffer Publishing Ltd., 1983. Fleckenstein, Jr., Henry A. Shore Bird Decoys. Exton, PA: Schiffer Publishing Ltd., 1980. Fleckenstein, Jr., Henry A. Southern Decoys of Virginia and the Carolinas. Exton, PA: Schiffer Publishing Ltd., 1983. French, Joe. “Alexander Pope, Jr.” Decoy Magazine. Lewes, DE: Decoy Magazine, July/August 1999. Goldberger, Russ J. and Alan G. Haid. Mason Decoys: A Complete Pictorial Guide. Lewes, DE: Decoy Magazine, 2003.

Hilyard, Graydon R. Bogdan. Portland, OR: Frank Amato Publications, 2006. Huster, H. Harrison and Doug Knight. Floating Sculptures: The Decoys of the Delaware River. Spanish Fork, UT: Hillcrest Publications, 1982. Inman, Diane K. From Marsh to Mountain: The Art of Harry Curieux Adamson. San Francisco, CA: Di Les Books, 1999. Inman, Diane K. The Fine Art of Angling: Ten Modern Masters. Incline Village, NV: Di Les Books, 2007. Jehle, Michael A. Picturing Nantucket: An Art History of the Island with Paintings From the Collection of the Nantucket Historical Association. Mystic, CT: Mystic Seaport Museum, 1999. Kangas, Gene and Linda. “Connecting the Dots: Exploring the Provenance of Elmer Crowell’s Decoys.” Decoy Magazine. Lewes, DE: Decoy Magazine, 2010. Kangas, Gene and Linda. Decoys. Paducah, KY: Collector Books, 1992. Kangas, Gene and Linda. Great Lakes Decoy Interpretations. Louisville, KY: Creekside Art Gallery, LLC, 2011. Kangas, Gene and Linda with Ron Gard, “Kankakee Marsh Pintails: The Magnificent Seven,” Hunting and Fishing Collectibles Magazine. Lawsonville, NC: Stanley L. Van Etten, 2009.

Kangas, Gene. “Guy Wilson, Folk Artist.” Decoy Magazine. Louisville, KY: Decoy Magazine, 1994. Lacy, Ann Tandy. Perdew, An Illinois River Tradition. Muncie, IN: D.A. Galliher, 1993. Levinson, John M. and Somers Headley. Shorebirds: the Birds, the Hunters, the Decoys. Centerville, MD: Tidewater Publishers, 1991. Mackey, Jr., William J. American Bird Decoys. New York, NY: E.P. Dutton & Co., Inc., 1965. Miller, Michael R. and Frederick W. Hanson. Wildfowl Decoys of the Pacific Coast: Carving Traditions of British Columbia, Washington, Oregon, and California. Davis, CA: MBF Publications, 1986. O’Brien Jr., Stephen B. and Julie Carlson. Masterworks of the Illinois River. Boston, MA: Stephen O’Brien Jr. Fine Arts, LLC, 2005. O’Brien, Jr., Stephen B. and Julie Carlson Wildfeuer. The Art of Aiden Lassell Ripley. Boston, MA: Stephen O’Brien Jr. Fine Arts, LLC, 2009. Ordeman, John T. Frank W. Benson: His Sporting Art. Hudson, WI: G.E. Nelson, 1996. Ordeman, John T. Frank W. Benson’s Etchings, Drypoints, and Lithographs: An augmented reprint of the five volumes of Etchings and Drypoints by Frank W. Benson, compiled and arranged by Adam E. M. Paff and Arthur W. Heintzelman. Summit, NJ: Hickok-Bockus, 1994. Ordeman, John T. The American Sporting Print: 20th Century Etchers and Drypointists. Ringwood, NJ: ¬¬The Sporting Gallery, 2007. Reed, Henry M. The A.B. Frost Book. Rutland, VT: Charles E. Tuttle Co., 1967.

Reiser III, Harold W. Chauncey Wheeler. Lewes, DE: Decoy Magazine, 2002. Reuter, Jr., F. Turner. Animal and Sporting Artists in America. Middleburg, VA: National Sporting Library, 2008. Richardson, Robert. Chesapeake Bay Decoys. Burtonsville, MD: Decoy Magazine, 1991. Ripley, A. Lassell and Dana S. Lamb. Sporting Etchings. Barre, MA: Barre Publishers, 1970. Shaw, Robert. Bird Decoys of North America. New York, NY: Sterling Publishing Co., 2010. Shaw, Robert. Call to the Sky: The Decoy Collection of James M. McCleery, M.D. Houston, TX: Gulf Publishing Co., 1992. Sorenson, Harold. Decoy Collector’s Guide. Burlington, IA: Harold Sorenson, 1968. Stansbury, Henry H. Ira D. Hudson and Family, Chincoteague Carvers. Lewes, DE: Decoy Magazine, 2002. Starr, Jr., M.D., George Ross. Decoys of the Atlantic Flyway. New York, NY: Winchester Press, 1974. The Carl Rungius Papers, Glenbow Museum, Calgary, Alberta 1908. The Wildlife Sporting Collection. Lake City, MN: Wild Wings Inc., Fall 1976-77. Tonelli, Donna. Fish and Fowl Decoys of The Great Lakes. Atglen, PA: Schiffer Publishing Ltd., 2002. Waingrow, Jeff. American Wildfowl Decoys. New York, NY: Weathervane Books, 1985. Weeks, Edward. A. Lassell Ripley: Paintings. Boston and Barre, MA: Guild of Boston Artists and Barre Publishers, 1972.

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Index Abercrombie & Fitch : 233a Adamson, Harry Curieux: 254 - 255 Allen, Gordon: 279, 395 Audubon, John James: 357 - 358, 381 Ballan, Bill: 233 Barber, Joel: 161 - 164 Barkalow, Capt. J. Lewis: 81 Bates, Robert: 239f Beckwith, Arthur: 301 Bedard and Morency Mill Co.: 138 Bellamy, John Haley: 131 Benson, Frank Weston: 286, 340 - 356, 382, 384 - 390 Bianco, Anthony: 77 - 79 Biberstein, Franz: 325 Birch, Charles: 56 Bishop, Richard Evett: 335 - 336, 399 Blair School: 238 Blair, Jr., John: 74 Blair, Sr., John: 76 Bolles, Frank: 410 Bounds, Joseph: 68 Boyd, George: 94a Brown, Paul Desmond: 314 - 315 Browne, George: 288c, 290 Buckingham, Nash: 413 Burr, Elisha: 103 Byxbe, Lyman: 397 Chambers, Thomas: 237a, b Christiansen, Roy: 239a Clark, Roland H.: 337 - 339, 392, 398 Coffin, Charles F.: 97 Coleman, Michael B.: 274 Conklin, Hurley: 66 Conolon, Garcia: 233a Cranmer, Joe Tom: 72 Cranmer, William H. : 80 Crowell, A. Elmer: 94, 173a - 211, 216 Cuffee, Eugene "Chief": 165 Daly, Thomas Aquinas: 304 Dexter, Newton: 95 Dittman, Albert J.: 218 Emond, Alphonse: 236 English, Daniel G.: 59, 62 English, John: 63 Ettinger, Churchill: 399 Evans, George B.: 422 Everett, Fred T.: 284 Eyre, Ferman R.: 239d Fields, James: 294 Finney, Frank: 14 - 15 Fischer, Anton Otto: 283 Folger, James Walter: 110 Ford, Corey: 427 Frazier, Luke: 276a, 293 Frier, Dr. David A.: 239e Frost, Arthur Burdett: 258, 380, 399 Fuertes, Louis Agassiz: 256 Gardner, Clarence T.: 95

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Garton, John Byron: 219 Gibbs Family: 99 Golden, Francis: 309 Goodspeed, David S.: 93 Goodwin and Granger Company: 233c Goodwin, Richard LaBarre: 252 Graves, Bert: 148 Gromme, Owen J. : 246 Haertel, Harold: 142 Hagerbaumer, David: 249 - 251 Hall, Davis: 108 Hand, James P.: 11 Harris, Bill: 82 Harris, James W.: 310 Hart, Charles: 125 - 126 Hendrickson, J. Eugene: 69 Herring, Sr., John Frederick : 297 Herter's Manufacturing Inc.: 112, 239a Higgins, J.C.: 233b Holmes, Lothrop: 115 Horner, Nathan Rowley: 58 Hotze, Hiram "Hy": 144 Hubley Manufacturing Inc.: 128 Hudson, Ira D.: 50 - 53 Irvine, Lawrence C.: 157 - 158 Jaques, Francis Lee: 276 Jenckes, Charles M.: 298 Johnson, Lloyd: 73 Keller, Edward: 143 Kerr, Robert G.: 220 Kessler, George A.: 145 Kimble, John S. : 71 King, Allen J.: 217 King, Edward: 396 Kirmse, Marguerite: 333 Kleiber, Hans: 391 Kloetzke, Don: 248 Knap, J.D.: 317 Koelpin, William J.: 259 - 262 Kruger, H. O.: 167 Kuhn, Bob F.: 277, 280 Kuhn, Wiliam: 64 Landry, Arthur: 239b Lazarus, David: 303 Legaux, Sr., Roy J.: 230 Lewis, Charles Morey: 100 Lincoln, Joseph W.: 221 - 223 Lougheed, Robert Elmer: 272 Maas, David A.: 245 Marshall, James W.: 275 Mason Decoy Factory: 25-42 McIntyre, Cameron: 7 McLoughlin, John W.: 67 McNair, Mark S.: 1 - 6 MĂŞne, Pierre Jules: 300 Miller, Clarence: 13 Mitchell, Pete: 124 Mittlesteadt, Julius E.: 237

Moak, August: 149 Moore, Charles: 239e Morrow, John "Sandy" Alexander: 134 - 135 Mueller, Keith: 13a, 17 - 20 Mulliken, Edward "Ted": 159 - 160 Murphy, Charles E.: 312 Murray, W.H.H.: 435 Nilsson, Ingvar: 231 Nisbet, Robert: 285 Orvis: 232, 233a Palenske, Reinhold H.: 394 Parker, Butch: 239d Paul, Joe Thomas: 65 Perdew, Charles: 140 Peterson, Oscar W.: 132 Phillips, John C.: 436 Plasschaert, Richard: 247 Pleissner, Ogden Minton: 287 - 288b, 373 - 378 Pope, Alexander: 291 - 292, 295, 330a Prescott II, Reed: 326 Pryor, Leonard E.: 48 Realistic Decoy Company: 155 Reghi, Ralph: 156 Reneson, Chet: 240 - 242a Ridgeway, Birdsall: 70 Ripley, Aiden Lassell: 289, 316, 359 - 372, 379 Roberts, William: 86 - 87 Rosseau, Percival Leonard: 331 Rungius, Carl Clemens Moritz: 273 Ruteledge, Archibold: 437 Sandsbury, Capt. Andrew Jackson: 107 Sapone, Nick: 239a Saracione: 233 Schaldach, William Joseph: 281, 383, 438 Schmiedlin, Jim: 16 Schroeder, Thomas: 153 Schultz, William: 150 - 152 Scott, Peter Sir: 399 Scriven, Dannie: 154 Shaw, Clyde "Sharpie": 133 Shaw, Leslie: 332 Shilstone, Arthur: 243 - 244 Shourds, Harry V. : 57, 60 - 61, 83 - 84 Simmons, William: 318 - 322 Smith, Brett James: 278, 296, 306 Smith, Frank Vining: 283a, 302 Smothers, Mel: 311 Snyder, F. Edward: 230a, c, d Standish, John M.: 327 - 328, 330 Strazzulla, Elizabeth Leary: 323 - 324 Strong, Helen Lay: 212 - 215 Strunk, George: 9 - 10 Stuart, Allen: 225 Swain Family: 85 Swan, John: 305, 307 - 308 Thomas, F.E. : 233c Thompson, Harry A.: 329 Toronto School: 235

Trinosky, Herman R.: 141 Turpin, Tom: 136 Tuttle, Henry Emerson: 282 Verity School: 171 Verity, Andrew: 172 Verity, Obediah: 173 Wagner, Isaiah C.: 111 Wallace, Amos G.: 122 Ward, Lemeul T. and Stephen: 44 - 46 Watson, Dave "Umbrella": 54 West, Levon: 393 - 393a Wheeler, Chauncey: 114 White, Robert "Bob": 8 Whittington, Hector: 146 Whorf, John: 253 Wildfowler Decoys: 169 - 170, 239d Willis, Frank C.: 230b, e, f Wilson, Augustus Aaron: 116 - 120 Wozny, Eddie: 21 - 24 Zwarg, Otto: 232

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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 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. 4 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. If you require absolute certainty in all areas of authenticity, and the results of your evaluation leave uncertainty in your mind, we recommend you not bid on the item in question. 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.

11 Bidding increments will normally follow the pattern below, but may vary at the sole discretion of the auctioneer: Estimate Increment To 999.99 50 1,000 – 2,999.99 100 250 3,000 – 4,999.99 500 5,000 – 9,999.99 10,000 – 29,999.99 1,000 30,000 – 49,999.99 2,500 50,000 – 99,999.99 5,000 Over 100,000 10,000 12 Successful bidders are to pay for their purchases during or immediately after the sale or upon receipt of an invoice, unless other arrangements have been authorized in writing by the auction house. Payment may be made by cash or good check payable to Copley Fine Art Auctions, LLC. The auction house reserves the right to hold property until checks clear. A monthly service charge of 1.5% will be added to unpaid balances beginning 30 days after the sale date. A $50.00 fee will be added for returned checks. If a check fails to clear after the second deposit, the purchaser will be held responsible for any and all fees incurred until we have collected good funds. Purchases picked up at the auction will be subject to the New York State and local tax of 8.875% unless purchaser provides a valid New York State resale certificate or copy thereof while registering. Purchases delivered to New York after the auction will be subject to the applicable New York state and local taxes and purchases picked up or delivered to Massachusetts after the sale will be subject to the 6.25% Massachusetts Sales Tax unless exempted by applicable law.

5 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.

13 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.

6 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. If bids for identical amounts are submitted for the same lot and are the highest bids of the auction, the property will be sold to the person whose written bid was received and accepted first. All absentee and telephone bids must be received no later than 5 pm EST, Saturday, January 14, 2012.

14 Buyers wishing to pick up items at the sale must do so by 8 pm EST, Monday, January 16th, 2012. Buyers wishing to pick up items after the auction may do so only by appointment after January 24, 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.

7 Unless indicated by a box ( ), all lots in this sale are offered subject to a reserve. 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. If any lots in the catalog are offered without a reserve, such lots will be designated by a ( ). Estimates are subject to change at any time prior to the offering of each lot.

15 Shipping is the responsibility of the buyer. Once your payment has cleared and we have received a signed Shipping Release Form, items will 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.

8 Lots with a (∆ ) symbol indicate that Stephen O’Brien Fine Arts, LLC and/or Copley Fine Art Auctions, LLC owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. 9 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot. The auctioneer has the sole right to reoffer 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. 10 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.

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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 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. 18 Any legal disputes arising from this auction shall be governed by and constructed and enforced in accordance with the laws of the State of New York. The buyer and any agent for the buyer shall be deemed to have consented to the jurisdiction of the state courts of, and the federal courts sitting in, the Stet of New York.

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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.

Purchases picked up at the auction will be subject to the New York State and local tax of 8.875% unless purchaser provides a valid New York State resale certificate or copy thereof while registering. Purchases delivered to New York after the auction will be subject to the applicable New York state and local taxes and purchases picked up or delivered to Massachusetts after the sale will be subject to the 6.25% Massachusetts Sales Tax unless exempted by applicable law.

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1 All bids must be received at our office by 5 pm EST, Saturday, January 14, 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.

b Telephone bids: If bidding by telephone, the bidder accepts the inherent risks associated with bidding over the telephone.

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 #

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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 buyerâ&#x20AC;&#x2122;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.

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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 shipping release form. 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 on page 236 of this catalog

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127 East 69th Street, New York, NY 10021

Important Americana, Paintings, Furniture and Decorative Arts Sale Including The Peter Brams Collection of Important Woodlands Indian Art Viewing January 13 -17, 2012 Auction January 17, 2012 Wallace Hall, Church of St. Ignatius Loyola, NYC

INQUIRIES +1 212 734 2381 info@kenoauctions.com CATALOGUES +1 212 734 2381 catalogues@kenoauctions.com View catalogues and leave bids online at kenoauctions.com

From The Peter Brams Collection of Important Woodlands Indian Art AN ASH BURL EASTERN GREAT LAKES EFFIGY LADLE Late-18th Century Estimate: $5,000 – 8,000

Kicking off Americana Week with sales by

on January 16 and

on January 17

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 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.