The Sporting Sale 2021 | Copley Fine Art Auctions

THE SPORTING SALE J U LY 9 - 1 0 , 2 0 2 1

Front Cover: Lots 74 detail, 112, 116, 119, 143 detail, 196 detail

SPECIALISTS

Inside Front Cover: Lot 209 detail Back Cover: Lots 99, 101, 102, 158, 199 detail, 212 detail, 247 detail Inside Back Cover: Lot 142 detail Left Schedule of Events: Lot 155 Left Table of Contents: Lots 100, 139, 335 Right Important Notices: Lot 79 detail Left Properties Page: Lot 75 detail

Stephen B. O’Brien Jr. Fine Art & Decoy Specialist steve@copleyart.com Colin S. McNair Decoy Specialist colin@copleyart.com Leah Tharpe Fine Art Specialist leah@copleyart.com

CATALOG BY Stephen B. O’Brien Jr. Cinnie O’Brien Colin S. McNair Leah Tharpe Chelsie Olney Eileen Steward, Photography & Design Brad Beckerman Printed in the USA

© 2021 Copley Fine Art Auctions, LLC. All rights reserved.

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THE SPORTING SALE SCHEDULE OF EVENTS

AUCTION: JULY 9-10 Day 1: Friday, July 9, 10:00AM

Day 1 of The Sporting Sale will begin with The Johnson Collection, lots 1-67

Followed by lots 68-246 Day 2: Saturday, July 10, 10:00AM

Lots 247-507 Live-streamed from Massachusetts; there will be no in-person bidding during the auction.

ADDITIONAL PHOTOS AND AUCTION PREVIEW Please visit copleyart.com for links to view additional images of each lot. You may view objects in our gallery by appointment or contact us to find out if we will be traveling to your area. Our specialists offer personalized video previews; call our office to set up a time.

ABSENTEE & TELEPHONE BIDS To schedule absentee or telephone bids, please use the forms found in the back of this catalog. All bids must be received at least twenty-four hours before the start of the sale. We will be adding additional lines to our popular phone bank; please sign up early.

ONLINE BIDDING Live online bidding will be available through Copley Live (download in your app store), Bidsquare, and Live Auctioneers.

Please review the Terms and Conditions of Sale on page 264 and Important Notices on page 6 of this catalog.

COPLEY FINE ART AUCTIONS, LLC | info@copleyart.com | 65 Sharp Street | Hingham, MA 02043 | 617.536.0030

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TABLE OF CONTENTS

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Schedule of Events

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Important Notices

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The Sporting Sale | July 9 | 10AM | Lots 68-246

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The Sporting Sale | July 10 | 10AM | Lots 246-507

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Index of Artists and Makers

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Terms and Conditions of Sale

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Buyer Pre-Registration Form

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Absentee/Telephone Bid Form

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Authorized Shipping Release Form

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THE SPORTING SALE IMPORTANT NOTICES 1

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

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

9 Additional images

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

11 Condition description of wear or gunning wear

3 Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for our Winter Sale 2022. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com.

4 Pre-registration Pre-Registration forms are available online, as well as in the back of this catalog.

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

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

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

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

8 Flat art dimensions Please be aware that all flat art dimensions are approximate and are rounded to the nearest quarter inch. Flat art is measured by height followed by width. Three-dimensional works are measured by height, width, and depth.

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Please visit copleyart.com for additional images of each lot.

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

The condition of the undersides may not be listed. Clear coats, such as varnish, shellac, and oil, may not be listed.

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

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

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

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

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Auction day contact information On site: 617.536.0030 Auctioneer Peter J. Coccoluto MA License #2428

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PROPERTIES FROM The Walter L. Bush Collection, deaccessioned from a New York City Museum Len Carnaghi Collection A descendent of John Harris Clay and Dorothy Norton Clay Jim and Robin Collins Collection The William K. du Pont Collection of Decoys, Bird Carvings, and Waterfowling Artifacts John W. Dreyer Collection Dale W. Farrell Collection The Johnson Collection of American Bird Decoys Allan J. Liu Collection Grant Nelson Collection Donal C. O’Brien Jr. Collection Mervin F. Roberts Estate A descendent of Joseph F. Sherer Mark Smith Collection A descendent of Herman Trinosky Herb Wetanson Collection Private Collection, Albany, Georgia Private Collection, Arizona Private Collection, Cape Cod Private Collection, Connecticut Private Collection, Florida Private Collection, Georgia Private Collection, Indiana Private Collection, Maryland Private Collection, Massachusetts Private Collection, Midwest Private Collection, Nevada Private Collection, New England Private Collection, New York Private Collection, North Carolina Private Collection, South Carolina Private Collection, Sun Valley, Idaho Private Collection, United Kingdom Private Collection, Vermont Private Collection, Weston, Massachusetts Private Collection, Wisconsin The Estate of a New York Collector The Masterworks of the Illinois River Collection

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THE SPORTING SALE 2021 LOTS 68-246 | DAY 1 | JULY 9 FOLLOWING THE JOHNSON COLLECTION

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DAVID A. HAGERBAUMER

1921-2014

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68 David A. Hagerbaumer (1921-2014)

Wild Turkey, 1962 signed and dated “David Hagerbaumer 1962” lower right watercolor, 24 1/4 by 38 in.

PROVENANCE: Private Collection, Georgia

$4,000 - $8,000

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DAVID A. HAGERBAUMER 1921-2014

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69 David A. Hagerbaumer (1921-2014)

Bobwhite Quail, 1966 signed and dated “David Hagerbaumer 1966” lower right watercolor, 21 3/4 by 30 in. titled on Abercrombie & Fitch Co., New York label on back

An early and striking watercolor depicting the explosive flush of the covey.

PROVENANCE:

Private Collection, Sun Valley, Idaho

$5,000 - $7,000

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DAVID A. HAGERBAUMER

1921-2014

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70 David A. Hagerbaumer (1921-2014)

Five Quail, 1999 signed and dated “David Hagerbaumer 1999” lower right watercolor, 8 3/4 by 11 3/4 in.

PROVENANCE:

Private Collection, Georgia

$800 - $1,200

71 David A. Hagerbaumer (1921-2014)

Woodcock, 1958 signed and dated “David Hagerbaumer 1958” lower left watercolor, 7 3/4 by 9 3/4 in.

PROVENANCE:

Private Collection, Georgia

$600 - $900

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72 David A. Hagerbaumer (1921-2014) Pheasants Flushed signed “David Hagerbaumer” lower right watercolor, 7 3/4 by 10 in.

PROVENANCE: Private Collection, Georgia $800 - $1,200

73 David A. Hagerbaumer (1921-2014)

The Beaver Flowage - Ruffed Grouse, 2000 signed and dated “David Hagerbaumer 2000” lower left watercolor, 8 1/2 by 11 3/4 in. titled on back

Of this work, the artist writes, “The Beaver Flowage - These rodents can dam a tiny trickle of water and almost at once create a brand new habitat. One that attracts wildlife of a great variety of species. Yep, ruffed grouse as well. David Hagerbaumer.”

PROVENANCE:

Private Collection, Georgia

$800 - $1,200 13

AIDEN LASSELL RIPLEY 1896-1969

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74 Aiden Lassell Ripley (1896-1969)

Grouse and Thorn Apple, 1945 signed and dated “A. Lassell Ripley 1945” lower left watercolor, 20 by 30 in. titled on back

These matching New England upland bird paintings were originally acquired by Dr. John W. Meachen (1891-1949), a prominent Boston radiologist and breeder of championship German shorthaired pointers.

Dr. John W. Meachen By descent in the family Private Collection, Sun Valley, Idaho

PROVENANCE:

$20,000 - $30,000

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AIDEN LASSELL RIPLEY

1896-1969

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75 Aiden Lassell Ripley (1896-1969)

Two Woodcock, 1945 signed and dated “A. Lassell Ripley 1945” lower right watercolor, 19 3/4 by 29 in. titled on back Dr. John W. Meachen By descent in the family Private Collection, Sun Valley, Idaho

PROVENANCE:

$20,000 - $30,000

Closely related work featured on the cover of Sheldon’s book.

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LOUIS AGASSIZ FUERTES 1874-1927

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76 Louis Agassiz Fuertes (1874-1927) Ruffed Grouse in a Pine signed “Louis Agassiz Fuertes” lower right watercolor and gouache, 25 1/4 by 19 1/4 in.

Louis Agassiz Fuertes was named after the famous Harvard professor Louis Agassiz by his father, himself a professor at Cornell. Though he studied architecture at Cornell, the words of his namesake “Study nature, not books” prevailed and Fuertes went on to become one of the preeminent American bird artists of all time. The artist was noted for his early talent and eye for detail, joining the American Ornithologists’ Union at the age of seventeen. Through this important group he met ornithologist Elliott Coues, who promoted his work and commissioned the artist to illustrate his 1903 book, Key to North American Birds.

Along with Frank W. Benson, Fuertes provided illustrations for John C. Phillips’ A Natural History of the Ducks, published from 1922-1926. He also painted his stunning bird portraits for 16

Edward Howe Forbush’s Birds of Massachusetts and Other New England States, published between 1925-1929. His works can be found in the collections of Cornell University and Chicago’s Field Museum, among others, and he has two species of birds named after him: Icterus fuertesi and Hapalopsittaca fuertesi.

This highly accomplished work is one of the artist’s grandest watercolors to ever come to market.

PROVENANCE:

Private Collection, New York

$10,000 - $15,000

GERARD R. HARDENBERGH 1855-1915

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77 Gerard R. Hardenbergh (1855-1915)

Quail, 1890 signed and dated “Gerard R. Hardenbergh ‘90” lower left watercolor, 13 3/4 by 22 in.

Private Collection, Sun Valley, Idaho, acquired from Copley Fine Art Auctions, Sporting Sale 2013, lot 438

PROVENANCE:

$3,000 - $5,000

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TITIAN RAMSAY PEALE 1799-1885

78 Titian Ramsay Peale (1799-1885)

Bob White Quail oil on canvas, 19 1/2 by 17 1/4 in.

Collection of John E. du Pont label on back

Titian Ramsey Peale was born in Philadelphia in 1779, the youngest son of Charles Willson Peale, a noted early American artist who opened the first museum in the United States. Titian, who studied anatomy, taxidermy, and drawing at the University of Pennsylvania, traveled west with the Long Expedition into the Rocky Mountains in 1819-1820. Peale sketched and collected specimens as an assistant naturalist.

He went on to work at the Philadelphia Museum and serve as artist/naturalist on several additional expeditions. Eleven of his drawings appear in Charles Lucien Bonaparte’s 18251833 publication American Ornithology, and Peale played an

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important role in determining that Audubon’s Bird of Washington was, in fact, a bald eagle. He worked at the U.S. Patent Office for many years and was an innovative early photographer. Peale died in 1885 in Philadelphia.

A closely related work also depicting a covey of quail titled Five Bobwhites at the Delaware Water Gap set the world record for any Peale work, selling for just over $100,000 in 2002.

John E. du Pont Collection Private Collection, Sun Valley, Idaho

PROVENANCE:

$20,000 - $30,000

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HOWARD A. TERPNING B. 1927

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79 Howard A. Terpning (b. 1927) A Pause in the Hunt, 1967 signed “Terpning” upper right oil on board, 15 1/2 by 19 1/2 in.

Also titled Grouse Shoot in Argyll, this painting of gentlemen taking a cigar break after a driven grouse shoot was commissioned by the Gold Label Cigar Company. It appeared in advertisements in 1967 with the caption, “Day’s end after grouse shoot on the moors of Argyll” and the slogan, “In the afterglow of a challenging day, men of action the world over pause to enjoy the companionship of Gold Label, the internationally acclaimed cigar of magnificent aroma and masculine mildness.”

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Though Terpning did many hunting and fishing scenes, this is believed to be the only driven grouse scene executed during his career.

Coeur D’Alene Art Auction, July 2003, lot 145 Private Collection, Massachusetts Private Collection, Georgia, acquired from Copley Fine Art Auctions, Sporting Sale 2010, lot 169

PROVENANCE:

$12,000 - $18,000

LYNN BOGUE HUNT 1878-1960

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80 Lynn Bogue Hunt (1878-1960)

Moonrise, Gulf, Little Blue Herons signed “Lynn Bogue Hunt” lower center oil on canvas, 28 by 30 in.

“Florida’s Boca Grande Hotel, a sturdy three-story brick building, opened in 1929. The resort drew wealthy northerners intent on the area’s fine tarpon fishing. And in order to attract high rolling guests, managers of the hotel invited Hunt ...to stay at the resort...At the hotel, Hunt would paint, fish, tell stories and dine with guests, some of whom bought his work. In return, the hotel generated a buzz and raised its profile through Hunt’s notoriety,” according to Hunt biographer Kevin Shelly.

This work captures the beauty and feel of the calm Gulf of Mexico off Florida, where little blue herons live year-round.

PROVENANCE:

Private Collection, United Kingdom

LITERATURE: Kevin C. Shelly, Lynn Bogue Hunt: A Sporting Life, Lanham and New York, 2003, p. 47.

$6,000 - $9,000

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

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81 Miniature Scarlet Tanager

83 Miniature Baltimore Oriole

A miniature scarlet tanager carving by the Cape Cod maker.

Original paint with minimal wear.

An early Baltimore oriole carving with a graceful body and raised wing tips. The maker’s faint “MFR” ink stamp is on the underside. Original paint with minimal wear.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. long

PROVENANCE:

Donal C. O’Brien Jr. Collection

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. tall

PROVENANCE: LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer

Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

238, related examples illustrated. $600 - $900

Donal C. O’Brien Jr. Collection

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

238, related examples illustrated.

$600 - $900

82 Miniature Bluebird

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. tall

An early delicate bluebird carving with fine paint detail by the Cape Cod maker. Original paint with minimal wear.

PROVENANCE:

Donal C. O’Brien Jr. Collection

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer

Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

238, related examples illustrated. $600 - $900 22

84 Miniature Cedar Waxwing A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 2 1/2 in. tall

A bright songbird which bears the maker’s blue paper label.

Original paint with minimal wear.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

238, related examples illustrated.

$600 - $900

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

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85 Miniature Black-Throated Gray Warbler

87 Miniature Wood Thrush

A fine early miniature warbler with the species’ name inked upon on the underside. Original paint with minimal wear and reset bill.

An early miniature wood thrush with raised wing tips and the species’ name inked upon the underside. Original paint with minimal wear and chip to end of bill tip.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 238, related examples illustrated.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

238, related examples illustrated.

$600 - $900

$600 - $900

86 Miniature Maryland Yellow-Throated Warbler

88 Miniature Water Thrush

A rare early Maryland yellow-throated warbler with the species’ name inked upon the underside. Original paint with minimal wear and blunted bill tip.

An early miniature water thrush with dropped wing tips and the species’ name inked upon on the underside. Original paint with minimal wear and blunted bill tip.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 238, related examples illustrated.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

238, related examples illustrated.

$600 - $900

$600 - $900

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 1 1/2 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. tall

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

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89 Miniature Dowitcher

91 Miniature Dunlin

A bright breeding dowitcher miniature displaying the maker’s rectangular stamp and inked species designation on the bottom. Original paint with minimal wear.

The underside bear’s Crowell’s rectangular stamp and the species’ name “Redback Sandpiper” in ink. Original paint with minimal wear.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 1/4 in. tall

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer

Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

242, related examples illustrated. $1,000 - $1,500

90 Miniature Greater Yellowlegs A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 4 in. tall

This carving displays the maker’s rectangular stamp and inked species designation on the bottom. Original paint with minimal wear.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

242, related examples illustrated.

$1,000 - $1,500 24

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 3/4 in. tall

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 242, related examples illustrated.

$1,000 - $1,500

92 Early Miniature Feeding Canvasback A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. tall

A superb early example with striking form and the maker’s very best paint. The underside of the base is painted white. Original paint with light wear, minor touch-up to edge of tail. Some craquelure mostly on breast.

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

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93 Miniature Wood Duck

95 Miniature Green-Winged Teal Drake

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/2 in. tall

This wood duck with raised wing tips is a superb example by the maker. Displays Crowell’s rectangular stamp and inked species designation on the bottom. Original paint with minimal wear.

This early green-winged teal drake with raised wing tips retains the maker’s rectangle stamp and inked species identification on the underside of the base. Original paint with minimal wear.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

240, related example illustrated.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

240, related example illustrated.

$1,000 - $1,500

$600 - $900

94 Early Miniature Mallard

96 Miniature Pheasant

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 3 1/2 in. tall

A rare early mallard with an upright posture and excellent paint. The underside of the base is painted white. Original paint with wear including rubs to tail, touch-up to neck.

LITERATURE: Brian Cullity, The Songless Aviary, Hyannis, MA, 1992, pp. 51 and 97, miniature mallards illustrated and discussed.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1945 4 1/2 in. tall, 4 1/2 in. long

A miniature pheasant with the maker’s rectangular stamp on the underside of the chip-carved base. This upland bird is a rare species for the maker. Original paint with minimal wear. Two very minor dings to back and side of head. $1,000 - $2,000

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

97 The Sherer Snipe

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912 8 in. tall, 9 3/4 in. long

Although a rare species for the maker, the word “snipe” has been a common term in the hunter’s lexicon for centuries. In the late-eighteenth century British soldiers in India coined the verb “to snipe” when referring to a challenging target, as the erratically flying snipe are notoriously erratic and elusive, making them difficult birds to shoot. Thus, to be called a sniper was a term of respect paid when delivering a days’ bag of snipe to market.

This exemplary snipe displays exceptional detail, including auricular feathers below the eyes, similar to the reaching curlew on the cover of Copley’s Sporting Sale 2007 catalog.

This snipe exhibits Crowell’s expertly blended “wet-on-wet” dry brush feathering from bill tip to its split wings and tail with incised feather detail.

The bird is mounted on long wire legs and a traditional carved “stone” base. The maker demonstrates his thorough knowledge of the species by painting three black ovals in front of the snipe’s feet to denote the bird’s method of foraging. Similar to a slow-moving sewing machine, the jack snipe methodically probes the earth for invertebrates.

The provenance of this rare mantle bird is exceptional having descended through one family since its creation. Concerning Joseph F. Sherer, Elmer Crowell: Father of American Bird Carving

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authors O’Brien and Olney write, “In the early 1900s, Joseph F. Sherer hunted with Crowell and George D. Flynn, the largest landowner on Martha’s Vineyard at the time.” Through this relationship as hunting compatriots, Mr. Sherer acquired Crowell carvings directly from the Harwich maker, including this one. Birds from the Sherer Collection are known for their exceptional quality and incredible condition. The underside of the base displays the maker’s crisp oval brand. Excellent original paint with light wear, hairline crack in neck, minimal chips to wing and tail tips. Typical flaking to leg putty.

PROVENANCE: Joseph F. Sherer Collection, acquired directly from

the artist Private Collection, by descent from the above

LITERATURE: Copley Fine Art Auctions, The Sporting Sale 2007, July 26, 2007, lot 198 and front cover, related example illustrated.

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 206, wet-on-wet painting technique described.

$18,000 - $24,000

THE SHERER SNIPE

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

98 Rare Semi-Palmated Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 6 1/2 in. long

This rare life-size mantel carving with exceptional paint and form was selected for the recent monograph on the maker.

The plover was carved in a “walking” posture on a rock base which is marked on the underside with the maker’s rectangular stamp.

This small plover species, like the closely related piping plover, is almost never seen as a working decoy and early decoratives such as this are nearly as scarce. This is the finest example of this little plover we have handled. Original paint with light wear.

Original leg putty has some cracks and discoloration.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 52, exact carving illustrated.

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

$18,000 - $24,000

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A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

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

99 Exceptional Woodcock A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1928 9 1/2 in. long

This woodcock represents one of the maker’s finest representations of the species. Accordingly, it was selected for inclusion in the monograph on Crowell. The full body is outfitted with a bill that demonstrates Crowell’s anatomical accuracy, in this case, a subtle curvature to the very tip. The maker also added incised tail feather carving. The timberdoodle’s complex plumage is masterfully applied with tight feathering and soft blending. The underside of the base bears the maker’s rectangular stamp and inked signature. Excellent original paint with minimal wear including very minor craquelure on left side of breast and around tail. Typical touch-up to leg putty.

PROVENANCE:

John W. Dreyer Collection

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 15, exact carving illustrated.

$40,000 - $60,000

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A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

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

100 The Sherer Running Willet A. Elmer Crowell (1862-1952) Harwich, MA, c. 1910 13 in. long

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

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

The provenance of this rare decoy is exceptional having descended through one family since its creation. Concerning Joseph F. Sherer, Elmer Crowell: Father of American Bird Carving authors O’Brien and Olney write, “In the early 1900s, Joseph F. Sherer hunted with Crowell and George D. Flynn, the largest landowner on Martha’s Vineyard at the time.” Through this

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relationship as hunting compatriots, Mr. Sherer acquired Crowell carvings directly from the Harwich maker, including this pristine willet in vibrant breeding plumage. Birds from the Sherer rig are known for their exceptional quality and incredible condition.

This is the only working Crowell willet decoy in this distinct plumage known. Excellent original paint with minimal wear.

Joseph F. Sherer Collection, acquired directly from the artist Private Collection, by descent from the above

PROVENANCE:

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.

164, Sherer rig yellowlegs decoys illustrated, pp. 206-207, related decorative willet illustrated.

$25,000 - $35,000

THE SHERER WILLET

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

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101 Exceptional Swimming Red-Breasted Merganser Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1925 20 1/2 in. long

Swimming decoy patterns by Crowell are exceptionally rare with a few black ducks, teal, and these iconic merganser forms known.

the maker. The underside is marked with Crowell’s oval brand.

Excellent original paint with light wear, including some minor dings, and minor putty loss at front of neck seam.

A racy and well-executed drake with detailed bill, rasping to the back of the head, and tail feather carving. The feather paint is amongst the finest seen on any swimming merganser by

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 96, related carving illustrated.

$25,000 - $35,000

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A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

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102 Exceptional Swimming Red-Breasted Merganser Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 19 1/2 in. long

A stylish merganser with the maker’s crisp oval brand and a “Q” brand on the bottom. The racy carving is finished with incised bill and tail feather detail and rasping along the back of the head. This hen’s plumage is a showcase for Crowell’s signature blended feathering.

This early example is among the finest merganser hens by this maker. Original paint with light gunning wear. Touch-up to reset neck.

Quandy Collection Private Collection

PROVENANCE:

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 59, related carving illustrated.

$25,000 - $35,000

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THE CLAY COLLECTION OF A.J. KING MINIATURES

“Of all the carvers of miniature and decorative birds in the mid-twentieth century, Allen J. King was without a doubt the most gifted and versatile artist.”

— Joseph H. Ellis, Birds in Wood and Paint

A. J. King was a pioneer in the field of decorative miniature carving. To this day, his work is held in the highest esteem and few would argue about his place among the greatest miniature carvers of all time. During his lifetime, King sold his works through the Crossroads of Sport in New York City.

The following eight lots were collected by John and Dorothy Clay of Paris, Kentucky, in Bourbon County. Seven of the lots have the rare inclusion of the young along with the mature pairs of these prized species. These Clay King miniatures offer collectors a rare opportunity to own the best in early American bird carving.

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103 Miniature Wild Turkey Pair with Poults Allen J. King (1878-1963) North Scituate, RI, c. 1940 6 1/4 in. tall

An exceptional turkey family with five poults on a signed burl base. Original paint with minimal wear, original beard has been reset.

PROVENANCE: Originally purchased by John Harris Clay and

Dorothy Norton Clay Private Collection, by descent in the family

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LITERATURE: Joseph Ellis, Birds in Wood and Paint, Hanover, NH, 2009, front cover and pp. 108-113, King carvings illustrated and discussed.

$4,000 - $6,000

ALLEN J. KING

1878-1963 | NORTH SCITUATE, RI

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104 Miniature Dove Pair with Chicks Allen J. King (1878-1963) North Scituate, RI, c. 1940 4 3/4 in. tall

An rare pair with two young in a nest. Signed by the maker on the branch. Original paint with minimal wear.

PROVENANCE: Originally purchased by John Harris Clay and Dorothy Norton Clay Private Collection, by descent in the family LITERATURE: Joseph Ellis, Birds in Wood and Paint, Hanover, NH, 2009, front cover and pp. 108-113, King carvings illustrated and discussed.

$2,000 - $3,000

105 Miniature Bobwhite Quail Pair with Chicks Allen J. King (1878-1963) North Scituate, RI, c. 1940 1 3/4 in. tall

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A rare bobwhite family with four chicks on a signed burl base.

Original paint with minimal wear.

PROVENANCE: Originally purchased by John Harris Clay and Dorothy Norton Clay Private Collection, by descent in the family LITERATURE: Joseph Ellis, Birds in Wood and Paint, Hanover, NH, 2009, front cover and pp. 108-113, King carvings illustrated and discussed.

$3,000 - $4,000

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ALLEN J. KING

1878-1963 | NORTH SCITUATE, RI

106 Miniature Woodcock Pair with Chicks 106

Allen J. King (1878-1963) North Scituate, RI, c. 1940 1 3/4 in. tall

An exceptional timberdoodle pair with two chicks on a signed burl base. Original paint with minimal wear.

PROVENANCE: Originally purchased by John Harris Clay and Dorothy Norton Clay Private Collection, by descent in the family LITERATURE: Joseph Ellis, Birds in Wood and Paint, Hanover, NH,

2009, front cover and pp. 108-113, King carvings illustrated and discussed. $3,000 - $4,000

107 Miniature Ruffed Grouse Pair with Chicks Allen J. King (1878-1963) North Scituate, RI, c. 1940 2 1/2 in. tall

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An exquisite grouse family with five chicks on a signed burl base. Original paint with minimal wear.

PROVENANCE: Originally purchased by John Harris Clay and Dorothy Norton Clay Private Collection, by descent in the family LITERATURE: Joseph Ellis, Birds in Wood and Paint, Hanover, NH, 2009, front cover and pp. 108-113, King carvings illustrated and discussed.

$3,000 - $4,000

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108 Miniature Pheasant Pair Allen J. King (1878-1963) North Scituate, RI, c. 1940 2 1/2 in. long

An exceptional pheasant pair on a signed burl base. Original paint with minimal wear and minute chip to underside of rooster’s bill.

PROVENANCE: Originally purchased by John Harris Clay and Dorothy Norton Clay Private Collection, by descent in the family LITERATURE: Joseph Ellis, Birds in Wood and Paint, Hanover, NH, 2009, front cover and pp. 108-113, King carvings illustrated and discussed.

$2,000 - $3,000

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ALLEN J. KING

1878-1963 | NORTH SCITUATE, RI

109 Miniature Wood Duck Pair with Ducklings 109

Allen J. King (1878-1963) North Scituate, RI, c. 1940 2 1/4 in. tall

An exquisite pair of summer ducks with five ducklings on a signed burl base. Original paint with minimal wear.

PROVENANCE: Originally purchased by John Harris Clay and Dorothy Norton Clay Private Collection, by descent in the family LITERATURE: Joseph Ellis, Birds in Wood and Paint, Hanover, NH,

2009, front cover and pp. 108-113, King carvings illustrated and discussed. $1,000 - $2,000

110 Miniature Mallard Pair with Ducklings Allen J. King (1878-1963) North Scituate, RI, c. 1940 2 1/2 in. tall

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A mallard family with five ducklings on a signed burl base.

Original paint with minimal wear.

PROVENANCE: Originally purchased by John Harris Clay and Dorothy Norton Clay Private Collection, by descent in the family LITERATURE: Joseph Ellis, Birds in Wood and Paint, Hanover, NH, 2009, front cover and pp. 108-113, King carvings illustrated and discussed.

$1,000 - $2,000

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111 Miniature Mallard Pair Allen J. King (1878-1963) North Scituate, RI, c. 1940 2 1/2 in. tall

A pair of mallards with raised wings, signed by the maker on the side of the base. Original paint with minimal wear, drake’s curl feathers are mostly chipped away. $800 - $1,200

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“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, the author of “Ben Hur,” published in 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

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THE TRINOSKY FAMILY KANKAKEE PINTAIL DRAKE

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HERMAN R. TRINOSKY RIG 1874-1956 | KANKAKEE MARSH, IN

112 Kankakee Pintail Drake

Herman R. Trinosky (1874-1956) Rig Kankakee Marsh, IN, c. 1895 9 1/4 in. tall, 19 in. long

Well over a decade has passed since the discovery of the first Kankakee pintails. This has been considered by most to be the greatest material decoy find of the twenty-first century. Within three years, a total of just seven of these high-head pintails were collected, consisting of three drakes and four hens.

Those seven exceptional birds quickly found their way into the nation’s top decoy and Americana collections and into two books, including the front cover of one.

Information on the rig has trickled out slowly. In 2010 Robert Shaw illustrated four birds in his Bird Decoys of North America, in which he reported that seven were found in a house in Indiana. Later, Herman Trinosky’s name came up as the rig owner of these Kankakee pintails. In 2019 it was reported that a hen “...was in the original burlap bag given as a gift from Trinosky to the family that helped him clean out his barn.” Long-term burlap storage likely accounts for the darker patina of the three other drakes. Set aside decades, or even a century ago, this pinnacle drake was selected by Trinosky to keep in the family, where it has been preserved for four generations. This Trinosky Family Drake has been consigned by a direct descent of Herman Trinosky.

Throughout history, decoy carvers often amended or altogether discarded their early patterns in favor of sturdier utilitarian 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 utility flaws of his first carving period. With limited output and 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. While no examples of middle-period or late-period Kankakee pintails are known to exist, more conventional and less fragile examples of mallards and bluebills from the rig attest to the maker’s more practical side.

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Defined by its elegant form, this decoy showcases long and sweeping lines. The bird’s refined head features subtle cheek carving and a stylish bill that flares toward the tip. The graceful neck is fully extended and slightly drawn back, forming a S-curve through the sweeping breast. This neck treatment is accurate for the species, but essentially unseen in other surviving decoys. The body exhibits a smooth humped back that tapers to a long and thin uplifted tail. Viewed from above, the tail reveals a two-staged taper adorned with crisp yellow primaries.

The bird’s current condition is remarkable given its design which was prone to breakage while being hunted and transported. The body’s surface retains the strongest and brightest paint of any known decoy from the rig.

The form, paint, patina, and untouched condition of this new discovery place the Trinosky Family Kankakee Pintail Drake at the apex of this iconic rig. Bright original paint with even gunning wear, tight crack in neck, and chip to tip of tail. Original paint drips under tail.

PROVENANCE: Herman Trinosky Rig Private Collection, by descent in the family from the above LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 39, rigmates illustrated.

Gene and Linda Kangas, Great Lakes Interpretations, Concord, OH, 2011, front cover and, p. 182, rigmates illustrated.

Gene and Linda Kangas with Ron Gard, “Kankakee Marsh Pintails: The Magnificent Seven,” from Hunting and Fishing Collectibles Magazine, Lawsonville, NC, July-August 2009, pp. 16-26, rigmates illustrated.

Christie’s, Important American Furniture, Folk Art, Silver, Prints and Decoys, New York, NY, January 18-19, 2007, lot 365, hens illustrated.

Guyette & Deeter Inc., North American Decoys at Auction, July 2019, lots 139 and 140, burlap storage of rigmate discussed.

$100,000 - $150,000

THE TRINOSKY FAMILY KANKAKEE PINTAIL DRAKE

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G. BERT GRAVES 1880-1956 | PEORIA, IL

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113 The “Masterworks” Cashwell-Rig Black Duck G. Bert Graves (1880-1956) Peoria, IL, c. 1930 17 in. long

Black ducks, while common along the Eastern Seaboard, are rarely seen in the fresh waters of the Midwest. Thus, decoys of this species were seldom made in the Midwest.

One of the best rigs that Graves carved was for Chet J. Cashwell who used the decoys to gun Rice Pond in the 1930s.

The birds from this rig are identified by the “CJC” brand as this decoy is with two crisp strikes. The underside also retains its “G.B. GRAVES DECOY CO. PEORIA ILL” weight.

The form, paint, condition, provenance, and rarity of this black duck place it among the most important Graves decoys extant.

Original paint with minimal gunning wear.

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PROVENANCE: Chester J. Cashwell Rig Fort Cowan Collection Masterworks of the Illinois River Collection LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 105, exact decoy illustrated.

EXHIBITED: Salisbury, Maryland, The Illinois River Meets the

Chesapeake, Ward Museum of Wildfowl Art, September 2–November 13, 2005. $12,000 - $18,000

ROBERT ELLISTON

1847-1925 | BUREAU, IL

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114 Blue-Winged Teal Hen Robert Elliston (1847-1925) Bureau, IL, c. 1890 12 1/2 in. long

Widely regarded as the “Dean” of the Illinois River carving tradition, Robert Elliston’s carving and Catherine’s paint remain one of the finest husband and wife folk art duos. This hollow teal displays the classic stylized feather paint reminiscent of the finest grain-painted furniture. The signature raised-notch bill carving and dropped and beveled edge tail carving show Elliston’s best work. The underside retains “THE ‘ELLISTON’ DECOY” weight and a “WH” brand. In original paint with some touch-up, mostly on the lower sides.

PROVENANCE: Herman Moore Collection Private Collection LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 29-37, related decoys illustrated.

$5,000 - $8,000

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FRED ALLEN

1838-1912 | MONMOUTH, IL

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115 The “Masterworks” Early Redhead Drake Fred Allen (1838-1912) Monmouth, IL, c. 1880 13 1/2 in. long

In the mid-nineteenth century, before barge traffic and pollution altered the lush landscape of the Illinois River Valley, grain fields flourished, helping to sustain the already plentiful waterfowl and game bird population. Around 1860 Fred Allen established himself there as a grain broker. In his spare time, he enjoyed waterfowling, and he was soon hunting for the marketplace.

His own duck hunting experiences inspired a number of popular devices and his bestseller came in 1880 with the first commercially manufactured modern duck call, Allen’s Nickel-Plated Duck Caller. By 1892 he had redesigned the product with a cheaper wooden barrel which brought the cost down and also improved the sound. The duck call allowed Allen to retire from the grain business.

This rare redhead is among the earliest known decoys from the Illinois River region. It exhibits the low body and full cheeks seen in the small number of Allen decoys to have survived. The back features some of Allen’s tight grain combing which would go on to be popular in the region.

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While Allen’s hunting equipment is well-documented through his advertisements and patents, little is known about his bird carving. Examples of Allen decoys are, indeed, most rare.

Original paint with even gunning wear, some minor touch-up to age lines at end of tail.

PROVENANCE: Masterworks of the Illinois River Collection LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 22, exact decoy illustrated.

EXHIBITED: Salisbury, Maryland, The Illinois River Meets the Chesa-

peake, Ward Museum of Wildfowl Art, September 2–November 13, 2005. $4,000 - $6,000

THE “MASTERWORKS” ELLISTON PREENING MALLARD

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ROBERT AND CATHERINE ELLISTON 1847-1925 AND 1858-1953 | BUREAU, IL

116 The “Masterworks” Elliston Preening Mallard Robert Elliston (1847-1925) and Catherine Elliston (1858-1953) Bureau, IL, c. 1890 14 1/2 in. long

Widely regarded as the founders of the Illinois River commercial decoy carving tradition, the duo of Robert and Catherine Elliston set the standard against which all Illinois River decoys are measured. Like Lem and Steve Ward from Crisfield, Maryland, and a number of Illinois River decoy makers to follow, they divided the carving and painting roles.

Robert applied his honed woodworking skills, while Catherine proved herself to be one of the finest decoy painters of all time.

Robert Elliston was born in Kentucky in 1849. In his late teens, he apprenticed as a carriage-maker at the Studebaker woodworking shop in South Bend, Indiana. He moved on to work for Henry Olds and later the McLaren Hearse and Coach Manufacturing Company. Working as a carriage-maker with shops in New York, Philadelphia, and St. Louis, Elliston became a seasoned woodworker, a skill that would later serve him greatly.

It was while working in St. Louis that the young Elliston met Margaret Cumminski. The two enjoyed a brief courtship, were married, and moved to Lacon, Illinois. In Lacon, Robert worked for the Brereton Buggy Shop. A few short years later, tragedy hit; an influenza epidemic took the lives of Margaret and their newborn son.

Robert, shortly thereafter, began a relationship with Margaret’s sister, Catherine. Robert and Catherine married, staying in Lacon briefly, before moving to the Undercliff Hotel on Lake Senachwine, near Putnam, Illinois. It is likely that while still living in Lacon, Catherine saw the decoys of Steven Lane (1843-1900) and the crisp paint applied to his decoys resonated with her. Situated in the heart of the Midwest Flyway, the Ellistons’ legacy began to take shape.

Catherine applied sophisticated, yet graceful, paint patterns that are virtually unequalled by any of her contemporaries, with the exception of Edna Perdew. She developed her own techniques of scratch feathering that echo the finest grain-painted chests of Pennsylvania made during the mid-nineteenth century. Implementing a metal grain-comb to help suggest feathering and to give the decoys a more realistic look, her painting techniques were later copied by Millie Graves and other painters up and down the Illinois River and beyond.

It is no secret among collectors that Catherine Elliston and Edna Perdew (1882-1974) used hens to showcase their abilities. While most decoy painters shied away from the difficulties of painting a hen’s plumage, these two women embraced the challenge, defining the paint of the region.

Indeed, today the world records set for each of the painters’ work stands at over $200,000, with both records set by their elaborately painted mallard hens.

At the turn of the twentieth century, as more and more gentleman and women arrived by train from Chicago to partake in the growing sport of duck hunting on Lake Senachwine, word about the decoys made by the talented Ellistons continued to spread. The “sports,” as the local guides and carvers called them, began placing orders with the Ellistons for hunting rigs en masse. The orders quickly blossomed into

Mrs. Marguerite Elliston Fuerer holding a preening mallard carved and painted by her parents, Robert and Catherine Elliston. Photo courtesy of Decoy Magazine.

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THE “MASTERWORKS” ELLISTON PREENING MALLARD

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a full-time business and soon the couple was shipping decoys to sporting goods stores and individuals around the country.

While discussing this decoy in the 2005 Masterworks of the Illinois River, the authors state, “The case can be made that hen mallards are among the finest decoys that Elliston ever produced.”

Indeed, this exact decoy leads the richly illustrated chapter on the Ellistons. The form, paint, exhibition history, provenance, and condition place this carving at the apex of works from this region.

Outstanding original paint with light gunning wear.

PROVENANCE: Walter White Collection Masterworks of the Illinois River Collection, acquired from the above, 1981 LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 28, exact decoy illustrated.

EXHIBITED: Salisbury, Maryland, The Illinois River Meets the

Chesapeake, Ward Museum of Wildfowl Art, September 2– November 13, 2005. $100,000 - $150,000

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G. BERT GRAVES 1880-1956 | PEORIA, IL

117 The Parmalee and Loomis Graves Mallard Pair G. Bert Graves (1880-1956) Peoria, IL, c. 1920 17 1/4 in. long

A fine pair of hollow decoys with glass eyes showcasing Catherine Elliston’s (1849-1953) original paint. They both retain their “G.B. Graves” impressed lead-strip weights and “P” brands for the Puckaway Club.

This pair was acquired by Paul Parmelee and Forrest Loomis for their Ph.D research and the pair was split when the project was complete. The current owner has reunited these Puckaway Club rigmates. Excellent original paint with even gunning wear, each with a tight age line in back of neck. Hen has touch-up to left eye putty, and under tail along body seam. Drake has some touchup around body seam on left breast.

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PROVENANCE: Puckaway Club (pair) Paul Parmalee and Forest Loomis Collection (pair) Kirk Whaley Collection (hen) Peter Van Tright (drake) Private Collection, NY (pair) LITERATURE: Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 98-100, related decoys illustrated.

$18,000 - $24,000

THE PARMALEE AND LOOMIS GRAVES MALLARD PAIR

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CHARLES H. PERDEW 1874-1963 | HENRY, IL

“They were made as decorative pieces for Harley J. Hart, a friend of Charlie’s who traded paint and other supplies for decoys, calls, and decorative carvings.”

— Ann Tandy Lacy discussing this exact pair in Perdew: An Illinois River Tradition

118 The “Masterworks” Perdew Wood Duck Pair Charles H. Perdew (1874-1963) Henry, IL, c. 1945 12 1/2 in. long

This celebrated pair has been selected for numerous publications and exhibitions. Many consider this pair to be the region’s finest representation of this ornate species. The duo displays raised wing tips, slightly turned heads, and bold crests sweeping off the backs of their heads.

In addition to carving world-famous decoys and decoratives, Charles Perdew was a market gunner, trapper, gun shop owner, and carpenter who helped as a builder of Chicago’s Worlds Fair of 1893-1894. Excellent original paint with minimal wear, hen has old chip to tip of crest, the drake has a slight age line at the neck seam.

PROVENANCE: Harley J. Hart Collection, acquired directly from the maker Masterworks of the Illinois River Collection LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 84, exact carvings illustrated.

Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 129, exact pair illustrated.

Ann Tandy Lacy, Perdew: An Illinois Tradition, Muncie, IN, 1993, p.

232, exact pair illustrated.

EXHIBITED: Salisbury, Maryland, The Illinois River Meets the

Chesapeake, Ward Museum of Wildfowl Art, September 2 November 13, 2005.

Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019. $20,000 - $40,000

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THE “MASTERWORKS” PERDEW WOOD DUCK PAIR

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“Mason at its best!”

— Goldberger and Haid discussing this exact decoy in Mason Decoys

Front cover of the Mason Decoy Factory catalog circa 1905 featuring premier-grade mallards.

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THE MCCLEERY SLOPE-BREAST MALLARD HEN

119

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MASON DECOY FACTORY 1896-1924 | DETROIT, MI

“Masons - The undisputed royalty of factory made decoys.”

— Dr. James M. McCleery, foreword to Mason Decoys

119 The McCleery Slope-Breast Mallard Hen Mason Decoy Factory (1896-1924) Detroit, MI, c. 1895 16 1/2 in. long

The caption for this exact decoy in Mason Decoys reads: “Early Premier Slope Breast Mallard Hen Ca. 1895. Hollow in mint condition. Mason at its best!”

“Jim McCleery’s love of and interest in Masons was always well known,” report Goldberger and Haid, “at [his] auction the collectors gave a ringing endorsement...” Indeed, Dr. McCleery, widely known as one of the leading decoy collectors of all time, once proclaimed, “Masons - The undisputed royalty of factory made decoys.” Illustrating this sentiment, the McCleery sale catalog tallies well over one hundred of his 400 bird decoys as factory made.

The McCleery Collection catalog made a special note for this lot, stating that it is “considered by some Mason enthusiasts to be one of the best by this factory.” This decoy has a slightly turned head, exceptional and intricate paint, and the McCleery Collection stamp on the underside.

This bird previously hailed from the esteemed Dupee rig which was found in the Horicon Marsh area, specifically, Oconomowac, Wisconsin. A rigmate pair is pictured on the

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front dust jacket of Mason Decoys: Updated Edition and this exact decoy is illustrated twice inside that book. Outstanding original paint with minimal wear, tiny old one-quarter inch chip to tip of tail.

PROVENANCE: Dupee Rig Dr. James M. McCleery Collection Mark Smith Collection LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Updated Edition, Lewes, DE, 2014, pp. 11 and 171, exact decoy illustrated.

Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22–23, 2000, lot 451, exact decoy illustrated.

$20,000 - $30,000

THE MCCLEERY SLOPE-BREAST MALLARD HEN

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MASON DECOY FACTORY 1896-1924 | DETROIT, MI

120 The McCleery G.K. Schmidt Rig Mallard Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1900 17 1/4 in. long

As fine as they come, an exceedingly rare and important hollow mallard pair in unused condition. According to decoy historian and author Donna Tonelli, there are only a dozen of these Schmidt rig mallards known to exist. With beautifully swirled paint, “ribbon candy” speculums, snakey-neck form, and impeccable provenance, this pair ranks among the finest Mason decoys known to exist. The underside of each has the McCleery Collection ink stamp, a Lellos Collection “JL,” and the large Schmidt rig brand. The hen also has the small Schmidt brand.

This legendary Schmidt rig was commissioned by George K. Schmidt (1869-1939), the president of the Prudential State Savings Bank in Chicago. From approximately 1930 to 1970, this rig was essentially held in a time capsule residing in a bank. Dr. James M. McCleery selected this pair for his incomparable Mason collection. Since then they have been the most prized mallards among collectors and were selected to represent the rig in the leading book on the maker. Outstanding original paint with minimal wear, drake has hairline crack at back of neck seam.

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PROVENANCE: G.K. Schmidt Rig John Lellos Collection Dr. James M. McCleery Collection John Delph Collection Mark Smith Collection LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Updated Edition, Lewes, DE, 2014, p. 21, exact pair illustrated, p. 23, exact hen illustrated.

Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22–23, 2000, lots 439 and 440, exact decoys illustrated.

Joe Engers, ed. “2004 Year in Review,” Decoy Magazine, 2004, p.

13, exact decoys illustrated.

$40,000 - $60,000

THE MCCLEERY G.K. SCHMIDT RIG MALLARD PAIR

“PREMIER MALLARD PAIR, ca. 1900. Rigmates in unused condition. Mason’s finest style. Famous G.K. Schmidt brand.”

— Goldberger and Haid discussing this exact pair in Mason Decoys

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THE DELPH PERDEW CROW CALL “From the 1930s to the 1950s Perdew created a few Fancy Crow Calls, which some collectors would argue are among his finest folk art creations.”

— Donna Tonelli 121

This is believed to be the finest Perdew crow call known and perhaps the finest by any maker. Its sale in 2000 appears to have set the record for a crow call. The front of the oversized call showcases a large crow with raised wings and a glass eye and open beak in a forest setting. The bird is over two inches long. The crow portrait is framed with ornate decorative carving with scalloped edges. The hunter’s initials, “F.E.L.,” are incised and painted gold within a decorative teardrop design.

The top of the call bears the maker’s “CHAS. H. PERDEW, HENRY, ILL.” stamp. Copper bands were used to secure the ends of the red cedar barrel. The inside and top of the call are painted as black as a crow.

“Shooting Mr. Crow: The famous Perdew Crow Call and Charlie’s Crow Decoys” is the title of the forty-page-long Chapter 2 in the monograph on Perdew. Several “fancy” calls are illustrated. Original paint with minimal wear and full functionality.

PROVENANCE: John Delph Collection Mark Smith Collection LITERATURE: Ann Tandy Lacy, Perdew: An Illinois River Tradition, Indianapolis, IN, 1993, p. 32-71, “Mr. Crow” chapter.

Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, front dust-jacket cover and pp. 148-149, fancy crow calls illustrated and discussed.

Jackson Parker, “Auction News,” Decoy Magazine, May/June 2000, p. 41, exact call illustrated.

Donna Tonelli, “Crow Hunting with Charlie,” Decoy Magazine, January/February, 2006, p. 29, exact call illustrated twice.

121 The Delph Perdew Crow Call Charles H. Perdew (1874-1963) Henry, IL, c. 1935 5 1/2 in. long, 1 5/8 in. diameter

“Charlie’s penchant to vary his standard wares is especially evident in one particular Fancy Crow Call that features a single crow silhouetted against a painted forest background and accented with indented stippling…” writes Donna Tonelli in discussing this exact call. “At first glance it appears to be a duck call barrel, with brass shim bands around the top and bottom of the barrel. Although Charlie painted most of his fancy calls, the refined brushstrokes of the forest background suggests that this was Edna’s work.”

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$25,000 - $35,000

CHAUTAUQUA FISH DECOY WITH JIGGING STICK

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122 Chautauqua Fish Decoy with Jigging Stick Lake Chautauqua, NY, c. 1880 7 3/4 in. long

A highly refined and well-documented three-tone green-andwhite fish. The head is finished with refined gill and mouth detail and copper eyes. The tail retains the maker’s signature leather caudal insert. A jigging stick is included with the decoy.

Original paint with light fishing wear including a paint rub on the head.

PROVENANCE: Steve Michaan Collection Mark Smith Collection LITERATURE: Steve Michaan and Eli Gottlieb, Beneath The Ice, New York, 1990, p. 51.

Steve Michaan, American Fish Decoys, Pound Ridge, NY, 2003, pp.

36-37, exact fish illustrated.

$5,000 - $7,000

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MASON DECOY FACTORY 1896-1924 | DETROIT, MI

123

123 High-Crowned Goldeneye Drake Mason Decoy Factory (1896-1924) Detroit, MI, c. 1900 15 in. long

An early whistler drake with a rarely seen high-crown carving.

This stylish diver is also notable for its double-ornate-swoosh wing paint on each side. Original paint with light gunning wear and some shot scars, several of which on back have minor darkening. Minimal darkening at neck seam.

PROVENANCE: Mark Smith Collection

$5,000 - $8,000

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MASON DECOY FACTORY

1896-1924 | DETROIT, MI

124 Willet

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 12 3/4 in. long

124

A glass-eye decoy with strong stippled paint. Original paint with minimal wear.

PROVENANCE: Mark Smith Collection

$2,500 - $3,500

125 Dowitcher

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 11 in. long

125

A tack-eye decoy that appears to never have been hunted over. Original paint with minimal wear.

PROVENANCE: Mark Smith Collection

$2,500 - $3,500

126 Red Knot

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 10 1/2 in. long

126

A glass-eye robin snipe. Original paint with gunning wear, including numerous shot scars and some damage from rust at bill insertion. $1,500 - $2,500

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MASON DECOY FACTORY 1896-1924 | DETROIT, MI

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127 Blue-Winged Teal Pair

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1920 12 in. long

An exceptional pair of glass-eye Mason teal with round inletted weights. A partial brand from “Oakland Farm” and a partial ink stamp from “Coot Farm” are visible on the bottom of each. Oakland Farm was a 450-acre Vanderbilt estate in Portsmouth, Rhode Island. The estate was inherited by William Vanderbilt III from his father, Alfred Vanderbilt, who was lost at sea when the Lusitania was sunk in 1915. Oakland Farm was known for its fine stable of horses and fox hunts. With two large ponds on the estate, it also was ideal for duck hunting.

The Oakland farm brand has also been found on a few Crowell black duck decoys. Oakland Farm was sold in the 1940s after Governor William Vanderbilt’s failed bid for reelection.

128

“Coot Farm” designates the Roger D. Williams Collection, from another well-known Rhode Island family. Original paint with light gunning wear, hen has some neck filler loss.

PROVENANCE: William Henry Vanderbilt III Collection Roger D. Williams Collection Private Collection, Georgia

$3,000 - $5,000

128 Challenge-Grade Mallard Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 16 3/4 in. long

Original paint with gunning wear and typical touch-up and restorations.

PROVENANCE: Len Carnaghi Collection

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129 High-Head Canvasback Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 15 1/2 in. long

A pair of Chesapeake-model canvasbacks. Original paint with even gunning wear. Hen has bill restoration, touch-up to neck seam, and crack along back. Drake has slightly heavier gunning wear.

PROVENANCE: Len Carnaghi Collection

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MASON DECOY FACTORY

1896-1924 | DETROIT, MI

130 “Challenge” Black Duck

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1915 16 1/2 in. long

130

The underside is marked with the white factory “CHALLENGE” stamp. Original paint with even gunning wear, original imperfection to tail and age line in body, touch-up to neck fill and filled tail chip.

PROVENANCE: Len Carnaghi Collection

131 Black Duck

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 17 1/2 in. long

131

A hollow premier-grade black duck with swirl paint. Original paint with even gunning wear and some scattered inpainting to flaking.

132 Premier Broadbill

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 13 3/4 in. long

132

An early example with a pronounced crown and flared bill.

Original paint with gunning wear, a tail chip repair, and some touch-up.

PROVENANCE: Len Carnaghi Collection

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133

134

136

133 Challenge-Grade Bluebill Hen

135 Glass-Eye Blue-Winged Teal Pair

A stylish hen with classic lines. Original paint with even gunning wear, including a knot with some flaking on left side, some touchup to neck and rubs on back, and fill to crack in bottom.

An early pair with alert heads. As found.

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1915 14 1/2 in. long

PROVENANCE: Len Carnaghi Collection

134 Tack-Eye Mallard Pair

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1915 16 1/4 in. long

Original paint with gunning wear, including a few tight age lines.

Restoration to neck seam on drake and one side on hen.

PROVENANCE: Len Carnaghi Collection

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135

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1900 12 1/2 in. long

PROVENANCE: Len Carnaghi Collection

136 Mallard Pair

J. N. Dodge Decoy Factory (1883-1893) Detroit, MI, c. 1890 16 in. long

As found.

PROVENANCE: Len Carnaghi Collection

HARVEY STEVENS 1847-1894 | WEEDSPORT, NY

137

137 Rare Mallard Drake

Harvey Stevens (1847-1894) Weedsport, NY, c. 1870 14 1/2 in. long

An extremely rare, early style of decoy by this maker who supplied bird carvings to sportsmen visiting nearby Howland Island, the Montezuma Swamp, and the Finger Lakes. By the mid-nineteenth century, Stevens Brothers decoys gained national acclaim and the pair were shipping decoys across the country from their workshop near Weedsport along the Erie Canal.

This is one of only three known examples of this model.

PROVENANCE: Private Collection, Massachusetts, acquired in 2008 from an estate auction Private Collection LITERATURE: Shane Newell, The Essential Guide to Stevens Decoys, Warrensburg, NY, 2004, pp. 6 and 65, related decoy illustrated.

Adele Earnest, The Art of the Decoy, West Chester, PA, 1965, p.

139, pl. 121, Stevens mallard illustrated.

$7,500 - $9,500

The bird exhibits painted tack eyes, an early carved groove separating the wings, and Stevens’ finest scratch-comb paint along the back. It is in outstanding condition for its 150-year vintage. Original paint with minimal gunning wear.

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JOE KING

1835-1913 | MANAHAWKIN, NJ

138 The McCleery King Merganser Joe King (1835-1913) Manahawkin, NJ, c. 1880 16 in. long

The McCleery King merganser decoy is a New Jersey icon.

This is a singular surviving decoy created by one of the region’s earliest stylistic innovators.

PROVENANCE: Jack and Leila Toothill Collection Dr. James M. McCleery Collection Private Collection, Connecticut acquired from the sale of the above

This early McCleery bird relates closely to a Hillman Collection Lloyd Parker (1859-1922) merganser pair pictured in the Hundred Greatest. That said, this King decoy likely predates the noteworthy Parkers by several decades, and reigns as the archetype. Discussing the Hillman-Parker pair, catalogers of the birds stated, “...they are the finest pair of birds to come out of the state of New Jersey.” This King is distinguished by several notable treatments, including a detailed crest, intricate bill, and a sweeping neck line with pronounced shoulder delineations.

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 151, pl. 308, exact bird illustrated.

Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22-23, 2000, p. 156, lot 393, exact carving illustrated.

Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p.

127, pl. 280, related decoy illustrated.

Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, West Farmington, ME, 1996, p. 34, lot 113, related examples by Lloyd Parker illustrated.

Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 40-41, related examples by Lloyd Parker illustrated.

Though Dr. McCleery and James Doherty both attributed this carving to King, others have surmised it could be the work of a Liberty Price, also of Manahawkin. The underside bears an inset rectangular weight and a “McCLEERY” collection stamp.

Excellent original paint with minimal gunning wear and a hairline crack in neck.

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$25,000 - $35,000

THE MCCLEERY KING MERGANSER

138

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

139

139 The Mackey Barkalow Yellowlegs J. Lewis Barkalow (1875-1960) Forked River, NJ, c. 1890 9 in. long

William J. Mackey Jr. wrote in Classic Shorebird Decoys: A Portfolio of Paintings, “In one corner of [Barkalow’s] shed were several baskets filled with bird decoys carved by Capt. Lou. A rig of geese were stacked on shelves, but I can’t recall any duck decoys; the snipe were feast enough for my eyes. As our friendship developed, the possibility grew that I might be able to purchase the bird decoys. It was a rounded rig that included sanderling, least sandpipers, yellowlegs, pectorals and a few black-bellied plover. Captain Barkalow made the decision to sell his birds without any pressure on my part.

After all, this took place when...no one else showed the slightest interest in such artifacts...Finally Lou stood up, pointed to them and said, ‘You owe me eight dollars and ten cents. They’ll cost you ten cents a piece.’ The deal was consummated, and I have treasured them ever since.”

140

in the state. A very closely related rigmate set the word record at auction for the maker, selling at the Decoys Unlimited July 2007 sale for $29,900. Original paint with even gunning wear and very minor Mackey-era touch-up in a few small spots.

PROVENANCE: William J. Mackey Collection Private Collection, New Jersey Private Collection, Midwest LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 120, pl. 102, exact decoy illustrated.

John M. Levinson and Somers G. Headley, Shorebirds, Centreville, MD, 1991, p. 78, exact decoy illustrated.

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

171, pl. 365, exact decoy illustrated.

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

$8,000 - $12,000

This exact Mackey decoy has been selected for three books, making it one of the most celebrated New Jersey shorebird decoys to ever come to market. A further testament to its quality, this shorebird decoy is stamped “LB” by the maker.

This carving displays tight stippled paint, a dropped tail, a high head, and an appealingly thin neck.

A survey of Doherty’s Classic New Jersey Decoys confirms that Barkalow made some of the finest shorebird carvings created

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Detail of The Winter Sale 2017 catalog front cover featuring a rigmate.

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

141

140 Mackey-O’Brien Barkalow Peep

141 Redhead Drake

This small shorebird decoy displays the maker’s “LB” on each side and the O’Brien Collection ink stamp on the underside.

A classic early Barnegat Bay decoy with pronounced cheeks. It is rare to find Shourds redheads in original paint. Strong original paint with small old chip to tip of tail and right edge of bill. Minor touch-up to hairline crack in neck.

J. Lewis Barkalow (1875-1960) Forked River, NJ, c. 1890 6 1/2 in. long

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

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

Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1880 13 1/2 in. long

LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 61, similar decoy illustrated.

Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 37, plates XI and XII, similar decoys illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, pp. 49-51, similar decoys illustrated.

$6,500 - $8,500

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

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

$4,000 - $5,000

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OGDEN M. PLEISSNER 1905-1983

“As we know, so many artists are quickly forgotten when they pass away, but in Ogden’s case his work is in so many important collections... he was one of the great masters of watercolor and stands side by side with Winslow Homer, Andrew Wyeth, and others.”

— Frederick Woolworth, President of Coe Kerr Gallery, Inc., from The Art of Ogden Pleissner

142 Ogden M. Pleissner (1905-1983) Waiting for the Rise signed “Pleissner” lower right watercolor on paper, 16 1/2 by 26 1/2 in.

Waiting for the Rise is a classic Atlantic salmon fishing scene that captures an angler and his guides casting along the banks of a river. They have likely just had a salmon come to the fly as the guides intently gaze at a specific point on the horizon. The angler carefully casts, attempting to recreate the cast to place the fly within the “magic inch” in which the fish first rose. To the Atlantic salmon angler, it is an intense moment filled with anticipation. Waiting for the Rise is widely recognized as one of Pleissner’s finest fly fishing watercolors, and Pleissner and Bergh chose to prominently feature this important painting in their 1984 monograph. The iconic work last sold in 2008 as one of the artist’s top-selling watercolors ever at auction.

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PROVENANCE: Norman B. Woolworth, Winthrop, Maine By descent in the family Private Collection, acquired from Copley Fine Art Auctions, LLC, Plymouth, MA, July 23, 2008, lot 39 LITERATURE: Peter Bergh, The Art of Ogden M. Pleissner, Boston, 1984, p. 79, pl. 108, illustrated.

$50,000 - $80,000

142

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OGDEN M. PLEISSNER 1905-1983

143 Ogden M. Pleissner (1905-1983) Salmon Fishing signed “Pleissner” lower right oil on canvas, 18 by 22 in.

Ogden Minton Pleissner was born in Brooklyn, New York, and studied figure painting and portraiture with Frank DuMond (1865-1951) and Frederick J. Boston (1855-1932) at the Art Students League of New York. Despite growing up in the city, Pleissner was attracted to the outdoors and, as a teen, he visited dude ranches in Wyoming, where he sketched from life. Pleissner wanted to be classified primarily as a landscape painter, who also loved to hunt and fish. His subjects range from the landscapes of Europe to salmon fishing in Quebec, and his style is informed by the classical traditions. In 1932 one of Pleissner’s paintings was purchased by the Metropolitan Museum of Art, making him the youngest artist in their collection. Throughout the 1930s and 40s, as a member of the Salmagundi Club, Pleissner frequently won club prizes in the annual shows and gained special note from Howard Devree, art critic for The New York Times. Pleissner’s art is included in more than thirty public collections, including the Whitney Museum of American Art, the Philadelphia Museum of Art, the Brooklyn Museum, and the Minneapolis Institute of Arts.

His art hangs in the offices of the Pentagon, West Point, and the Air Force Academy.

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In his monograph on Pleissner, Peter Bergh writes, “Great sporting artists are great artists who know the habits of wild creatures and have committed to memory every detail of habitat...[They] have experienced the thrill of an Atlantic salmon.”

Indeed, Pleissner recalled his New Brunswick salmon adventures, “I drove up there alone and I sketched around for a while...I had a tent and camping equipment so we got in a canoe and ran the whole length of the Restigouche and camped along the way…”

This significant oil painting shows boldly painted figures about to land an Atlantic salmon. While Pleissner did several small to mid-size oils depicting western trout fishing, his mid-size oils of salmon fishing are rarely seen.

PROVENANCE: Robert B. & Margaret T. Mayo Collection, Gloucester,

Virginia Private Collection, acquired from Copley Fine Art Auctions, Charleston, S.C., February 13, 2014, lot 228 $60,000 - $90,000

143

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144 Ernest L. Ipsen (1869-1951) My First Salmon signed “E L Ipsen” lower left oil on board, 11 1/2 by 15 1/2 in. titled and signed on back

144

145 Atlantic Salmon Model

Hardy Brothers (Alnwick) Ltd. Alnwick, Northumberland, England, 1927 plaque is 17 1/2 by 52 1/2 in.

A hand-carved trophy fish carving with the following information: “Weight 39 3/4 lbs. Length 46” Greatest girth 24 1/2” Caught Butler’s Pool. Glasbury on Wye. April 8th, 1927. By James Caird.” A small “Hardy Brothers Ltd.” plaque is affixed to the lower left-hand corner of the plaque.

In addition to being an accomplished salmon angler, Sir James Key Caird (1837-1916), was a Dundee jute-manu-

145

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facturer, philanthropist, and major funder of Sir Ernest Shackleton’s (1874-1922) Imperial Trans-Antarctic Expedition (1914-1917).

Shackleton originally asked Caird for fifty pounds in total; Caird promised ten thousand and delivered an astonishing twenty-four thousand for the voyage. Original paint with a small dent and a small hole in the tail for holding a hook. $2,000 - $3,000

BRETT JAMES SMITH

B. 1958

146

146 Brett James Smith (b. 1958) Fishing by Camp signed “Brett J Smith ©” lower right oil on canvas, 19 by 24 in. signed and titled on back $6,000 - $8,000

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AIDEN LASSELL RIPLEY 1896-1969

147

147 Aiden Lassell Ripley (1896-1969)

The Bridge At Bayeley’s, 1955 signed “A. Lassell Ripley ©” lower left watercolor, 9 1/4 by 13 3/4 in. inscribed “’The Bridge At Bayeley’s’ (Laurel Brook Club) A. Lassell Ripley Spring 1955” on back PROVENANCE: Private Collection, Massachusetts, by descent in the

family

$3,000 - $5,000

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AIDEN LASSELL RIPLEY

1896-1969

148

148 Aiden Lassell Ripley (1896-1969) Long Pool, Rapid River signed “A. Lassell Ripley” lower right watercolor, 17 3/4 by 29 3/4 in.

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 (18651934) 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. Upon 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. Following

a successful one-man show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects. Along with his contemporary, Ogden Pleissner (1905-1983), 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.

This large-format watercolor depicts an angler hooked up to a trout or landlocked salmon at Long Pool on the Rapid River in Maine.

PROVENANCE: Private Collection, Massachusetts, by descent in the

family

$10,000 - $20,000

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AIDEN LASSELL RIPLEY 1896-1969

149

149 Aiden Lassell Ripley (1896-1969) Pheasant Shooting signed “A.L. Ripley” lower right watercolor, 14 1/4 by 20 1/4 in.

PROVENANCE: Private Collection, Weston, Massachusetts

$2,000 - $4,000

150

150 Aiden Lassell Ripley (1896-1969)

Farmer’s Noon Rest, 1939 signed and dated “A. Lassell Ripley 1939” lower right watercolor, 18 3/4 by 25 in.

PROVENANCE: Private Collection, Weston,

Massachusetts

EXHIBITED: New York, Coe Kerr Gallery, December

2–January 8, 1982, no. 16

LITERATURE: Aiden Lassell Ripley - 1896-1969 Watercolors, A catalogue of an exhibition at Coe Kerr Gallery, New York, 1982, illustrated.

$2,000 - $4,000

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DWIGHT BLANEY

1865-1944

151

151 Dwight Blaney (1865-1944)

Canada Geese, 1922 signed and dated “Dwight Blaney 1922” lower left watercolor, 13 1/4 by 19 in.

Dwight Blaney was a renowned Boston painter who exhibited at the Art Institute of Chicago, the Pennsylvania Academy of Fine Arts, and the Boston Art Club from 1880-1910. $1,200 - $1,800

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ALDRO THOMPSON HIBBARD 1886-1972

152

152 Aldro Thompson Hibbard (1886-1972) Gloucester Boats, c. 1920-25 signed “A.T. Hibbard” lower right oil on canvas on board, 18 by 24 in. titled on back

Aldro Hibbard was born in Falmouth, Massachusetts, in 1886.

After high school, he enrolled at the Boston Museum School in 1909, where he studied under notable impressionists Frank W. Benson, Philip Hale, and Edmund C. Tarbell.

Upon graduating from the Museum School in 1913, Hibbard was awarded the Paige Traveling Scholarship, like Aiden Lassell Ripley; however, his time in Europe was cut short by the outbreak of World War I. After his return, Hibbard took space at Fenway Studios in Boston. He had a one-man show at the Boston Art Club in 1916, and, according to Judith Curtis, “The show attracted critical acclaim from both the public and the press that brought Hibbard’s name to the fore, where it remained in the vanguard of American art for the next half century.”

“Even as a young man Hibbard did not care for the confines of the studio. He wanted to be outdoors amid Nature, observing the world around him first hand. ‘Nature,’ he often said, ‘is constantly changing, offering fresh challenges. She won’t come to your studio; you must go to her,’” Curtis continues.

Hibbard first visited Rockport, Massachusetts, in the spring of 1919, returning the next summer and starting the Hibbard School of Painting, also known as Rockport Summer School, as well as the Rockport Art Association. Hibbard directed the Summer School of Painting and Drawing for nearly thirty years.

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He co-founded the Rockport Art Colony, and today the Rockport Art Association is located in his former studio.

Among other honors, he was a member of the Guild of Boston Artists, the National Academy of Design in New York, and the Pennsylvania Academy of Fine Arts in Philadelphia. He spent winters in Vermont with his wife, Winifred Jackman, who grew up in El Paso, Texas.

In this work, Hibbard brings his characteristic painterly attention to detail to this coastal scene. He expertly captures the New England light on the water. The angled verticals and the reflection of the ships and rigging on the water creates a dynamic composition.

The painting was featured in the popular 2012 exhibition, A.T. Hibbard, N.A., American Master, held at the Rockport Art Association on the fortieth anniversary of the artist’s death.

PROVENANCE: Private Collection, Florida EXHIBITED: Rockport, Massachusetts, Rockport Art Association,

Aldro T. Hibbard, N.A., October 5-November 11, 2012

LITERATURE: Judith A. Curtis, A.T. Hibbard, N.A. (1886-1972) American Master, Rockport, MA, 2012, pp. 8, 30, 39, and 51, illustrated.

$15,000 - $25,000

JOHN CHARLES TERELAK B. 1942

153

153 John Charles Terelak (b. 1942)

Harvest Time, 1984 signed and dated “J C Terelak 84 ©” lower right oil on canvas, 24 by 36 in.

Grand Central Art Galleries, Inc., New York label on back

John Charles Terelak is an American Impressionist who was born in Boston, Massachusetts, and received formal art instruction at the Vesper George School of Fine Art. Terelak established a studio in Rockport, Massachusetts, and founded the Gloucester Academy of Fine Art, which he headed for many years. He has been an active member of the Guild of Boston Artists and President of the New England Watercolor Society. His paintings capture the nobility of the Gloucester fisherman, the tranquility of spring mornings in the Vermont, life on the beaches of Cape Cod, and a snowfall in Times Square. His works can be found in many top private and public collections throughout the United States, including the Andrew Mellon Foundation, Sheraton Corporation, Winthrop Financial Corporation, Prudential Insurance Company, Bank of Boston, Shawmut Bank, State Street Bank, Boston, and Sterling-Regal Publishing Company.

PROVENANCE: Private Collection, Florida EXHIBITED: New York, Grand Central Art Galleries, John Terelak:

American Impressionist, November 20-December 1, 1984

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154 John Charles Terelak (b. 1942) Moonlight, Gloucester Harbor signed “J C Terelak” lower right oil on board, 12 by 16 in. titled on back

PROVENANCE: Private Collection, Florida

$2,000 - $4,000

$4,000 - $6,000

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THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

155

155 ‘36 Canvasback Hen

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1936 16 in. long

The Ward 1936 Canvasback is an American bird decoy classic.

The full body, with a humped back and refined turned-head carving, superb surface, excellent condition, and the provenance of this lot place it among the best Ward hen canvasbacks known. Additionally, the makers’ hens are harder to find than their drakes.

The underside bears both of the Ward brothers’ signatures, Lem’s inked inscription “1936 L. T. Ward - Bro.,” and William H. Purnell’s “P” brand. Bill Purnell is a highly-respected Southern decoy collector with many of the top decoys from Virginia and Maryland having passed through his hands. Original paint with gunning wear, some minor touch-up to reset bill and neck area, repair to left side of tail edge, and a crack along underside.

PROVENANCE: William H. Purnell Jr. Collection Private Collection

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LITERATURE: Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II, July 27, 2017, p. 112, lot 40, related decoy illustrated.

Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p.

49, related decoy illustrated.

Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 76-77, related decoy illustrated.

Ronald J. Gard and Brian J. McGrath, Ward Brothers’ Decoys: A Collector’s Guide, Wolf City, TX, 1989, pl. 15, related decoy illustrated.

Lemuel T. Ward Jr. and Paul Shertz, The Decoys of Lem and Steve Ward, printed by Phototype Engraving, Philadelphia, PA, 1978, related decoy illustrated.

$12,000 - $18,000

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

156

156 Rigmate Pintail Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1936 16 in. long

A fine high-head pair of Lem’s favorite species. Each has a turned head and its original rigging. Original paint with gunning wear, touch-up to the right side of drake’s breast and neck seams, cracks along the bottoms, and old replaced bills.

PROVENANCE: Bud Ward Collection Private Collection, New York Private Collection LITERATURE: Richard W. Oliver Auction Gallery, Rare and Important American Bird Decoys, July 2-3, 1988, lot 454, exact pair illustrated.

Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pl. 59, related pair illustrated.

$9,000 - $12,000

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THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

157 Classic 1936 Canvasback Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1936 15 in. long

A classic 1936 model rigmate pair with turned heads and pronounced crowns true to the species. The hen also features a high-head posture. The undersides bear the “MADE BY L. T. WARD & BRO. CRISFIELD, MD” ink stamp and each was later signed and dated by the makers.

Included with this pair is a ‘36 canvasback print signed and dated by the Wards. Original paint with gunning wear. Drake has some tight age lines, some minor spot whitening to flaked areas.

Hen has a chip to the lower right edge of tail, and neck is slightly lifted on right side.

PROVENANCE: Private Collection, New York Private Collection, Midwest LITERATURE: Guyette and Schmidt, North American Decoys at Auction, July 30 & 31, 2005, Boston, MA, 2005, front cover, exact hen illustrated, lot 208 exact pair illustrated.

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

Glenn Lawson, The Story of Lem Ward as told by Ida Ward Linton to Glenn Lawson, West Chester, PA, 1984, p. 49, similar decoys illustrated.

$20,000 - $30,000

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THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

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LEMUEL T. WARD 1896-1984 | CRISFIELD, MD

“The bird is majestically presented in all its natural beauty. The detail carving such as the tail feathers is spectacular. The rich feather paint in warm earth tones illustrates the bird’s natural beauty particularly in the delicate barred breast area. This is indeed a very handsome work of art.”

— Ron Gard and Brian McGrath, The Ward Brothers Decoys: A Collector’s Guide

158 Outstanding Ruffed Grouse

Lemuel T. Ward (1896-1984) Crisfield, MD, 1968 14 in. tall, 14 in. long

A very well-executed ruffed grouse in full strut with raised wings and a fanned tail. Lem used this grand canvas to showcase the height of his decorative painting abilities through the species’ elaborate plumage. This is one of only a handful known to have been made by Lem, with this possibly being the finest. A similar work is held in the Ward Museum of Wildfowl Art in Salisbury, Maryland. Incredibly, this accurately carved upland bird is crafted from a single piece of wood.

Attesting to its rarity, this exact carving was the only upland work selected in The Ward Brothers Decoys: A Collector’s Guide, by authors Ron Gard and Brian McGrath. Additionally, this exact decoy was also selected by the maker’s daughter, Ida Ward, for her book titled The Story of Lem Ward.

The top of the burl base is signed and inscribed by the maker “Made for my personal friend Dr. Morty Kramer. Lem Ward 1968.”

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Not only is this one of the finest decorative carvings by the Wards, it is also one of the best grouse carvings by any maker.

In excellent original paint, with minor shallow ding on back, slight age line on left foot, and a paint flake to crest.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the artist Herb Wetanson Collection, acquired 2009 LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 123 and 127, exact decoy discussed and illustrated.

Ida Ward Linton and Glenn Lawson, The Story of Lem Ward, Westchester, PA, 1984. p. 111, exact bird illustrated.

$65,000 - $85,000

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LEMUEL T. WARD 1896-1983 | CRISFIELD, MD

159 Rare Flying Wigeon Pair

Lemuel T. Ward (1896-1984) Crisfield, MD, 1961 16 in. long, 18 in. wingspan

A pair of life-size flying wigeon each mounted on a beveled wooden mount. This dynamic pair features exceptional carved and painted detail. Each is signed and dated by Lem on the back of a wing.

Life-size flying carvings by the Wards are exceptionally rare.

A closely related pintail pair was gifted to the Governor of Maryland, Theodore R. McKeldin, by John P. Tawes. Only a single waterfowl flyer is illustrated in Gard and McGrath’s book on the makers, where they glowingly describe the related example: “The piece is stunning. The detail carving on the bird is exceptional whether it is the feather carving or the extraordinary detail of the open mouth. The bird seems to be calling to its brethren up above as it flies to meet them. The Paint is equally

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intriguing in the detail of the feathers and the blending and shading of colors, producing an almost iridescent impression.

Unfortunately, photographs do not do justice...” Excellent original paint with minimal wear and touch-up to a tight crack through bottom wing of each.

PROVENANCE: Herb Wetanson Collection LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 128, closely related goose illustrated.

$35,000 - $45,000

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159.2

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THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

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160 Decorative Canvasback Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1971 16 1/2 in. long

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Lem was exceptionally fond of his decorative canvasbacks and described a closely related carving as “the best my hands has [sic] ever accomplished after 51 years of carving.”

PROVENANCE: William K. du Pont Collection, acquired directly from the maker

Both hollow bodies are signed “Lem Ward,” inscribed “Made for the William K. du Pont Collection,” dated, and bear the species’ common and Latin names. Original paint with minimal wear, some sap bleeds and paint shrinkage, mostly to rear portion of drake and small patch on hen’s left wing.

feiters, Spanish Fork, UT, 1981, pl. 62-63.

LITERATURE: Byron Cheever, L.T. Ward and Bro., Wildfowl Counter-

$3,000 - $5,000

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

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161 Hollow Canada Goose

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1967 24 in. long

The Wards made very few hollow decoys such as this large turned-head Canada goose. The underside is signed and dated by the brothers.

The underside also retains a note from the oracle of Crisfield: “The stone cast away by the clod becomes a jewel into the hands of a genius, Lem Ward” Outstanding original paint with minimal wear and hairline crack on left side of neck. $7,000 - $10,000

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THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

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162 Canvasback Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1972 16 1/2 in. long

A pair of canvasback decoys, both are signed and dated on the bottom “Lem & Steve” and bear the inscription “Made for ‘our friend’ Knute Bartrug.” Each has the collector’s “KB #53” marking. Original paint with light wear.

PROVENANCE: Knute Bartrug Collection, acquired from the makers Private Collection

$4,000 - $6,000

163 Goldeneye Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1967 15 1/2 in. long

The underside of each hollow body bears both of the brothers’ signatures and date. Original paint with light wear. Hen has faint age line in right side of bottom board. $3,000 - $5,000

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164 Mallard Bookends

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 6 3/4 in. tall

For the man or woman who has everything, a rare Crowell mallard bookend set. Each has the inked inscription by the maker “A. E. Crowell & Son East Harwich Cape Cod. Mass.” on the sides. Each bookend is mounted on a wooden base. Original paint with minimal wear and a tight age line in the drake’s neck.

PROVENANCE: Dr. Morton D. Kramer Collection Private Collection

$2,500 - $3,500

165 Black Duck and Mallard Bookends

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1948 6 1/2 in. tall

A mallard hen and black duck presentation bookend set, each bears a paper label on its backside which reads “Presented

by Cedarhurst Gun Club Sunday May 30, 1948 Made by L. T. Ward & Bro. Won by...............” Original paint with light wear and some crazing. Some restoration to edges of bill tips.

PROVENANCE: Cedarhurst Gun Club Dr. Morton D. Kramer Collection Private Collection

$2,500 - $3,500

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166

166 William Goadby Lawrence (1913-2002)

Leaping Marlin, 1937 signed and dated “W Goadby Lawrence ‘37” lower left oil on canvas, 16 1/4 by 20 1/4 in.

William Goadby Lawrence was born in Rumson, New Jersey, in 1913. He attended the Art Students League in New York City and had his first show at the outfitters Abercrombie and Fitch.

During World War II, he served as a combat artist and chief boatswain’s mate and experienced action in battles in North Africa and Japan.

After the war, Lawrence continued his artistic pursuits. His

167 David Allen (b. 1960)

Tuna Tail, 2021 signed lower right oil and acrylic on panel, 48 by 60 in.

David Allen is a representational artist working on the southern coast of Maine.

Originally from Ohio, he studied fine art in New York City at The Cooper Union, where he graduated in 1987. He has made Maine his home and creative inspiration since 1990. $4,000 - $6,000 96

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illustrations appeared in various magazines, including Field and Stream. On February 28, 1942, the cover of The Post featured a marlin painting by Lawrence. His work was also published in Van Campen Heilner’s Salt Water Fishing and Bob Dunn and Peter Goadby’s Saltwater Game Fishing of the World.

Lawrence’s paintings have been exhibited in the Library of Congress, the Museum of Natural History, and the U.S. Coast Guard Academy Museum. Along with fellow fish painter, Stanley Meltzoff (1917-2006), Lawrence is considered one of the all-time masters of this genre. $4,500 - $6,500

DAVID A. MAASS B. 1929

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168 David A. Maass (b. 1929) Redheads signed “Maass” lower left oil on board, 24 by 36 in. $6,000 - $9,000

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ROGER BLUM B. 1950

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169 Roger Blum (b. 1950)

The Perfect Pair signed “Roger Blum” lower right oil on canvas, 24 by 36 in.

Roger Blum was born in 1950 in Watsonville, California. He spent his childhood outdoors, hunting, fishing, and exploring nature. Today, he lives and paints near a lake in the San Juan Mountains of Colorado. This large oil depicts an English setter on point and a flushing pheasant on the rise.

PROVENANCE: Private Collection, Florida

$6,000 - $8,000

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RICHARD E. BISHOP 1887-1957

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170 Richard E. Bishop (1887-1957)

Spread Formation signed “Richard E Bishop ©” lower right oil on canvas, 24 by 27 1/4 in.

This major work is featured in Bishops’ iconic book, The Ways of Waterfowl, and small study for the painting sold from the Donal C. O’Brien Jr. Collection in 2017. This well-executed oil features six electrifying pintails alighting against a bold blue sky.

PROVENANCE: Private Collection, Texas LITERATURE: Richard E. Bishop and Russ Williams, The Ways of Wildfowl, Chicago, IL, 1971, p. 160, illustrated.

$5,000 - $8,000

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MAYNARD REECE 1920-2020

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171 Maynard Reece (1920-2020)

Texas Bound signed “Maynard Reece” lower right oil on canvas, 24 by 34 1/4 in.

PROVENANCE: Private Collection, Texas

$6,000 - $7,000

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FRANK W. BENSON 1862-1951

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172 Frank W. Benson (1862-1951)

The Gunner, 1915 signed “Frank W Benson” lower left etching, 10 by 8 in.

Paff #52, edition 1 of 50 initialed “FWB” in plate Kennedy & Co., New York label on back

Along with Old Tom, (see next lot), Marsh Gunner, and Winter Wildfowler, The Gunner anchors Benson’s “Big Four” sporting etchings. While the other three were printed in editions of 150, Benson only plated fifty of his iconic Gunner. Of these, very few have ever appeared on the open market.

PROVENANCE: Private Collection, Arizona

$10,000 - $15,000

173 Frank W. Benson (1862-1951)

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Old Tom, 1926 signed “Frank W. Benson.” lower left etching, 14 3/4 by 9 3/4 in.

Paff #246, edition of 150

Along with The Gunner (see previous lot), Winter Wildfowler, and Marsh Gunner, Old Tom, is considered one of Benson’s “Big Four” hunting portraits. The original watercolor for this important Benson subject hangs in Boston’s Museum of Fine Arts.

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FRANK W. BENSON 1862-1951

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174 Frank W. Benson (1862-1951)

Black Ducks, c. 1927 signed “Frank W Benson” lower right lithograph, 9 1/2 by 12 1/2 in.

Paff Litho #3, edition of less than 50 inscribed “Bolton Brown, imp” lower left LITERATURE: John T. Ordeman, Frank W. Benson: Etchings, Drypoints, Lithographs and Prints, Prescott, WI, 2012, p. 479.

176 Frank W. Benson (1862-1951) Two Etchings

Startled Ducks, 1930 Paff #293 8 by 5 3/4 in.

Shoveller Drake, 1920 signed “Frank W. Benson” lower left Paff #183, edition of 150 10 by 8 in.

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

Paff #211, edition of 150

177 Frank W. Benson (1862-1951) The Long Journey, 1926 signed “Frank W Benson” lower left etching, 9 3/4 by 11 3/4 in.

Paff #254, edition of 150

PROVENANCE: Private Collection, Georgia 102

LYNN BOGUE HUNT 1878-1960

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178 Lynn Bogue Hunt (1878-1960)

Bluebill Shooting signed “Lynn Bogue Hunt” lower right oil on canvas, 24 by 32 in.

Lynn Bogue Hunt was born in rural Honeoye Falls, New York, into a family that ran a small sawmill operation. He grew up with modest means, but spent hours outside exploring the natural surroundings in the woods near his home. He often collected birds and practiced taxidermy, a hobby that led to his accurate portrayal of his wildlife subjects. Hunt contributed illustrations to his own articles as well as cover illustrations to magazines, such as Field & Stream, Sports Afield, and Free Press.

During his lifetime, Hunt painted for private collectors and companies such as DuPont, illustrated over forty books, and

produced roughly 250 magazine covers. Though he spent much of his life far from nature in New York City, Hunt had a strong foundation as a knowledgeable outdoorsman, bird hunter, and fisherman, enabling him to accurately capture the essence of the outdoors.

PROVENANCE: Private Collection, South Carolina

$10,000 - $15,000

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ROGER BLUM B. 1950

179 Roger Blum (b. 1950)

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Spring Passion signed “Roger Blum” lower right oil on board, 11 by 14 in. inscribed “A great spot for fish, where the riffles merge into a deep pool” on back PROVENANCE: Private Collection, Florida

$2,000 - $4,000

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180 Roger Blum (b. 1950)

Brittany and Friend signed “Roger Blum” lower left oil on board, 8 by 12 in.

PROVENANCE: Private Collection, Florida

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PETER MARKHAM SCOTT 1909-1989

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181 Peter Markham Scott (British, 1909-1989) Morning Flight, 1961 signed and dated “Peter Scott 1961” lower right oil on board, 18 by 24 in.

Sir Peter Scott was described by David Attenborough as the “patron saint” of conservation in the UK. He founded the Wildfowl and Wetlands Trust, co-founded the World Wildlife Fund, and designed its iconic panda logo. As the son of Antarctic explorer Robert Falcon Scott, Sir Peter continued in his father’s footsteps by conducting an expedition to Iceland in search of the breeding ground of the pink-footed goose. In 1975 Scott gave a scientific name to the Loch Ness Monster so it could be registered as an endangered species; the name turned out to be an anagram of “Monster Hoax by Sir Peter S.” He was the

host of a BBC television series on natural history, and wrote and illustrated many books on birds and other subjects. He won a bronze medal in sailing at the 1936 Berlin Olympics. In addition to these many pursuits, Sir Peter Scott had his first art exhibition in London in 1933 and continued to paint throughout his life.

PROVENANCE: Private Collection, Texas

$3,000 - $5,000

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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182 Preening Black Duck Mark S. McNair (b. 1950) Craddockville, VA, 2021 16 in. long

A highly refined preening black duck decoy. The hollow body has raised wing tips finished with incised layered primaries. The arching head is finished with scratch-feather paint complementing subtle feathering on the body. Signed with an incised “M.S. McNair” on the underside where the inlaid rigging loop is secured with two star-head nails. Original paint with minimal wear. $2,500 - $3,500

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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183 Preening Wigeon

Mark S. McNair (b. 1950) Craddockville, VA, c. 1980 12 1/2 in. long

A hollow feather-light decoy with “McNair WITH EXTRA CARE for JACK CONOVER” incised on the underside. Carved with special care, this decoy elevates to those found in the Stavis Collection. Original paint with minimal wear.

184 Phillips-Style Running Curlew Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 23 1/2 in. long

A long-billed curlew styled after the John C. Phillips (18761936) rig icon. Signed by the maker with an incised “McNAIR.” Original paint with minimal wear.

Provenance: Jack Conover Collection Private Collection $2,000 - $3,000

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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185 Cobb-Style Red Knot Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 9 in. long

A Cobb-Island-style robin snipe with carved raised wings.

Signed with an incised “McNair” signature. Original paint with wear.

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186 Accomac Curlew

Mark S. McNair (b. 1950) Craddockville, VA, 1981 14 1/4 in. long

The underside is signed and dated by the maker in paint. It also has the painted inscription “from an old Accomac County Curlew circa 1890,” McNair’s reference to the inspiration for this carving. Original paint with minimal wear.

187 Lesser Yellowlegs 187

Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 11 in. long

A weathered yellowlegs with carved wings, a stringing hole, and the maker’s incised signature on the underside. Original paint with wear.

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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188 Semi-Palmated Plover Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 7 1/2 in. long

A tucked-head plover with a stringing hole and the maker’s incised signature on the underside. Original paint with light wear.

190 Ruddy Turnstone

Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 9 in. long

A tucked-head turnstone with incised raised wings and signed by the maker on the underside with incised “McNAIR.” Original paint with light wear.

189 Peep

Mark S. McNair (b. 1950) Craddockville, VA, c. 2000 8 in. long

A Verity-style shorebird with the maker’s incised signature on the underside. Original paint with light wear.

191 Killdeer

Mark S. McNair (b. 1950) Craddockville, VA, 2005 11 in. long

A plover with raised wings, scratch paint detail on the back, a stringing hole, and the maker’s incised signature on the underside. Original paint with light wear.

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WILLIAM GIBIAN B. 1946 | ONANCOCK, VA

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192 Miniature American Egret William Gibian (b. 1946) Onancock, VA, c. 1995 7 1/2 in. long, 6 in. tall

A rare miniature egret carving with an incised signature on the underside by the maker. Original paint with minimal wear and reset hairline crack under head.

193 Miniature Great Blue Heron William Gibian (b. 1946) Onancock, VA, c. 1995 8 1/2 in. long, 6 1/2 in. tall 194

A rare miniature great blue heron in a fishing pose.

The bird has an incised signature on the underside by the maker. Original paint with minimal wear.

194 Long-Tailed Duck William Gibian (b. 1946) Onancock, VA, c. 2000 22 1/2 in. long

A long-tailed duck with elegant wing-tip carving.

Bears a “GIBIAN” incised signature and his business card on the underside. Original paint with light wear and minor sap bleed under paint on end grain.

Reset tail with minimal touch-up.

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195 Wood Duck Pair

William Gibian (b. 1946) Onancock, VA, 2021 16 1/2 in. long

A hollow pair of gunning-style wood ducks exhibiting Gibian’s best workmanship with fine paint and carved feather detail. Original paint with minimal wear.

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JOHN FORD CLYMER 1907-1989

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JOHN FORD CLYMER 1907-1989

196 John Ford Clymer (1907-1989)

Early Morning-White Tails and Tamarack signed “John Clymer” lower right oil on board, 20 by 30 in.

Grand Central Art Galleries, Inc., New York label on back

John Ford Clymer was born in Ellensburg, Washington, in 1907. As a boy, he was committed to pursuing art and the outdoors. After a correspondence course, Clymer studied at the Vancouver School of Fine Art in British Columbia. He moved between Canada and the States for several years, studying with various artists, including N.C. Wyeth (1882-1945). He created cover art for The Saturday Evening Post and Field and Stream, as well as illustrations for Marjorie Kinnan Rawlings’ children’s classic The Yearling.

Clymer was a member of the Salmagundi Club and the Royal Canadian Academy of Art, among other organizations. He served as a Marine during World War II, painting in Washington State. With his wife, Doris, he relocated to Jackson Hole

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in the late 1960s, and was awarded the Prix de West in 1976.

Today, his original studio and its contents are on display at the National Museum of Wildlife Art in Jackson, Wyoming, and his works are in the Whitney Western Art Museum in Cody, Wyoming, among other notable collections.

PROVENANCE: Private Collection, Sun Valley, Idaho, acquired from

Coeur D’Alene Art Auction, July 27, 2013, lot 39 $30,000 - $50,000

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LUKE FRAZIER B. 1970

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197 Luke Frazier (b. 1970)

Peek A’ Boo, 2021 signed and dated “l. frazier © ’21” lower right oil on board, 16 by 14 in.

A family of squirrels rendered by Luke Frazier, one of the West’s top wildlife artists. Born and raised in the mountains of northern Utah, Frazier spent much of his youth hunting and fishing. His early forays into nature inspired a passion for the outdoors. As a child, Frazier spent countless hours sketching and sculpting wildlife, demonstrating not only a passionate interest, but also an instinctive ability. Later, he

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received his formal art training at Utah State University, where he earned a bachelor of fine arts degree in painting and a master of fine arts degree in illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work. $4,000 - $6,000

LUKE FRAZIER B. 1970

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198 Luke Frazier (b. 1970)

Teton Melody, 2020 signed “l. frazier” upper left oil on board, 13 by 18 in. signed, titled, and dated on back

In this well-executed oil, Frazier captures a bugling bull elk in the sunlit edge of the forest. $4,000 - $6,000

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ROBERT LOUGHEED

1910-1982

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199 Robert Elmer Lougheed (1910-1982) Mount Rundle Beyond signed “Robert Lougheed” lower left oil on canvas, 24 by 36 in.

Robert Lougheed was born in 1910 and raised on a farm in Ontario, Canada, where he spent hours sketching wildlife as a boy. He studied at the Ontario College of Art in Toronto and the Ecole des Beaux Arts in Montreal. He worked as a newspaper illustrator, and then moved to New York at the suggestion of his artist friend John Clymer (1907-1989). Lougheed, like Pleissner, studied with Frank Dumond (1865-1951) at the Arts Students League.

Lougheed lived in Westport, Connecticut, for twenty years, where, among other commissions, he painted the Annual National Field Dog Champions for DuPont, like Osthaus had earlier. After decades of extensive travel in the West, Lougheed and his wife, Cordy, moved to Santa Fe, New Mexico, where he died in 1982.

The artist followed in the esteemed wildlife art tradition of painters like Carl Rungius (1869-1959) and Bob Kuhn (19202007). Lougheed created this bull elk masterwork, which is set against the inspiring backdrop of Mount Rundle, located in Banff National Park in Alberta, Canada. This commanding painting captures the bright winter light off the snow, the nobility of the twelve-point elk, and the breathtaking majesty of the iconic Canadian Rockies. $35,000 - $55,000

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CARL RUNGIUS 1869-1959

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200 Carl Rungius (1869-1959)

202 Carl Rungius (1869-1959)

$3,500 - $5,500

$5,000 - $7,000

201 Carl Rungius (1869-1959)

203 Carl Rungius (1869-1959)

$3,500 - $5,500

$3,500 - $5,500

Browsing, 1938 signed “C. Rungius” lower right etching, 8 by 11 in.

Stampede, 1925 signed “C. Rungius” lower right etching, 6 1/4 by 8 1/2 in.

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Silvertip, 1928 signed “C. Rungius” lower right etching, 8 by 11 in.

Mountain Caribou, 1931 signed “C. Rungius” lower right etching, 8 by 11 in.

BONNIE MARRIS B. 1951

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204 Bonnie Marris (b. 1951)

Summer School, 2013 signed “B L Marris ©” lower right oil on canvas, 30 by 48 in.

One of the modern masters in portraying the fox, Marris had nine works selected for John Orrelle’s book The Red Fox in Art, which featured works by top wildlife artists, including John James Audubon, Lynn Bogue Hunt, Ken Carlson, and Bob Kuhn, among others.

Always fascinated with the natural world, and predators in particular, Marris achieved degrees in zoology and animal behavior. The famed artist and conservationist David Shepherd was her mentor. Regarding her art, Marris explains, “If anyone

has never had the opportunity to see a fox running through a field and stopping suddenly to listen for a mouse or to watch a pack of wild wolves at play, [I want] to give that person some of the experience with a painting.”

PROVENANCE: Private Collection, Sun Valley, Idaho, acquired from Coeur D’Alene Art Auction, July 27, 2013, lot 217

$12,000 - $18,000

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GEORGE BROWNE 1918-1958

205 George Browne (1918-1958)

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Young Buck (Study) oil on canvas, 12 by 16 in. estate stamp on back

206 George Browne (1918-1958)

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Wigeon oil on canvas, 16 by 20 in. estate stamp on back

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207 George Browne (1918-1958)

Bull Elk (Study) oil on canvas, 20 by 16 in. estate stamp on back, with crease through center of canvas

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208 Black Forest Bear Cane Stand 49 by 17 1/2 by 23 in.

The removable candle holder is held by a small bear. This carving is similar to a slightly smaller thirty-seven-inch bear cane stand that sold at Copley in January of 2012 for $27,600.

Crack along right side of head, right eye hazy, minor abrasion on back hump, maker’s patch to right rear of haunch, repair to right paw, scrapes along base and feet. $10,000 - $20,000

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DAVID SHEPHERD 1931-2017

209 David Shepherd (British, 1931-2017)

The Quiet Peace of an African Evening, 1971 oil on canvas, 40 by 86 in. signed and dated “David.Shepherd ‘71” lower right titled on The Tryon Gallery, London label on back

David Shepherd was born in 1931 in Hendon, England. After attending Stowe School, he moved to Kenya in 1949. His initial ambition was to become a game warden, but instead he returned to England soon after to pursue an art career. He received many commissions from the British Armed Services, and in 1960 painted his first wildlife work for the RAF, a rhinoceros on a runway.

Shepherd’s artistic career was inextricably linked with conservation. He founded the David Shepherd Wildlife Foundation in 1984, whose mission is to “Fight, Protect, and Engage on behalf of endangered wildlife around the world.” The Foundation notes, “Ensuring our artistic heritage lives on in memory of our Founder, the celebrated wildlife artist and conservationist, David Shepherd, we continue to reach, inspire, and engage people to join our fight to save wildlife.”

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He was awarded the Commander of the British Empire (CBE) in 2007 for his conservation efforts. The title of CBE is the highest ranking award in the Order of the British Empire.

Among his many other awards and honors, Shepherd painted a portrait of Queen Elizabeth II and was a fellow of the Royal Society of Artists in London. The artist died in 2017 at age 86.

This commanding oil, The Quiet Peace of an African Evening, captures a herd of elephants on the open plain. The herd, ranging from young to old, enjoys an evening dust bath. Shepherd’s reverence for nature and detailed observations of wild animals are on full display.

PROVENANCE: Private Collection, Sun Valley, Idaho

$45,000 - $65,000

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JOHN FERY

1859-1934

210 John Fery (1859-1934) Lake McDonald signed “J Fery” lower right oil on canvas, 45 by 72 in.

Born in Austria in 1859, John Fery trained as an artist at the Vienna Academy of Fine Arts and in Dusseldorf and Munich, Germany. He immigrated to the United States in 1883, finding work as a cyclorama painter in Milwaukee, then settling in Duluth, Minnesota, after a spell back in Europe.

From 1910 to 1913, railroad tycoon Louis W. Hill commissioned Fery to capture the landscapes of what became Glacier National Park. The match was ideal since Fery was an avid outdoorsman and hunter in addition to being an accomplished artist. Peterson writes, “For John Fery the mountains were the beginning and end of all natural scenery. They were the essence of his real world.”

Of the jaw-dropping Glacier Park vistas Fery visited, John Muir wrote, “In a few minutes you will find yourself in the midst of what you are sure to say is the best care killing scenery on the continent--beautiful lakes derived straight from glaciers, lofty mountains steeped in lovely nemophilia-blue skies... mossy, fernie waterfalls...meadowy gardens abounding in the best of everything...The king of larches..Lake McDonald, full of brisk trout...Give a month at least to this precious reserve.

The times will not be taken from the sum of your life. Instead of shortening, it will definitely lengthen it and make you truly immortal.”

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In 1911 Fery and his family lived in a cabin on the south end of Lake McDonald, near the summer cottage of famed cowboy artist Charlie Russell and his wife, Nancy. Fery hiked, sketched, and painted extensively throughout the surrounding landscape, producing spectacular oil paintings that capture the essence of the mountains. He exhibited a number of his Glacier Park oils in the Panama-Pacific International Exposition in San Francisco in 1915.

Fery died in Everett, Washington, in 1934, and his works can be found in private collections, as well as the National Museum of Wildlife Art in Jackson, WY, the Charles M. Russell Museum in Great Falls, MT, and the Boise Art Museum in Boise, ID, among others.

PROVENANCE: Private Collection, Sun Valley, Idaho LITERATURE: Larry Len Peterson, John Fery: Artist of Glacier National Park & the American West, Hayden, ID, 2015, pp. 71, 72, 95, illustrated.

$30,000 - $50,000

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JOHN FERY

1859-1934

211 John Fery (1859-1934) Mount Baker signed “J Fery” lower right oil on canvas, 37 by 60 in.

“The setting of the Emerald City of Seattle in the Evergreen state was unparalleled for natural beauty. Beyond Puget Sound to the west was the Olympic Mountain range, to the north was Mt. Baker, and to the southeast was Mt. Rainier. All were perpetually snow covered. It was a hiker’s paradise,” writes Larry Len Peterson.

Fery first visited the area in 1891. In 1928 the artist was hired by the Great Northern Railway to travel, sketch, and paint for several months in the Seattle area. During this time, he “completed a number of sketches of Mount Baker, elevation 10,781 feet, which is forty-eight miles east of Everett and eighty-nine miles northeast of Seattle,” according to Peterson.

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This grand portrait of Mount Baker is a product of the golden age of rail, depicting this commanding landscape.

PROVENANCE: Private Collection, Sun Valley, Idaho LITERATURE: Larry Len Peterson, John Fery: Artist of Glacier National Park & the American West, Hayden, ID, 2015, pp. 202-203, 205, illustrated.

$10,000 - $15,000

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KEN CARLSON B. 1937

212 Ken Carlson (b. 1937) A Feint Sound signed “Carlson” lower left oil on board, 30 by 45 in.

Born in 1937, Ken Carlson spent his early life in Minnesota, where he developed a love of nature and art. His artistic training took place at the Minneapolis School of Art. Today, Carlson is among the leading wildlife art painters. His works have been featured at exhibitions and in the collections of the National Wildlife Art Museum in Jackson, Wyoming, the Steamboat Art Museum in Steamboat Springs, Colorado, and the Leigh Yawkey Woodson Museum in Wausau, Wisconsin. Among other honors, he was granted the Bob Kuhn Wildlife Award from the Autry Museum of the American West in Los Angeles in 2008 and the Prix de West in 1999. He is a regular supporter of wildlife conservation organizations, such as Ducks Unlimited and the Rocky Mountain Elk Foundation.

Carlson focuses on studying animals in their natural environment. The trio of alert whitetails in A Feint Sound fully inhabit their surroundings, and Carlson captures the dappled sunlight reflecting off the winter snow.

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Of this major work, the artist writes, “From Minnesota to Montana to Texas, whitetail deer have been in my backyard.

The opportunity to observe them in various habitat, seasons, light and shadow, with many attitudes, reactions, and postures has given me endless reference for my whitetail paintings.

The whitetails in snow depicted in “A Feint Sound” portrays a cold quiet winter day when any slight sound can be unsettling and cause an instant turn of the head. I feel I accomplished my goal in this painting as I wanted to capture a mood of tranquility in the landscape and the beauty and wariness of the whitetails.”

PROVENANCE: Private Collection, Nevada

$30,000 - $50,000

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JUD HARTMANN B. 1948

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213 Jud Hartmann (b. 1948)

214 Jud Hartmann (b. 1948)

Lacrosse, North America’s oldest sport, is a popular subject matter for sculptor Jud Hartmann. The sport was originally played in seventeenth century by Eastern Woodlands Native Americans and the Plains tribes of present-day Canada. Often referred to as “The Creator’s Game,” lacrosse has always been rooted in Native American religion. This bronze displays the bravery, athletic prowess, and strength that typified the ancient Native American lacrosse player.

PROVENANCE: Private Collection, Georgia

Lacrosse Players, 1992 signed and dated “Hartmann ‘92” on base bronze, 20 by 11 by 12 in. numbered “137/250” and stamped “Tallix” on base edition 137 of 250

PROVENANCE: Private Collection, Georgia

$1,000 - $3,000

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214

Native American Bust, 1999 signed and dated “Hartmann ©1999” on left shoulder bronze, 26 1/2 by 17 by 18 in. numbered “8/20” on left shoulder edition 8 of 20

$2,000 - $4,000

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215 C. Ford Riley (b. 1952)

Marsh Landscape signed “C Ford Riley” lower left oil on board, 14 3/4 by 18 1/2 in.

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

they layered colors and used their palette. I took what I could from their techniques and applied them to the natural habitats that I grew up in.” Riley received an award in 2011 from the Florida Fish and Wildlife Conservation Commission and was the Featured Artist at the Southeastern Wildlife Exposition in 1990. His work can be found in the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and the Florida State Capital.

PROVENANCE: Private Collection, Albany, Georgia

$4,000 - $6,000

216 Cameron T. McIntyre (b. 1968) Sunset over the Little Choptank, 2005 signed and dated “Cameron McIntyre 2005” on back oil on board, 20 by 30 in. titled on back

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217 David Lazarus (b. 1952)

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Osprey signed “ D. Lazarus” lower right oil on canvas, 11 by 14 in.

David Lazarus, born in London, has spent the majority of his life as a resident of Nantucket Island where he is known as a scrimshander, printmaker, and painter. His paintings hang in numerous private collections in both America and Europe.

Not wanting to be limited by any particular style, he is adept in both traditional and non-representational oils and watercolors. Despite a movement towards abstraction, he maintains a more formal approach to printmaking and sporting art.

218 Stephen C. Elliott (b. 1943)

Morning Reflections, Trumpeter Swans, 1991 signed “S.C. Elliott” lower right oil on board, 9 by 12 in. signed, dated and inscribed “Jackson, Wyo Trumpeters 1991” on back

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PROVENANCE: Private Collection, Indiana

$800 - $1,200

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219 Stephen C. Elliott (b. 1943) Honey’s a Hussy, 1995 Two Horses in a Meadow signed “S. C. Elliott” lower right oil on board, 9 by 12 in. titled, dated, and signed on back

PROVENANCE: Private Collection, Indiana

$800 - $1,200

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220 Gary David Hoffman (b. 1947) Sankaty Head Lighthouse signed “G.D. Hoffman” lower right watercolor, 11 3/4 by 10 in. titled and signed on back

A bright impressionistic work depicting this Nantucket landmark.

Gary Hoffmann continues in the tradition of his teacher, the late R. H. Ives Gammell, who in turn was trained by such Boston notables as William Paxton, Edmund Tarbell, and Joseph DeCamp. According to The Boston Guild, “This training has enabled Hoffman to build his career upon the great heritage and traditions of The Boston School of painting; sound draftsmanship, beautiful design, color, and strong characterization are always present in his paintings.”

PROVENANCE: Private Collection, Massachusetts

221.1

221 David Lazarus (b. 1952)

Two Fishing Watercolors each signed “D Lazarus” lower right each watercolor, 10 1/4 by 13 1/4 in.

Two Impressionistic watercolors depicting fly fishing.

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222 Rodger McPhail (British, b. 1953) Hun Partridge signed “R. McPhail” lower right watercolor, 14 by 10 3/4 in.

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C.D. CLARKE B. 1959

223 C.D. Clarke (b. 1959)

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224 C.D. Clarke (b. 1959)

Two Silvers, 1995 signed “C.D. Clarke” lower right watercolor, 10 by 14 1/4 in. titled, signed, and dated on back

Big Fish Below Bridge, 2002 signed “C.D. Clarke” lower right watercolor, 13 1/4 by 19 in. titled, signed, and dated on back

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Clarke’s artistic prowess is on full display with this rendering of two salmon.

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225 C.D. Clarke (b. 1959)

Water Cay, 1996 signed “C D Clarke” lower right watercolor, 10 by 14 in. titled, signed, and dated on back

In this work, Clarke captures the spirit of bonefishing in the flats.

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KEITH MUELLER

B. 1956 | KILLINGWORTH, CT

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226 Decorative Merganser Drake and Hen Decoy Keith Mueller (b. 1956) Killingworth, CT, c. 1980 24 by 17 1/2 by 14 in.

A red-breasted merganser pair on an elaborate oval base representing an icy shoreline scene after the tide has ebbed.

The decorative drake displays intricate feather carving and paint along with a bold crest. The hollow preening hen is carved as a weathered decoy continuing to demonstrate her magnetism, having lured in the drake.

In addition to being a seven-time World Champion decoy and bird carver, Mueller was honored as a Ward Foundation Living Legend and named as a Living Legend in decoy carving by the National Endowment for the Arts. Original paint with some wear and drake has reset legs. $8,000 - $12,000

This commissioned work represents the scope of Keith Mueller’s career as a highly accomplished, award-winning carver at the top tiers of both the decoy and decorative fields.

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227 Large Sperm Whale

Clark Voorhees Jr. (1911-1980) Weston, VT, c. 1960 35 in. long

An exceptional wall-mounted carving by the early whale specialist Clark Voorhees, signed on the back with the maker’s “VOORHEES” stamp and incised “CV.” The species, condition, and execution of this carving place it among the maker’s best works to surface in some time.

Vorhees was the son of Clark Greenwood Voorhees (18711933), who was one of the founders of the Old Lyme Art Colony. After establishing himself in his craft, he moved his carving business to its permanent home in Vermont. His marine mammal carvings were offered through the Four Winds Craft Guild on Nantucket. The majority of his whales were his eighteen-inch models; this carving represents his grandest size. Original paint with minimal wear.

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

$3,000 - $6,000

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228 Frank Wood (1851-1933)

Sperm Whale in a Flurry, 1831, c. 1916 signed and dated “© F Wood 1916” lower left watercolor, 11 3/4 by 14 3/4 in. titled on back

Frank Wood was the curator of the Whaling Museum of the Old Dartmouth Historical Society in New Bedford, Massachusetts, from 1914 onwards. The log book of the “Young Phoenix” was in the museum’s collection in 1924, and in 1916 Wood copyrighted five images of whaling. He also donated his collection of whaling artifacts to the museum. $2,000 - $3,000

229 Frank Wood (1851-1933)

Ship “Young Phoenix” hove to off Cape Horn, 1831, 1916 signed and dated “© F Wood 1916” lower left watercolor, 11 3/4 by 14 3/4 in. titled on back $2,000 - $3,000

LAWRENCE C. IRVINE 1918-1998 | WINTHROP, ME

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230 Landlocked Salmon

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1960 plaque is 28 in. long

A nineteen-inch-long salmon carving on a birch beveled-edge plaque. The back of the plaque bears the carver’s signature. $1,000 - $2,000

231 Brown Trout

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1960 plaque is 26 1/2 in. long

A twenty-one-inch-long trout carving on a birch beveled-edge plaque. The back of the plaque bears the carver’s signature. $2,000 - $3,000

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

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LAWRENCE C. IRVINE 1918-1998 | WINTHROP, ME

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232 Brook Trout

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1955 plaque is 23 in. long

A fifteen-inch-long brook trout carving on a wooden beveled-edge plaque. The back of the plaque bears the carver’s signature. $1,000 - $2,000

233 Large Lake Trout

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Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1955 plaque is 42 in. long

A thirty-four-inch-long trout carving on a wooden beveled-edge plaque. $2,000 - $3,000

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234 Smallmouth Bass

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1955 plaque is 24 in. long

A seventeen-inch-long bass carving on a wooden beveled-edge plaque. The back of the plaque bears the carver’s signature. $1,000 - $2,000

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235 Pickerel

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1960 plaque is 28 in. long A twenty-four-inch-long pickerel carving on a beveled-edge plaque. The back of the plaque bears the carver’s signature. $1,000 - $2,000

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JAMES JOSEPH AHEARN 1904-1963 | STAMFORD, CT

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236 “Model” Miniature Flying Grouse James Joseph Ahearn (1904-1963) Stamford, CT, c. 1950 7 1/2 in. long

A large miniature grouse showing Ahearn at his best. The undersides of both wings bear the maker’s white-label signature and the underside of one wing bears the word “Model.”

Original paint with minimal wear.

PROVENANCE: Ahearn Family Collection, by descent from the maker

Private Collection

237 Miniature Flying Grouse

James Joseph Ahearn (1904-1963) Stamford, CT, c. 1950 5 in. wingspan

Showing Ahearn at his best, this pair was kept by the family.

The underside of one wing bears the maker’s white-label signature. Original paint with minimal wear.

PROVENANCE: Ahearn Family Collection, by descent from the maker Private Collection

238 Miniature Flying Pheasant Pair James Joseph Ahearn (1904-1963) Stamford, CT, c. 1950 8 in. long, 7 in. wingspan

Showing Ahearn at his best, this pair was kept by the family and was likely used as a model. The underside of both have the maker’s white labels. Original paint with minimal wear.

PROVENANCE: Ahearn Family Collection, by descent from the maker Private Collection

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239 Miniature Quail Hen with Chicks

241 Miniature Teal and Wigeon

The 1968 Decoy Collector’s Guide described Gilley’s craftsmanship: “For some years, Wendell Gilley of Southwest Harbor, Maine, has enjoyed national recognition for his decorative and life-like bird carvings.” Today, he is recognized both in the market and through the Wendell Gilley Museum in his hometown.

Each is signed on the underside. Original paint with minimal wear and tight age line in the wigeon’s neck.

Wendell Gilley (1904-1983) Southwest Harbor, ME, c. 1960 3 in. tall

A family of quail on a wooden base which measures thirteen inches in length and is signed by the maker on the side. Original paint with minor wear.

240 Decorative Spotted Sandpiper Wendell Gilley (1904-1983) Southwest Harbor, ME, 1973 bird is 7 1/2 in. long

A sandpiper with dropped wings on a carved-shell base, signed by the maker on the underside. Original paint with minor wear.

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James Joseph Ahearn (1904-1963) Stamford, CT, c. 1950 3 3/4 in. long

242 Miniature Quail

James Lapham (1909-1987) Dennisport, MA, c. 1960 4 in. tall

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

Original paint with minimal wear. Paint flake to bill tip and some flaking on loose lead toes.

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243 Three-Quarter-Size Quail Pair

245 Western Meadowlark Pair

A three-quarter-size decorative carving of a pair of quail. With its intricate feather carving, this work was created by one of Cape Cod’s talented artisans of the late-twentieth century.

Signed and dated by the maker on the bottom of the base.

Original condition with minimal wear.

A pair of turned-head western meadowlarks with carving and paint detail. This bright and popular species amongst bird lovers is the state bird for six states: Kansas, Montana, Nebraska, North Dakota, Oregon, and Wyoming. Signed “JV” by the maker on the underside of each bird. Original paint with minimal wear.

Jack Franco Assonet, MA, 1989 10 in. tall

$1,500 - $2,500

244 Quail Pair

John Vulcani LaSalle, IL, c. 2020 7 1/2 in. long

A bobwhite pair, each signed “JV” on the underside. Original paint with minimal wear.

John Vulcani LaSalle, IL, c. 2020 9 1/2 in. long

246 Decorative Stilt Sandpiper Arnold T. Melbye (1909-2000) South Yarmouth, MA, 1967 bird is 7 1/2 in. long

A rare decorative stilt sandpiper mounted on a driftwood base. Exhibits very realistic paint depicting rich breeding plumage. The bird and the base are both signed by the maker on the underside. In original condition with minimal wear and a faint age line at back of neck.

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THE SPORTING SALE 2021 LOTS 247-507 | DAY 2 | JULY 10 | 10AM

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OGDEN M. PLEISSNER 1905-1983

247 Ogden M. Pleissner (1905-1983) June Trout Fishing signed “Pleissner” lower right watercolor, 16 1/2 by 23 in.

A personal favorite of the artist, Pleissner selected this important work to be published as a print for Theodore Gordon Flyfishers in 1967.

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.

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

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

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

Pleissner’s work is included in more than thirty public collections, including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Philadelphia Museum

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June Trout Fishing is one of Pleissner’s best known trout fishing watercolors. Bright and vibrant, it emotes the optimism of early season angling.

PROVENANCE: Donal C. O’Brien Sr. Collection, acquired in 1966 Private Collection, by descent from the above LITERATURE: Peter M. Bergh, The Art of Ogden Pleissner, pp. 107108, print of exact painting illustrated.

$40,000 - $60,000

JUNE TROUT FISHING

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OGDEN M. PLEISSNER 1905-1983

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248 Ogden M. Pleissner (1905-1983) Western Trout Fishing, c. 1927 signed “Pleissner” lower left oil on board, 11 3/4 by 16 in.

This early work depicts trout fishing in Wyoming. These early Western Pleissner works show the influence of his mentor from the Art Students League in New York, Frank DuMond (1865-1951). DuMond was noted for his bright Impressionistic canvasses.

PROVENANCE: The Estate of a New York Collector

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EXHIBITED: Manchester, Vermont, Ogden M. Pleissner: The Sporting

Grand Tour, American Museum of Fly Fishing, 2008.

LITERATURE: American Museum of Fly Fishing, Ogden M. Pleissner: The Sporting Grand Tour, Manchester, VT, 2008, p. 46, illustrated.

$10,000 - $20,000

249 Walter Baumhofer (1904-1987)

The Masked Bandits signed “Baumhofer” lower right oil on canvas, 24 by 35 1/4 in. titled, signed, and inscribed “Osborne-KemperThomas Dave & His Gang “The Masked Bandits” Walter M. Baumhofer” on back

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A trout fishing scene with raccoons making off with the catch.

PROVENANCE: Private Collection, Florida

$1,500 - $2,500

250 Milton C. Weiler (1910-1974) 250

Fly Fishing signed “M.C. Weiler” lower right watercolor, 18 1/2 by 23 3/4 in. on reverse another watercolor: Making Camp watercolor, 18 1/2 by 25 in.

PROVENANCE: Allan J. Liu Collection

$2,000 - $4,000

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ELDRIDGE HARDIE B. 1940

251 Eldridge Hardie (b. 1940)

English Pointers, 1989 signed “Eldridge Hardie” lower right oil on board, 9 by 12 in. titled, dated, and inscribed on back

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PROVENANCE: Private Collection, Indiana

$2,000 - $3,000

252 Eldridge Hardie (b. 1940)

High Country Flyfishing signed “Eldridge Hardie” lower right oil on board, 9 by 12 in. signed, titled, and inscribed on back

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PROVENANCE: Private Collection, Indiana

$2,000 - $3,000

253 Eldridge Hardie (b. 1940)

Rising-Brook Trout signed “Eldridge Hardie” lower right oil on canvas, 9 by 12 in. titled and signed on back PROVENANCE: Private Collection, Indiana

$2,000 - $3,000

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254 Eldridge Hardie (b. 1940) Morning signed “Eldridge Hardie” lower left watercolor, 13 3/4 by 20 3/4 in. titled on back

Eldridge Hardie grew up in Texas between a Hill Country ranch and El Paso. After his uncle, a commercial illustrator, inspired him to take up painting, Hardie attended art school at Washington University in St. Louis. In 1966 he settled in Denver and has enjoyed a long and successful career as a sporting and wildlife artist.

in Grand Junction, Tennessee, and the El Paso Museum of Art, to name several important collections and institutions that support and exhibit the artist’s work. Hardie has been Artist of the Year for the Atlantic Salmon Federation and Trout Unlimited, and Featured Artist at the Plantation Wildlife Arts Festival and the Southeastern Wildlife Exposition, among other honors.

“In a sense, a sporting artist must be three painters in one, rendering convincing landscapes, dogs and wildlife that are both accurate in detail and lively, and believable human figures,” Grudowski writes. “It’s little surprise that Hardie’s immersion in the sporting life that he paints--his intuitive feel for his subjects --strikes a chord.”

Hardie captures the early morning moment of setting out decoys in this duck hunting watercolor.

Hardie’s paintings can be found in the National Museum of Wildlife Art in Jackson, Wyoming, the Fresh Water Fishing Hall of Fame in Hayward, Wisconsin, the National Bird Dog Museum

PROVENANCE: Private Collection, Albany, Georgia LITERATURE: The Sporting Art of Eldridge Hardie, Mechanicsburg, PA, 2019, p. 135, illustrated.

Mike Grudowski, “Master of the Hunt,” Garden & Gun, December 2014–January 2015, p. 98.

$6,000 - $9,000

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255 Eldridge Hardie (b. 1940)

Saltwater Hands signed “Hardie” lower left watercolor, 10 by 13 in. framed with an Apte Tarpon Fly and Apte Tarpon Fly stamp PROVENANCE: Private Collection, Indiana

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256 Amy Lay (b. 1972)

Grizzly Bear, 2000 signed and dated “Amy E Poor 00” lower center watercolor, 20 1/2 by 27 1/2 in.

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257 Amy Lay (b. 1972)

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Sockeye Salmon, 2000 signed and dated “Amy E Poor 00” lower right watercolor, 17 3/4 by 23 1/2 in.

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258 Stephen LeBlanc (b. 1955)

Black Bear, 1990 signed “S. Blanc” on underside of base bronze, 7 1/2 by 14 by 5 1/2 in. edition 18 of 20

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259 Dan Ostermiller (b. 1956)

Rosy, 1995 signed and dated “© Dan Ostermiller ‘95” on base bronze, 7 3/4 by 5 1/4 by 5 1/4 in. inscribed “C.R.R. A/P” with cow skull

This bronze bear was created for the Charlie Russell Riders Foundation, a nonprofit organization which provides financial support for the C.M. Russell Museum in Great Falls, Montana. $500 - $800 150

DEAN LAMONT MITCHELL B. 1957

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260 Dean Lamont Mitchell (b. 1957)

Fishing on the Gulf, 2015 signed and dated “Dean Mitchell © 2015” lower left acrylic on board, 15 by 10 1/2 in.

Dean Mitchell was born in Pittsburgh in 1957. Raised in Florida, he studied art at the Columbus College of Art & Design in Ohio. In his paintings, Mitchell focuses on the working people and places of his varied backgrounds. Mitchell writes, “Every painting with spirit finds a home.”

across the country. His works can be found in the collections of the Saint Louis Art Museum, the Autry Center in Los Angeles, and the Library of Congress in Washington, D.C., among others.

PROVENANCE: Private Collection, Albany, Georgia

The artist has amassed dozens of awards and accolades, including the Thomas Moran Memorial Award from the Salmagundi Club, and has had solo exhibitions at museums

$6,000 - $9,000

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ARTHUR B. VANCE 1818-1889 | PHILADELPHIA, PA

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261 Early Green-Winged Teal Drake Arthur B. Vance (1818-1889) Philadelphia, PA, c. 1850 12 1/2 in. long

An early Philadelphia decoy by one of the region’s premier makers, who has only been identified within the last decade.

Speaking to the quality of his work, Vance was for decades attributed to John Blair Sr. The bottom board of this hollow decoy is branded “C [or G]. W. MORRIS” over the top of what appears to be a “Davids” brand.

This appears to be out of the Richard Wistar Davids (1825–1863) rig. After Davids was killed at the Battle of Gettsyburg, the rig was acquired by his uncle Caspar Wistar Morris (1806-1877).

Original paint with gunning wear to mostly bare wood, crack in neck, and age line in front of bottom board.

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PROVENANCE: R. W. Davids Rig C. W. Morris Rig Private Collection, Maryland LITERATURE: Pete Lesher, “New Additions to the R. W. Davids Rig,” Decoy Magazine, November/December 2016, p. 32, rig discussed and illustrated.

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

32, rigmates illustrated.

“The Wistar Cousins: Davis, Laing & Morris—The Philadelphia Years,” Decoy Magazine, March/April 2021, front cover and pp. 2431, rigmates illustrated.

$5,000 - $7,000

THE WILL-HUNTER BLAIR BLACK DUCK PAIR

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262 The Will-Hunter Blair Black Duck Pair John Blair Sr. (1842-1928) Philadelphia, PA, c. 1870 18 in. long

These rigmates represent the most dynamic Blair pair known to exist. While Blair swimmers do occasionally appear (Dr. McCleery owned a notable swimming mallard pair), the maker’s preeners are virtually nonexistent. Indeed, in the case of the preening decoy, this may be the only bird of this form known. Each sleek body is hand-hollowed and retains tight body seams after 150 years. The swimmer features nearly identical form as the famous aforementioned McCleery pair.

The underside of each carving retains the classic chamfered Blair pad weight and rig brands. Each has a “C. WILL” brand

and a “J. HUNTER” brand is struck once on the swimmer and multiple times on the preener. Old gunning paint with wear mostly to head and tail edges. The original bill on the swimmer has been reset.

PROVENANCE: C. Will Rig J. Hunter Rig Private Collection, Maryland

$20,000 - $30,000

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IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

263 Flying Pintail Drake Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1930 24 1/2 by 21 1/2 by 7 in.

Referencing a closely related carving in her 1974 book, American Decoys, Quintina Colio writes, “Ira Hudson, the great decoy maker of Chincoteague, was the most prolific carver from Virginia. Despite his working steadily to fill orders to support his wonderful family, he took time to make these fanciful decorations. His record stands that he always produced a most collectible work of art.”

This example’s full-cheek carving, provenance, and stylish paint place it among an elite group of Hudson fliers. William J. Mackey Jr. selected a related flying Hudson pintail to hang prominently above his fireplace mantle. Hudson’s understanding of a duck in flight is seen the the craning turned head, cupped wings, and the slight arch to the swooping tail. In original paint with some professional restoration to wings, tail has been reset, missing feet, right wing is slightly loose.

PROVENANCE: Private Collection, by descent in the family, acquired directly from the maker Private Collection, Maryland Grant Nelson Collection LITERATURE: Copley Fine Art Auctions, The Sporting Sale 2010, Plymouth, MA, July 22-23, 2010, lot 461, exact decoy illustrated.

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

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

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

William H. Purnell Jr., “Back East In the Midwest Out West,” Decoy Magazine, September/October 1991, p. 9, related example above mantel.

Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 85, related example illustrated.

$10,000 - $20,000

Closely related Mackey pintail flyer above his mantle. Image courtesy of Decoy Magazine.

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FLYING PINTAIL DRAKE

263

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IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

264

264 Bufflehead Hen

Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1930 13 in. long

This is an exceptional female example of a hard-to-find species. It has a full football body and a thin paddle tail. This species, often referred to as the “butter-ball,” is likely not named for its flavor, as it is generally regarded as poor table fare, lending to the rarity of the species’ decoys. Hudson’s drakes greatly outnumber hens, adding to the rarity of this decoy. A related drake can been seen in Milton Weiler’s Classic Decoys series of paintings. Original paint with even gunning wear, patch of roughness at back right flank, restoration to lower third of bill.

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PROVENANCE: Private Collection, Maryland LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, pp. 81-83, related decoys illustrated.

Milton C. Weiler, The Classic Decoy Series: A Portfolio of Paintings, New York, NY, 1969, pl. 13, related drake illustrated.

$2,000 - $4,000

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

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265 Brant

Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1930 16 in. long

Henry Stansbury, in his book on Hudson, writes, “The best rig of Ira Hudson brant decoys belonged to the Bob-O-Dell Gun Club on the Eastern Shore of Virginia.” The club was founded by members of General Motors on an island that is now part of the Assateague National Seashore, adjacent to Hudson’s home on Chincoteague Island. This large hollow brant appears to be virtually identical to the birds from the club’s rig. Original paint with gunning wear, including appealing craquelure and tight age lines in neck and back.

PROVENANCE: Joe Engers Collection Private Collection LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, pp. 74-75, closely related brant illustrated and discussed.

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

$4,000 - $6,000

157

ELI DOUGHTY

1844-1923 | HOG ISLAND, VA

266 Mackey Doughty Robin Snipe Eli Doughty (1844-1923) Hog Island, VA, c. 1870 6 1/2 in. long

266

A full-bodied robin snipe from Hog Island. Eli Doughty, while less prolific than his Cobb Island neighbors, is considered among the region’s most important makers. Indeed, a related curlew can be seen on the front dust-jacket cover of Fleckenstein’s Shorebird Decoys. A closely related red knot is held in the Ward Museum of Wildfowl Art. This decoy retains the Mackey Collection and the Sam Dyke Collection stamps. Original paint with even gunning wear, replaced bill.

PROVENANCE: William J. Mackey Jr. Collection Sam Dyke Collection Private Collection, New York LITERATURE: Richard A. Bourne Co., Inc., Very Rare and Impor-

tant American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey, Hyannis, MA, 1973, Session I & II, lot 423, rigmate illustrated.

Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, front cover (in basket), related example illustrated. $6,000 - $9,000

267 Black Duck

Eli Doughty (1844-1923) Hog Island, VA, c. 1870 18 in. long

A full-bodied, snuggle-head black duck from Hog Island. Old paint with heavy gunning wear, including cracks and dings. Old, possibly original, fill to imperfections in wood, mostly on underside. $10,000 - $14,000

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267

DAVE "UMBRELLA" WATSON 1851-1939 | CHINCOTEAGUE, VA

268

268 Peep

Dave “Umbrella” Watson (1851-1939) Chincoteague, VA, c. 1900 6 in. long

A classic, plump Virginia peep with incised wing tips.

Concerning the maker, William J. Mackey Jr. wrote in Classic Shorebird Decoys: A Portfolio of Paintings, “So little is known about Watson and his work that one wonders how such famous gunners as Van Campen Heilner came to have the Gooseville Gun Club stocked with Watson’s decoys. Of course, he was head and shoulders over all local competition. It is only

within the last few years, however, that his shorebirds have been identified.” Old working paint with gunning wear.

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

$5,000 - $8,000

159

CHARLES BIRCH

1867-1956 | WILLIS WHARF, VA

269 Rare Curlew

Charles Birch (1867-1956) Willis Wharf, VA, c. 1910 15 in. long

269

A rare Birch curlew with a pronounced sharkfin raised wing. The body is finished with tight scratched feathering. The underside bears a “SAM DYKE COLLECTION” ink stamp. Excellent original paint with minimal wear.

PROVENANCE: Charnock Collection, acquired from Birch Sam Dyke Collection Private Collection, Maryland LITERATURE: Oliver’s and The Ward Museum, Auction of Waterfowl Decoys and Related Items, Salisbury, MD, October 1-2, 1994, front cover and lot 283, rigmate illustrated.

$6,500 - $8,500

270 Canada Goose

Charles Birch (1867-1956) Willis Wharf, VA, c. 1920 24 1/2 in. long

Raised on Chincoteague, Birch moved south to Willis Wharf in Northampton County at age thirty-nine.

He was a boatbuilder, waterman, and decoy carver.

His decoys were very well regarded in their own time with rigs hunted over well beyond Virginia’s waters, from North Carolina’s Gooseville Gun Club to Illinois’ Georgia Pacific Paper Gun Club. They continue to be coveted by collectors nationwide today.

Birch’s hollow birds with proud breasts and sweeping arched necks have long been collecting gems of the South. This example has a high crown which sweeps down to its inserted oak bill. Original paint with some gunning paint successfully taken down, some touch-up, gunning wear, structurally sound. $3,000 - $5,000

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270

CHARLES BIRCH

1867-1956 | WILLIS WHARF, VA

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271 The Bull-Purnell Birch Brant Charles Birch (1867-1956) Willis Wharf, VA, c. 1920 17 3/4 in. long

One would be hard-pressed to find a better Charles Birch brant example than this Virginia classic. This hollow brant has not only great form and surface, but also outstanding provenance.

The underside is cold-stamped “SGH” for the Somers Headley Collection, ink stamped for the Harold Hartell Collection, branded “WHPjr” for the William H. Purnell Jr. Collection, and it retains a paper label for Purnell’s early collecting partner, M.B. “Blink” Ewell.

A nearly identical decoy, also from the Roy Bull Collection, was chosen for the dust-jacket cover of Southern Decoys by Henry Fleckenstein Jr. The lines of this graceful brant are amongst the best seen from the maker’s works of the species. Original paint with even gunning wear, age lines in end of tail, crack in neck.

PROVENANCE: A Smith Island Rig

Roy Bull Collection M. B. Ewell Collection William H. Purnell Jr. Collection Somers G. Headley Collection Harold Hartel Collection Private Collection, Maryland

LITERATURE: Henry A. Fleckenstein Jr., Southern Decoys of Virginia and

The Carolinas, Exton, PA, 1983, front dust-jacket cover and p. 137, Bull Collection rigmate illustrated. $6,000 - $9,000

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EDWARD "NED" BURGESS

1868-1958 | WATERLILY, CHURCHES ISLAND, NC

272

272 Ruddy Duck

Edward “Ned” Burgess (1868-1958) Waterlily, Churches Island, NC, c. 1920 10 1/2 in. long

A rare and celebrated North Carolina ruddy duck with carved bill detail, an extended tail, and a lead-pad weight. This Southern gem, sourced by legendary author Henry Fleckenstein Jr., is one of the finest Burgess ruddy ducks to come to auction.

Excellent original paint, light grey may have been a Burgess addition. Touch-up to tight age line on back and to top and tip of bill.

PROVENANCE: Henry A. Fleckenstein Jr. Collection

LITERATURE: Midwest Decoy Collectors Association, Fifth Exhibition of Classic Antique Waterfowl Decoys, April 1983, p. 10, exact decoy illustrated.

Kroghie Andresen, Gunnin’ Birds, Charlotte, NC, 2008, p. 167, related examples illustrated.

Copley Fine Art Auctions, The Winter Sale 2016, lot 366, exact decoy illustrated.

$7,000- $10,000

Private Collection, acquired from above Private Collection, New York

“The Folk art of America is forever richer because John Williams lived and carved on Cedar Island.”

— William J. Mackey Jr., American Bird Decoys 162

JOHN WILLIAMS

1858-1937 | CEDAR ISLAND, VA

273

273 Magnum Canvasback John Williams (1858-1937) Cedar Island, VA, c. 1890 18 in. long

A grand canvasback with the legendary maker’s iconic hallmarks, including a high head, humped back, and upswept tail.

The underside of this oversized diver is branded “P A CLUB” for the Princess Anne Club.

Although this important Southern maker lived and carved on Cedar Island in Virginia’s Back Bay, his work is inextricably linked to Carolina, as William J. Mackey Jr. makes a point of clarifying on two occasions in his book, American Bird Decoys, Mackey states: “Since Back Bay’s and Currituck’s physical and ecological unity is obvious, Virginia can well share her claim to this small waterfowl paradise with her sister state of North Carolina. So for our purposes Back Bay and Currituck Sound have a bond that not even a state line can dissolve. Wildfowl fly between the two connecting bodies of water oblivious of man’s jurisdictional problems down below.”

Williams was an early and important stylistic founder of the Back Bay region with makers including W. Baily Barco (18701947) following his patterns. Recognizing his importance today, a related swan decoy from the Rockefeller Collection holds the record for any decoy from the region. As found with professional restoration to neck.

PROVENANCE: Princess Anne Club Rig Private Collection LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, pp. 165-172.

Kroghie Andresen, Gunnin’ Birds, Charlotte, NC, 2008, p. 35, related examples illustrated and discussed, front dust jacket and pp. 60 and 64-65, related carvings illustrated.

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JOHN GRAHAM

1822-1912 | CHARLESTOWN, MD

274

274 Blue-Winged Teal

John Graham (1822-1912) Charlestown, MD, c. 1880 12 1/2 in. long

An exceptional Upper Bay teal from by one of the region’s carving pioneers. This rare long-bodied example has a thin paddle tail and raised neck shelf with refined head carving.

The right side exhibits a bright blue wing patch with white trim.

The underside is branded “C.H.G.C.” for the Charter Hall Gun Club. It also has a Bourne Auction tag from March 11th, 1988, and an “0820” stamp. In old, possibly original, paint with gunning wear mostly down to the wood. Age line in underside, crack in neck with head slightly loose.

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PROVENANCE: Charter Hall Gun Club Private Collection, Virginia Private Collection, Maryland LITERATURE: C. John Sullivan, “The Grahams of Charlestown,” Decoy Magazine, July/August 1997, front cover and pp. 8-13, related Graham decoys illustrated, with no teal shown.

$5,000 - $8,000

275

276

275 Canada Goose

276 Blue-Winged Teal

This rare goose features pleasing “S” shaped curves of the neck and an upswept tail. In restored condition with wear and age lines.

A refined Upper Bay teal form by the regional master. In mix of old and restored paint with gunning wear. Restoration to right side of body. Crack in neck base.

John “Daddy” Holly (1818-1892) (or James) Havre de Grace, MD, c. 1885 12 3/4 in. tall, 18 1/4 in. long

LITERATURE: C. John Sullivan, “The Hollys of Havre de Grace,” Decoy Magazine, Jan/Feb 1992, pp. 8-13.

John Graham (1822-1912) Charlestown, MD, c. 1880 10 1/4 in. long

$3,000 - $5,000

$3,500 - $4,500

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277 Black Duck 277

Charles Birch (1867-1956) Willis Wharf, VA, c. 1910 16 3/4 in. long

A hollow Virginia black duck with refined form, including a long thin paddle tail. An “A” is incised under the bill. In old working paint with gunning wear, some neck cracks, and inlayed patch behind the weight.

278

278 Early Black Duck

Charles Birch (1867-1956) Willis Wharf, VA, c. 1890 17 in. long

An exceptionally early black duck with scratch paint and pegged hollow construction. Old paint with heavy gunning wear, chip restoration, and touch-up around neck seam.

279 Green-Winged Teal Pair 279

North Carolina, c. 1920 10 1/2 in. long

A rare pair or rigmate teal. Original paint with some working touch-up and heavy gunning wear. Cracks in underside.

PROVENANCE: D.C. North Collection Private Collection

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JOHN HENRY DOWNES

1863-1961 | TOWNSEND, VA

280

280 Black Duck

John Henry Downes (1863-1961) Townsend, VA, c. 1880 16 3/4 in. long

A rare decoy from this Northampton County carver who had a style and refinement all his own. Robert Shaw discusses “Sophisticated elegance of line” meeting “folksy power of mass” in reference to a related Downes black duck and another grand Northampton County bird in his Bird Decoys of North America book. The only similar carvings known were made by his son, John Hanson Downes. This model by the father has a drawn-back head, pronounced breast, shoulder separation, and fine tail carving. The paint was finished with exceptional feather detail.

The underside has the maker’s large incised “HD” rig marking and the Robert Andrews’ rig stylized “R” lightly incised under the tail. Andrews was a fellow Life Saving Service member.

It also has a branded “N” on the bottom for the collection of

D.C. North (1931-2020). Early and appealing gunning paint with wear, crack in bottom and back, and neck seam separation.

PROVENANCE: John Henry Downes Rig Robert Andrews Rig Private Collection Virginia D.C. North Collection Private Collection LITERATURE: Dr. S. Lloyd Newberry, Wings of Wonder: The Remark-

able Story of the Cobb Family and the Priceless Decoys They Created on Their Island Paradise, Columbia, SC, 2020, p. 298, rigmate illustrated.

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

7, rigmate illustrated.

167

JOHN GLENN

1876-1954 | ROCK HALL, MD

281 Inlaid Table and Flying Canvasback Pair

John Glenn (1876-1954) Rock Hall, MD, c. 1910 25 by 23 1/2 by 11 1/2 in. bird length is 14 1/2 in. and height on stand is 15 in. table is 11 1/2 in. deep by 23 1/2 in. wide by 24 3/4 in. tall

Glenn was among the early Upper Bay decoy makers who made birds in the regional style. Setting him apart from his many contemporaries are his diminutive decorative carvings, such as these canvasbacks, which have drawn even more interest from collectors than his working duck, goose, and swan decoys. Indeed, his record price at auction was set by a closely related pair of canvasbacks without a table. Each bird has applied wings and feet and is positioned on an original chamfered base.

The John Glenn table paired with this lot may be unique and features geometric and graphic inlays. The top is finished with three flying waterfowl. The birds are artistically set above a

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canine chasing a rabbit. The maker’s creativity continues on the bottom shelf which features five-point stars and a crescent moon.

All of the elements of Glenn’s work seen here stand alone on their own merits and together they represent a unique opportunity for the collector. Birds are in excellent original paint with light wear. Chips to some wing edges and tips. Table is structurally sound with some wear.

PROVENANCE: Private Collection, Maryland

$20,000 - $30,000

INLAID TABLE AND FLYING CANVASBACK PAIR

281

169

LLOYD TYLER

1898-1970 | CRISFIELD, MD

282

282 Swimming Merganser Lloyd Tyler (1898-1970) Crisfield, MD, c. 1935 16 3/4 in. long

An exceptional merganser displaying a dynamic three-tined crest, with a slightly turned head and a long, thin paddle tail.

The record for a Tyler was set by a related hooded merganser which sold in 2007 for $170,000. Excellent original paint with light wear.

LITERATURE: Richard A. Bourne, Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, July 1986, lot 781, related example illustrated.

Henry H. Stansbury, Lloyd J. Tyler: Folk Artist, Decoy Maker, Burtonsville, MD, 1995, p. 21, related example illustrated, p. 86, later example illustrated.

Joe Engers, ed., “Year in Review 2007,” Decoy Magazine, 2007, p.

12, hooded merganser illustrated.

$14,000 - $18,000

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283

283 Churchill Ettinger (1903-1984) Edge of the Clearing, 1966 signed “Churchill Ettinger” lower right watercolor, 13 3/4 by 20 in.

Depicting upland bird hunting, this vibrant watercolor shows Ettinger at his best.

PROVENANCE: Private Collection, Vermont

$1,500 - $2,500

284

284 Ruffed Grouse Sculpture copper, 11 1/2 by 9 1/2 by 9 1/2 in.

An intricately built metal sculpture on a wooden base with carved leaves.

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CHAUNCEY WHEELER 1888-1945 | ALEXANDRIA BAY, NY

285 Exceptional Flying Black Duck Chauncey Wheeler (1888-1945) Alexandria Bay, NY, c. 1925 23 in. long

This rare flying black duck model showcases the maker at his very best. The grand wall-mount body features three-piece laminate construction with a high lifted wing. The head, body, and wing are finished with Wheeler’s best stippled and blended paint. The head has especially fine paint detail and the carver’s signature eye groove. Original paint with minimal wear and small chip to wing tip.

LITERATURE: Harold W. Reiser III, Chauncey Wheeler, Lewes, DE, 2002, p. 99, related flyer illustrated and listed as the only black duck flyer known.

$10,000 - $15,000

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285

173

JOSEPH SIEGER 1871-1959 | TUSTIN, WI

286 High-Head Canvasback Drake Joseph Sieger (1871-1959) Tustin, WI, c. 1900 16 in. long

This hollow decoy is a superb early example featuring Sieger’s best work. Rigmates have been collected by the Abby Aldrich Rockefeller Folk Art Center and the O’Brien and McCleery Collections, among others. This decoy was selected for the Wisconsin Decoys special exhibition at the 2004 National Antique Decoy Show. Excellent original paint with even gunning wear including some appealing craquelure.

PROVENANCE: Gary Koebel Collection Private Collection LITERATURE: Joe Engers, ed. “Wisconsin Decoys,” Decoy Magazine, May/June 2004, exact decoy illustrated.

Ronald S. Swanson, The Decoy as Folk Sculpture, Cranbrook Academy of Art Exhibition Catalog, January 1987, p. 43, fig. 67, rigmate illustrated.

Beatrix T. Rumford and Carolyn J. Weekley, Treasures of American Folk Art, Boston, MA, 1989, p. 77, rigmate illustrated.

Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 63, lot 119, related example illustrated.

$20,000 - $30,000

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286

“A remarkable canvasback, part of a small rig by Joseph Sieger of Tustin, Wisconsin, is one of the finest figures ever discovered in the state. Its graceful proportions lend an alertness and elegance to the piece.”

— Ronald Swanson discussing a rigmate, 1987

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287 Outstanding Goldeneye Hen 287

Chauncey Wheeler (1888-1945) Alexandria Bay, NY, 1927 15 in. long

A refined whistler hen with excellent blended paint. This is one of the finest Wheeler goldeneye decoys known to exist. The underside is labeled and dated, 1927.

In describing a related hen diver, Mackey observes, “He never achieved such mastery in the painting of his drakes.” Excellent original paint with minimal wear.

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 107, hen plumage discussed.

$4,000 - $6,000

288 Early Turned-Head Canada Goose 288

John Cooper Reeves (1860-1896) Long Point, ON, c. 1880 22 in. long

A hollow goose carving with a rare turned head not often seen in this region. The thin bottom board is branded “W.L-S.” for hunter Wilton Lloyd-Smith, a member of the Long Point Company which was established in 1866. This flat-bottomed decoy was carved by the eldest son of Phineas Reeves (1833-1896). John worked at the Long Point Company as a guide, a carver, and its first bookkeeper. This refined bird is finished with stippled paint and wet feather blending. Early gunning paint with even wear, including age lines in tail and one on right wing.

PROVENANCE: Private Collection, New England

$4,500 - $5,500

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DAVID A. HAGERBAUMER

1921-2014

289

289 David A. Hagerbaumer (19212014)

Grouse, 1979 signed and dated “David Hagerbaumer 1979” lower right watercolor, 21 1/2 by 28 3/4 in.

This vibrant, large-scale Hagerbaumer masterwork reveals this artist at the apex of his abilities.

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DAVID A. HAGERBAUMER 1921-2014

290

291

292

293

290 David A. Hagerbaumer (1921-2014)

Pintails on a River Marsh, 1982 signed and dated “David Hagerbaumer 1982” lower left watercolor, 10 1/2 by 14 3/4 in. signed, titled, and inscribed “Having this small band of sprig decoy on a river marsh demanded a painting. On this coast, I am used to hunting pintail only in the vastness of our open tidal flats. This species wants elbow room. To have the flock work my mallard and teal spread was a rare and special encounter. Delphie & David Hagerbaumer” on back $1,000 - $1,500

291 David A. Hagerbaumer (1921-2014)

Mallards, 2002 signed and dated “David Hagerbaumer 2002” lower right watercolor, 11 by 15 in.

PROVENANCE: Private Collection, Georgia

$1,000 - $2,000

292 David A. Hagerbaumer (1921-2014)

Passing Flock, 1981 signed and dated “David Hagerbaumer 1981” lower right watercolor, 10 1/2 by 15 1/4 in. signed, titled, and inscribed “It is a balmy afternoon along the marshy bottoms of Big Maple ‘Crick,’ and the air is heavy with the sweet smells of Indian Summer. Three mallards loaf by on softly whistling wings in the company of a drake green-wing. Delphie & David Hagerbaumer” on back $1,000 - $1,500

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294

295

293 David A. Hagerbaumer (1921-2014)

Canada Geese, 1964 signed and dated “David Hagerbaumer 1964” lower right watercolor, 16 1/2 by 21 1/2 in.

PROVENANCE: Private Collection, Georgia

$1,000 - $2,000

294 David A. Hagerbaumer (1921-2014)

Woodcock, 1960 signed and dated “David Hagerbaumer 1960” lower right watercolor, 7 3/4 by 9 3/4 in.

PROVENANCE: Private Collection, Albany, Georgia

$1,000 - $2,000

295 David A. Hagerbaumer (1921-2014)

On the Outer Bar - Mallards and a Sprig, 1999 signed and dated “David Hagerbaumer 1999” lower left watercolor, 8 3/4 by 11 3/4 in. titled and inscribed “This was a favorite spot of mine in the thirties along the Mississippi above Hannibal, Missouri” by the artist on back PROVENANCE: Private Collection, Georgia

$800 - $1,200

296

296 Edward J. Bierly (1920-2004) Poor Bunny, 1992 signed “Bierly ©” lower right oil on board, 14 by 24 in. titled and dated on back

297

Born in Buffalo, New York, in 1920, Edward Bierly had an early interest in art and the outdoors. After serving in World War II, he studied fine art at the University of Buffalo. Bierly has three Federal Duck Stamps to his name, across three decades. He was an exhibits designer for the National Park Service for many years before retiring in 1970 to paint full-time. He was a member of the Society of Animal Artists and sold works through Abercrombie & Fitch in New York. “Poor Bunny” ranks among Bierly’s best work.

LITERATURE: John Orelle, The Red Fox in Art, LaConner, WA, 2012, p.

180, illustrated.

$2,000 - $4,000

297 Garnet Bancroft Fox (1890-1977) Eager for Action, 1931 signed “G.B. Fox” lower right oil on canvas, 30 by 24 in.

G.B. Fox was the nephew of the Philadelphia artist and illustrator R. Atkinson Fox (1860-1935).

PROVENANCE: Baumgarth Company, South Bend, Indiana Private Collection, Texas

$1,000 - $2,500

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CHET RENESON B. 1934

298

298 Chet Reneson (b. 1934)

299 Chet Reneson (b. 1934)

Chet Reneson graduated from the University of Hartford, Connecticut, in 1960. Reneson’s art teacher, Henrik Mayer, emphasized the importance of simplicity and taught the values of light, dark, and strong. This laid the foundation for Reneson’s unmistakable style. For the past fifty years, Reneson’s painting has remained true to his early mentor’s teaching, encompassing many subjects, including wildlife, duck hunting, upland bird shooting, big game fishing, fly fishing, and Bahamian scenes.

Reneson’s work has graced the covers of Sporting Classics, Gray’s Sporting Journal, and Sports Afield, among others. He is a past member of the Connecticut Watercolor Association and the Old Lyme Art Association. He was the Ducks Unlimited Artist of the Year in 1982, the Atlantic Salmon Federation Artist of the Year in 1982 and 2001, and the Bonefish & Tarpon Trust Artist of the Year in 2018. There are two books published on Reneson’s work, Shadow on the Flats and The Watercolors of Chet Reneson.

A classic Reneson “snowy-blowy” shooting Canada goose in a field.

Bonefishing signed “Reneson” lower right acrylic on board, 21 by 35 1/4 in.

$5,000 - $7,000

180

Farm Hunt signed “Reneson” lower right acrylic on board, 21 3/4 by 35 in.

$5,000 - $7,000

300 Chet Reneson (b. 1934) Hillside Cover - Grouse signed “Reneson” lower left acrylic on board, 20 3/4 by 35 in.

This vibrant fall scene captures an English setter, a hunter, and a ruffed grouse flushing out into the field across a stone wall. $5,000 - $7,000

CHET RENESON

B. 1934

299

300

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301 James L. Morgan (b. 1947) Down Time, 1997 signed “Jim Morgan ©” lower right oil on canvas, 12 by 18 in.

301

Morgan’s sublime use of dappled light is on full display in this expertly rendered oil capturing two work horses at rest. $3,000 - $5,000

302 Harold Arthur Streator (1861-1926) Coastal Scene signed “H A Streator” lower left oil on canvas, 20 by 16 in.

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302

THOMAS AQUINAS DALY

B. 1937

303

303 Thomas Aquinas Daly (b. 1937) A November Snow signed “TADaly” lower right watercolor, 13 by 19 1/4 in.

304

This exceptional Daly work depicting white-tailed deer reveals the artist at the height of his powers. $3,000 - $5,000

304 Thomas Aquinas Daly (b. 1937) North Country Pond, 2009 signed “TADaly” lower right watercolor, 11 1/2 by 17 1/4 in.

This classic Daly trout fishing watercolor showcases the artist’s mastery and command of his medium. $2,000 - $4,000

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305 Sydney Richmond Burleigh (1853-1931) Crab Fisherman signed “S.R. Burleigh” lower left watercolor, 21 1/2 by 29 3/4 in.

305

306 Hollis Williford (1940-2007) Rivers Gold signed “Hollis Williford” on base bronze, 16 by 4 1/4 by 12 in. edition 17 of 30

306

PROVENANCE: Private Collection, Indiana

$800 - $1,200

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307 Kent Ullberg (b. 1945) Herons signed “Ullberg” on side bronze, 17 by 9 by 7 in. edition 9 of 20

Sweden native Kent Ullberg is recognized as one of the world’s foremost wildlife sculptors. He studied at the Swedish University College of Art in Stockholm and worked at museums in Europe, Africa, and Denver, Colorado. After living in Botswana for seven years, he has made his home in Texas and Colorado. Ullberg is a member of numerous art organizations and has been honored with many prestigious awards. In 1990 his peers elected him a full Academician. A selection of his memberships includes the National Sculpture Society, the American Society of Marine Art, and the Allied Artists of America.

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185

OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

308 Exceedingly Rare Willet Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 13 1/2 in. long

A shorebird that is often seen alone in the wild, the willet decoy is far less common than curlew and plover, making it highly sought after by decoy collectors. As a Verity willet, this decoy may be unique. Legendary decoy dealer Bud Ward understood this significance of this important find and placed the decoy with one of his top collectors.

On the topic of Long Island shorebird decoys, author Jeff Waingrow writes in American Wildfowl Decoys, “Almost any shorebird from the area [Seaford] is highly collectible, for as most advanced collectors will agree there was a consistently high standard set in that small town that knows no equal in the entire world of decoys.” The Verity name is literally synonymous with the sporting mecca of Seaford, having at one time been called Verity Town. The virtual absence of willet found in publications makes this decoy of particular note.

Aside from rarity, the form of this willet places it among Verity’s best patterns. The elegant design, excellent paint, and raised wings all work in unison. The carver’s raised-wing treatment is broadly known to have an S-curve at the front of the wing and a sharp V-form at the wing-tip resolution.

This rare example is among the finest decoys to survive the intense hunting conditions of the famous sporting destination.

The surface is finished with the artist’s tight stippled paint and

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is lightly struck by the Seaford hallmark, shot. Unlike nearly all other Veritys, this decoy showcases the maker’s signature feathering from top to bottom and head to tail. The brown areas are finished with overlaid white and black stippling, and the cream areas on the breast are overlaid with black stippling, giving the bird extra depth. This grand willet is the size of the maker’s curlew, with perfect flowing lines, and feels great in the hand. This Seaford jewel may be Verity’s only existing willet decoy known. Excellent original paint with light even gunning wear, hairline crack in tail, slight discoloration around stick hole, replaced bill, and two small holes in tail.

PROVENANCE: Bud Ward Collection Private Collection, New York, acquired from the above LITERATURE: Timothy R. Sieger and Dr. Cynthia Byrd, The Decoys of Long Island, Water Mill, NY, 2010, no Verity willet illustrated.

Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 43, no Verity willet illustrated.

$50,000 - $70,000

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OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

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309 Peep

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 7 1/4 in. long

A classic Seaford beach bird with red and black stippling. The underside is struck with a “JB” rig brand. A rigmate to lot 11 in this sale. Original paint with light gunning wear, restoration to crown of head and left shoulder area. $7,000 - $10,000

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JOHN DILLEY

QUOGUE, LONG ISLAND, NY

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310 Early Split-Tail Willet

John Dilley Quogue, Long Island, NY, c. 1890 12 1/2 in. long

In 1890 Squires, a New York City sportsmen’s supply store on Broadway owned by Henry C. Squires, published an overthe-top catalog featuring several decoy varieties listed for sale, including some known to be Dilleys. The Squires catalog describes the Dilley offerings as “Snipe decoys, hand-made, shaped and painted from life; the finest decoys ever produced; can be furnished only in limited quantities.” Snipe was a catchall term used by hunters for all shorebirds. It is noteworthy that the $12 per dozen price was 300% higher than other makers’ “Snipe decoys” that Squires offered for sale. Over a century later, top decoy hunters still place a premium on Dilleys, considering his decoys to be among “the finest ever produced.”

Indeed, when referring to Dilley shorebirds in American Bird Decoys, Mackey states, “There is no question that the detailed, stylized painting is unsurpassed. They are beautiful examples from the hand of a fastidious workman.”

Starting with clean lines and a solid form, Dilley applied some of the finest representations of plumage ever demonstrated.

Using his exceptional brush technique, he was able to imply detail without carving or painting every feather.

The rarity of this grand willet, along with its exceptionally long and thin neck, excellent paint, and split-tail carving, place it in the upper echelon of Long Island decoys. Original paint with light gunning wear, some touch-up to head, and replaced bill.

PROVENANCE: Bud Ward Collection Private Collection, New York, acquired from the above LITERATURE: Henry C. Squires, Descriptive Catalogue and Price-list of Sportsmen’s Supplies, New York, NY, 1890, p. 52, snipe decoys listed.

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

84, related example illustrated.

$25,000 - $35,000 189

311 Yellowlegs 311

John Dilley Quogue, Long Island, NY, c. 1890 11 1/2 in. long

This early split-tail carving features the intricate feathering for which Dilley is known. The underside bears the Kramer Collection ink stamp.

Original paint with light gunning wear, a chip to tail, some touchup to head, and a replaced bill.

PROVENANCE: Dr. Morton D. Kramer Collection Private Collection LITERATURE: Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 7, maker discussed.

$3,000 - $5,000 312

312 Rare Peep

John Henry Verity (1788-1866) Seaford, Long Island, NY, c. 1840 7 1/2 in. long

An exceedingly early American bird carving. This rare and distinct little bird’s form is exquisite and shows the mastery of one of the region’s decoy originators as seen on the maker’s curlew. This bird has stippling seen on the breast. This feather treatment is not seen on the later works of Obediah. Early working paint with gunning wear. Bill may be original. $3,000 - $5,000

313 Yellowlegs

Long Island, c. 1900 10 1/2 in. long 313

A plump decoy with an applied head. Original paint with gunning wear and some fill and touch-up, replaced bill, paint drip on underside. $600 - $900

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314 Merganser Pair

Bay Shore, Long Island, NY, c. 1900 17 1/2 in. long

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A sleek swimming pair from the Great South Bay. Each has a deep incised “B” on the underside which may be for a member of the Baldwin family. The drake retains its horsehair crest.

Describing a related drake, Mackey observes, “The mergansers of Long Island parted company with the more conventional models. This racy Red-breast Merganser decoy from Great South Bay has a crest of horsehair. It is very rare.” Original paint with gunning wear, each has a check along the underside.

PROVENANCE: Burt Campbell Collection Private Collection LITERATURE: William J. Mackey Jr., American Bird Decoys, New

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York, NY, 1965, p. 104, related drake illustrated. $3,000 - $5,000

315 Bluebill

Verity Family Seaford, Long Island, NY, c. 1900 12 in. long

Excellent stippling is found across the back. Old Verity paint with even gunning wear.

316 Bluebill Pair

Andrew “Grubie” Verity (1881-1976) Seaford, Long Island, NY, c. 1945 12 1/2 in. long

A pair of classic Long Island bluebills with balsa bodies.

Original paint with light gunning wear. Drake has tight age lines at top and base of head and old second coat of black.

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PROVENANCE: Bud Ward Collection Private Collection

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RALF COYKENDALL SR. 1890-1968 | STRATFORD, CT

“The best decoy Ralf Coykendall ever made.”

— Donal C. O’Brien Jr.

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317 The O’Brien Coykendall Mallard

318 Ringnecked Duck

This carving is signed “R.W.C.” and bears the O’Brien Collection stamp on the underside. This decoy was featured as the lead bird in the article on the maker in Decoy Collector’s Guide.

In original paint with minimal wear.

A rare species of decoy by this legendary decoy collector with carved bill detail, glass eyes, and a streamlined body with comb-painted sides. This decoy was illustrated in the November 1983 issue of National Geographic magazine. The underside is signed by Barber where keel has been removed.

Original paint with minor flaking, gunning wear, and an age line in neck.

Ralf Coykendall Sr. (1890-1968) Stratford, CT, c. 1945 18 1/2 in. long

PROVENANCE: Donal C. O’Brien Jr. Collection Private Collection, Georgia LITERATURE: Peter Johnson and Alf Wannenburgh, The World of

Shooting, Lausanne, Switzerland, 1987, pp. 259-261, exact decoy illustrated.

Hal Sorenson, “Ralf Coykendall,” Decoy Collector’s Guide, 19631965, p. 20, exact decoy illustrated. $6,000 - $9,000

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Joel D. Barber (1876-1952) Wilton, CT, c. 1920 15 in. long

PROVENANCE: Private Collection, New Jersey Private Collection LITERATURE: George Reiger, “Humble Masterpieces: Decoys,” National Geographic, November, 1983, p. 642, exact decoy illustrated.

$1,200 - $1,800

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319

319 Tucked-Head Goldeneye Benjamin Holmes (1843-1912) Stratford, CT, c. 1880 13 in. long

A charming hollow whistler drake which relates closely to William J. Mackey’s widely published Sanford rig decoy which was painted by Shang Wheeler. Old working paint with heavy gunning wear including some flaking to wood.

LITERATURE: Henry C. Chitwood, Connecticut Decoys, West Chester, PA,

1987, p. 42, closely related decoy illustrated. $1,500 - $2,500

320 Tucked-Head Canvasback Drake Stratford School, CT, c. 1880 13 in. long

A snuggle-head canvasback used at the Currituck Shooting Club.

Bush’s painted inscription is displayed on the underside. The duck’s right side bears the museum identification code “A51.74” in red paint. A mix of original and early gunning paint with gunning wear.

PROVENANCE: Currituck Shooting Club Walter L. Bush Collection Collection of a New York City Museum, acquired from the above in 1953

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321

LITERATURE: Dixon MacD. Merkt, Shang: A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, front dust-jacket cover and p. 66, related sleeping goose illustrated.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, back dust jacket cover and p. 84, related sleeping goose illustrated.

Old State House, Shang Wheeler and the Housatonic Decoy, exhibition catalog, Hartford, CT, 1983, related sleeping goose illustrated.

321 Canvasback Drake

Stratford School, CT, c. 1880 13 1/2 in. long

A hollow canvasback drake used at the Currituck Shooting Club. Bush’s painted inscription is displayed on the underside.

The duck’s right side bears the museum identification code “A51.72” in red paint. Branded “F.B.A.” on the underside. A mix of original and early gunning paint with gunning wear and damage to a reset bill.

PROVENANCE: Walter L. Bush Collection Collection of a New York City Museum, acquired from the above in 1953 LITERATURE: Dixon MacD. Merkt, Shang: A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, front dust-jacket cover and p. 66, related sleeping goose illustrated.

Old State House, Shang Wheeler and the Housatonic Decoy, exhibition catalog, Hartford, CT, 1983, related sleeping goose illustrated.

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CHARLES "SHANG" WHEELER 1872-1949 | STRATFORD, CT

322 Wood Duck Pair

Charles “Shang” Wheeler (1872-1949) Stratford, CT, c. 1940 14 in. long

An extremely rare, preening wood duck drake and a turnedhead hen. The pair exhibits carved bill detail, glass eyes, delicate crests, and raised wing tips. This pair was selected

by Henry Chitwood to be featured in his book on Connecticut decoys to show Shang’s “most elaborate decorative carving.”

In 1923 Wheeler arrived on the competition-carving scene with a bang. A newly formed conservation group led by Joel Barber called the Anti-Dusker Society sponsored one of the first decoy shows in the country in Bellport, Long Island. A carving competition held at the event was aimed at hunters in attendance to further advance the concept of shooting over decoys.

The inaugural event attracted amateur and professional carvers from near and far, and it was Wheeler who took home top amateur honors. Joel Barber stated that Wheeler’s model had demonstrated “the highest development yet reached in the American art of decoy carving.” According to authors Merkt and Lytle, “Wheeler carted off first prize at Bellport because he had introduced a new style to decoy painting.”

This preening drake displays many of the elements that top Wheeler collectors look for. The head is artfully and accurately turned around from the right side of the breast and is topped with a pronounced crest. The accurately presented bill is heavily incised and shoots across the bird’s back,

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touching down between the raised wings. The bird’s overall proportions and intricate combed paint are spot-on. The hen has a gently turned head and is executed with as much care as the drake, rounding out this impressive pair.

Due to Wheeler’s immense popularity in his own time, his decoys were in high demand and made their way up and down the Atlantic Coast. One rig was used on South Carolina’s Cooper River, which flows along the northern shore of Charleston.

These were once owned by a top Southern collector from Virginia known for his wood ducks. In original paint with minor wear, the hen has a few tight age lines.

PROVENANCE: Private Collection, Virginia Private Collection, Midwest Private Collection, Cape Cod LITERATURE: Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 72, exact pair of decoys illustrated.

Charles E. Wheeler and Eugene V. Connett, ed., Duck Shooting Along the Atlantic Tidewater, New York, NY, 1947, p. 73.

$20,000 - $30,000

322

195

CAPT. MERRITT P. PINKHAM 1861-1947 | SEGUIN ISLAND, ME

323

323 Rockefeller Eider Pair

Capt. Merritt P. Pinkham (1861-1947) Seguin Island, ME, c. 1900 23 in. long

A pair of oversize Down East sea duck decoys with black glass eyes and inletted heads. The underside of the drake bears the inked inscription “Northern Eider by Captain Pinkham Seguin Island, ME.” Merritt Pinkham was the lighthouse keeper on Seguin Island in Maine, the state’s second oldest lighthouse. He was on duty during the Great Storm of 1898 when a schooner shipwrecked on the island. According to Dr. George Ross Starr Jr. of Duxbury, MA, Pinkham salvaged the boat’s pine spars and carved this eider rig out of the wood.

The underside of the hen bears David Rockefeller’s collection identification number DR54.3264.2 and drake has DR54.3263.1. Original paint with gunning wear, including a few tight cracks in each bird, old stabilizing nails under drake’s bill.

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PROVENANCE: Dr. George Ross Starr Jr. Collection Donal C. O’Brien Jr. Collection Peggy and David Rockefeller Collection Private Collection, North Carolina LITERATURE: Christie’s, The Collection of Peggy and David Rockefeller, New York, NY, May 10, 2018, lot 1039, exact pair illustrated.

George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974.

$6,000 - $9,000

WILLIE ROSS

1878-1954 | CHEBEAGUE ISLAND, ME

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324 Red-Breasted Merganser Drake Willie Ross (1878-1954) Chebeague Island, ME, c. 1910 16 1/2 in. long

This exact decoy was selected for a two-page spread in John Dinan’s Maine chapter of The Great Book of Wildfowl Decoys.

The caption reads, “Merganser by Willie Ross. This superb shelldrake illustrates Ross’s ability to create a graceful decoy using simple lines.” This decoy is constructed with an inletted head which retains remnants of its replaceable horsehair crest.

Original paint with light gunning wear, a restored bill, and faint age line in neck.

PROVENANCE: Ronald Swanson Collection Stephen H. Churchill Collection Private Collection LITERATURE: Joe Engers, ed.,The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 30-31, exact decoy illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1981, pp.

35 & 40, related example illustrated.

EXHIBITED: Virginia Beach, VA, Mid-Atlantic Wildfowl Festival, 1980

$8,000 - $10,000

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325

325 Oversize Scoter

Augustus “Gus” Aaron Wilson (1864-1950) South Portland, ME, c. 1900 24 in. long

A grand Monhegan Island model monolith with raised wings. This rare seaduck decoy was carved on the scale of a Canada goose. In addition to an inletted head, inlaid patches were applied by the maker to stabilize the large body. In old working paint with heavy gunning wear, including age lines, imperfections to wood, and old chip to left side and tail. $2,500 - $4,500

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326 High-Head White-Wing Scoter 17 1/2 in. long

An animated Down East scoter with elliptical eyes, a special head-perched-uponneck construction, and incised tail-feather detail. Two dowels run through the broad multi-piece body. Original paint with even wear, chips to tail and base of neck. $2,000 - $3,000

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GEORGE H. BOYD

1873-1941 | SEABROOK, NH

327

327 Gen. Patton Rig Canada Goose George H. Boyd (1873-1941) Seabrook, NH, c. 1920 26 3/4 in. long

In 1910 future World War II General George S. Patton (18851945) married Beatrice Ayer, in Beverly Farms, Massachusetts.

Together they owned a farm in nearby Hamilton, where his son (1923-2004) lived and his daughter-in-law still resides. In the summer of 1923, Patton was assigned to the General Staff Corps in Boston. At that time, Patton purchased a rig of goose decoys from George Boyd. A few years later, he was transferred to Schofield Barracks in Hawaii. His goose decoys were given to his cousin, William Gordon “Gus” Means.

Means was born in Boston in 1884. In 1906 he graduated from Harvard University and joined the ranks of the university’s sportsmen and sporting authors. After college Means settled north of Boston in Beverly, Massachusetts. In 1941, he authored My Guns and in 1953 wrote My Bird Dogs and Hounds.

Both were recollections of his earlier sporting exploits.

This fine example bears the “W. G. MEANS” rig brand and exhibits a high head and a stretched-canvas body. Original paint with gunning wear, slight darkening to canvas, minor touchup to reset bill.

PROVENANCE: General George S. Patton Rig, acquired from the maker William Gordon “Gus” Means Rig, acquired from the above Private Collection LITERATURE: Jim Cullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941, Rye, NH, 2009, pp. 49 and 50, rigmate illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1980, p. 41, similar decoys illustrated.

Copley Fine Art Auctions, The Sporting Sale 2013, July 31, 2013, lot 129, rigmate illustrated.

$6,000 - $9,000

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328

328 Black Duck

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1925 16 1/2 in. long

Black duck decoys were Crowell’s signature species and The Magazine Antiques cemented the iconic status of the maker’s black duck when they chose a raised-wing example for their September 1989 cover.

This carving hails from the rig of W. H. Wood. He hunted over it, though apparently very little, with his sons on the “sweet water” of Wellfleet’s Great Pond. This gunning service is evidenced by the pellet still imbedded in one cheek. The back of head and breast display the maker’s signature rasp treatment.

The underside bears the Crowell oval brand. Excellent original paint with light gunning wear, touch-up at neck seam of reset head.

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PROVENANCE: W. H. Wood Rig Private Collection, Georgia LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp.

232-233, black ducks illustrated.

$2,500 - $3,500

329 Wigeon Drake

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1905 15 1/2 in. long

330

129

A rare Crowell species showcasing some of his earliest carved feather features, including distinct tail carving, crossed wing tips and extensive gouged texturing over the scapulars. The underside bears “C. W. WHITTIER” and “CWW” rig brands.

Original paint with gunning wear down to the wood in places and a replaced bill.

PROVENANCE: C. W. Whittier Rig Private Collection, Cape Cod

330 Black Duck

Joseph W. Lincoln (1859-1938) Accord, MA, c. 1915 18 1/2 in. long

This grand Lincoln black duck displays an S-shaped carved head and breast that flows into delineated shoulder carving towards its perfectly rounded tail. The paint is notable for its tight stippling on the head and feathering on the back. Original paint with gunning wear, mostly to the lower portion of the bird.

Typical Lincoln crack to heartwood along the underside.

PROVENANCE: Dale W. Farrell Collection LITERATURE: Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 93, closely related example illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1981, p.

133, rigmate illustrated.

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A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

331

331 Early Redhead Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 15 in. long

An early, pre-brand redhead hen with all of the features found in Crowell’s best early waterfowl decoys. The full body has crossed raised primaries, incised tail carving, a turned head finished with rasped detail, and the maker’s wet-on-wet blended paint.

Crowell redheads are not common, making this raised-wing hen an exceptionally rare find. Indeed, no related hens are illustrated in either of the publications dedicated to the maker. This decoy is likely from the rig of early Crowell patron F. Prescott Fay, a Martha’s Vineyard hunter who was also known to have decoratives by the maker. Related examples are believed to be held by two Massachusetts institutions. Original paint with gunning wear. Minor touch-up to neck seam and to one small spot between wing tips and tail.

PROVENANCE: Private Collection, Massachusetts LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 68 and 70, related smooth-wing pair and carved-wing drake illustrated.

George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, color plate 19, related pair with heavy wear illustrated, p.

157, Fay rig discussed.

Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, p. 65, related drake and oversize pair illustrated.

$18,000 - $24,000

201

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

332

332 Greater Yellowlegs Head A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 9 1/4 in. long by 5 in. tall

A rare decorative carving by Crowell, carved in the round and with incised bill detail and strong blended paint. The carving has been attached to a wall-mount board. Original paint with light wear.

PROVENANCE: Alan Haid Collection Private Collection LITERATURE: Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, pp. 84, 115, and 118, related heads illustrated and discussed.

$2,000 - $3,000

333 Half-Size Tern 333

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 6 1/2 in. long

The underside of the base is marked with the maker’s rectangular stamp. Original paint with minimal wear, small spot of touch-up on right side of head, and minor restoration to wing and tail tips.

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 38.

LITERATURE:

$3,000 - $4,000

129

334

334 Half-Size Mallard Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 13 in. long

This turned-head drake with bill carving and pronounced breast bears Crowell’s rectangular stamp twice on the underside. When this decoy was made, mallards were not as prevalent along the Atlantic Flyway, as is evidenced by their scarce representation as decoys along the East Coast. Original paint with minimal wear and touch-up at neck seam.

LITERATURE: Copley Fine Art Auctions, The Sporting Sale 2006, July 26 & 27, 2006, p. 61, lot 115, exact carving illustrated.

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ELISHA BURR

1839-1909 | HINGHAM, MA

335

335 Running Black-Bellied Plover in Spring Plumage Elisha Burr (1839-1909) Hingham, MA, c. 1880 11 1/2 in. long

A master at capturing the postures of live birds, many of Elisha Burr’s works were carved in animated poses with complex wing and tail treatments as seen in this darting model. This dynamic example also showcases the artist’s best paint with lively, yet deliberate, feathering laid on a softly blended back.

Glass eyes are set under crisp brows. Excellent original paint with even gunning wear, patch of fill with restoration around stick hole.

PROVENANCE: Alan Haid Collection Private Collection LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 88, pl. 69, related example illustrated.

$8,000 - $12,000

203

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

336 Rare Mallard “Call Duck” A. Elmer Crowell (1862-1952) East Harwich, MA, 1939 16 in. long

A very rare mallard mantle carving featured in Elmer Crowell: Father of American Bird Carving. Call ducks were imported from England beginning in 1874. These bantam-sized waterfowl were bred to hail in wild ducks with their call. Used during the days of “live” decoy hunting, these ducks were frequently revered by their owners for their ability to attract wild fowl.

In fact, Crowell’s important patron, John C. Phillips, penned a poem called “Crowell’s Lament” about an instance in which the maker inadvertently killed his own live decoy.

The highly involved paint detail of this piece suggests that Crowell, a well-regarded gamekeeper and breeder of waterfowl, used a live decoy as a model.

Crowell’s life-size standing waterfowl of any species are rare, with the mallard among the rarest. This turned-head example displays an inquisitive pose with a finely carved bill, painted

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tack eyes, and rasp detail. The body has raised wings and the finely crafted legs and feet rest atop a contoured carved “rock” base. The carving is signed in ink on the underside “A. E. Crowell, Cape Cod, 1939” and struck twice with his rectangular stamp. Original paint with a minor age line in neck, some craquelure mostly on breast and base, and minor touch-up to thigh putty.

PROVENANCE: Private Collection, Cape Cod Private Collection, Connecticut LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 171, exact carving illustrated, p. 283, related carving illustrated atop signpost in front of restored workshop.

$20,000 - $30,000

336

205

337

338

337 Folding Hollow Yellowlegs Massachusetts, c. 1910 11 in. long

An exceptionally rare shorebird decoy with a removable head and bill. The body seam is hinged on the belly and latched on the back. The head and bill can be stored inside the hollow of the body for protection from breakage. Both Adele Earnest and William J. Mackey Jr. were taken with these birds, each illustrating rigmates in their seminal publications.

The underside retains the “NELSON” Collection stamp. Original paint with minor gunning wear.

339

340

A golden plover in a rare running pose with a split tail and green stippled paint along the back. This shorebird with its reaching pose is among the best executions by the talented Vineyard carver. Original paint with gunning wear, including some flaking mostly to left side, and chipping to wing tips.

PROVENANCE: Donal C. O’Brien Jr. Collection

$2,000 - $3,000

339 Yellowlegs

Charles W. Thomas (b. 1875) Assinippi, MA, c. 1900 10 3/4 in. long

PROVENANCE: Grant Nelson Collection LITERATURE: Adele Earnest, The Art of the Decoy, West Chester, PA,

1965, p. 105, pl. 94, rigmate decoy illustrated.

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

43, pl. 21, rigmate illustrated.

Richard W. Oliver Auction Gallery, An Auction of American Bird Decoys at Easton, Maryland, November 6-7, 1985, lot 344, exact decoy illustrated.

Dr. Starr collected this shorebird as well as a plover by Thomas. This tack-eyed, split-tail shorebird has the Starr Collection “fan” ink stamp on the underside. Original paint even gunning wear, light flaking on left side and top of head, replaced bill.

PROVENANCE: Dr. George Ross Starr Jr. Collection Private Collection

$1,500 - $2,500

338 Running Golden Plover

E. Frank Adams (1871-1944) West Tisbury, Martha’s Vineyard, MA, c. 1910 11 in. long

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LITERATURE: George Ross Starr Jr., M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, p. 73, fig. 24, related plover illustrated.

$800 - $1,200

340 Golden Plover

Nantucket, MA, c. 1870 11 in. long

341

An oversize decoy which has been hollowed with a rectangular cut-out bottom and a hole on the top suggesting it was made as a “wind bird.” This decoy also has a hole on the underside so that it could also be used as a traditional stick-up decoy. Old paint appears to be original with heavy gunning wear and some very small holes mostly along the back.

PROVENANCE: Donal C. O’Brien Jr. Collection

$1,000 - $2,000

341 Rare Golden Plover

E. Frank Adams (1871-1944) West Tisbury, Martha’s Vineyard, MA, c. 1910 9 in. long

One of the finest Vineyard shorebird known with strong stippled paint and an “O.S.M.” rig brand, likely designating a member of the Stanley Murphy family, on the underside.

Stanley Murphy authored Martha’s Vineyard Decoys, published by David R. Godine in 1978. An excellent example by this talented Vineyard maker. Original paint with light gunning wear and old bill-tip replacement.

342

PROVENANCE: Jim and Robin Collins Collection, acquired from Bourne auction in 1979

$2,000 - $3, 000

342 Hollow Yellowlegs Pair Massachusetts, c. 1870 13 in. long

A greater yellowlegs pair with split wings and tight vertical body seams. As shorebirds, their meticulous hollow construction may connect them to the island of Nantucket.

Old working paint with gunning wear and wing tip chips.

343

343 Rare Dropped-Thigh Black-Bellied Plover Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 11 in. long

A rare form with dropped thighs and a sharp chine on the wing tips. Original paint with even gunning wear and possible touch-up to bill.

PROVENANCE: Cap Vinal Collection Private Collection

William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 87, related yellowlegs illustrated. $2,500 - $3,500

207

344

345

344 Swimming Black Duck W. H. Parker Nantucket, MA, c. 1900 20 in. long

A rare swimming Nantucket duck decoy in an animated posture and appealing craquelure. The weight is stamped “W. H. PARKER.” It also retains two collectors’ notes on a white sticker on the bottom. Interestingly enough, though Nantucket is regarded as one of the top regions for shorebird decoys, very few waterfowl decoys of note are known to have surfaced from the island. In old gunning paint with even wear and a tight crack in neck.

PROVENANCE: W. H. Parker Rig Lottie Pitman Collection Private Collection, Massachusetts

$1,200 - $1,800

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345 Mackey Swimming Merganser Pair Cape Cod, MA, c. 1880 19 in. long

Both bear the Mackey Collection stamp on the underside.

Original paint on the drake and working paint on the hen. Heavy gunning wear including some cracks and chips. Filled chip to half of hen’s tail and at base of bill.

PROVENANCE: William J. Mackey Jr. Collection Private Collection LITERATURE: St. Paul, Minnesota, American Bird Decoys Selected from the Collection of William J. Mackey Jr., St. Paul Art Center Exhibition Catalog, September 28-November 12, 1967, lot 142, closely related example illustrated.

$6,000 - $9,000

346

347

348

349

346 Yellowlegs Weathervane

348 Plaque with Miniature Flying Mallards

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

A plaque with five drake mallards and a black duck using variation in scale to suggest depth. Original paint with light wear, age lines and wing chip in black duck, and touch-up to two other wings.

A. Elmer Crowell (1862-1952)(attr.)

East Harwich, MA, c. 1925 15 1/2 in. long

PROVENANCE: Private Collection, Cape Cod LITERATURE: Brian Cullity, The Songless Aviary: The World of A. E.

Crowell & Son, Hyannis, MA, 1992, p. 105, related weathervane illustrated. $2,500 - $3,500

Charles Hart (1862-1960) Gloucester, MA, c. 1930 16 in. tall, 19 1/2 in. wide

349 Plaque with Flying Mallard Drake Charles Hart (1862-1960) Gloucester, MA, c. 1930 13 3/4 in. tall, 18 3/4 in. wide

A flying mallard carving mounted on a wooden plaque.

Original paint with light wear.

347 Standing Wood Duck Drake c. 1930 12 in. long

An early decorative wood duck with raised and incised wing tips and a thin paddle tail. This carving is very reminiscent of the Burr family from Hingham, Massachusetts. As found. $2,000 - $3,000

209

350

351

350 Two Bufflehead Hens

351 Canada Goose

A pair of “butterball” hens made from Jester’s cottonwood supply. The smaller bird is signed by the maker. Original paint with light gunning wear.

A high-head Ward goose with a slightly uplifted head and tail and what appears to be a “DBB” brand in the underside. The decoy retains a thick Havre de Grace gunning repaint. As found.

Doug Jester (1876-1961) Chincoteague, VA, c. 1920 11 1/2 in. long

$2,000 - $3,000

210

L. Travis Ward Sr. (1863-1926) Crisfield, MD, c. 1915 22 in. long

PROVENANCE: Seth Shannahan Jewell Collection Private Collection

352 Ruddy Turnstone or “Sea Robin” “Fieldy” Dize Crisfield, MD, c. 1900 10 1/2 in. long

352

A rare Crisfield shorebird with a plump body and thin paddle tail. A collector’s note written on the underside identifies the species, location, and the year the bird was collected. Original paint with light gunning wear.

PROVENANCE: Acquired in 1959 in Crisfield, Maryland Private Collection, Maryland

$1,500 - $2,500

353 Running Robin Snipe Virginia, c. 1880 12 in. long

353

Inscription on underside displays the museum identification code “A51-174” in red paint. Old paint with heavy gunning wear and a replaced bill.

PROVENANCE: Walter L. Bush Collection Collection of a New York City Museum, acquired from the above in 1953 Private Collection

354 Lesser Yellowlegs

Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1910 9 3/4 in. long

354

A classic Hudson form with a plump belly and thin reaching neck. The petite scale of this decoy is less common for the maker. Original paint with gunning wear, replaced bill with touch-up to face, flattened on bottom, and old putty fill to tail.

LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Chincoteague Carvers, Lewes, DE, 2002, p. 140, similar decoys illustrated.

211

355

356

355 Black-Bellied Plover

Joel Barkalow (est. 1853-1931) Forked River, NJ, c. 1890 8 in. long

This decoy displays a similar dropped-head position to the willet featured in Doherty’s Classic New Jersey Decoys. Original paint with gunning wear, a small hole drilled in one side, an area under the tail was left partially unpainted.

PROVENANCE: Alfred Ely Collection Private Collection, by descent from the above Private Collection LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 171, pl. 368, related willet illustrated.

Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 147, lot 371, related willet illustrated.

$800 $1,200

356 Minnow-In-Throat Yellowlegs Harry B. Boice (1880-1966) Pleasantville, NJ, c. 1910 12 1/2 in. long

Original and working paint with gunning wear, some wear to wood, and a three-quarter bill replacement.

212

357

358

PROVENANCE: Gary N. Giberson Collection Brian Hartmann Collection Private Collection

$800 - $1,200

357 Plover in Spring Plumage Harry V. Shourds (1860-1920) Tuckerton, NJ, c. 1890 10 in. long

This black-bellied plover is inscribed on the underside “Black-Bellied Plover — C.T. Sprague, Beach Haven, N.J.” Sprague appears to have painted and signed the decoy. In Sprague gunning paint with even wear.

358 Plover in Winter Plumage Harry V. Shourds (1860-1920) Tuckerton, NJ, c. 1890 9 1/2 in. long

This black-bellied plover is inscribed on the underside “(Female) Black-Bellied Plover By C.T. Sprague, Beach Haven, N.J.” Sprague appears to have painted and signed the decoy. In Sprague gunning paint with even wear.

359

360

359 Pintail Drake

Mitchel Lafrance (1882-1979) Phoenix-Davant, LA, c. 1935 18 in. long

A classic Lafrance decoy showing the refinements of his fellows Charles Numa Joefrau (1913-1983) and George Frederick Jr. (1907-1977). “L.S. BONCK” is stenciled on the underside. Original paint with light gunning wear and restoration to neck and half of bill tip.

360 Feeding Mallard Hen

Missippi River, Louisiana, c. 1945 13 1/2 in. long

A feeding mallard hen with distinct rocking-horse form. The deep-V underside bears a “W.M.S.” stamp. Old paint with gunning wear.

PROVENANCE: Ed Johnson Collection Private Collection LITERATURE: B. Cheramie, Louisiana Lures and Legends, Golden Meadows, LA, 1997, p. 182-183, makers discussed and pintails illustrated.

$3,500 - $4,500

213

WILLIAM LOHRMANN 1890-1955 | PEORIA, IL

361

361 Pintail Pair

William Lohrmann (1890-1955) Peoria, IL, c. 1925 19 in. long

A rare pair of hollow pintails made by Lohrmann out of white pine. According to authors Paul W. Parmalee and Forrest D. Loomis, “Freshly killed waterfowl served as models for his intricate feather pattern.” The effectiveness of this technique is evident in the exceptional feather comb paint on the drake.

This sleek couple represents one of the finest Lohrmann pairs known. Original paint with even gunning wear, hairline crack in hen’s neck.

PROVENANCE: Tom O’Key Collection Private Collection, Midwest LITERATURE: Paul W. Parmalee and Forrest D. Loomis, Decoys and Decoy Carvers of Illinois, Dekalb, IL, 1969, pl. 273, related pintail illustrated.

$4,000 - $6,000

214

CHARLES H. PERDEW 1874-1963 | HENRY, IL

362

362 Near-Mint Turned-Head Pintail Pair Charles H. Perdew (1874-1963) Henry, IL, c. 1950 16 1/2 in. long

A rare matching pair of pintails with raised wings. The undersides retain their original “..PERDEW..” weights. These are among the very finest decoys Perdew made for Otto Meyer. They were subsequently collected by legendary Perdew collector David Galliher. Original paint with minimal wear, hen has slight roughness to left edge of bill.

PROVENANCE: Otto Meyer Rig David Galliher Collection Herb Wetanson Collection

$15,000 - $20,000

215

363

364

363 Raised-Wing Mallard Drake

364 Bluebill Drake

A hollow Illinois River decoy featuring pronounced cheeks, raised wings, and an incised bill. The underside retains the original slot weight and remnants of painted initials. Original paint with gunning wear, some working paint, and a neck crack.

A hollow decoy with its original Elliston-stamped lead-strip weight. Original paint with gunning wear and some traces of working paint, tight crack on left side of neck and wear to bill edges.

Charles Walker (1873-1954) Princeton, IL, c. 1925 16 1/2 in. long

$3,000 - $5,000

216

Robert Elliston (1847-1925) Bureau, IL, c. 1900 14 in. long

$2,000 - $3,000

HENRY RUGGLES

1830-1897 | HENRY, IL

365

365 Early and Important Mallard Drake Henry Ruggles (1830-1897) Henry, IL, c. 1870 17 in. long

Finding any Ruggles’ decoys in original paint has proven difficult for collectors, making this prime mallard example a highly collectible Illinois River masterwork.

An apprentice studio painter in St. Louis, Missouri, Ruggles was a talented portraiture and landscape artist. In Henry, he was also noted locally as a musician; in the summer months, he played violin, mandolin, and guitar for the pleasure of family and friends.

Hunting and fishing were Ruggles’ true passions. To aid in his success in luring waterfowl, he carved graceful birds with sleek bodies and elongated heads. Ruggles fashioned hollow, feather-weight decoys that were wide bodied in comparison to other Illinois decoys. Another recognizable Ruggles carving trait is the unusual squared tail with which he finished his decoys, as seen on this mallard. His painting style was well honed with bold, sure-handed brush strokes.

Several Ruggles and Robert Elliston decoys migrated north to Wisconsin where affluent Chicago hunters brought them to the prestigious Nee-Pee-Nauk Club. Organized by A. H. Sellers in 1882 and situated by the Horicon Marsh, the Ne-Pee-Nauk Club is on some of the best hunting grounds in Wisconsin.

The club boasted a distinguished membership, including Civil War General Philip Sheridan (1831-1888) along with numerous Chicago congressmen and doctors who would venture by train up from the city. The club has remained in continuous operation for nearly 140 years and is the oldest active duck club in Wisconsin.

The underside of this early mallard drake is branded “DENTON” and “MORRIS SELLERS” and the lead-strip weight is embossed “CHICAGO ILL.” In original paint with even gunning wear, including a minor chip on left side of neck seam.

PROVENANCE: Morris Sellers and Denton Rigs Herb Wetanson Collection LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 21, similar decoy illustrated.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 245, pl. 374, related mallard illustrated.

Joe Engers ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 228, related example illustrated.

$10,000 - $15,000

217

366

367

366 Blue-Winged Teal

Judge Glenn J. Cameron (1882-1958) Chillicothe, IL, c. 1910 12 in. long

The underside of this hollow decoy bears an “A.L.A” brand for the rig of Andy L. Anderson. Original paint with gunning wear including some flaking to clear coat and even craquelure. Touch-up around neck. $1,000 - $2,000

367 Winous Point Canvasback Drake Ohio, c. 1870 18 in. long

A rare Ohio decoy with a turned head and high wing chine tapered to its flat bottom. The underside has two poured

218

weights and a painted “A.S.” rig marking. This exact decoy was selected for Jeff and Joyce Hay’s for the special”Ohio Decoys” exhibition in 2015. Original paint with gunning wear including some roughness to bill tip and tail edges.

PROVENANCE: Winous Point Shooting Club Private Collection LITERATURE: Jeff and Joyce Hay, “Ohio Decoys Flock to the Midwest

Show,” Decoy Magazine, Jan/Feb 2015, p. 25 exact decoy illustrated.

EXHIBITED: St. Charles, IL, Ohio Decoys, North American Vintage

Decoy and Sporting Collectibles Show, April 2015. $3,000 - $5,000

368 Pintail Pair

Illinois River, c. 1920 16 1/4 in. long

368

A hollow pair of Illinois River pintails exhibiting long bodies and paint informed by Catherine Elliston. Original paint with light gunning wear, scattered touch-up, restoration to necks, and extensive touch-up on sides and lower parts of hen.

369 Teal Pair

Charles Schoenheider Sr. (1854-1944) Peoria, IL, c. 1900 11 3/4 in. long

369

A hollow pair of Schoenheider teal. The drake has a “DWV” rig brand for the rig of Daniel W. Voorhees, a member of the Duck Island Club and president and general manager of the Peru Plow and Wheel Company. Both birds have been professionally restored. $3,000 - $5,000

219

ENOCH REINDAHL 1904-2000 | STOUGHTON, WI

370

372

371 Flying Mallard Drake 371

Enoch Reindahl (1904-2000) Stoughton, WI, c. 1935 9 in. long. 16 1/2 in. tall on base

An exceptional early decorative by one of the Midwest’s finest decoy makers. The carving was done with subtle, yet extensive attention to detail, such as layered feathers on the wings and tail and an open bill. The paint was executed with equal refinement.

Included with the bird is the original base depicting an elaborate jet of water under the rising mallard. Original paint with light wear including minor flaking on top of head.

PROVENANCE: Private Collection LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 217, exact carving illustrated with the maker.

$5,000 - $7,000

370 Quarter-Sized Flying Canada Goose Enoch Reindahl (1904-2000) Stoughton, WI, c. 1935 12 in. long, 16 in. wingspan

A quarter-size flying Canada goose with early and exceptional carved detail. This is among the finest flying goose carvings of any size. Original paint with some wear, including paint flakes on breast. Some restoration to wing and tail tips and at wing seams.

PROVENANCE: Peter Clark Collection Private Collection LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, pp. 215-217, Reindahl decoys and miniature mallard illustrated.

$2,500 - $3,500

372 Miniature Canvasback Pair Enoch Reindahl (1904-2000) Stoughton, WI, c. 1935 7 in. long

A one-third-size canvasback pair with incised eyes and carved bill and wing detail. These are two exceptional carvings by one of the Midwest’s top makers.

Not illustrated is a custom base representing water. Excellent original paint with minor wear and tight age line in hen’s neck.

PROVENANCE: Dashner Collection Private Collection LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, pp. 215-217, Reindahl decoys and miniature mallard illustrated.

$6,000 - $8,000

220

373 Hump-backed Broadbill Pair

373

Frank Strey (1890-1966) Oshkosh, WI, c. 1920 14 1/2 in. long

A captivating pair of oversized high-head, hump-backed decoys. A drake rigmate was acquired by the Shelburne Museum for its collection in the 1980s. Original paint with some gunning paint, wear, and age lines. Partial restoration to drake’s bill. $2,000 - $3,000

374 Goldeneye Pair

374

James Walton (1891-1963) Milwaukee, WI, c. 1930 15 in. long

Two of only six Walton goldeneye known by the “Professor of Decoy Making.” This Markham rig pair features feather carving on the back and wings. Original paint with light gunning wear.

PROVENANCE: J. Grigsby Markham Rig Herb Desch Collection Private Collection LITERATURE: T. Thompson Bosworth, “J. H Walton: Professor of Decoy Making,” Decoy Magazine, Sep/Oct 1996, p. 36, exact pair illustrated.

$2,000 - $4,000

375

375 Green-Winged Teal Pair Joseph Shimon (1916-1989) Detroit, MI, c. 1950 13 1/2 in. long

An outstanding animated teal pair by Shimon. This rare pair has strong feather carving in the Detroit style. The hen’s head is slightly turned.

Shimon’s total decoy output was limited to just a few dozen decoys for his own personal use, including these fine teal, pintails, mallards, bluebills, and at least one Canada goose.

Original paint with minimal gunning wear.

PROVENANCE: Len Carnaghi Collection LITERATURE: Len Carnaghi, “Joseph Shimon: Another Ben Schmidt protege emerges,” Decoy Magazine, January/February 2020, p. 38, similar pair illustrated.

221

CHRISTOPHER C. SMITH 1861-1938 | ALGONAC, MI

376

376 Bluebill

Christopher C. Smith (1861-1938) Algonac, MI, c. 1910 13 1/4 in. long

A fine, hollow St. Clair Flats decoy with glass eyes, bill detail, bottom-board construction, and a turned head.

In addition to carving decoys, Chris Smith is widely known for his boat building skills. As market gunners, Chris and his older brother, Henry, made the decoys and boats out of necessity.

The maker would go on to found a company named Chris Craft, which produced the Miss America boats, which dominated races held on the Detroit River, along with a myriad of other prominent yacht designs.

377

Chris and his brother often sourced their wood for decoys from boats that were passing Algonac. According to local lore, ships’ captains would throw logs overboard for the brothers. Based on his hunting experience of trying to load many decoys in a small boat, he carved hollow decoys which were well-suited to that purpose. Smith’s works represent the primary species hunted his home waters: black ducks, scaup, canvasbacks, pintails, redheads, and whistlers. Appears to be mix of original and working paint with gunning wear.

PROVENANCE: Len Carnaghi Collection LITERATURE: Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 187.

377 Redhead Pair

Christopher C. Smith (1861-1938) Algonac, MI, c. 1890 13 1/4 in. long

129

378

A refined turned-head pair with “CHIPLEY” brands on the bottom boards. In old paint with gunning wear.

PROVENANCE: Chipley Rig Len Carnaghi Collection

378 Factory Bluebill

Christopher C. Smith (1861-1938) Algonac, MI, c. 1910 14 1/4 in. long

A high-head, hollow decoy with a painted “MW” on the underside. In early gunning paint with wear, including flaking, especially along right flank.

PROVENANCE: Len Carnaghi Collection

222

379

380

381

382

379 Canvasback Drake

381 Canvasback Hen

A finely constructed hollow decoy with a paddle tail and pronounced breast. Mostly original paint with heavy gunning wear.

A hollow turned-head diver with excellent form and “C.I.H. & F.C.” stamped twice into the underside. In gunning repaint with even wear.

William Finkle Port Huron, MI, c. 1890 16 1/2 in. long

LITERATURE: William A. Stout, Saginaw Bay: Waterfowl Hunting and Decoy Carvers, Bloomfield Hills, MI, 2007, p. 152, exact carving illustrated.

380 Canvasback Drake Captain Robert Heath Algonac, MI, c. 1910 17 in. long

A classic hollow Michigan bird with bottom-board construction. Captain Heath was the ferry driver from Harsens Island to Algonac. Nice early gunning repaint with even gunning wear.

PROVENANCE: Len Carnaghi Collection

Captain Robert Heath Algonac, MI, c. 1910 17 1/2 in. long

PROVENANCE: Len Carnaghi Collection

382 Canvasback Drake

Theodore Vanonbosshe (1887-1958) Mt. Clemens, MI, c. 1920 17 in. long

Branded with large “S” on the underside. Vanonbosshe was a fine carpenter and home builder who was also involved in the dredging, barge, and tugboat business. Early gunning paint mostly taken down to bare wood. Putty patch on left side.

PROVENANCE: Len Carnaghi Collection

223

CAPT. JOHN C. SCHWEIKART

1870-1954 | DETROIT AND STRAWBERRY ISLAND, MI

383

384

383 Redhead Pair

384 Bluebill Hen

A very hollow pair of redheads from this renowned Michigan maker. Original and working paint, most of which has been taken down, and gunning wear. Each has a tight age line in back.

A hollow broadbill hen decoy exhibiting glass eyes and carved bill detail.

Capt. John C. Schweikart (1870-1954) Detroit and Strawberry Island, MI, c. 1910 17 in. long

$2,500 - $3,500

Capt. John C. Schweikart (1870-1954) Detroit and Strawberry Island, MI, c. 1910 15 1/2 in. long

John Schweikart lived and worked in Detroit. He and his brother Carl were boat builders, who also built racing yachts on the Detroit waterfront. John would sail his own boat, The Huntress, in regattas and to his camp on Strawberry Island in Lake St. Clair to hunt and fish. In working paint with gunning wear.

PROVENANCE: Len Carnaghi Collection

224

385

386

385 Canada Goose Silhouette Enoch Reindahl (1904-2000) Stoughton, WI, c. 1930 32 in. long

An exceptionally well-painted goose decoy with fine brushed and combed feather detail. Separating this silhouette from perhaps all others, the masterful painter used trompe l’oeil shading to add a feeling of volume.

The head has an adjustable angle and can be tucked inside the two halves of the fiber-board body. The right side of the belly is signed by the maker. Original paint with light gunning wear, including a few flakes mostly on right side.

PROVENANCE: Peter Clarke Collection Private Collection

$1,500 - $2,000

386 Premier-Grade Black Duck Mason Decoy Factory (1896-1924) Detroit, MI, c. 1920 17 1/4 in. long

387

388

This black duck retains the white “PREMIER” patent stamp on its underside. Original paint with even gunning wear. It has no bill nor tail chips and retains virtually all of its neck fill. $1,000 - $1,400

387 Black Duck

Harvey Stevens (1847-1894) Weedsport, NY, c. 1880 17 3/4 in. long

A Stevens “factory” decoy with an incised bill, a rounded bottom, and a paddle tail. In mix of original and repaint with gunning wear.

388 Canvasback Pair

Ben Schmidt (1884-1968) Centerline, MI, c. 1930 17 in. long

A hen and drake diver with thin tails. Original paint with even gunning wear. The hen is fitted with a second Schmidt head which has a tight crack in neck and touch-up at the seam.

PROVENANCE: Len Carnaghi Collection

225

389

390

391

392

389 Pinch-Neck Canvasback

391 Redhead and Bluebill

A folky bobtail canvasback drake. In early working paint with even gunning wear and tight crack in neck.

A light-weight hollow diver duo with bottom-board construction. Both birds in gunning paint with wear and the hen is showing noticeable flaking.

c. 1910 15 1/2 in. long

PROVENANCE: Len Carnaghi Collection

Harsens Island, MI, c. 1910 11 1/2 in. long

PROVENANCE: Len Carnaghi Collection

390 Canvasback Hen Ed Murphy Monroe, MI, c. 1930 16 1/4 in. long

Appears to be in original paint with even gunning wear.

PROVENANCE: Len Carnaghi Collection

392 High-Head Redhead Pair Lem B. Harsen (b. 1890) Algonac, MI, c. 1920 15 in. long

Old gunning paint with heavy wear.

PROVENANCE: Len Carnaghi Collection

226

MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

393

393 Golden Plover on Wire Legs Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 13 3/4 in. tall, 11 in. long

This golden stands on a pair of fence-wire legs fixed into an original hardwood base.

The body has raised wings, “McNair” incised on the underside, and “5” stamped under the tail. Original paint with minimal wear.

394 Miniature Great Horned Owl Mark S. McNair (b. 1950) Craddockville, VA, 2020 5 1/2 in. total height

394

A miniature owl carving. The entire work is carved from a single piece of wood from the top of the “ears” to the bottom of the base. Two-tone glass eyes are inserted. The carving is topped with McNair’s signature painted feathering and surface finish.

Signed “McNair AD2020” on back of base and inscribed with the artist’s inspiration on the underside. Original paint with minimal wear.

395

395 Wigeon

Mark S. McNair (b. 1950) Craddockville, VA, 1979 15 1/2 in. long

An early wigeon drake with a knife-carved finish and raised wing tips. The underside is incised “McNAIR.” Original paint with minimal wear.

227

MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

396

397

398

399

396 Yellowlegs

398 Tiny Peep

A yellowlegs with raised wings, stippled paint detail, and an incised signature by the maker on the underside. Original paint with light wear.

A peep in the Verity style notable for its diminutive size. The maker’s incised signature is on the underside. Original paint with light wear.

Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 12 in. long

Mark S. McNair (b. 1950) Craddockville, VA, c. 2000 6 in. long

397 Tucked-Head Peep Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 7 in. long

A little tucked-head sandpiper with a stringing hole and carved raised wings. Signed with an incised “McNair” signature on the underside. Original paint with light wear.

228

399 Yellowlegs

Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 13 in. long

A split-tail yellowlegs with raised wings, stippled paint detail, and an incised signature by the maker on the underside.

Original paint with light wear.

IAN T. MCNAIR B. 1981 | BELLE HAVEN, VA

400.1

401 400.2

400 Two Whales

401

402

403

Ian T. McNair (b. 1981) Belle Haven, VA, c. 2010

A twenty-three-inch-long orca and twenty-five-inch-long right whale. Both half models are signed with the maker’s incised “I McNair” signature on the back where they are wired for hanging. Original paint with minimal wear.

401 Wood Duck

Ian T. McNair (b. 1981) Belle Haven, VA, c. 2005 13 in. long

A wood duck drake with raised wing tips and a crest that joins into the back. The underside bears the incised “I McNair” signature. Original paint with minimal wear.

402 “Pocket” Ruddy Duck Ian T. McNair (b. 1981) Belle Haven, VA, c. 2005 7 in. long

A seven-inch-long decoy carving with maker’s incised signature. Though diminutive, this was not made as a miniature, rather it relates to the pocket-sized decoys, such as the Lee

Dudley (1860-1942) teal illustrated in plate I of William J. Mackey’s American Bird Decoys. Original paint with minimal wear.

403 Brook Trout Decoy Ian T. McNair (b. 1981) Belle Haven, VA ,c. 1995 6 1/2 in. long

This fishing decoy exhibits tack eyes, copper fins, and a poured weight with a stamped “I MCNAIR.” Original paint with minimal wear.

229

COLIN S. MCNAIR B. 1986 | CRADDOCKVILLE, VA 404 Preening Tern 404

Colin S. McNair (b. 1986) Craddockville, VA, c. 2004 9 in. long

A graceful tern carving in a rarely seen preening posture with the maker’s incised signature on the underside. This is the only preening tern by the maker. Original paint with light wear and a reset wing tip.

405 Cormorant 405

Colin S. McNair (b. 1986) Craddockville, VA, c. 2004 23 3/4 in. long

A raised and turned-head hollow decoy signed with the maker’s “C McNair” signature on the bottom. Original paint with light wear.

406 Red-Breasted Merganser

406

Colin S. McNair (b. 1986) Craddockville, VA, c. 2004 22 in. long

A long-bodied merganser with influences from Maine, including incised wings and an inletted head. The underside is incised “C McNAIR.” Original paint with light wear.

230

FRANK S. FINNEY

B. 1947 | CAPEVILLE, VA

407 Miniature Wild Turkey Frank S. Finney (b. 1947) Capeville, VA, c. 2020 5 1/2 in. tall

407

A miniature Tom carving with extensive feather detail. The pose is modeled after the famous John James Audubon print.

Signed with the maker’s stamp and incised “F” on the bottom of the base. Original paint with minimal wear.

408 Miniature Woodcock

Frank S. Finney (b. 1947) Capeville, VA, c. 2020 4 in. tall

408

A miniature woodcock carving with feather detail. Signed with the maker’s stamp and incised “F” on the bottom of the base.

Original paint with minimal wear.

409 Miniature Pintail Frank S. Finney (b. 1947) Capeville, VA, c. 2020 6 1/2 in. long

409

A calling pintail on a carved base. Signed on the bottom of the base with an incised, scrolled “F” signature. Original paint with minimal wear.

231

FRANK S. FINNEY B. 1947 | CAPEVILLE, VA

410

411

415

412

416

413

417

410 Miniature Bobwhite Quail

411 Miniature Wood Duck

A calling bobwhite quail carving signed with the maker’s stamp and incised “F” on the bottom of the base. Original paint with minimal wear.

A wood duck carving with dropped wings, extensive feather detail, and the maker’s “Finney” stamp and incised cursive “F.” on the bottom of the base. Original paint with minimal wear.

Frank S. Finney (b. 1947) Capeville, VA, c. 2020 4 1/2 in. tall

232

414

Frank S. Finney (b. 1947) Capeville, VA, c. 2020 5 1/2 in. long

418

419

412 Miniature Redhead

A calling goose carving with dropped wings, extensive feather detail, and the maker’s “Finney” stamp and incised cursive “F.” on the bottom of the base. Original paint with minimal wear.

A redhead carving with dropped wings, extensive feather detail, and the maker’s “Finney” stamp and incised cursive “F.” on the bottom of the base. Original paint with minimal wear.

417 Miniature Willow Ptarmigan

413 Miniature Hare

A calling willow ptarmigan carving on a chip-carved base.

Signed with the maker’s stamp and incised “F” on the bottom of the base. Original paint with minimal wear.

A hare carving with incised face detail and an incised “F” and inked-stamp signature on the bottom of the base. Original paint with minimal wear.

418 Owl

414 Miniature Mallard

A large hollow owl carving signed with the maker’s serified “F” on the underside of the base. Original paint with minimal wear.

Frank S. Finney (b. 1947) Capeville, VA, c. 2020 5 in. tall

Frank S. Finney (b. 1947) Capeville, VA, c. 2020 4 in. long

Frank S. Finney (b. 1947) Capeville, VA, c. 2020 6 1/2 in. tall

A calling mallard carving with dropped wings, extensive feather detail, and the maker’s “Finney” stamp and incised cursive “F.” on the bottom of the base. Original paint with minimal wear.

415 Miniature Merganser Frank S. Finney (b. 1947) Capeville, VA, c. 2020 4 1/2 in. tall

A turned-head merganser carving with dropped wings, extensive feather detail, and the maker’s “Finney” stamp and incised cursive “F.” on the bottom of the base. Original paint with minimal wear.

Frank S. Finney (b. 1947) Capeville, VA, c. 2020 5 in. tall

Frank S. Finney (b. 1947) Capeville, VA, c. 1990 23 in. tall

PROVENANCE: Dale W. Farrell Collection

$1,500 - $2,500

419 Barred Owl

Frank S. Finney (b. 1947) Capeville, VA, c. 1990 19 in. tall

A large owl with the maker’s “F” signature incised on the top of the painted and beveled base. Original paint with minimal wear.

PROVENANCE: Dale W. Farrell Collection

$1,500 - $2,500

416 Miniature Speckled Belly Goose Frank S. Finney (b. 1947) Capeville, VA, c. 2020 7 1/2 in. tall

233

420

421

422

423

424

425

420 Yellowlegs

An oystercatcher decoy carved out of balsa, which was popular with the island’s makers after World War II. Original paint with even wear and touch-up to neck.

Carved in the style of Charles Clark. Original paint with minimal wear and flaking on left side.

422 Shoveler

Delbert “Cigar” Daisey (1928-2017) Chincoteague, VA, c. 1980 10 in. long

PROVENANCE: Dave Fannon Collection Private Collection

421 Oystercatcher

Miles Hancock (1888-1974) Chincoteague, VA, c. 1950 11 1/2 in. long

James “Corb” Reed (1897-1987) Chincoteague, VA, c. 1960 15 in. long

A rare species, this spoonbill decoy bears the maker’s stamped “Corb Reed” signature. Original paint with light gunning wear.

423 Yellowlegs

Delbert “Cigar” Daisey (1928-2017) Chincoteague, VA, c. 1980 12 in. long 234

426

427

Carved in the style of Ira Hudson. Original paint with minimal wear and sap bleeds on end grain.

PROVENANCE: Dave Fannon Collection Private Collection

424 Tern

Eddie Wozny (b. 1959) Cambridge, MD, 1995 10 in. long

A decorative tern with raised and crossed wings. The underside of the carved clamshell base is signed, dated, and incised “W” by the maker.

Original paint with minimal wear and a hairline crack in wing tip.

425 Ward-Style Flicker Maynard Tyler, c. 1980 11 in. long

A decorative life-size carving modeled after the famous Ward Brothers’ dust-jacket flicker. Mounted on a tree branch, the rotund bird is in a feeding pose. Original paint with light wear and age line on left side.

426 Five Bob Seabrook Minis

428

Robert Seabrook (b. 1951) Absecon, NJ, c. 1990 merganser drake is 8 1/4 in. long

A group of five hollow well-crafted miniatures: a pair of mergansers, a pair of long tailed ducks, and a pintail drake. All are signed by the maker except for the pintail.

Original paint with minimal wear.

427 Miniature Mallard Pair c. 1950 6 in. long

A pair of miniature mallards with raised wings and “Wilder” inked under each bill. Original paint with light wear.

428 Miniature Canvasback Hen James T. Holly (1855-1935) Havre de Grace, MD, c. 1910 6 in. long

A rare miniature canvasback decoy with excellent lines by one of the region’s finest early decoy makers. The underside is finished with a lead pad weight. Original paint with minimal wear and touch-up to reset neck.

PROVENANCE: Donal C. O’Brien Jr. Collection

$1,800 - $2,400 235

429

431

430

432.1 432.2

433

429 Brown Trout

Mike Borrett (b. 1960) Madison, WI, c. 2010 plaque is 17 1/4 in. long

A sixteen-inch-long brown trout carving on a wooden beveled-edge plaque. The back of the plaque bears the carver’s signature.

$600 - $900

432 Two Red and White Fish Decoys

430 Fishing Creel 17 in. wide

Leroy Howell (1909-1989) Hinkley, MN, c. 1930 white fish is 6 1/4 in. long

As found.

As found.

431 Dave Hodges (b. 1949)

433 Green and White Fish Decoy

Rainbow Flash, 2011 signed, dated, and numbered “Hodges, © 2011 6/30” on base bronze, 8 1/2 by 8 in. edition 6 of 30

Dave Hodges became interested in artwork at a very young age. He began his professional career as a bronze sculptor in 1982 after graduating with a BS degree from Montana State

236

University in Bozeman. Since then, Hodges has created sculptures in a wide array of subjects and sizes, from miniatures to monuments, and authored Book of Bronze: Creating Sculptures from Clay to Bronze.

Leroy Howell (1909-1989) Hinkley, MN, c. 1930 6 1/2 in. long

As found.

434

237

JOHN JAMES AUDUBON 1785-1851

434

434 John James Audubon (1785-1851) The Birds of America

238

John James Audubon (1785-1851) The Birds of America, from Drawings made in the United States and their Territories, New York: J.J. Audubon; Philadelphia: J.B. Chevalier, E.G. Dorsey [1839] 1840-1844. First Royal octavo edition, in seven volumes, illustrated throughout with 500 hand-colored lithographs from Audubon’s drawings.

The images in this set are hand-colored with clear backgrounds, and the seven volumes are in their original goatskin bindings. To have the opportunity to purchase any of these, especially in the first edition, as supervised by the artist himself, is rare indeed. There are very few complete sets left and maybe none in this immaculate condition.

Published during his lifetime and with his involvement, the octavo version of Audubon’s Birds of America cemented the artist/naturalist’s status and made his masterwork more widely available. While the immense double-elephant folios went to subscribers with aristocratic pedigrees or soaring fortunes, the octavo editions opened up a broader market for the great ornithological artist’s work. In a scientific sense, the octavo edition improved on the earlier folio prints, with more species included and ordered in a more scientific manner. The text, Audubon’s “Ornithological Biography,” is interspersed with the single-species images.

This set is stamped “Lydia S. McClure” on title pages or front pages. Lydia S. McClure (1809-1890) may have been the wife of the first elected judge in Pittsburgh, Allegheny County, Pennsylvania, William B. McClure (1807-1861).

PROVENANCE: Lydia S. McClure Private Collection, Georgia

$150,000 - $250,000

BIRDS OF AMERICA FIRST ROYAL OCTAVO EDITION

434 detail

434 detail

239

JOHN JAMES AUDUBON 1785-1851

435

435 John James Audubon (1785-1851) The Viviparous Quadrupeds of North America

240

John James Audubon (1785-1851) and Rev. John Bachman (1790-1874) The Viviparous Quadrupeds of North America, New York: V.G. Audubon, 1849. First Royal octavo edition, in three volumes, illustrated throughout with 155 full-page color lithographs after Audubon’s drawings.

of 300 subscribers. Bachman contributed the text, John Woodhouse assisted with some drawings and backgrounds, and Victor Gifford oversaw the publication process. The three volumes are hand-colored and in their original bindings, with marbled covers and leather bindings and corners.

The first edition of the Quadrupeds was created in 1849. Produced as a collaborative project between John James Audubon and his sons, Victor Gifford (1809-1860) and John Woodhouse (1812-1862), and Rev. John Bachman of Charleston, SC, this popular and successful three-volume set had upwards

PROVENANCE: Private Collection, Georgia

$15,000 - $25,000

QUADRUPEDS OF NORTH AMERICA FIRST ROYAL OCTAVO EDITION

435 241

ALEXANDER WILSON 1766-1813

436 Alexander Wilson (1766-1813) American Ornithology

Alexander Wilson (1766-1813) American Ornithology; or, the Natural History of the Birds of the United States: Illustrated with Plates Engraved and Colored from Original Drawings taken from Nature. Philadelphia: Bradford and Inskeep, 1808-1814.

First edition, in nine volumes, illustrated throughout with 76 hand-colored engravings depicting 268 bird species.

This important piece of early American ornithology was the work of Alexander Wilson (1766-1813), a pioneering Scottish-American artist and naturalist. Wilson came to the Philadelphia area in 1794, where he found work as a teacher.

He spent years traveling and recording native bird species, and began publishing “American Ornithology” in 1808. At the time, it was the most elaborate and comprehensive treatment

436

242

of American birds and included twenty-six bird species new to science. Wilson’s “American Ornithology” inspired John James Audubon to produce his iconic “Birds of America.” Wilson died in 1813, just before the ninth volume was published.

This nine-volume set is in its original binding, consisting of red and green colored marbled covers with red leather binding and corners.

PROVENANCE: Private Collection, Georgia

$35,000 - $45,000

243

437

438

437 Arthur W. Kade (1890-1952)

Speckled Brook Trout, 1922 signed “Art Kade” lower right watercolor and gouache, 11 3/4 by 20 3/4 in. inscribed “Speckled Brook Trout (Salvelinus Fontinalis) Original painting by Arthur W. Kade. Sheboygan, Wisconsin. December 11th 1922. Weber Tackle Co. Stevens Point, WI” on back PROVENANCE: Private Collection, Wisconsin

$2,000 - $4,000

438 Harry A. Driscole (1861-1923) Leaping Bass signed “H A Driscole” lower right oil on canvas, 22 by 16 in.

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

439

439 Leather Box of Flies This arsenal of Atlantic salmon flies contains over 400 well-executed classic patters stored in a leather case marked with silver foil initials “R.P.M.”

244

ARTHUR FITZWILLIAM TAIT 1819-1905

440

440 Arthur Fitzwilliam Tait (1819-1905)

Buck and Doe, 1858 signed and dated “Ja.S M. Hart and A.F Tait NY 1858” lower left oil on board, 14 by 10 in.

Known as one of America’s earliest sporting artists, Arthur Fitzgerald Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors.

As a young man, Tait trained in lithography and drawing, and explored the open land around Manchester.

In Liverpool, Tait met American artist George Catlin (17961872), which may have whetted the young artist’s appetite to explore. In 1850 Tait came to America, where his artistic career flourished. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life, unrivalled at the time.

In 1852 Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the artist, and Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition, which he later joined as a full member. Editions of Tait’s works for Currier and Ives

were reproduced by the thousands and formed some of America’s most iconic images of the era.

Buck and Doe was painted in 1858 as a collaboration with noted landscape painter James McDougal Hart (1828-1901), also a member of the National Academy of Design, with whom Tait worked at least two dozen times. A painting known to be by the two artists is in the Brooklyn Museum, and a Winterthur exhibition in 2016-17 noted, “Such a collaborative approach was a direct extension of practices Tait had learned in the lithographic workshop, where artists often devoted themselves to specialized tasks.” “Often Hart would collaborate with Arthur Fitzwilliam Tait, and the two artists produced together over two dozen paintings. Tait would paint the animals, while Hart supplied the landscape.”

PROVENANCE: Harry T. Peters, Middleburg, Virginia The Congoleum Corporate Collection, Christie’s, New York, January 27, 1987, lot 44 Private Collection, Weston, Massachusetts LITERATURE: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, DE, 1986, pp. 145-146, no. 58.60, illustrated.

$10,000 - $15,000 245

441 Arthur Fitzwilliam Tait (1819-1905)

441

Duck and Chicks, 1867 signed and dated “AF Tait - NY 1867” lower right oil on panel, 11 1/2 by 16 in.

PROVENANCE: Private Collection, Weston, Massachusetts, acquired from Christie’s East, New York, September 29, 1999, lot 51 LITERATURE: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, Delaware, 1986, p. 201, no. 67.48.

$6,000 - $8,000

442 Juliette Peyrol-Bonheur (French, 18301891)

442

Geese in a Wooded Glade signed and dated “J. Peyrol-Bonheur 1855” lower left oil on canvas, 9 1/2 by 14 in.

PROVENANCE: Private Collection, Sun Valley, Idaho

$5,000 - $7,000

443

246

443 Mary Smith (19th Century)

Chicks with Apples, 1857 signed and dated “Mary Smith, 1857.” lower left oil on canvas, 9 by 11 1/4 in. signed and dated on back

WILLIAM JACOB HAYS

1830-1875

444 William Jacob Hays (1830-1875)

444

Ruffed Grouse Family, 1860 signed and dated “W.J. Hays 1860.” lower center oil on canvas, 18 by 22 1/4 in.

PROVENANCE: Private Collection, Connecticut

$2,000 - $4000

445 William Jacob Hays (1830-1875) Sage Grouse Pair, 1860 signed and dated “W. J. Hays, 1860” lower center oil on canvas, 18 by 22 in.

445

PROVENANCE: Private Collection, Connecticut

$2,000 - $4,000

247

446 Edmund Henry Osthaus (1858-1928)

Setter, 1892 signed and dated “Edm. H. Osthaus ‘92” lower right watercolor and gouache, 6 1/2 by 8 1/4 in.

446

Edmund Henry Osthaus was born in Hildesheim, Germany, in 1958, the son of a prosperous farmer who subsequently emigrated to Toledo, Ohio. Osthaus studied at the Royal Academy of the Arts in Dusseldorf from 1874 to 1882 with Andreas Muller, Peter Jansen, E. von Gebhardt, Ernst Deger, and wildlife and landscape painter Christian Kroner. In 1883 he joined his parents in America and became an instructor at the Toledo Academy of Fine Arts. He served as the director from 1886-1893, refining his painting technique and pursuing his passions: hunting and fishing.

He resigned in 1893 to dedicate his full attention to painting, shooting, and field trials. He was a charter member of the National Field Trial Association established in Newton, North Carolina, in 1895. A frequent field trial judge, he followed that circuit across the country. He showed his own setters and pointers in both field trials and confirmation shows. His artistic talent, combined with his love of dogs, enabled him to capture the essence of the working dog while depicting accurate anatomical detail.

Osthaus, along with Percival Rosseau and J.M. Tracy, is considered among the greatest American sporting dog

painters. He painted the National Field Trail Association winners for the first three decades of the association’s existence. The DuPont Company reproduced these portraits as calendars and lithographs. Additionally, he was commissioned to paint sporting scenes by industrial magnates, including members of the Vanderbilt family and J.P. Morgan, who admired his large-scale, realistic works.

PROVENANCE: Private Collection, by descent from the above Private Collection

$5,000 - $7,000

447

447 William C. (Willie) Ousley (1866-1953) Bird Dogs and Rabbit, 1937 signed “W.Ousley” lower right oil on canvas, 17 by 30 1/2 in. signed and dated on back

Ousley was born in Georgia and raised in Louisiana. He was a hunter as well as a painter and often constructed his brushes from squirrels’ tails. In 1890 he traveled to New Orleans to

study under the noted German painter, Humbreight.

LITERATURE: Inter State Arts Newspaper, Chickasha, Oklahoma, 10 Feb 1931, p. 3.

$3,000 - $5,000

248

448 J. Carleton Wiggins (1848-1932)

448

In Autumn, 1921 signed and dated “Carleton Wiggins 1921” lower left oil on canvas, 28 by 36 in. titled on back

This idyllic work depicts a flock of sheep grazing in a grassy meadow.

PROVENANCE: Mervin F. Roberts Estate, Old Lyme, Connecticut

449 J. Carleton Wiggins (1848-1932) Pastural, c. 1890 signed “Carleton Wiggins” lower left oil on canvas, 18 1/2 by 22 in.

449

A flock of sheep, feeding, with an attentive shepherd and sheepdog.

PROVENANCE: John Walton Collection Mervin F. Roberts Estate, Old Lyme, Connecticut

450

450 J. Carleton Wiggins (1848-1932)

Cows in a Pasture, 1879 signed and dated “John C Wiggins 79” lower left oil on canvas, 18 by 30 in.

PROVENANCE: Mervin F. Roberts Estate, Old Lyme, Connecticut

249

451 Francis Golden (1916-2008)

451

Duck Hunting, 1988 signed and dated “Francis Golden © 88” lower left watercolor, 9 by 11 3/4 in.

452 Arthur R. Eakin (20th Century) Two Paintings each oil on board, 16 by 24 in.

452.1

Canvasbacks signed “A.R. Eakin” lower left Canada Geese signed “A.R. Eakin” lower right

452.2

250

LEMUEL T. (LEM) WARD

1896-1984

453 Lemuel T. (Lem) Ward (18961984)

453

Mallards signed “L.T. Ward” lower right oil on canvas, 14 1/4 by 18 in.

PROVENANCE: Private Collection, Georgia

$2,000 - $4,000

454

454 Lemuel T. (Lem) Ward (1896-1984)

Canada Geese, 1971 signed and dated “Lemuel T. Ward 1971” lower right oil on canvas, 24 by 34 in.

PROVENANCE: Private Collection, Georgia

$2,000 - $4,000

251

455

458

456

459

457

455 Black Duck

Harry M. Shourds (1890-1943) Ocean City, NJ, c. 1920 15 3/4 in. long

456 Goldeneye c. 1930 14 in. long

Birch, and one by John Glenn, along with a redhead by Doug Jester with a “Holland Wrightson” rig stencil on the bottom.

As found.

458 Six Decoys

A whistler drake which was never rigged. A stylish little bird with graceful lines. Original paint with light wear.

This lot includes a Roger Mitchell preening black duck, a Hy Dahlka bluebill pair with the maker’s brand on the hen, a ruddy duck pair with a “WEK” brand, and an unknown black duck. As found.

457 Four Decoys

459 Waterfowl Pair

16 1/2 in. long

Three canvasback drakes, one by Taylor Boyd, one by Charles 252

460

Midwest, c. 1930 15 1/4 in. long

As found.

461

462

463

464

460 Preening Canvasback

463 “Allcock’s Tackle” Tin Fish Sign

A folky preening decoy that is hollowed out from the bottom with drilled holes. It displays incised eyes and wing carving.

The origin and age of this decoy is unknown. As found.

PROVENANCE: William K. du Pont Collection

12 1/2 in. long

15 in. long

464 Seven Powder Tins largest is 9 1/4 in. tall

461 DuPont Gun Powder Poster after Louis Maurer (1832-1932) print, 20 3/4 by 26 1/2 in.

PROVENANCE: William K. du Pont Collection

Three large powder tins: Hazard Sea Shooting, Hazard Duck Shooting, and Oriental Powder Mills. Four small powder tins: Duck Shooting and three Kentucky Shooting.

PROVENANCE: William K. du Pont Collection

462 Ten Powder Tins largest is 6 in. tall

Three Eagle Gun Powder, three Duck Shooting, two Hazard Electric tins, one Kentucky Rifle, and one American Powder.

PROVENANCE: William K. du Pont Collection

253

465

466

468

469

467

465 Standing Raised-Wing Mallard 16 1/4 in. long, 18 1/2 in. wingspan

A standing spread-wing mallard drake made in the style of Ira D. Hudson. As found.

466 Merganser Pair 18 3/4 in. long

468 Five Miniature Flyers Aubrey J. Dando (b. 1885) Philadelphia, PA, c. 1935 5 1/2 in. wingspan

This lot includes a miniature dove pair, shoveler pair, and a bluebill hen. As found.

PROVENANCE: The William K. du Pont Collection

A contemporary pair of mergansers with applied tails. As found.

469 Three Shorebirds 467 Seven Decoys and Bird Carvings largest is 15 in. long

This lot of seven birds includes a preening Down East decoy, a bobtailed bluebill, a small Maine-style red-breasted merganser, a small Upper Bay bufflehead on a base, a miniature greenwinged teal on a base, a running shorebird, and a miniature sitting kiwi. As found.

PROVENANCE: William K. du Pont Collection

254

David Rhodes (1933- 2019) Absecon, NJ, c. 1996 largest is 12 1/2 in. long

A trio of contemporary shorebird decoys with painted feather detail and the maker’s signature under the tails. Original paint with minimal wear.

PROVENANCE: William K. du Pont Collection

470

470 Liz Sullivan (20th-21st Centuries) Canada Geese in a Corn Field oil on board, 21 1/4 by 16 1/2 in.

Sullivan is a well-known folk artist from outside Asheville, North Carolina.

471 Contemporary Preening Swan

471

PROVENANCE: William K. du Pont Collection

472 Sperm Whale Weathervane

472

24 in. long

A metal weathervane depicting a sperm whale along with its mounting pole. As found.

473 Cat Doorstop

12 1/2 by 7 1/2 by 2 3/4 in.

473

255

FEDERAL DUCK STAMP DESIGNS

474

474 Jay Norwood “Ding” Darling (1876-1972)

1934 Federal Duck Stamp Design signed “J N Darling” lower right etching, 5 3/4 by 8 1/2 in. titled and dated “Design For First Federal Duck Stamp 1934” lower left edition of 197, framed with stamp PROVENANCE: Private Collection, New York

475 Aiden Lassell Ripley (1896-1969)

American Widgeon, 1942 Federal Duck Stamp Design signed “A. Lassell Ripley” lower left drypoint, 6 by 8 1/4 in. titled lower left, framed with stamp edition of 250 Abercrombie & Fitch, Co., New York label on back

475

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

476

476 Joseph Day Knap (1875-1962)

Federal Duck Stamp, 1937-1941 signed “J D Knap” lower right gravure, 5 3/4 by 8 3/4 in. titled lower left, framed with stamp edition of 260 Abercrombie & Fitch, Co., New York label on back PROVENANCE: Private Collection, New York

256

477

481

479

478

480

477 Marguerite Kirmse (1885-1954) The Season Opens, c. 1930 signed “Marguerite Kirmse” lower right drypoint, 11 by 7 in. titled lower left

478 Roland H. Clark (1874-1957) Flushing Mallards signed “Roland Clark” lower right etching, 6 3/4 by 9 3/4 in.

479 Roland H. Clark (1874-1957)

Duck Stamp Design, 1938 signed “Roland Clark” lower right drypoint, 6 3/4 by 10 3/4 in. titled and dated lower left titled and dated on Abercrombie and Fitch, New York label on back framed with 1939 Federal Duck Stamp

482

480 Walter E. Bohl (1907-1990) In the Birches signed “Walter E. Bohl” lower right etching, 11 3/4 by 10 in. titled lower left

PROVENANCE: Private Collection, Arizona

481 Percival Rosseau (1859-1937)

Nancy, 1932 signed “Percival Rosseau” lower right in pencil drypoint, 8 by 6 in. signed and dated “Rosseau 1932” lower right in plate

482 Hans Kleiber (1887-1967) Mallards Coming In signed “Hans Kleiber” lower right etching, 9 1/2 by 13 3/4 in.

PROVENANCE: William K. du Pont Collection

257

483

485

484

483 Aiden Lassell Ripley (1896-1969) Early Woodcock signed “A. Lassell Ripley” lower right drypoint, 11 5/8 by 8 5/8 in. titled lower left Guild of Boston Artists label on back

484 Harper’s Weekly Engraving and Print after Winslow Homer (1836-1910) Sea-Side Sketches—A Clam Bake, 1873 hand-colored wood engraving, 9 by 13 3/4 in. published by Harper’s Weekly after Milton James Burns (1853-1933) Sword Fishing off Nantucket print, 8 1/2 by 12 1/2 in.

485 Aiden Lassell Ripley (1896-1969) Book Plate for George Mumford signed “A.L.R.” lower right etching, 6 by 4 3/4 in. estate stamp on back

486 Richard E. Bishop (1887-1975) In the Bag - Mallards, 1940 signed “Richard E Bishop” lower right drypoint, 7 5/8 by 5 1/4 in. titled lower left

258

487

486

488

487 Roland H. Clark (1874-1957) Mark East! -Broadbills (Scaup), 1932 signed “Roland Clark” lower right etching, 13 1/4 by 10 3/4 in. edition of 75

488 Peter Corbin (b. 1945)

Two Pencil Drawings (one shown) each signed “Peter Corbin” lower right each graphite Weathervane, 1996 3 3/4 by 6 3/4 in.

Dog and Bird, 2000 7 1/4 by 17 in.

489 Andy Warhol (1928-1987)

489

Wild Raspberries, 1959 created in collaboration with Suzie Frankfurt (1931-2005) hand-colored lithograph, 16 3/4 by 10 1/4 in.

“Salade de Alf Landon” PROVENANCE: Private Collection, Sun Valley,

Idaho

490 John James Audubon (1785-1851)

Two hand-colored lithographs by J.T. Bowen of Philadelphia, 1844 lithograph, 26 by 20 in.

490.1

490.2

Hare Squirrel (No. 9, Plate XLIII) Sciurus Leporinus printed “Drawn from Nature by J.J. Audubon, F.R.S.F.L.S.” lower right sheet sight: 26 by 19 3/4 in.

Kennedy & Co. Rare Prints, New York, New York label on back Black Squirrel (No. 7, Plate XXXIV) Sciurus Niger printed “Drawn from Nature by J.J. Audubon, F.R.S.F.L.S.” lower right sheet sight: 26 by 19 3/4 in.

Kennedy & Co. Rare Prints, New York, New York label on back PROVENANCE: Mervin F. Roberts Estate, Old Lyme,

Connecticut

491.1 491

491.2

491 David A. Sibley (b. 1962) Three Drawings

Peregrine Falcon signed “David A. Sibley” lower right pen and ink, 11 3/4 by 8 3/4 in. titled lower center

491.3

Common Puffin signed “David A. Sibley” lower left pen and ink, 8 3/4 by 12 in. titled lower right Dunlin pen and ink, 8 1/4 by 10 3/4 in.

259

492

492 Three Books Nash Buckingham, Game Bag: Tales Of Shooting And Fishing, signed copy, 952/1000, illustrated by H.P.A M. Hoecker, New York: G. P. Putnam’s Sons, 1945.

Archibald Rutledge, An American Hunter, drawings by Lynn Bogue Hunt, New York: Frederick A. Stokes Company, 1937.

Includes a note taped in book initialed A.R. about turkey calls with explanatory addition “In answer to note and order of a turkey-call November 1945.”

Horatio Bigelow, Gunnerman, signed copy, 301/950, New York: The Derrydale Press, 1940.

493 Marguerite Kirmse (1885-1954) Dogs in the Field, edition 638 of 685, New York: The Derrydale Press, 1935. Includes original etching opposite title page signed lower right, 24 lithographed pages of dogs and hunting scenes, many pages labeled with the dog breed. With portfolio of six lithographs of same images in brown titled, 10 by 14 in. $300 - $500

494 Herbert L. Stoddard, The Bobwhite Quail

Herbert L. Stoddard, The Bobwhite Quail: Its Habits, Preservation and Increase, New York: Charles Scribner’s Sons, 1942.

495 Fifteen Decoy Books PROVENACE: The William K. du Pont Collection

496 Six Decoy Publications

Mackey Auction Catalog, by Bourne Auctions, 1973.

American Bird Decoys, William J. Mackey Jr. (two copies).

Wild Fowl Decoys, Joel Barber, ed. 52 of 55, 1934.

The Art of The Decoy, Adele Earnest, 1965.

The Classic Decoy Series, Milton Weiler, ed. 509 of 1000 signed copies, 1969.

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493

497 Big Game of North America by Shields G.O Shields, The Big Game of North America, 1890.

498 American Big Game by Grinnell G. B. Grinnell, American Big Game..., 1904.

499 Five Books on Benson

Four Paff Books on Benson and One Volume on Benson Adam Paff, Etchings and Drypoints, ed. 28/275, signed by Benson, 1917.

Adam Paff, Etchings and Drypoints by Frank W. Benson Volume Two, ed. 215/275, 1919.

Adam Paff, Etchings and Drypoints by Frank W. Benson Volume Three, ed. 143/525, 1923.

Adam Paff, Etchings and Drypoints by Frank W. Benson Volume Four, ed. 195/600, 1929.

Adam Paff, Etchings and Drypoints by Frank W. Benson Volume Five, ed. 92/400, 1959.

500 Six Books on Art/Artists

Ruth Westphal ed, Plein Air Painters of California: The North, 1986.

Ruth Westphal ed, Plein Air Painters of California: The Southland, 1982.

Boca Raton Museum of Art, America The Beautiful, 2003.

Frederick Fried, Artists in Wood.

The Metropolitan Museum of Art, Egypt and the Ancient Near East, 1987.

The Metropolitan Museum of Art, The United States of America, 1987.

501 Eight Misc. Art Books

M.L. Biscotti, A Bibliography of American Sporting Books, signed

by M.L. Biscotti and John Rice, 1997.

Andrew Kelly ed, Kentucky by Design, 2015.

Sarah and William Turnbaugh, Indian Baskets, 2004.

Steven S. Powers, North American Burl Treen, 2005.

Ned Jalbert, The New Collection.

Ulrich Schurmann, Oriental Carpets, 1979.

Katherine and Edgar Seeler, Nantucket Lighship Baskets, 1976.

Skira Rizzoli, Grandma Moses, 2016.

502 Three Books

505 Three Books on Dogs

503 Eleven Books on Paintings

506 Six Misc. Fishing Books

Two copies of Peter Bergh, The Art of Ogden M. Pleissner, 1984.

R.E.C Thompson, The Art of Lanford Monroe, ed. 92/500, signed by author, 2007.

Faith Andrews Bedford, Frank W. Benson, signed by author, 1994.

Sarah Campbell Blaffer Foundation, A Golden Age of European Art, 2016.

The Adirondack Museum, Nature Staged: The Landscape and Still Life Paintings of Levi Wells Prentice, 1993.

Questroyal Fine Art, LLC, Important American Paintings, Enduring.

Richard Schmid, Alla Prima, Everything I know About Painting, 2004.

Adelson Galleries, American Works on Paper 1880/1930, 2009.

John J. Head, With Brush and Bridle, 2006.

William H. Gerdts, Masterworks of American Impressionism from the Pfeil Collection, 1992.

Ray Ellis and Walter Cronkite, North by Northeast, 1986.

Ray Ellis and Walter Cronkite, Westwind, 1990.

Ray Ellis and Walter Cronkite, South by Southeast, 1983.

504 Seven Books on Paintings and Sculptures

Questroyal Fine Art, LLC, Truth, 2019.

The Redfern Gallery, Celebrating 30 Years, 2006.

Museum of Texas Tech University, Glenna Goodacre: The First 25 Years, 1995.

Bob Beatty, Florida’s Highwaymen, 2005.

Catherine M. Enns, The Journey of The Highwaymen, 2009.

Gary Monroe, The Highwaymen, 2001.

Collectors Covey, Texas Brushstrokes: Contemporary Images of the outdoors, 1999.

Laurence Sheehan, Living with Dogs, 1999.

Richard Fath, Portraits De Chiens, 1998.

Richard A. Wolters, The Labrador Retriever, 1981.

Diane K. Inman, The Fine Art of Angling, 2007.

Diane K. Inman, The Fine Art of Angling, Deluxe Edition, 2007.

Robert J. Behnke, Trout and Salmon of North America, 2002.

Graydon R. Hilyard, Bogdan, 2006.

James Prosek, Trout of the World, 2003.

James Prosek, Trout: an Illustrated History, 1996.

507 Nine Books on Decoys

Bob and Sharon Huxford, The Collector’s Guide to Decoys, 1990.

Parmalee and Loomis, Decoys and Decoy Carvers of Illinois, 1969.

Gene and Linda Kangas, Decoys of North America Survey, 1983.

Two copies of John and Shirley Delph, Factory Decoys of Mason, Stevens, Dodge, and Peterson, 1980.

Henry H . Stansbury, Ira D. Hudson and Family, Chincoteague Carvers, 2002.

Dale and Gary Guyette, Decoys of Maratime Canada, 1983.

Joel Barber, Wild Fowl Decoys, 1954.

Keith Mueller, Half-Size Great Horned Owl, 2019.

Detail illustration from Audubon’s Birds of America, lot 434.

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INDEX

BY LOT

Adams, E. Frank: 338, 341

Crowell, A. Elmer (attr.): 346

Hancock, Miles: 421

Ahearn, James Joseph: 236-238, 241

Crowell, A. Elmer: 81-102, 164, 328, 329, 331-336

Hardenbergh, Gerard R.: 77

Allen, David: 167 Allen, Fred: 115 Audubon, John James: 434, 435, 490 Barber, Joel D.: 318 Barkalow, J. Lewis: 139, 140 Barkalow, Joel: 355 Baumhofer, Walter: 249 Benson , Frank W.: 172-177, 499 Bierly, Edward J.: 296 Birch, Charles: 269-271, 277, 278, 457 Bishop, Richard E.: 170, 486 Blair Sr., John: 262 Blaney, Dwight: 151 Blum, Roger: 169, 179, 180 Bohl, Walter E.: 480 Boice, Harry B.: 356 Borrett, Mike: 429 Boyd, George H.: 327 Boyd, Taylor: 457 Browne, George: 205-207 Burgess, Edward “Ned”: 272 Burleigh, Sydney Richmond: 305 Burns, Milton James (after): 484 Burr, Elisha: 335 Cameron, Judge Glenn J.: 366 Carlson, Ken: 212 Clark, Roland H.: 478, 479, 487 Clarke, C.D.: 223-225 Clymer, John Ford: 196 Corbin, Peter: 488 Coykendall, Sr., Ralf: 317

Currituck Shooting Club: 320, 321 Dahlka, Hy: 458 Daisey, Delbert “Cigar”: 420, 423 Daly, Thomas Aquinas: 303, 304 Dando, Aubrey J.: 468 Darling, Jay Norwood “Ding”: 474 Dilley, John: 310, 311 Dize, “Fieldy”: 352 Dodge Decoy Factory: 136 Doughty, Eli: 266, 267 Downes, John Henry: 280 Driscole, Harry A.: 438 Eakin, Arthur R.: 452 Elliott, Stephen C.: 218, 219 Elliston, Catherine: 116, 117, 368 Elliston, Robert: 114, 116, 364 Ettinger, Churchill: 283 Fery, John: 210, 211 Finkle, William: 379 Finney, Frank S.: 407-419 Fox, Garnet Bancroft: 297 Franco, Jack: 243 Frazier, Luke: 197, 198 Fuertes, Louis Agassiz: 76 Gibian, William: 192-195 Gilley, Wendell: 239, 240 Glenn, John: 281, 457 Golden, Francis: 451 Graham, John: 274, 276 Graves, G. Bert: 113, 117 Hagerbaumer, David A.: 68-73, 289295

262

Hardie, Eldridge: 251-255 Harsen, Lem B.: 392 Hart, Charles: 348, 349 Hartmann, Jud: 213, 214 Hays, William Jacob: 444, 445 Heath, Capt. Robert: 380, 381 Hibbard, Aldro Thompson: 152 Hodges, Dave: 431 Hoffman, Gary David: 220 Holly , John “Daddy”: 275 Holly, James T.: 428 Holmes, Benjamin: 319 Homer, Winslow (after): 484 Howell, Leroy: 433 Hudson, Ira D.: 263-265, 354 Hunt, Lynn Bogue: 80, 178 Ipsen, Ernest L.: 144 Irvine, Lawrence C.: 230-235 Jester, Doug: 350, 457 Kade, Arthur W.: 437 King, Allen J.: 103-111 King, Joe: 138 Kirmse, Marguerite: 477, 493 Kleiber, Hans: 482 Knap, Joseph Day: 476 Lafrance, Mitchel: 359 Lapham, James: 242 Lawrence, William Goadby: 166 Lay, Amy: 256, 257 Lazarus, David: 217, 221 LeBlanc, Stephen: 258 Lincoln, Joseph W.: 330, 343

Lohrmann, William: 361

Riley, C. Ford: 215

Vance, Arthur B.: 261

Lougheed, Robert Elmer: 199

Vanonbosshe, Theodore: 382

Maass, David A.: 168

Ripley, Aiden Lassell: 74, 75, 147-150, 475, 483, 485

Marris, Bonnie: 204

Ross, Willie: 324

Verity, Andrew “Grubie”: 316

Mason Decoy Factory: 119, 120, 123-135, 386

Rosseau, Percival: 481

Verity, Obediah: 308, 309, 312

Ruggles, Henry: 365

Voorhees Jr., Clark: 227

Maurer, Louis (after): 461

Rungius, Carl: 200-203

Vulcani, John: 244, 245

McIntyre, Cameron T.: 216

Schmidt, Ben: 388

Walker, Charles: 363

McNair, Colin S.: 404-406

Schoenheider Sr., Charles: 369

Walton, James: 374

McNair, Ian T.: 400-403

Schweikart, Capt. John C.: 383, 384

McNair, Mark S.: 182-191, 393-399

Scott, Peter Markham: 181

Ward Brothers, The: 155-157, 160-163, 165

McPhail, Rodger: 222

Seabrook, Robert: 426

Ward Sr., L. Travis: 351

Melbye, Arnold T.: 246

Shepherd, David: 209

Mitchell, Dean Lamont: 260

Shimon, Joseph: 375

Ward, Lemuel T. (Lem): 158, 159, 453, 454

Mitchell, Roger: 458

Shourds, Harry M.: 455

Morgan, James L.: 301

Shourds, Harry V.: 141

Mueller, Keith: 226

Sibley, David A.: 491

Murphy, Ed: 390

Sieger, Joseph: 286

Ostermiller, Dan: 259

Smith, Brett James: 146

Osthaus, Edmund Henry: 446

Smith, Christopher C.: 376-378

Ousley, William C. (Willie): 447

Smith, Mary: 443

Paff, Adam: 499

Sprague, Chris T.: 357, 358

Parker, W. H.: 344

Stevens, Harvey: 137, 387

Peale, Titian Ramsay: 78

Stoddard, Herbert L.: 494

Perdew, Charles H.: 118, 121, 362

Streator, Harold Arthur: 302

Peyrol-Bonheur, Juliette: 442

Strey, Frank: 373

Pinkham, Capt. Merritt P.: 323

Sullivan, Liz: 470

Pleissner, Ogden M.: 142, 143, 247, 248

Tait, Arthur Fitzwilliam: 440, 441

Poin, Winous: 367

Terelak, John Charles: 153, 154

Reece, Maynard: 171

Terpning, Howard A.: 79

Reed, James “Corb”: 422

Thomas, Charles W.: 339

Reeves, John Cooper: 288

Trinosky, Herman R.: 112

Reindahl, Enoch: 370-372, 385

Tyler, Lloyd: 282

Reneson, Chet: 298-300

Tyler, Maynard: 425

Rhodes, David: 469

Ullberg, Kent: 307

Verity Family: 315

Warhol, Andy: 489 Watson, Dave “Umbrella”: 268 Weiler, Milton C.: 250 Wheeler, Charles “Shang”: 322 Wheeler, Chauncey: 285, 287 Wiggins, J. Carleton: 448-450 Wilder, Mr.: 427 Williams, John: 273 Williford, Hollis: 306 Wilson, Alexander: 436 Wilson, Augustus “Gus” Aaron: 325 Wood, Frank: 228, 229 Wozny, Eddie: 424

263

TERMS AND CONDITIONS OF SALE 1 Your bidding on items indicates your acceptance of the following Terms and Conditions of Sale by Copley Fine Art Auctions, LLC. These terms are subject to amendment before or during the sale. Copley Fine Art Auctions, LLC operates as an agent of the seller only, and is not responsible in any way in the event the seller or buyer fails to fulfill their respective agreements. In all instances the auctioneer’s interpretation of these conditions is final and binding on all bidders.

2 All bids are per lot as numbered in the catalog unless otherwise announced by the auctioneer. The sales price shall consist of the final bid price plus the buyer’s premium, plus any applicable sales tax. A buyer’s premium of 20% (23% for online bidding) of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the buyer as part of the purchase price.

3 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot.

4 The auctioneer has the sole right to re-offer a lot and/or settle disputed bids. The record of sale kept by the auction house will be taken as final in the event of dispute. Additionally, items may be withdrawn at any time prior to the offering of each lot.

5 Except with respect to the guarantee for decoys as set forth below in paragraph 6, all goods are sold “as is” and all sales are final with no exchanges or refunds. Copley Fine Art Auctions, LLC and its consignors make no representations or warranties as to merchantability, fitness for a particular purpose, the correctness of the catalog or other description of physical condition, quality, size, medium, importance, rarity, provenance or historical relevance of any property, and no statement made at the sale, or in the bill of sale, or invoice, or elsewhere shall be deemed such a warranty or representation or an assumption of liability. The purchaser assumes complete responsibility for items at the fall of the hammer.

6 The Copley decoy team is committed to accurately cataloging all decoys.

To this end, all decoy lots in this catalog carry guaranteed condition reports.

Copley encourages all potential bidders to contact our decoy specialists at least seven days before the auction with any questions or concerns regarding condition. In many cases, Copley will be able to provide X-ray and UV analysis on select lots. Please note that the auctioneer reserves the right to amend these written reports verbally from the podium at the time of sale. Please note that absentee bids may not be executed on decoys that are affected by any amended condition reports. Since opinions can differ in the matter of condition and age, Copley Fine Art Auctions, LLC will be the sole judge in the matter of refunds. If we fail to identify a flaw that significantly impacts the decoy’s value, the purchaser may return the decoy.

Duration of Guarantee: Any request for refund of any decoy lot in the auction must be within 48 hours of receipt of the decoy. It is the purchaser’s responsibility to examine the decoy and identify in writing any flaw or flaws that significantly impact the value of the lot. In order to be eligible for the guarantee, Copley Fine Art Auctions, LLC must receive payment for the decoy within 7 days of the conclusion of the auction.

Receipt of the decoy by the purchaser must take place no more than 21 days after the fall of the gavel. Please note that it is the purchaser’s responsibility to arrange pick-up or shipping of the lot. The guarantee in all cases will end 21 days after the fall of the gavel.

7 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.

8 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.

264

9 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 personally examine lots prior to the auction so as to best determine condition of lots. Due to the high volume of condition requests, Copley Fine Art Auctions, LLC reserves the right to reject requests at its sole discretion. All weights and measurements are approximate.

10 Some of the lots in this sale carry reserves or minimum selling prices. This is a confidential figure set by the consignor and the auction house below which a lot will not be sold. The reserve will not exceed the low estimate, and the auction house will execute the reserve bids by bidding for the consignor. Estimates are subject to change at any time prior to the offering of each lot.

11 Absentee and telephone bids will be executed when possible as a convenience to customers; the auction house will not be held responsible for any errors or failures to accurately execute bids. All absentee and telephone bids must be received at least 24 hours before the start of the sale.

12 Buyers wishing to pick up items after the auction at our office may do so only by appointment. We kindly ask that all items be removed from our warehouse within 30 days of auction end to avoid a $5 daily storage fee.

13 Shipping is the responsibility of the buyer. Upon request, we will provide a list of shippers who deliver within the United States and overseas. Once your payment has cleared, items may be released for shipment. Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyers should allow up to four weeks for shipment.

14 Copley Fine Art Auctions, LLC may, at its discretion and at the buyer’s request, package and ship sold items as directed by the purchaser. In such instances 1) the buyer shall prepay all related expenses, and 2) the buyer agrees that all packaging, handling, and shipment is at the sole risk of the purchaser, and Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyer should allow up to four to five weeks for shipment.

15 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.

16 Bidding increments will normally follow the pattern below, but may vary at the sole discretion of the auctioneer: Estimate To 950 1,000 – 2,400 2,500 – 4,750 5,000 – 9,500 10,000 – 24,000 25,000 – 47,500 50,000 – 95,000 Over 100,000

Increment 50 100 250 500 1,000 2,500 5,000 at auctioneer’s discretion

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17 If you are bidding as an agent for another individual or company, and you execute a bid on behalf of someone else under your bidder number, then you are responsible for the settlement of that account.

18 In no event will the liability of Copley Fine Art Auctions, LLC to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item.

19 Any legal disputes arising from this auction shall be settled in the court system of the Commonwealth of Massachusetts.

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265

ABSENTEE/TELEPHONE BID FORM COPLEY FINE ART AUCTIONS | 65 Sharp Street | Hingham, Massachusetts 02043 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | copleyart.com

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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 #

266

a Absentee bids: Absentee bids are executed alternately in competition with phone and internet bidders. It is possible, due to the variations in bidding patterns, that a lot may be won by the audience for the same amount authorized by the absentee bidder. A (+) sign to the right of the bid amount will authorize the absentee bidder to bid one additional bid increment. In the event of identical bids, the first bid received will take precedence. b Telephone bids: If bidding by telephone, the bidder accepts the inherent risks associated with bidding over the telephone.

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Title will pass upon delivery to the out-of-state destination.

4 Please be aware that packing and the payment for shipping is the responsibility of the successful Buyer. Upon making the item(s) available for shipping to the Buyer or its Agent, Buyer shall be responsible for the care and packaging of the item(s). The Buyer shall bear the risk of loss from and after Copley making available such item(s) to the interstate carrier, including the insurance of the item(s) against all risks of loss including without limitation, fire, theft, or any other damage to the item(s).

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267

ELMER CROWELL Father of American Bird Carving

featuring

Masterworks from The Thomas M. Evans Jr. Collection

by Stephen B. O’Brien Jr. and Chelsie W. Olney

“A masterful presentation befitting America’s finest bird carver...”

–Joe Engers, editor, Decoy Magazine

Over 300 pages and 420 color illustrations. $100.

To order your copy of this definitive book, please visit copleyart.com or call the gallery at 617.536.0536.

268

O. Pleissner |

WR

$345,000

J. Lincoln |

WR

$360,000

A.E. Crowell | $661,250

selling the world’s finest DECOYS AND SPORTING ART

E. Osthaus |

Dovetailed Goose |

WR

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$235,750

J. Graham |

$810,000

WR

$216,000

C. Rungius | $460,000

WR

Denotes world record for the artist

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