The Sporting Sale 2024 | Copley Fine Art Auctions

JULY 11-12, 2024

SUMMER 2024

Looking through the pages of this catalog one last time before we send it off to the printer, I am reminded and impressed by the passion that collectors pour into their respective arenas.

A patron of the arts and a major conservationist, Bubba Wood dedicated much of his life to hunting quail and preserving prime Texas wildlife habitat. His Collectors Covey gallery served and influenced not only the Dallas sporting set, but collectors across North America for over three decades.

As a child, Alex Chester was inspired by the outdoors, eventually carving out a career in oceanography. A move to Beaufort, North Carolina, fueled a passion for bird hunting, and a path that led him to discover one of the greatest American upland bird painters—Aiden Lassell Ripley. Chester would go on to amass one of the most comprehensive collections of the artist’s work ever assembled.

Paul Proudfoot grew up hunting with his father and developed a love for decoys from using them in the field. He forged a relationship with Sam Dyke and the Ward Museum in the late 1980s, acquiring choice Ward brothers' examples. Twenty-five years ago, Proudfoot happened to be at the right place at the right time. At a garage sale in Waterville, Ohio, he experienced a moment collectors dream about— coming across and acquiring one of the earliest and finest Perdew mallards known to exist.

Few women were more passionate about the Sporting life than Sallie Sullivan and Evelyn Chace. Sullivan was a trailblazing dog handler, setting a standard that may never be matched: fifty Master National Plates, roughly one thousand qualifications, and nine dogs in the Master National Retriever Club Hall of Fame. Like Sullivan, Evelyn Chace was a passionate bird hunter and conservationist.

One of the earliest female decoy collectors, she acquired exceptional carvings at the very beginning of the decoy collecting era. With a discerning eye, Chace established an early recognition of Elmer Crowell’s talent, and collected some of his finest decorative bird carvings.

Few decoy collectors come to mind who have done more for live waterfowl than George Secor. Like Paul Tudor Jones II, Donal C. O’Brien Jr., and Peter Brown, George Secor is not only a decoy aficionado, but also a part of a rare breed who has dedicated huge amounts of time, energy, and financial resources to the cause of preserving waterfowl in the wild.

As the years have passed, I have come to learn that collecting is one of the most enjoyable and rewarding things that we can do as humans. It taps into our psyche and has the ability to combine our passions for history, art, conservation, and, yes, even gambling! Stepping into the auction arena is much like walking into a casino. However, unlike when exiting a casino (often fleeced!), when an auction ends, the highest bidders acquire treasures to be enjoyed on a daily basis, for years, decades, or even generations to come.

Sincerely,

Stephen O’Brien Jr.

Stephen B. O’Brien Jr. Fine Art & Decoy Specialist steve@copleyart.com

Leah Tharpe Fine Art Specialist leah@copleyart.com

Colin S. McNair

Decoy Specialist colin@copleyart.com

Jim Allen

Decoy Specialist jim@copleyart.com

CATALOG BY:

Stephen B. O’Brien Jr. Cinnie O’Brien

Colin S. McNair

Leah Tharpe

Chelsie Olney

Eileen Steward, Photography & Design Michelle Dwyer

© 2024 Copley Fine Art Auctions, LLC. All rights reserved.

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AUCTION: JULY 11-12

Day 1: Thursday, July 11, 10:00AM Lots 1-253

Day 2: Friday, July 12, 10:00AM Lots 254-459

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

ADDITIONAL PHOTOS AND AUCTION PREVIEW

THE SPORTING SALE SCHEDULE

OF EVENTS

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 also 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.

ONLINE BIDDING

Live online bidding will be available through Copley Live (download in your app store), Bidsquare, and Live Auctioneers. There will be a 23% buyer’s premium for Bidsquare and Copley Live and a 25% buyer’s premium for Live Auctioneers.

Please review the Terms and Conditions of Sale on page 273 and Important Notices on page 11 of this catalog.

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

2 Buyer’s premium

A buyer’s premium of 20% (23%-25% for online bidding) of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the Buyer to Copley Fine Art Auctions, LLC as part of the purchase price.

3 Consign to our next sale

Copley Fine Art Auctions, LLC is accepting consignments for our The Winter Sale 2025. 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 published or 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.

9 Additional images

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

THE SPORTING SALE

IMPORTANT NOTICES

10 Stands

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

11 Condition description of wear or gunning wear

Wear or gunning wear may include all types of wear and damage that can be inflicted, and may be expected, from hunting, handling, use, or time. This may include, but is not limited to, paint wear, flaking, dings, scratches, checks, cracks, craquelure, age lines, dents, chips, rubs, blunts, broken or missing 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, restorations, and touch-up may include new material. Paint listed as “working,” “gunning,” or “old” is likely not original first coat. 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. Additional online photos are considered to be part of the condition.

12

Fragile decoratives

Fragile decoratives, like the birds, feathers, flora, and fauna that their makers emulate, can be particularly susceptible to damage, deterioration, and loss. Feathers, wings, legs, tails, leaves, branches, and other parts can become detached from necessary handling. Due to these circumstances, CFAA will not be responsible for any change in condition of decorative lots. Additionally, we recommend that all bidders consider transportation logistics for these special objects prior to the sale.

13

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.

14 Auction results

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

15 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.

16 Auction day contact information

On site: 617.536.0030

Auctioneer Peter J. Coccoluto

MA License #2428

PROPERTIES FROM

The Ruly Carpenter Rig and Estate

A descendant of Evelyn Thayer Chace

The Alex Chester Collection of Works by Aiden Lassell Ripley

Collection of Katherine Shaw Kripke and Samuel Benson Shaw

Jim Fallon Collection

Marty Hanson Collection

Hank Norman Collection

Paul Proudfoot Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Estate of Sallie Sullivan

Estate of Martin F. "Bubba" Wood

Private Collection, California

Private Collection, Connecticut

Private Collection, Greenwich, Connecticut

Private Collection, Salisbury, Connecticut

Private Collection, Florida

Private Collection, Illinois

Private Collection, Massachusetts

Private Collection, Montana

Private Collection, New Hampshire

Private Collection, New Jersey

Private Collection, Oregon

Private Collection, South Carolina

Private Collection, Texas

Private Collection, Washington

Private Collection, Wisconsin

THE SPORTING SALE 2024

LOTS 1-253

DAY 1 | JULY 11 | 10AM

Additional images for each lot are available through the online bidding platforms and should be viewed as a part of each object’s description and condition.

1 Exceedingly Rare Miniature Painted Bunting

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910

2 3/4 in. long

This early dropped-wing Crowell songbird represents one of North America’s most colorful species. It is the only example by Crowell we have seen. Indeed, it is not among the sixty songbird species listed by Joseph Ellis in his book. The underside is identified in ink on a jelly-jar label. Original paint with light wear and a very small chip to left tail edge.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

Literature: Joseph H. Ellis, Birds in Wood and Paint, Lebanon, NH, 2009, pp. 63-73, no comparables illustrated.

$2,500 - $3,500

2 The Dempsey-Chace Songbird in Nest with Egg

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1935

4 in. long, 7 in. tall

A unique nesting bird carving with dropped wings, a high tail, and carved egg. It includes a real nest mounted on a wooden base. The underside of the base bears the following inked inscription: “Elmer Crowell gave to Ashley Dempsey in 1951. He found the nest + for fun made eggs + bird for it.” This history implies that Crowell owned this carving for over a decade before gifting it to a granddaughter of Charles A. and Alice E. Hardy.

This important work was acquired from a 1976 Bourne Auction where the cataloger made a special “NOTE” to address the provenance and its significance, discussing “...Charles Ashley Hardy, Crowell’s first customer for live-sized mantle birds. It was Mr. Hardy who, through his encouragement, got Elmer Crowell to begin making life-sized decoratives.”

In addition to the rarity of composition and form, the refined plumage may also be unique. According to Crowell miniature historian Joseph Ellis “even allowing for his normally ‘folky style, Crowell was casual in dealing with ornithological details on his songbirds...” This piece stands apart from any of the sixty species illustrated by Ellis in his book. In the catalog, Bourne refers to the carving as a warbler. Original paint with wear, including a blunted bill tip and rubs to wing tips. Nest has deteriorated.

Provenance: J. Ashley Dempsey Collection, gifted from the artist, 1951

Evelyn Thayer Chace Collection, acquired 1976 Private Collection, by descent from the above

Joseph H. Ellis, Birds in Wood and Paint, Lebanon, NH, 2009, pp. 63-73, no comparables illustrated.

$3,000 - $5,000

Literature: Richard A. Bourne Co. Inc., Rare American Decoys & Bird Carvings, Hyannis, MA, July 13-14, 1976, lot 284, exact piece illustrated and discussed.

A. ELMER CROWELL

3 Miniature Feeding Bobwhite Quail

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

3 1/2 in. long

A rare feeding quail made in the same pose as the feeder from the record-setting life-size pair sold by Copley in the Winter Sale 2021. The underside of the base is marked with the rectangular stamp signature. Original paint with light wear, very minor white spotting to top, minor craquelure mostly to right shoulder.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$1,500 - $2,500

4 Half-Size Bobwhite Quail

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

6 1/2 in. tall

Today quail are not commonly associated with Cape Cod; however, they were fairly abundant in Crowell’s time, and he both hunted and raised them. This bird was displayed at Evelyn Thayer Chace’s sporting retreat, Twickenham Plantation, in Beaufort County, South Carolina. This male displays bright plumage, incised tail carving, and the maker’s rectangular stamp on the bottom. Original paint with light wear, small paint rub to top of crest, and minor putty loss to legs.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 15, 42, 183, related life-size carvings illustrated.

$2,000 - $3,000

This record-setting quail carving sold for $216,000 at Copley’s Winter Sale 2021.

5 Miniature Wood Duck

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 1/4 in. long

The bird displays the maker’s rectangular stamp on the bottom. Original paint with light wear and very minor white spotting.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

6 Exceptional Miniature Black Duck

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910 4 3/4 in. long

The form, carving, and paint of this rare and early work may be the finest miniature black duck to have surfaced. Beyond its exceptional execution, with special details including a scalloped tail and cheek carving, it is a fairly rare high-head form with the majority of this species carved in a reaching pose. It was among Mrs. Chace’s earliest acquisitions over a half century ago. Original paint with light wear and an old hairline crack to wing tip.

Provenance: Evelyn Thayer Chace Collection, acquired 1968 Private Collection, by descent from the above

Literature: Richard A. Bourne Co., Inc., Public Auction of Very Fine American Bird Carvings, Hyannis, MA, 1968, lot 158, exact decoy illustrated.

$3,000 - $5,000

7 Miniature Pintail Drake

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 5 1/2 in. long

The bird displays the maker’s rectangular stamp on the bottom and a penciled “3.” Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

8 Miniature Surf Scoter Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 in. long

This wide bird displays the maker’s rectangular stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

A. ELMER CROWELL

9 Miniature Redhead Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1920

4 1/2 in. long

The bird displays Crowell’s circular “Maker” ink stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

10 Miniature Blue-Winged Teal Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 in. long

The carving displays the maker’s rectangular stamp and a penciled “18” on the bottom. Original paint with light wear and a minor ding to tip of tail.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

11 Miniature Blue-Winged Teal Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1915 3 1/2 in. long

The maker’s blue-paper label is on the underside with his inked species identification. Original paint with light wear and a tightly reset line in bill.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

Literature: Richard A. Bourne Co., Inc., Public Auction of Rare American Decoys, Bird Carvings, Miniatures, and Related Items, Hyannis, MA, 1970, lot 184, exact decoy illustrated.

$800 - $1,200

12 Miniature Green-Winged Teal Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 in. long

The carving displays the species name and the maker’s rectangular stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

13 Miniature Wigeon Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1920 4 in. long

The bird displays Crowell’s circular “Maker” stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

14 Miniature Mallard Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

5 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

15 Miniature Red-Breasted Merganser Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 5 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

16 Miniature Reaching Brant

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 6 in. long

This long-necked carving displays the maker’s rectangular stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

A. ELMER CROWELL

17 Miniature Snipe

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 in. long

The bird displays the maker’s rectangular stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$1,500 - $2,500

18 Miniature Greater Yellowlegs

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 1/2 in. long

This carving, with its blended paint and long legs and bill, is a refined example with the maker’s rectangular stamp on the bottom. Original paint with light wear and craquelure to base.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$1,500 - $2,500

19 Miniature Semipalmated Plover

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 3 in. long

The bird displays the maker’s rectangular stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$1,500 - $2,500

22 Rare Miniature Prairie Chicken Pair

Allen J. King (1878-1963)

North Scituate, RI, c. 1950

2 1/2 in. tall, 6 in. long

A very fine example that bears the Crossroads of Sport label on the underside of the base. Original paint with light wear.

Literature: Joseph H. Ellis, Birds in Wood and Paint, Lebanon, NH, 2009, front cover, King miniature illustrated.

$1,000 - $2,000

23 Exceptional Miniature Woodcock

Robert Morse (1920-1960)

Ellsworth, ME, c. 1945

2 1/2 in. tall

A closely related grouse sold for $4,200 in Copley’s Winter Sale 2022. This is one of finest miniature woodcock to surface at auction in the past fifteen years. Signed on the top of the base. Original paint with light wear.

$1,500 - $2,500

20 Miniature Canada Goose

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 6 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with light wear and a reset neck.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

21 Miniature Canvasback Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 5 in. long

The feeding carving displays the maker’s rectangular stamp on the bottom. Original paint with light wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

JOSEPH W. LINCOLN

24 Exceptional Miniature Hissing Goose

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

6 3/4 in. long

This goose and the following four lots are refined examples that were made together in a group.

This miniature decoy displays Lincoln’s classic and elegant lines. A related life-size goose set a world record for any

Lincoln decoy at auction, selling for $299,000. Original paint with minimal wear.

Provenance: Private Collection, Connecticut

$3,000 - $5,000

Life-size hissing goose by Joseph Lincoln sold by Stephen O’Brien Jr. Fine Arts.

25 Miniature Hooded Merganser

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1920 4 in. long

A very good example of this rarely seen species, the underside bears the species name in pencil. Original paint with minimal wear.

Provenance: Private Collection, Connecticut

$1,500 - $2,500

26 Miniature Ruddy Duck

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1920

3 1/4 in. long

The underside bears the species name in pencil. Original paint with light wear and tight age line in top of bill.

Provenance: Private Collection, Connecticut

$1,500 - $2,500

27 Miniature Red-Breasted Merganser

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1920 4 1/4 in. long

A rare species with a bright red breast and carved crest. The underside bears the species name in pencil. Original paint with light wear.

Provenance: Private Collection, Connecticut

$1,500 - $2,500

28 Miniature Brant

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1920 4 3/4 in. long

The underside bears the species name in pencil. Original paint with light wear.

Provenance: Private Collection, Connecticut

$1,500 - $2,500

Evelyn Thayer Chace (1914-1994)

When Evelyn Thayer Chace was born in Lancaster, Massachusetts, in 1914, 120 miles to the southeast, Elmer Crowell had begun working full-time as a decoy carver and was producing many of his finest works. Evelyn attended Beaver Country Day School and graduated from Miss Hall’s School. Her father, John Eliot Thayer Jr. (1887-1966), was educated at Groton and then Harvard, graduating in 1910. He served in the Massachusetts House and Senate in the 1920s.

It was Evelyn’s love of birds that fueled her urge to collect, and her philanthropic spirit likely originated with her grandfather John Eliot Thayer (1862–1933).

A member of Harvard’s class of 1885 and the newly formed American Ornithologists' Union, Thayer was well acquainted with many of Boston’s “Brahmin” families, including leading ornithologist and Crowell patron Dr. John Charles Phillips (1876-1938). In Thayer’s obituary, which Phillips penned for the ornithological journal, The Auk, he remarks, “His name was found wherever worthwhile philanthropy asked for aid…In a part of the world where rural centers long ago lost their cultured leaders and much of the old social tradition, John Thayer stands out as

the finest example of what a New England country gentleman ought to be.”

A distinguished ornithologist, Thayer set out to collect every bird species found in North America, and built the Thayer Museum, which he opened to the public in 1904, to house all the mounted specimens. According to Phillips, all the ornithologists of the day made a pilgrimage to view Thayer’s collection: “...more than ten thousand visitors came to the museum in the first six years.”

His collection was later donated to Harvard’s Museum of Comparative Zoology, where Phillips served as the Associate Curator of Birds. Notably, the collection included a series of Eskimo curlew, which may have had an influence on Chace’s acquisitions (see lots 30 and 34).

The Chace Crowell Curlew (lot 30).

Evelyn Thayer Chace at Twickenham, circa 1982.

Evelyn Thayer Chace (1914-1994) (continued)

COLLECTOR

Mrs. Chace’s collecting began on Cape Cod. She was married to Arnold Buffum Chace (1914-1988), whose family once owned all of Great Island, a 500-acre peninsula on Nantucket Sound in West Yarmouth, across the harbor from the Kennedy’s Hyannis compound and Crowell patron Randolph Payson’s estate.

Evelyn was one of the earliest female decoy collectors, along with Adele Earnest, and Phyllis Ellison. These pioneering lady collectors acquired exceptional decoys at the beginning of the collecting marketplace and participated at the highest level. As she came to know the local individuals who were involved in the decoy auctions, Mrs. Chace developed an informed admiration for the Cape’s professional carvers. In particular, her discerning eye enabled her to establish an early recognition of Elmer Crowell’s talent.

With Crowell auction purchases documented back to the 1960s, Chace was acquiring carvings within the first year or two of decoy auctions and several years prior to the Richard A. Bourne Co. Inc. sale of the William J. Mackey Jr. Collection. To wit, the exceptional Miniature Black Duck (lot 6) was among Mrs. Chace's earliest acquisitions over a half century ago.

Evelyn not only possessed an astute eye for Crowell’s best decorative shorebirds, she was also willing to pay near-record prices at the time with hammers exceeding those of a Mackey Collection Crowell dust-jacket plover and a John C. Phillips-McCleery Crowell merganser. Like all of her pursuits, Chace picked up decoy collecting with enthusiasm and agency, quickly becoming a respected force in the field.

SPORTSWOMAN

The same dedication and energy with which she approached decoys and their makers, Evelyn also devoted to hunting and land acquisition and conservation. In 1955 Mrs. Chace spearheaded the couple’s purchase of Twickenham Plantation, a 2,500-acre working farm in Beaufort County, South Carolina. An accomplished horsewoman from her rural Lancaster childhood, down at Twickenham she hunted for quail, dove, and ducks. She always had yellow Labs, while her husband kept Brittany Spaniels.

The Chaces’ historic plantation was where Evelyn’s Crowell collection spent much of its time. She brought the decoys and decoratives down to Twickenham, and would bring them back to the Cape when she traveled back north. The fact that works by the East Harwich maker, such as the Half-Size Bobwhite Quail (lot 4), were transported over 1000 miles south to Yemassee, South Carolina, and back again speaks volumes about the deep admiration she felt for both the carvings and Twickenham.

Sources:

“Evelyn T. Chace, Audubon Society director, veteran.” The State, Columbia, South Carolina, April 7, 1994.

John C. Phillips. “John Eliot Thayer. 1862–1933.” The Auk, American Ornithologists’ Union, Volume 51, Issue 1, January 1934.

Evelyn Thayer Chace at Twickenham Plantation, circa 1982.

CONSERVATIONIST

Phillips’ final words about his dear friend were prophetic of Thayer’s granddaughter, Evelyn: “And so we must leave him, safe in the knowledge that his rare qualities will be perpetuated in the character of his descendants.” Like many ardent hunters, Chace understood the need for conservation.

As director of the National Audubon Society, she did a tremendous amount to protect the natural world. During her tenure in the 1980s, Chace led a fundraising campaign to expand Audubon's Frances Biedler Forest of Harleyville, South Carolina. As the chairwoman of the Frances Biedler Forest Land Acquisition Committee, Chace protected this 18,000-acre area, which contains the largest remaining stand of virgin Bald Cypress and Tupelo Gum swamp forest left anywhere in the world. The Beidler Forest has been recognized as a Ramsar Wetland of International Importance, a National Natural Landmark, a site on the Underground Railroad, and an Important Bird Area, a designation coined by decoy collector Donal C. O’Brien Jr. which refers to vital places where birds winter, nest, and refuel along their migratory paths. Evelyn understood that protecting these endangered lands was critical to bird conservation.

In 2005 Audubon established the Evelyn Thayer Chace Awards which “recognize the achievements of women who have protected wildlife and natural areas”—a testament to her tireless efforts and the lasting impact she made. Norman Brunswig, executive director of Audubon South Carolina, explains, "The Chace Awards are a celebration of

these outstanding women and also a way to honor the memory of one of Audubon's dearest friends, Evelyn Chace."

Chace’s volunteerism spanned decades and involved a myriad of nonprofit organizations in addition to Audubon. During World War II, she worked as a volunteer with the British American Ambulance Corp. Chace served as the director of the South Carolina Waterfowl Association and she was a trustee of Old Sheldon Church Trust. In fact, there is a plaque on the gate at the Old Sheldon Church Ruins (built circa 1750) which memorializes Chace, describing her as “A true angel to the Old Sheldon Church.”

Whether she was on horseback hunting with her dogs, hiking through the swamp forests she fought to protect, or appreciating and collecting fine bird carvings, communing with nature in many forms was a constant source of pleasure throughout Evelyn’s life. Armed with a keen eye for exceptional carvings, along with the confidence and the means to seek out and acquire them, Evelyn Chace curated one of the most discerning Crowell decorative shorebird collections ever assembled. Copley is honored to present carvings from the collection of this trailblazing figure.

34).

Crowell painting depicting curlew, terns, and gull (detail, lot

A. Elmer Crowell (1862-1952)

Photograph of Crowell holding a four-gauge shotgun, 1920. Long’s description reads: “Elmer Crowell. Oldham Pond. So [South] Hanover.” Image from the journals of Harry V. Long.

Anthony Elmer Crowell was born in the town of East Harwich, Massachusetts, the son of Anthony S. Crowell, a Cape Cod mariner and cranberry grower. According to his memoir, Crowell’s father, though not a hunter, gave Elmer his first shotgun at the age of twelve. Of the relevance of receiving the new shotgun, Crowell wrote, “Then, I was some boy!” The legend of Crowell and his famous carvings has many of the common threads of the typical artist’s tale. It is the story of a boy of modest means, born at the right time, and befriended by encouraging patrons. Crowell started out in his teens as a market hunter and a pioneering keeper of live waterfowl. These passions helped Crowell to develop an intrinsic

knowledge of both waterfowl and other birds which enabled him to create carved wood sculptures that bear exceptional likeness to their species.

In the third quarter of the 19th century, Cape Cod was a major stop-over for migratory birds and sparsely populated by people. However, with increased access by train and the advent of the automobile, Cape Cod was quickly becoming a destination for sportsmen in pursuit of outdoor recreation. The concept of the American shooting sportsman was beginning to take root. As a result, the gunning stands and camps that had once been primarily operated by local market gunners were becoming increasingly sought after by sportsmen from Boston. These new gunning stand owners would often invite their influential and wealthy friends down as guests and they needed managers to run the camps.

Referring to themselves as the Three Bears, Charles Ashley Hardy (1874-1927) of Chatham and Wayland, along with his two esteemed partners, G. Herbert Windeler and Loring Underwood, established their hunting camp, “The Three Bears Club,” on Pleasant

Circa-1915 postcard of the Chatham Bars Inn. In 1914 Charles Ashley Hardy and several other prominent men opened the Chatham Bars Inn. The fishing and hunting lodge offered “the best of deep-sea fishing and shore bird shooting,” according to a June 2014 article in The Cape Cod Times. The group also founded the 18-hole links golf course called Eastward Ho! In 1921.

Lake, one-half mile from Crowell’s gunning stand, where he had been hunting since 1876. Rather than competing with an experienced market gunner, they wisely hired him instead, approaching Crowell about a camp manager position in the late 1890s. Crowell’s employment at the Three Bears’ camp entailed procuring and then caring for a flock of approximately fifty geese. It is often the confidence and enthusiasm of youth that brings forth great experimental breakthroughs. To wit, Crowell rigged electric doors for the live decoy pens so that a gunner could release the flyers from afar. This innovation gave the Three Bears and their guests a tremendous hunting advantage.

carving or he had handled so many that their shapes and feather patterns were etched in his memory.

Crowell’s innovations in terms of bird carving tell a similar tale. While blessed with natural talent and a thorough familiarity with bird anatomy, it was the encouragement and patronage of his earliest collectors that enabled Crowell to raise his craft to such a high level. The quality of the carvings that Crowell created for Charles Ashley Hardy, Dr. John C. Phillips (1876-1938), and Harry V. Long (1857-1949) illustrates each man’s positive influence and effect on the maker. For example, with the Charles Ashley Hardy plover (lot 29), one has the sense that Crowell was either looking right at a real plover as he painted this

Over the years, Hardy and his wife, Alice, commissioned Crowell to make many exceptional carvings and obtained a curlew, a golden plover (lot 29), a great blue heron, a common snipe, and a bobwhite quail, along with several other life-size mantel birds. Regarding these carvings, a 1974 Richard A. Bourne auction catalog states, “They are, to the best of our knowledge, the first such birds ever made by Mr. Crowell. It is interesting to note that Mr. Crowell painted these birds in a far different manner, much more like decoys, than he did his later mantel birds.”

The special relationships forged through hunting, beginning with Hardy, Phillips, and Long, opened the world to Crowell’s workshop, and other important patrons came knocking, including Joseph B. Chace, Mrs. Alexis Felix DuPont, Stuart Crocker, Dr. Mac Cunningham, Henry Ford, Arthur Gould, John D. Rockefeller Jr., and Abby Aldrich Rockefeller.

Inscription on underside of the Hardy great blue heron, 1912.

Lot 29.

A. ELMER CROWELL

29 The Hardy-Chace Crowell Golden Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912 10 in. tall

This early plover, with its elegant form, elaborate paint, and strong provenance, is one of Crowell’s finest plover carvings known to exist.

The paint detail is among the best to have been executed on any known plover by the maker. The stippled impasto paint technique and subtle ticking that he imparted upon this carving created a lifelike effect on the bird which is virtually unmatched by any carver of his day or since. The transitional plumage choice for this carving allowed the painter to maximize the effect of the bird’s color, feather detail, and contrast to great effect. The exceptional bill displays incised mandible separation as well as subtle nostril carving and, true to the species, it broadens at the tip. The wing tips are not only lifted above the tail, they also have rarely seen separation between the primaries.

When Crowell initially began carving he was extremely focused on rendering a perfect likeness for each species. Typical of many artists, as his carvings gained in popularity and demand increased, his attention to detail began to wane. With this particular bird, Crowell went so far as to paint the auricular feathers below the eyes; this plover is believed to be one of the only such goldens with this precise detail. A related curlew with similar auricular treatment was sold by Copley as the cover bird, lot 380, on the Sporting Sale 2011 Catalog. Crowell historian Gigi Hopkins is credited for shedding light on Crowell’s auricular treatment.

Displays Crowell’s pristine oval brand on the bottom of the base above the patron’s “C. A. Hardy” ink signature. A red jelly-jar label identifies the species as “Golden Plover” above the brand. Outstanding original paint with light wear, minor flakes to bill edges. Loss to one toe and early touch-up to another.

Provenance: Charles Ashley Hardy Collection, acquired from the maker

Evelyn Thayer Chace Collection, acquired 1974 Private Collection, by descent from the above

Literature: Richard A. Bourne Co. Inc., Rare American Decoys & Ornamental Bird Carvings, Hyannis, MA, October 19, 1974, lot 90, exact carving illustrated.

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 225, 226 and 229, plover with auricular detail illustrated.

$45,000 - $65,000

A. ELMER CROWELL

30 The Chace Crowell Curlew A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1922 12 1/4 in. tall

A rare and early shorebird mantle carving in a stately upright pose with a turned head. Chace acquired this carving as the top lot in Richard A. Bourne Company’s August 1970 auction. It may have been a world record for any decoy maker at the time. Bourne identified it as an “extremely rare life-size Eskimo Curlew...a very great rarity.” Indeed, this yellowlegs-sized carving measures twelve-and-one-half inches from the tip of the bill to the tail, in contrast to his Hudsonian curlew which measure up to seventeen inches. See lot 34 for Mrs. Chace’s Crowell painting featuring the two curlew species.

A closely related example is held in the Thomas M. Evans Jr. Collection. That bird hailed from the collection of Crowell patron George Abercrombie Spaulding. The Spaulding family owned much of Cuttyhunk Island, similar to their friends the Chaces, who owned Great Island.

This decorative exhibits Crowell’s mastery of the carved wooden bird and his finest blended painted surface representing the plumage. The maker’s oval brand is on the bottom of the base. Outstanding original paint with some craquelure, mostly to end grain on breast. Some chipping to thigh and knee putty and some old restoration to toes. Minor ding to left shoulder.

Provenance: Evelyn Thayer Chace Collection, acquired 1970 Private Collection, by descent from the above

Literature: Richard A. Bourne Co. Inc., Public Auction of Rare American Decoys, Bird Carvings, Miniatures, and Related Items, Hyannis, MA, August, 1970, lot 213, exact decoy illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 145, 147, and back boards, closely related curlew illustrated.

$45,000 - $65,000

Elmer Crowell outside his workshop, 1927, posing with a related curlew. This image appeared in the Boston Sunday Herald on September 8, 1957. Courtesy of Heritage Museums & Gardens, Sandwich, MA.

A. ELMER CROWELL

31 The Chace Crowell Running Yellowlegs

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1915

8 1/2 in. tall

Measuring over thirteen inches from tip of bill to end of tail, this greater yellowlegs exhibits the maker’s finest paint details and some early wet-on-wet technique. The special flourish of rarely seen auricular feathers has been neatly blended under each eye. This treatment is only seen in a small number of his premier early decoratives. The breast, sides, and flanks are finished with early, layered white feathering strokes which retain their impasto for a lively effect. A section of blended paint between the nape and the coverts is another impressive detail not often seen.

The crisp, hot oval brand is found on the underside of the base.

This is among the Harwich artisan’s finest yellowlegs carvings. A closely related example was displayed in the Songless Aviary exhibition and now can been seen in the

2019 Crowell book as part of The Thomas M. Evans Jr. Collection. Excellent original paint with light wear, some minor craquelure at shoulders, and rub to wing tips. Restoration to thigh, leg, and toe putty as typically seen on early mantle birds. Bill has touch-up and less than half is replaced.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 197, closely related example illustrated.

Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, p. 77, closely related carving illustrated.

Richard A. Bourne Co., “Rare American Decoys & Bird Carvings,” October 1-2, 1982, Hyannis, MA, lot 464, exact carving illustrated.

$20,000 - $40,000

Mrs. Chace regularly participated in Bourne auctions from the 1960s-1980s and purchased lots from these catalogs.

A. ELMER CROWELL

32 The Dempsey-Chace Semipalmated Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1925 6 1/4 in. long

This striking plover again showcases the efforts Crowell would make for his very best patrons and their descendants. Charles A. and his wife, Alice E. Hardy, are credited as the first patrons to motivate Crowell to pursue his mantel birds (see lot 29). Crowell carvings would remain in the family for at least three generations through their daughter, Alison H. Dempsey, to their granddaughter Ashley Dempsey. This carving is one of the earlier works to bear Ashely’s name, which is burned in the bottom alongside Crowell’s oval brand.

This bird is part of a small group of Crowell shorebirds to bear a distinctly burnt-in name from the three generations of ladies listed above. Other examples include a curlew pictured in the Crowell book and across from it, the iconic great blue heron on display in the Shelburne Museum’s collection.

The underside also has an illegible inked inscription that appears similar to C. A. Hardy’s writing.

The paint is excellent with more detail, color, and contrast than is seen in a live bird. It has extensive wet-on-wet blending, white-on-white feathering, and deeply layered

plumage with very fine ticking. It is among the very finest of Crowell’s small plover. Original paint with light wear, several minor paint flakes, by left eye, top of base, tip of bill, and on right wing. Old touch-up and typical putty loss to parts of thighs, knees, and toes.

Provenance: J. Ashley Dempsey Collection Evelyn Thayer Chace Collection, acquired 1976 Private Collection, by descent from the above

Literature: Richard A. Bourne Co. Inc., Rare American Decoys & Bird Carvings, Hyannis, MA, July 13-14, 1976, lot 285, exact carving illustrated.

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 75-77, Hardy-Dempsey birds and burned name illustrated and discussed, p. 52, related semipalmated plover illustrated (incorrect caption).

$10,000 - $20,000

A. ELMER CROWELL

33 Golden Plover Decoy

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 9 3/4 in. long

An early working Crowell shorebird decoy in an alert upright posture displaying fine painted detail, glass eyes, and split-tail carving with painted primaries. It is difficult to find early examples of this species by Crowell as he concentrated primarily on black-bellied plover and yellowlegs during the first quarter of the 20th century.

This decoy, paired with the decorative golden plover in the same plumage from the Chace collection (lot 29), represent two very distinct styles from Crowell’s best period. Strong original paint with even gunning wear, some minimal darkening to craquelure, mostly to end grain on breast. Plugged and redrilled stick hole.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

Literature: Shirley and John Delph, New England Decoys, Exton, PA, 1990, p. 143, related plover illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 218, 219, black-bellied plover illustrated.

$10,000 - $20,000

34 A. Elmer Crowell (1862-1952) Cape Cod Summer Shorebirds, 1949 signed “A.E. Crowell” lower right oil on board, 16 by 20 in.

While this painting has been known through a small black and white image in a Bourne Auction catalog, now is the first time its color and important details have come to light. This is a relatively large scene for the artist and it appears to be his brightest and most lively painting. An old label on the back relays that this image depicts an Eskimo curlew, two Hudsonian curlews, Wilson’s terns, and a preening herring gull. Three other types of birds can be seen in the background, with a flock in the air, and another in the water, and one lone curlew on a point.

The label also indicates specifics relating to the Eskimo curlew, when the work was painted, and when it was acquired from Crowell. The back also retains a clipped newspaper obituary for Mr. Crowell.

Provenance: Private Collection, acquired from the maker, November 6, 1951

Evelyn Thayer Chace Collection

Private Collection, by descent from the above

Literature: Richard A. Bourne Co., Inc., Public Auction of Rare American Decoys, Bird Carvings, Miniatures, and Related Items, Hyannis, MA, 1969, lot 307, exact painting illustrated.

$8,000 - $12,000

A. ELMER CROWELL

Crowell life-size black duck drake and hen, c. 1915, Thomas M. Evans Jr. Collection.

Crowell, life-size canvasback pair, c. 1912, Thomas M. Evans Jr. Collection.

Crowell, life-size preening Canada goose, c. 1915, Timothy Peterson Collection. Crowell, life-size standing Canada goose, c. 1915, Paul Tudor Jones II Collection. Image from the journal of Harry V. Long, 1924.

A. ELMER CROWELL

35 Early Wood Duck Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1912

12 in. tall on base and 16 3/4 in. long

This is one of the finest Crowell decorative carvings to ever come to market. Only two early comparable examples of these oval-brand standing wood ducks are known. One very similar example is featured in the Thomas M. Evans Jr. Collection and the other is in the Jim and Diane Cook Collection.

Wood duck drakes are known for their striking plumage and Crowell rose to the challenge, recreating their ornate feathering and regal form. Crowell had access to live wood ducks, including those kept by Dr. John C. Phillips. Having a live example of this shy species was particularly valuable during an era when population numbers in the wild were especially low. In 1918 the Migratory Bird Treaty Act placed a moratorium on hunting the species; they have since become one of the great conservation success stories.

Crowell had an interest in educating through his carvings; his concern over the extinction of the wood duck likely motivated him to preserve this species by making a carving that displayed his finest work. Indeed, the refinement, detail, and execution seen on this drake remains unsurpassed. Beyond his standard blending and wet-on-wet techniques, nuanced paint details, such as the white-onwhite feathering seen in the cheeks and breast, are related to the iconic preening Canada goose which was made

fine red feathering on the blended head and neck and the single golden feather flanking the base of the tail.

The well-proportioned body has a bold upright posture, subtle wing contours along the back, raised wing tips, and a thin notched tail. The turned head and crest on this bird stand out among Crowell’s works for his ability to capture the summer duck’s distinct head shape. This achievement is shared with Canada’s Thomas Chambers, who is also noted for his wood duck heads. The maker’s crisp oval brand signature is impressed in the bottom of the base.

New research has revealed that this mantel bird was made for an important Boston-area Crowell patron. It remained in that family for over eighty years and made its public debut in 1995 at Van Blarcom Auctions. Excellent original paint with very light wear from handling, including one minor paint rub on left wing. Minor chipping to toe tips. Minor repair under bill tip.

Provenance: Private Collection, Massachusetts, by descent from the original Crowell patron Private Collection, Cape Cod, acquired 1995 Private Collection

Literature: Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Sandwich, MA, 1992, p. 83, pl. 46, p. 50, color plate V, similar carving illustrated, p.117, pl. 129, Cook collection carving illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of , Hingham, MA, 2019, p. 200, closely related Evans collection example illustrated.

The Sporting Sale 2011, Plymouth, MA, July 2011, lot 673, exact decoy illustrated.

Kenneth W. Van Blarcom Auctioneers and Appraiser, The Early Spring , March 25, 1995, front cover and lot 7A, exact decoy

Standing Wood Duck

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912

GREAT WOOD DUCKS

Wood Duck Drake

Thomas Chambers (1860-1948)

Wallaceburg, Ontario, Canada, c. 1900

O’Brien Collection

*World record for any Canadian decoy

Wood Duck Drake

Joseph Whiting Lincoln (1859-1938)

Hingham, MA, c. 1910

Collection of Paul Tudor Jones II

*Closely related example set the world record for any decoy in 1986

McCleery Wood Duck Drake

A.E. Crowell (1862-1952)

East Harwich, MA, c. 1912

Thomas M. Evans Jr. Collection

Wood Duck Drake

Tyzzer Rig

Martha’s Vineyard, MA, c. 1900

Private Collection

*World record (private sale) for any Martha’s Vineyard decoy

FRANK W. BENSON

36 Frank W. Benson (1862-1951) Swans in Flight, 1926 signed and dated “F.W. Benson ‘26” lower left watercolor, 14 1/2 by 19 1/2 in.

This watercolor of swans displays Benson’s expertise in the medium, as well as in depicting waterfowl. With its classic composition and gentle colors, this work shows the artist at the height of his abilities. It combines his masterful impressionist painting technique with his life-long passion for birds and the outdoors.

“The shore of the small inlet looks as though it is beaded with white pearls. So numerous are the swans that the long, snowy line at a distance resembles foam. Benson sits transfixed in his shallow boat. He has seen swans before, of course–even painted them–but never has he seen so many in one place. There must be literally hundreds of the snow-white birds here, he thinks, as he shakes his head in amazement. When his friends told them that Currituck was the home of the swan, they were right. This sight is certainly worth the trip. Some are feeding, some arch their graceful necks over their wings. Others, with their wings set, allow the breeze to buoy them gently along; the birds seem to be enjoying themselves as they bask in the weak sun of the winter day.

“Benson knows that swans have been clocked at speeds of eighty miles per hour, but their massive bodies, long necks, and low slow-beating wings impart an appearance of regal leisure to their flight. In the distance their heads look like spear points set upon slender lances, yet the overall effect is so ponderous as they approach that their speed is difficult to assess.

“Some of his hunting companions shoot swans. Benson

does not. It is not because they are too difficult to shoot, too challenging. On the contrary, they are easy prey. Because of their size they usually set their wings while they are still far away from the swimming group they wish to join. They glide in toward the site where they will land, circling at least once and sometimes several times, as they descend lower and lower. Then finally they pitch into the water gracefully, often without the splash and crash of the other birds. It is during their gentle, vulnerable descent that the swans make an easy target.

“As Benson watches them he realizes that another reason swans afford plenty of shooting opportunities is their behavior. Swans are both gregarious and restless, constantly moving about, leaving one group and joining another, seeking new areas for forage.

“As the swans glide slowly past Benson’s boat, he makes mental notes. One of the first paintings of wildfowl that he ever exhibited was of swans against the sky. His art has come a long way, but he still has many paintings in him. Someday he’ll do another one of swans, he thinks, as his snap-shutter eye captures the scene.”

— Faith Andrews Bedford

Provenance: Ralph T. King Collection Private Collection, by descent in the family Private Collection, acquired from Copley Fine Art Auctions, Sporting Sale 2015, lot 27

Literature: Faith Andrews Bedford, The Sporting Art of Frank W. Benson, 2000, pp. 247-248.

$30,000 - $50,000

Related prints of wash drawings entitled Swan Flight by Frank W. Benson, 1915. These prints were available for purchase as a triptych.

MARK S. MCNAIR

“Mark McNair is the dean of contemporary decoy carvers. We have all the great masters here at the Shelburne Museum: Albert Laing, Elmer Crowell, Charles 'Shang' Wheeler... and it really speaks to Mark's place within this field that he is the only living artist we have in the museum's collection.”

— Kory Rogers, The Francie and John Downing Senior Curator of American Art, Shelburne Museum, Vermont

37 Calling Crow

Mark S. McNair (b. 1950)

Craddockville, VA, 1988

20 1/2 in. long

This slightly oversize crow, at twenty-two inches long, is nearly as large as a raven. This rare and grand carving has a hollow body, raised wings, and animated pose with an open bill. The legs are made of heavy copper wire with wrapped cord. The underside of the tail bears an incised “McNAIR 1988.” Original paint with light wear.

$3,000 - $5,000

38 Standing Wood Duck Drake

Mark S. McNair (b. 1950)

Craddockville, VA, 2024

12 1/2 in. long

This decoy is one of only three McNair stick-up wood ducks. It is pictured while being made in the April-May article on McNair in Garden & Gun magazine. The hollow bird has exceptional form, exquisite paint with combed vermiculation, carved primary feathers, and a diamond-shaped stick hole inlay. The underside of the original base is signed and inscribed. Original paint with minimal wear.

Literature: Nic Brown, “Chesapeake Chops,” Garden & Gun, April/ May 2024, pp. 132-139, exact decoy illustrated with maker in workshop.

$10,000 - $20,000

MARK S. MCNAIR

39 Turned-Head Long-Billed Curlew

Mark S. McNair (b. 1950)

Craddockville, VA, 2019 16 in. long

A grand hollow-carved curlew with a mortise-and-tenon fit removable head. The bird features exceptional paint and carved primaries. One of the finest McNair shorebirds known to exist. The underside bears an incised “McNair” signature. Original paint with light wear.

Provenance: Private Collection, South Carolina, acquired from the Audubon Gallery, Charleston, SC

$3,000 - $5,000

40 Oversize Black-Bellied Plover

Mark S. McNair (b. 1950)

Craddockville, VA, c. 2015 13 3/4 in. long

The underside of the large body bears an incised “McNair” signature. Original paint with wear.

Provenance: Private Collection, South Carolina

$600 - $900

41 Yellowlegs Pair with Wire Legs

Mark S. McNair (b. 1950)

Craddockville, VA, c. 2009 18 in. tall, 13 in. long

The undersides of the raised-wing bodies with carved primaries bear an incised “McNair” signature. This refined model received the “Poverty Island Yellowlegs” moniker, so named after McNair took an inspirational trip to the Old Lyme’s Poverty Island at the mouth of the Connecticut River. The island has been renamed Great Island and hosts the Roger Tory Peterson Natural Area Preserve. Original paint with light wear.

Provenance: Private Collection, South Carolina

$2,000 - $3,000

Underside of lot 42.

42 Pintail Drake

Mark S. McNair (b. 1950)

Craddockville, VA, 2024 19 1/2 in. long

A modern classic pintail with a turned head, incised primary detail, combed paint, and a long inlaid hardwood tail. This was the artist’s favorite example from the small group he was carving during the Modern Huntsman shoot. The underside of the hollow body bears McNair’s incised signature.

This decoy was made when Modern Huntsman photographed McNair in his workshop for their cover feature on the carver in Volume 11. Original paint with minimal wear.

Literature: Noah Davis, “The Hand of the Master,” Modern Huntsman, Vol. 11, pp. 101-105, this pintail group in the workshop illustrated.

$1,500 - $2,500

43 Mallard

Mark S. McNair (b. 1950)

Craddockville, VA, 2013 18 in. long

A classic mallard drawing from the maker’s Connecticut roots. This rare and stylish drake features exceptional combed vermiculation, carved primaries, and an elegant curl feather.

The underside of the hollow body bears an incised “McNair” signature and has “Island Neck 2013” scratched in the wet bottom paint. Original paint with light wear.

Provenance: Private Collection, South Carolina

$2,000 - $3,000

44 Cobb-Style Hissing Canada Goose

Mark S. McNair (b. 1950)

Craddockville, VA, c. 1990 26 in. long

This decoy is modeled after Cobb Island’s master carver Nathan Cobb. The underside of the hollow body bears an incised “McNair” signature. Original paint with intentional maker’s wear and craquelure mostly to the left side.

Provenance: Private Collection, South Carolina

$1,500 - $2,500

Sallie Sullivan (1937-2023)

Sallie Sullivan was a pioneering sportswoman. Born in Cleveland in 1937, she studied art at Connecticut College. She lived with her family on a farm outside Ligonier, Pennsylvania, for many years where she rode horses competitively and participated in the Rolling Rock Hunt. She and her husband owned a farm in Kenya, and in 1987 she moved to Borderline Plantation near Thomasville, Georgia.

Sullivan was a leading dog handler and breeder, starting with Cricket, her first Labrador. She hosted hunt tests, competed and judged in countless field trials, and was the founder and a leader of the Tallahassee Hunting Retriever Club. Among her awards, Sullivan won the Master National Retriever Club’s Handler of the Year in 2019 and was honored by the Bird Dog Foundation at the Field Trial Hall of Fame in 2013. Referred to as an “icon of the sport,” Sullivan bred and handled nine dogs in the Master National Retriever Club Hall of Fame and won fifty Master National Plates, among her other accomplishments as a trailblazing woman.

“However much you know giraffes, to see one in the wild for the first time feels prehistoric.”

— Jane Goodall

Sallie Sullivan with Labrador retrievers.

45 Bob Kuhn (1920-2007) Giraffes signed “Kuhn” lower left acrylic on masonite, 24 by 36 in.

Born and raised in Buffalo, New York, Bob Kuhn enjoyed visiting the Buffalo Zoo and sketching its inhabitants as a child. After studying design, anatomy, and life drawing at the Pratt Institute in New York City, Kuhn made his living working as an illustrator for various wildlife and outdoor magazines. In the early 1970s, Kuhn switched to painting full time. Kuhn’s work is featured in the permanent collections of the National Museum of Wildlife Art in Jackson, Wyoming; the National Cowboy Hall of Fame in Oklahoma City, Oklahoma; and the John L. Wehle

Gallery of Sporting Art at the Genesee Country Village and Museum in Mumford, New York.

An exceedingly rare subject for the artist, this Kuhn masterwork expertly portrays the tallest land mammals on earth.

Provenance: Estate of Sallie Sullivan

$40,000 - $60,000

The Martin F. “Bubba” Wood Collection of Sporting and Wildlife Art

Martin Frank “Bubba” Wood (1940-2024) was born in Wichita Falls, Texas, and known as Bubba for his whole life. Bubba’s father was a successful oilman and the chairman of the Texas Parks and Wildlife Commission. He passed on to his son not only his financial resources, but also his love of nature, wildlife, hunting, fishing, dogs, and the sporting lifestyle. Although he was born into a life of great privilege, Bubba was that rare person who readily acknowledged the advantages he received, once stating, “It’s a great thing to be born on third base, but I’ve never diluted myself into believing that I hit a triple.” Bubba’s humility, irreverence, and quick wit were hallmarks of his larger-than-life personality.

In 1962, after graduating from law school at Southern Methodist University, where he also earned his undergraduate degree, Bubba married his lifelong love, Pat Peery. The couple settled in Dallas, and Bubba worked at the First Republic Bank.

Bubba always loved animals and the outdoors, memorizing the names and species of the birds of North America as a boy, a remarkable feat. This

love of learning combined with the attention to detail and high personal standards that he brought to his endeavors enabled Bubba to excel in other realms as well. For example, his friend Rick Snipes recalls his prodigious fly-tying skills: “He ties a fly better than anyone. He ties flies I wouldn’t dare fish with. To me, he could be famous just for that. Bubba’s flies are indeed masterpieces to behold.”

Bubba was also a passionate sportsman with a competitive spirit that made him a devastatingly effective bobwhite quail and grouse hunter. A longtime member of the Dallas Gun Club, Bubba was inducted into the National Skeet Shooting Association’s Hall of Fame in 1992.

With these same skills, Bubba developed a keen eye for art, which enabled him to publish fourteen sporting books and many wildlife prints and open a gallery in Dallas called The Collector’s Covey in 1978. Copley owner Stephen O’Brien Jr. recalls, “I remember walking

Bubba with a healthy small-mouth bass caught on the fly, circa 1980.

Bubba featured on the cover of Texas Dove Hunters Magazine, Fall 2021.

“Bubba Wood is one of the greatest sportsmen to have ever lived. Not only is he an accomplished shotgun shooter, world champion skeet-shooter, and art aficionado—but he is a game-changing conservationist, author, mentor, and friend.”

— Anne Jackson McClure, Covey Rise, 2022

into The Collector’s Covey for the first time. I was down visiting Ron Gard on a fishing trip and he suggested stopping by the gallery. I was immediately taken by the beautiful objects of art which were only overshadowed by Bubba’s personality! Though I’ve been in the field for over thirty years now, at that point, I was relatively green; I remember him taking time with me and educating me on several artists, including Bob Kuhn, Ken Carlson, and Walter Matia.”

Like many hunters, Bubba devoted his time and talents to preserving the species that brought him so much pleasure in the field. Over the course of forty-two years, Bubba’s gallery made contributions to organizations in support of Texas wildlife conservation efforts. In addition, Bubba created the Texas Duck Stamp program, which generated more than $7 million for the Texas Parks and Wildlife Commission. He also lobbied pro-bono in Austin on behalf of wildlife conservation projects for over twenty-five years. A testament to his efforts, in 2021 Bubba received the Park Cities Quail Coalition’s T. Boone Pickens Lifetime Sportsman Award in honor of “how he chose to live constantly pursuing outdoor adventure with a reverence for nature and a passion for wildlife conservation.” Other past recipients of

this prestigious award include Kevin Costner, Tom Brokaw, and Ted Turner.

His obituary aptly sums up Bubba, stating, “His life was one big pursuit of the things he loved and cared about.” Copley considers it a privilege to honor Bubba’s legacy in the field.

Sources:

Lili Keys. “Bubba Wood and his love for quail.” Lone Star Outdoor News, June 4, 2021.

Anne Jackson McClure. “Bubba.” Covey Rise, June/July 2022. “Martin Wood Obituary.” The Dallas Morning News, January 7, 2024.

Bobwhite quail hunting with his dog, Katie, circa 2016.

46 Bob Kuhn (1920-2007)

Bounding Buck and Doe signed “Bob Kuhn” lower right acrylic on board, 7 1/4 by 9 1/2 in. inscribed “For Bubba, Who Gets Me Into All Sorts of Trouble” lower center

One of Kuhn’s very best small works, this gem of a painting captures leaping whitetail deer — the action that the artist is most heralded for.

Provenance: Estate of Martin F. “Bubba” Wood

$10,000 - $20,000

47 Bob Kuhn (1920-2007)

Dall Sheep initialed “BK” lower right acrylic on board, 7 1/2 by 9 1/2 in. inscribed “For Bubba, Mit Love-BK” lower right

Named after William Healey Dall (1845-1927), one of the earliest scientific explorers of interior Alaska, Dall sheep live in Alaska’s Brooks Range, the Yukon, and across Northwestern British Columbia.

Provenance: Estate of Martin F. “Bubba” Wood

$10,000 - $20,000

48 Ken Carlson (b. 1937) Pointer signed “Ken Carlson” lower right oil on board, 7 1/2 by 9 1/2 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.

Provenance: Estate of Martin F. “Bubba” Wood

$3,000 - $5,000

$3,000 - $5,000

49 Ken Carlson (b. 1937) Big Buck in Snow signed “Ken Carlson” lower left oil on canvas, 13 1/2 by 18 1/4 in.

Provenance: Estate of Martin F. “Bubba” Wood

51 Ken Carlson (b. 1937)

Hanging Sage Grouse Pair signed “Carlson” lower left oil on board, 12 by 9 in.

Provenance: Estate of Martin F. “Bubba” Wood

$3,000 - $5,000

50 Ken Carlson (b. 1937)

Hanging Mallard Drake signed “Ken Carlson” upper right oil on board, 12 by 8 in.

inscribed “K Carlson 1984 Xmas” on back of frame

Provenance: Estate of Martin F. “Bubba” Wood

$3,000 - $5,000

JAKOB GLASNER

1879-1942

52 Jakob Glasner (Polish, 1879-1942) Wild Turkey, 1901 signed and dated “J Glasner 1901” lower right oil on canvas on board, 39 1/2 by 30 1/2 in.

Born in Poland, Jakob Glasner studied art across Europe in Vienna, Krakow, and Paris. He went on to exhibit his paintings in Warsaw and Paris. During World War II, he was in Russia and primarily painted landscapes. Glasner died in Ukraine in 1942. One of his woodcuts of a snowy forest brook is in the Princeton University Art Museum.

The well-rendered work, painted in 1901, is an early depiction of this popular game bird.

Provenance: Estate of Martin F. “Bubba” Wood

$7,000 - $10,000

53 Carl Rungius (1869-1959)

Three Old Gentlemen, 1928 signed “C. Rungius” lower right etching and drypoint, 7 3/4 by 10 3/4 in.

Provenance: Estate of Martin F. “Bubba” Wood

$1,500 - $2,500

54 Carl Rungius (1869-1959)

White Flag, 1928

signed “C. Rungius” lower right etching, 7 3/4 by 10 1/2 in.

Provenance: Estate of Martin F. “Bubba” Wood

$1,500 - $2,500

55 Carl Rungius (1869-1959)

The Challenge, 1925 signed “C. Rungius” lower right etching and drypoint, 6 by 8 1/2 in. edition of 100

Provenance: Estate of Martin F. “Bubba” Wood

$1,500 - $2,500

56 Carl Rungius (1869-1959)

Scanning the Horizon signed “C. Rungius” lower right etching, 6 by 8 1/2 in.

Provenance: Estate of Martin F. “Bubba” Wood

$1,500 - $2,500

57 Carl Rungius (1869-1959)

Osborne’s Caribou, 1925 signed “C. Rungius” lower right etching and drypoint, 6 by 8 1/2 in. edition of 100

Provenance: Estate of Martin F. “Bubba” Wood

$1,500 - $2,500

58 Tim Shinabarger (b. 1966)

Grey Wolf, 1996

signed and dated “Shinabarger ‘96” on base bronze, 5 by 8 1/2 by 2 1/2 in. titled and numbered on back edition 57 of 100

Provenance: Estate of Martin F. “Bubba” Wood

$600 - $800

59 Tim Shinabarger (b. 1966)

Bear on a Blow Down

signed “Shinabarger” on base bronze, 6 by 5 1/2 by 4 in. edition 125 of 150

Provenance: Estate of Martin F. “Bubba” Wood

$600 - $800

60 Tim Shinabarger (b. 1966) Moose

signed “Shinabarger” on base bronze, 7 1/2 by 6 1/2 by 4 in. edition 89 of 100

Provenance: Estate of Martin F. “Bubba” Wood

$500 - $700

61 Tim Shinabarger (b. 1966)

Big Horn Ram

signed “Shinabarger” on base bronze, 4 by 6 by 4 in. edition 37 of 150

Provenance: Estate of Martin F. “Bubba” Wood

$300 - $500

62 Tim Shinabarger (b. 1966)

Mountain Goat

signed “Shinabarger” on base bronze, 6 1/2 by 5 by 3 1/4 in. edition 23 of 150

Provenance: Estate of Martin F. “Bubba” Wood

$500 - $700

63 Ken Carlson (b. 1937)

Mule Deer in Winter

signed “Ken Carlson” lower right oil on board, 8 by 12 in.

Provenance: Estate of Martin F. “Bubba” Wood

$3,000 - $5,000

65 Ken Carlson (b. 1937)

Lesser Scaup, 1980

signed “Ken Carlson” lower left gouache, 5 by 7 in.

inscribed “To My Friend, Bubba” lower left Entry for Federal Duck Stamp contest label on back

Provenance: Estate of Martin F. “Bubba” Wood

$1,500 - $2,500

64 Ken Carlson (b. 1937) Deer

signed “Ken Carlson” lower right oil on board, 8 by 10 in.

Provenance: Estate of Martin F. “Bubba” Wood

$2,000 - $3,000

THOMAS AQUINAS DALY

Provenance: Estate of Martin F.

$2,000 - $3,000

Along with the painting, this lot includes a pair of bluebill decoys carved and signed by Daly and tagged for his hunting rig.

Provenance: Estate of Martin F. “Bubba” Wood

$2,000 - $3,000

67.2

67 Thomas Aquinas Daly (b. 1937) Still Life with Gunning Decoys signed “TA Daly” lower right oil on board, 14 1/4 by 19 1/2 in.

66 Thomas Aquinas Daly (b. 1937) Brook Trout signed “TA Daly” lower right oil on board, 14 by 10 in.

“Bubba” Wood

69 Lou Pasqua (b. 1952)

Pointer signed “Pasqua” lower right oil on board, 13 by 16 in.

Provenance: Estate of Martin F. “Bubba” Wood

68 Lou Pasqua (b. 1952)

Setter, 1998

signed and dated “Pasqua © 98” lower left oil on board, 13 by 16 in.

Lou Pasqua, born in Pittsburgh, trained as an artist at the Ivy School of Professional Art. After twenty years as a graphic designer, he transitioned to focus on sporting art. In addition to creating many covers for Gray’s Sporting Journal and Pointing Dog Journal, he was the Featured Artist in 2014 for the Plantation Wildlife Art Festival in Thomasville, Georgia, and in 2019 for the Southeastern Wildlife Exposition (SEWE) in Charleston, South Carolina.

Provenance: Estate of Martin F. “Bubba” Wood

70 Lou Pasqua (b. 1952)

Poodle Head

signed “Pasqua” lower right oil on board, 13 by 16 in.

Provenance: Estate of Martin F. “Bubba” Wood

71 Jon Ruehle (1949-2020) Setter, 1978 signed “Ruehle” on base sterling silver, 4 3/4 by 8 by 5 1/4 in. inscribed and dated “Corey Rich 1978” above signature

Ruehle became a professional sculptor in 1974. His work can be found in the collection of the National Academy of Design in New York as well as the National Wildlife Art Museum in Jackson, Wyoming. Additionally, Ruehle worked for many years as a biology instructor in Arkansas after completing a PhD in plant developmental genetics. He was a member of the Society of Animal Artists, among other honors in his art career.

Provenance: Estate of Martin F. “Bubba” Wood

$2,000 - $3,000

72 Mick Doellinger (b. 1956) Pointer, 2009

signed, dated, and numbered “Doellinger © 2009 8-30” on base bronze, 13 3/4 by 15 1/2 by 7 1/2 in. edition 8 of 30

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $1,500

73 Jon Ruehle (1949-2020) Labrador Retriever, 1999 signed and dated “copyright 1999 Ruehle” on base bronze, 7 3/4 by 8 by 6 in. numbered on base edition 23 of 50

Provenance: Estate of Martin F. “Bubba” Wood

$800 - $1,200

74 Mick Doellinger (b. 1956) Setter, 2012

signed and dated “Doellinger 2012” on base bronze, 7 3/4 by 8 3/4 by 3 in. edition 21 of 30

Mick Doellinger is a leading sculptor of animals. After growing up in Australia with early training sculpting mannikins for taxidermy, Doellinger moved to the States in 2003, where he has focused on capturing the essence of animals in bronze. He is a member of the Society of Animal Artists and the National Sculpture Society and has works in multiple museums and on public display at institutions across the country.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

75 Gary Snidow (b. 1936) Pronghorns, 1967 signed and dated “G Snidow CA 67” lower right oil on board, 9 by 12 in.

Provenance: Estate of Martin F. “Bubba” Wood

76 Roger S. Cruwys (b. 1938) Cocker signed “Cruwys” lower left oil on board, 12 by 9 in. signed and titled on back

Born in Buffalo, Roger Cruwys is a Montana-based artist who has created wildlife and sporting art like this portrait of a cocker spaniel since 1978.

Provenance: Estate of Martin F. “Bubba” Wood

77 Pat Wood (20th century) Sea Coast signed “P Wood” lower left oil on board, 4 1/2 by 8 in.

Provenance: Estate of Martin F. “Bubba” Wood

$500 - $800

78 Herbert A. Strasser (1931-2018) Jake signed “Herb Strasser” lower center oil on canvas, 12 by 16 in. titled lower center

Strasser was born in Chicago and graduated from Ohio State University in 1953. He was an avid sportsman and worked as an insurance broker and financial planner. His dog portraits can be found in the National Bird Dog Museum in Grand Junction, Tennessee.

Provenance: Estate of Martin F. “Bubba” Wood

79 Herbert A. Strasser (1931-2018) Pointer

signed “Herb Strasser” lower left oil on canvas, 7 by 9 in.

Provenance: Estate of Martin F. “Bubba” Wood

80 Brook Trout Carving Larry Hayden (1934-2006) Detroit, MI, 1997 11 in. long

An exceptional eight-inch-long decorative decoy in a custom case. Larry Hayden is a world champion carver. Original paint with minimal wear. Glue above pelvic fins appears original.

Provenance: Estate of Martin F. “Bubba” Wood

81 Three Marryat Reels largest is 3 1/4 in. diameter

One Marryat MR9, one Marryat MR8, and one Marryat MR7.5 reel and three extra spools.

Provenance: Estate of Martin F. “Bubba” Wood

82 Larry Hayden (1934-2006) Pintails signed “Larry Hayden” lower right graphite on paper, 10 by 13 in.

Provenance: Estate of Martin F. “Bubba” Wood

83 Two Ted Juracsik Everglades Reels 4 in. diameter

Two “Everglades” model Tibor reels.

Provenance: Estate of Martin F. “Bubba” Wood

84 Gadwall Drake

John Scheeler (1925-1987)

Mays Landing, NJ, 1973 15 1/2 in. long

Over his carving career, this highly decorated carver won the World Championship Decorative Lifesize competition seven times and captured over 200 blue ribbons and Best in Show awards at other competitions across the country.

Wood had a special relationship with the artist, acquiring some of his best works from the early 1970s. Signed and dated on the bottom. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

85 Goldeneye Hen

John Scheeler (1925-1987)

Mays Landing, NJ, 1971 15 1/2 in. long

Signed and dated on the underside. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

86 Black Duck

John Scheeler (1925-1987)

Mays Landing, NJ, c. 1975 16 in. long

Original paint with moderate wear, including some sap bleeds.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

87 Mallard Drake

John Scheeler (1925-1987)

Mays Landing, NJ, 1973 16 in. long

Signed and dated on the bottom. Original paint with moderate wear, including loose curl feather and some minor sap bleeds.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

JOHN SCHEELER

88 Pintail Hen

John Scheeler (1925-1987)

Mays Landing, NJ, 1972 16 in. long

Signed and dated on the underside. Original paint with moderate wear, including flake to back of neck.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

89 Redhead Pair

John Scheeler (1925-1987)

Mays Landing, NJ, 1973 15 in. long

A decorative pair, signed and dated on the undersides. Hen inscribed “Best in Show” for the Midwest Decoy Show. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood, acquired from the artist

$1,000 - $2,000

90 Bluebill Pair

John Scheeler (1925-1987)

Mays Landing, NJ, 1972 13 1/2 in. long

The bottoms bear the maker’s signature in black ink along with the date and “1972 World Champion.” Original paint with light wear and a tight crack under drake’s tail and breast.

Provenance: Estate of Martin F. “Bubba” Wood

$2,000 - $4,000

91 Green-Winged Teal Drake

Roger Barton

San Francisco, CA, 1972 12 in. long

Signed and dated on the bottom. Original paint with light wear, including paint chip to tail.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

92 Wigeon Drake

Roger Barton

San Francisco, CA, 1972

14 3/4 in. long

A competition decoy marked for the U.S. National Decoy Show in “Babylon, N.Y. 1972.” The underside also displays the maker’s signature and inscription to his patron. Original paint with minor wear, including paint rubs to tail tip.

Provenance: Estate of Martin F. “Bubba” Wood, acquired from the artist

$1,000 - $2,000

93 Wigeon Hen

Roger Barton

San Francisco, CA, 1972 14 in. long

A competition decoy marked for the U.S. National Decoy Show in “Babylon, N.Y. 1972.” The underside also displays the maker’s signature and inscription to his patron. Original paint with minor wear.

Provenance: Estate of Martin F. “Bubba” Wood, acquired from the artist

$1,000 - $2,000

94 Reaching Willet

Roger Barton

San Francisco, CA, c. 1975 13 in. long

Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

95 Canvasback

William Schultz (1923-2009)

Milwaukee, WI, 1966 17 in. long

A tucked-head bird from this renowned Wisconsin carver with raised wings and the maker’s inked signature and date on the underside of the base. Original paint with light wear, including two very minor scratches on left cheek, and some minor spots of discoloration on right side.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

96 Bufflehead

Leo H. McIntosh (1953-2007)

Woodville, NY, 1983 12 in. long

A turned-head carving signed “Leo H. McIntosh” and remarked with a flying waterfowl image pencilled on the bottom. Original paint with minimal wear.

Provenance: Estate of Martin F. “Bubba” Wood, acquired from the artist

$800 - $1,200

97 Bufflehead Hen

Al Glassford (b. 1927)

Scarborough, Ontario, Canada, 1974 10 in. long

This hollow, turned-head hen carving bears the maker’s signature, date, and “Best of Show” from Toronto on the underside. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood, acquired from the artist

$300 - $500

98 Wood Duck

John McLaughlin (1911-1985)

Bordentown, NJ, c. 1970 13 in. long

The maker’s signature is on the underside. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood

$600 - $900

99 Broadbill Drake

John F. Zachmann (1929-2017) Detroit, MI, c. 1972 13 in. long

Signature is on the underside. Original paint with moderate wear, including some flaking around wing tips.

Provenance: Estate of Martin F. “Bubba” Wood

$600 - $900

100 Canvasback Hen

John F. Zachmann (1929-2017) Detroit, MI, c. 1969 16 in. long

The underside has an exhibition sticker for the 1969 International Decoy Contest at the Great Mississippi Valley Fair in Davenport, Iowa, and bears the maker’s label. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood

$600 - $900

101 Redhead Drake

Jim Foote (1925-2004)

Pt. Mouille and Gibraltar, MI, 1969 14 in. long

Signed and dated on bottom. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

102 Teal

Jim Foote (1925-2004) Pt. Mouille and Gibraltar, MI, 1972 11 1/2 in. long

This competition decoy is identified and dated on the bottom; it also retains a “1972 Best in Show” notation on the underside. Original paint with light wear, and minor chip to right side of tail.

Provenance: Estate of Martin F. “Bubba” Wood

$1,000 - $2,000

103 Green-Winged Teal Hen

Malcolm Clark Astoria, IL, 1973 10 1/2 in. long

The carving bears the maker’s signature and date on the bottom. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood

104 Puffin

Jerry Garner 1982 12 in. long

This hollow, turned-head carving bears the maker’s name, date, and the species name on the underside. Original paint with light wear.

Provenance: Estate of Martin F. “Bubba” Wood

$200 - $400

105 The Norman “Minnow Chaser” Mallard Gulf Coast, c. 1920 21 in. long

Within the collecting community, this singular decoy has become an icon as the model for Hank Norman’s logo. The bird was discovered in Mobile Bay, Alabama. This mallard itself, or at least its style, may have migrated along the Gulf Coast from the nearby mouth of the Mississippi River in Louisiana. After acquiring the decoy in 1998, Norman recalls that Ken DeLong of Cape Cod described it as “the finest decoy he had ever seen.” DeLong also noticed some faint initials impressed into the left wing.

The large body is made from a single piece of cypress and was hollowed out from the underside and sealed with a carefully inlaid bottom board. It has raised-wing carving

finished with combed paint. Original paint with gunning wear, down to wood mostly on the back and top of head. Professional replacement to one half of bill and touch-up to patch on left side of neck.

Provenance: Hank Norman Collection

Literature: Hunting and Fishing Collectibles, May/June 2013, exact decoy illustrated and discussed.

$15,000 - $20,000

Map of Mobile Bay, 1837. Alabama Department of Archives and History.

GEORGE BROWNE

106 George Browne (1918-1958)

Canvasbacks on the Nanticoke River, 1950 signed “George Browne” lower left oil on canvas, 24 by 36 in.

Struck down at the age of forty in a tragic shooting accident, George Browne is known to have completed only a few hundred finished works in his lifetime. The thoughtful rendering of his sporting and wildlife scenes suggests a man full of talent and promise. Due to his untimely death, Browne left behind a limited and highly coveted body of work. Following in the footsteps of artists/sportsmen like Frank W. Benson (1862-1951), Carl Clemens Moritz Rungius (1869-1959), and Aiden Lassell Ripley (18961969), George Browne painted the waterfowl and upland game birds that he also hunted. Browne is known for his deft handling of paint and his incredible attention to detail.

Canvasbacks, known as the king of ducks, are the largest diving ducks and were an important food source. They were tasty because they often ate wild celery, their favorite

food. Plentiful, easy to harvest, and bringing a good price, canvasback hunting on the Susquehanna River was particularly popular.

Painted in 1950 as a commission for E. Merrick Low, Canvasbacks on the Nanticoke River is among Browne’s very best waterfowl scenes, a masterwork filled with action and light.

Provenance: E. Merrick Low Collection Private Collection, Montana

Literature: John T. Ordeman and Michael M. Schreiber, George & Belmore Browne: Artists of the North American Wilderness, 2004, Plate 57, illustrated.

$30,000 - $40,000

107 Robert Bateman (Canadian, b. 1930) Yellow Lab in Snow, 1985 signed and dated “Robert Bateman 1985 ©” lower right acrylic on board, 16 by 24 in.

Born in Toronto in 1930, Robert Bateman is considered one of the premier wildlife painters of the late-20th century. His works have been exhibited in numerous one-man shows at museums across North America, including the Smithsonian Institution in Washington, D.C. His works are a part of public and notable private collections across the globe, among them that of HRH Prince Charles and of the

late Princess Grace of Monaco. Of the over 250 Batemans that have surfaced at auction over the last thirty years, this may be the only painting depicting a hunting dog.

Provenance: Estate of Sallie Sullivan

$10,000 - $20,000

ARTHUR FITZWILLIAM TAIT

108 Arthur Fitzwilliam Tait (1819-1905)

An Anxious Moment, 1871

signed, dated, and inscribed “A.F. Tait / N.Y. 1871” lower left oil on canvas, 14 by 22 1/4 in. titled and inscribed “No. 25 / “An Anxious Moment” / A.F. Tait / Y.M.C.A. 23rd St / N.Y. / 1871” on back Hirschl & Adler Galleries, New York label on back

Tait’s register entry for this work reads, “No. 25 [1871] An Anxious Moment. 2 Trout Hooked. 22 x 14. fin. May 4th Schencks Sale sold to Jim B Blossom for $105.00 paid by Schencks May 22nd/71 net $92.40”

Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer, among others.

In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin had spent much of the previous decade living in the American West chronicling the lives of Native Americans, and Catlin’s stories would have captivated the young and talented Tait.

In 1850 Tait came to America. By 1852 he was pursuing his interests in wildlife and hunting, working from a studio in New York City, but spending a great deal of time 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 fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivaled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England.

With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Currier and Ives purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National

Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became 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 Victorian era. The exceptionally popular American Field Sports series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs A Chance for Both Barrels, Flushed, On a Point, and Retrieving. These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as An Anxious Moment, A Tight Fix, and Trappers at Fault: Looking for the Trail, have become embedded as part of our heritage and serve as signposts along our path as a nation.

Today, Tait’s wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the Metropolitan Museum of Art, New York; and the Shelburne Museum, Vermont; among others.

This painting relates to one of Tait’s most famous colored engravings, An Anxious Moment: Brook Trout Fishing, published by Currier & Ives in 1862. Of the many works by the artist, this is the only fishing oil to come up at auction in the last thirty years.

In 1871, Tait spent the summer with his wife Marian near South Pond in the Adirondacks, which lies between Blue Mountain Lake and Long Lake. Guidebook writers that summer wrote, “In this wild and secluded place, Mr. A.F. Tait has erected and nicely furnished a sylvan lodge; and here are produced some of those exquisite paintings that

delight so many eyes. We doubt not his genius gathers inspiration from such surroundings, for never was the studio of an artist placed in a lovelier spot. A master hand is his in throwing the fly, floating for deer, or making the canvas glow with life!”

Jim B. Blossom, who first purchased this painting from the artist, was Tait’s “congenial camping companion for many seasons.” Robert Rose was an attorney and director of First National Bank in Binghamton, New York, who died in 1933.

This iconic painting of native brook trout captures the perfect moment before the angler nets two trophy fish on flies. The angler has brought the native brook trout into the shallows which are set against green lily pads and flora in the background.

This work is, in many ways, the piscatorial version of Winslow Homer’s Right & Left, which hangs in the National Gallery of Art in Washington, D.C. Tait’s most closely related 1864 painting, American Speckled Brook Trout, is in the collection of Princeton University.

Provenance: Jim B. Blossom Collection

Robert H. Rose Collection T. Arthur LaRoche Sr. Collection

Literature: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist of the Adirondacks, 1986, pp. 86, 88, 216, no. 71.16.

$40,000 - $60,000

109 Robert K. Abbett (1926-2015)

See ‘Em?, 1978 signed and dated “Abbett © 1978” lower right oil on masonite, 24 by 30 in. titled, signed, and dated on back

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

to paint his first animal portrait in 1970, and subsequently transitioned from working as an illustrator to a full-time gallery artist. Abbett is recognized as a master in the field of sporting art. This Southern waterfowling scene depicts two hunters and a black Lab setting out decoys.

Provenance: Estate of Sallie Sullivan

$6,000 - $,9000

110 Roland H. Clark (1874-1957) Pintails Alighting signed “Roland Clark” lower left oil on canvasboard, 12 by 16 in.

Roland Clark was born in New Rochelle, New York, and studied at the Art Students League in Manhattan. After living in the Tidewater Region of Virginia for several years, where he was able to enjoy hunting and other outdoor pursuits, Clark returned to New York City and devoted himself to painting and illustrating full-time.

Beginning in 1937, the Derrydale Press reproduced two of Clark’s watercolors of wildfowl every year in limited edition prints. In addition, he submitted illustrations to Ducks

Unlimited, a booklet that was published by the More Game Birds in America Foundation. In 1938, one of Clark’s images of pintail ducks was chosen as the fifth Federal Duck Stamp design. Clark’s devotion to and execution of waterfowl subjects places him among the elite depicting the genre.

$6,000 - $9,000

EANGER IRVING COUSE

1866-1936

111 Eanger Irving Couse (1866-1936)

Hunting the Turkey, 1932 signed “E-I-Couse-N- A-” lower right oil on board, 16 by 20 in. titled, dated, and inscribed “Hunting the Turkey”/Painted by E. Irving Couse, N.A./1932/Kibbey W. Couse/Taos, New Mexico” on back

Eanger Irving Couse, born in Saginaw, Michigan, studied art primarily at the National Academy of Design in New York and at the Ecole des Beaux Arts and Academie Julian in Paris. He first visited Taos, New Mexico, in 1902, where he was elected president of the Taos Society of Art when it formed in 1912. Couse moved to Taos permanently in 1927, and he is known for his idealized classicism of Pueblo

subjects such as Hunting the Turkey, a theme he returned to repeatedly throughout his career. This work evocatively portrays a Native American hunter crouched behind a tree, bow and arrow in hand, with three wild turkeys in the distance.

Provenance: Private Collection, Montana

$40,000 - $60,000

The George Secor Decoy Collection to Benefit Delta Waterfowl

The 19th-century American philosopher William James once wrote, ”The great use of a life is to spend it for something that will outlast it.” These words certainly ring true in the case of George Secor. This collector of Ontario decoys has decided to donate the proceeds of the hammer from the sale of his collection to Delta Waterfowl, a nonprofit organization that works to conserve the species that are represented in wood in his collection. The revenue generated from the auction will fund groundbreaking research within the realms of waterfowl species, wetland ecology, and habitat management. This initiative is the brainchild of George Secors and is a testament to his dedication to giving back to the species that have brought him so much joy.

George Secor’s love of hunting, fishing, and all things outdoors came from his father. Growing up in Toledo, Ohio, Secor’s first fishing excursion was on the AuSable River near Grayling, in Northern Michigan. Over the years, his family traveled to the trout streams of Wyoming, Montana, and Alberta.

Secor recalls first being taken hunting at the nearby Erie Marsh when he was seven years old without a firearm. Despite the bitter cold, Secor’s main memory is the fun he had with his father. Those outings were the genesis of a lifelong passion. Secor explains, “I truly love everything about waterfowl and waterfowling—calls, shotguns, decoys, all of it.” Secor’s favorite hunting place? “I love the one I’m nearest to.” As to his favorite species to shoot, Secors responds, “A canvasback was a true trophy to me, but here in the Midwest the mallard is the king of the kings, and perhaps pintails as well.”

As his passion for hunting deepened, so did Secor’s appreciation for the decoy as an artform as well as a tool. Over time the Mason decoys were replaced by carvings by Ontario makers, a school of carving that would fascinate Secor for decades. He explains, “They were better constructed, painted, had better forms, and looked more like a duck. The first Ontario decoy I purchased was a Nichol (Addie Nichol (1864-1929)), but the real killers were the Chambers (Thomas Chambers (1860-1948)) birds and then that progressed to Wells (John R. Wells (1861-1953)) and Warins (George Warin (1830-1905)).”

After decades of tracking waterfowl through crosshairs, Secor has given up the hunt and shifted his focus. Secor recounts, “I traded in my Winchester for a Nikon. I just got tired of killing ducks.” Copley owner Stephen O’Brien Jr. reflects, “George is all in on ducks. Whether collecting the best decoys from Ontario or protecting the breeding grounds of live birds, there are few collectors in history that have given these areas such thought and, more importantly, action. He joins the ranks of major

George (age 10) and his father at the Erie Shooting Club, MI, in 1947.

decoy collectors and conservationists such as Paul Tudor Jones II, Donal C. O’Brien Jr., and Peter Brown.”

Secor’s decision to donate the proceeds of the sale of his beloved decoy collection to an organization that will protect the actual species resonates well. It is an act of appreciation for the birds, both live and carved.

Secor now watches the flocks fly by armed with a camera and the satisfaction of knowing his actions are enabling future generations to do the same.

Copley is honored to offer The George Secor Decoy Collection to Benefit Delta Waterfowl and celebrate George’s legacy in the field.

“There are few, if any, areas in North America which provide such accessible hunting for such a large number and variety of ducks and geese. Furthermore, no area of such relatively small size contains such a wide range of waters on which to hunt. These factors have contributed to the rich and remarkable heritage of decoys produced by the decoy makers of Michigan and the St. Clair Flats. The ideal nature of this area for hunting did not escape the attention of the market gunners or sportsmen, and the decoy makers responded by the middle of the 19th century to give folk art collectors some of the earliest and finest examples of wildfowl decoys.”

— Donal C. O’Brien Jr., Waterfowl Decoys of Michigan and the Lake St. Clair Region, 1983

Secor with a silver salmon on Alaska’s Susitna River, 2007.

Delta Waterfowl is thrilled that George Secor has chosen to further his longstanding commitment to conservation by offering his decoy collection for auction to benefit waterfowl throughout North America. “By generously donating his fine collection of decoys, George Secor is making a substantial investment in Delta’s mission to produce ducks and secure the future of waterfowl hunting,” said Dr. Scott Petrie, chief executive officer of Delta Waterfowl.

“We’re celebrating George’s legacy through the decoy auction and his gift, and we’re very grateful for his support.”

Secor has a proud history of giving back to waterfowl conservation, having served on the Delta Waterfowl Board of Directors from 2002 to 2012, including a two-year term as chairman.

“George Secor continues to demonstrate exemplary leadership as a steward of waterfowl and waterfowl hunting traditions in North America,” said George Freeman, vice chair of Delta Waterfowl Board of Directors.

A research geophysicist turned financial advisor later in his career, Secor quipped, “People used to kid me that I went from rocks to stocks.”

However, his love for ducks and geese has never wavered. Secor has always taken great pleasure from hunting—and conserving—waterfowl.

“I believe wholeheartedly in Delta’s mission,” Secor said. “I’ve always liked the idea of an organization that is training students. In order to have waterfowl, you have to nurture them and protect their breeding grounds, and Delta does it. So, I want to support Delta by donating my decoys.”

Delta Waterfowl is The Duck Hunters Organization, a leading conservation group working to produce ducks and secure the future of waterfowl hunting in North America. With roots to 1911, Delta Waterfowl became the premier waterfowl research organization in 1938, when founding father James Ford Bell (18791961) established the Delta Waterfowl and Wetlands Research Station in Manitoba. Bell, the founder and president of General Mills, an avid hunter who loved canvasbacks, wanted to put back as many or more as his camp shot at the Delta Marsh. Guided by Bell’s conservation ethic, Delta Waterfowl continues to work for waterfowl and waterfowl hunters, delivering innovative programs across four key pillars: Duck Production, Habitat Conservation, Research and Education, and HunteR3. For more information, visit deltawaterfowl.org.

THOMAS CHAMBERS

112 Rare Long-Body Canvasback Pair

Thomas Chambers (1860-1948)

Wallaceburg, Ontario, Canada, c. 1915 17 1/4 in. long

A rigmate pair featuring the maker’s finest comb painting and elegant carving in his highly desirable long-body form.

Thomas Chambers (1860-1948) was born in Toronto, Ontario. He hunted ducks and geese as a boy and sold his excess quarry to the market. He was tapped by sportsmen, including George Warin (1830-1905), to be the Keeper at the newly founded St. Anne’s Club on the Chenal Ecarte, which flows into Lake St. Clair. In 1900, when the nearby St. Clair Flats Shooting Company was looking for a new Keeper, they asked Warin, a respected founder and a former president of their club. Warin recommended Chambers, which would be fortuitous for all parties.

Incorporated in 1874, the St. Clair Flats Shooting Company, also known as the Canada Club, was one of the oldest hunting clubs on Lake St. Clair. Chambers lived on the club’s property in an adjacent house with his wife and three children. Chambers would remain the club’s Keeper

until his retirement in 1943. According to author Bernard Crandell, it was during this time as manager that the 6 foot, 1 inch Chambers earned the nickname “King Tom.” Over the years, the membership of the Canada Club gradually changed from all Canadians to predominantly Americans.

In addition to his work for the club, Chambers was also one of the nation’s most accomplished carvers. His decoys were in high demand from the members and even during the Depression a rig of a dozen Chambers decoys would command the unheard-of price of $75. Very good original paint with light gunning wear, including a few rubs.

Provenance: Spencer Seitz Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Bernard W. Crandell, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, p. 166, related pair illustrated.

$10,000 - $15,000

THOMAS CHAMBERS

113 The Chambers Deming-Seitz Canada Goose

Thomas Chambers (1860-1948)

Wallaceburg, Ontario, Canada, c. 1915 22 in. long

Thomas Chambers (1860-1948) was born in Toronto, Ontario. He hunted ducks and geese as a boy and sold his excess quarry to the market. He later worked for Canadian sportsmen at the St. Anne’s Club on the Johnson Channel, which flows into Lake St. Clair. In 1900, the St. Clair Flats Shooting Company’s first president, George Warin (18301905) recommended Thomas Chambers for the position of full-time marsh manager of the club.

Incorporated in 1876, the St. Clair Flats Shooting Company was one of the oldest hunting clubs on Lake St. Clair. Chambers lived on the club’s property in an adjacent house with his wife and three children. Chambers would remain its manager until his retirement in 1943. According to author Bernard Crandell, it was during this time as manager that the 6 foot 1 inch Chambers earned the nickname “King Tom.” Over the years, the membership of St. Clair Flats Shooting Company gradually changed from all Canadians to predominantly Americans.

In addition to his work for the Club, “King Tom” was also one of the nation’s most accomplished carvers. His decoys were in high demand from the members and even during the Depression a rig of a dozen Chambers decoys would command the unheard of price of $75. The bottom board of this hollow decoy is branded “THOS. CHAMBERS.” The absence of his “MAKER” brand presents the possibility that this decoy was from Chamber’s personal gunning rig. It is also branded “P. H. D.” and retains its “P. H. DEMING” painted stencil. Paul H. Deming was a St. Clair Flats Shooting Company member from 1912-1955.

The condition of this decoy can, in part, be explained by the sparse usage of goose decoys due to the historically low number of this species in the region. Less than a dozen of

these geese in original paint are known today. With its exceptional form and provenance, this bird ranks as one of Canada’s finest goose decoys.

Of a closely related decoy, Julie Hall, a folk art historian, wrote in 1976, “Such a beautiful prize in original paint with complete history is a rare find today.” Original paint with even gunning wear, several tight age lines along back. A thin strip of olive green paint was added to seal body seams of this rig.

Provenance: Paul H. Deming Rig

Joe Tonelli Collection

Spencer Seitz Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Patricia Fleming and Thomas Carpenter, eds., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, ON, 1987, p.141, related decoy illustrated.

Julie Hall, “Collectible Decoys--- An Endangered Species?” North American Decoys, Spanish Fork, UT, Summer 1976, p. 20, related decoy illustrated.

Bernard W. Crandell, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988.

$16,000 - $24,000

Tom Chambers standing on a boat dock, c. 1920.

JOHN R. WELLS

114 Canvasback Drake

John R. Wells (1861-1953) Toronto, Ontario, Canada, c. 1900 15 1/2 in. long

This hollow canvasback drake, with its exceptional stippled paint and refined form, is one of the best Wells canvasbacks known. The underside is branded “J.T.N” for John T. Nichols who was a St. Clair Flats Shooting Company member from 1901 to 1935. Excellent original paint with light wear and minor touch-up along three-inch section of right body seam.

Provenance: John T. Nichols Rig The George Secor Decoy Collection to Benefit Delta Waterfowl

$10,000 - $15,000

JOHN R. WELLS

JOHN R. WELLS

115 Pintail Pair

John R. Wells (1861-1953) Toronto, Ontario, Canada, c. 1900 16 in. long

A refined hollow rigmate pair with exceptional plumage. The undersides are branded “JRW Maker” and have a painted “A.P.J.” rig marking. Original paint with moderate gunning wear, approximately half of each bill is restored, and scattered touch-up and fill mostly to shot scars and edges of tails. White on drake has been strengthened.

Provenance: Donal C. O’Brien Jr. Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

$6,000 - $9,000

“The Duck Hunters. A day at Long Point, Canada” George Barker, 1890.

116 Canvasback Pair

John R. Wells (1861-1953)

Toronto, Ontario, Canada, c. 1900

16 1/2 in. long

Displaying Wells’ best stippled and scratch-feather paint, these hollow birds are marked with the “JRW Maker” brand and painted “A.A.” likely for Andrew Allan, a member of the Long Point Gun Club from 1875-1881. Donal C. O’Brien Jr. described his closely related hen as having “the best paint job I have seen on a hen can.” Original paint with even gunning wear, including some shot marks mostly to hen. Both have scattered touch-up. Drake has a small tail chip, a tight age line under left side of neck seam, and restored chip from tip and right side of bill. Hen has tight age line near neck seam.

Provenance: Robert Bradley Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Robert Shaw, Call to the Sky, Houston, TX, 1992, p. 94, McCleery example illustrated.

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. 59, lot 9, related hen illustrated and discussed.

$15,000 - $25,000

117 The Haid Markham Rig Redhead

Markham Rig

Markham, Ontario, Canada, c. 1900

15 3/4 in. long

This hollow decoy with its turned head and crisp paint is one of the finest Markham Rig birds to have surfaced. The head appears to have been hollowed and has a broad bill with fine detail. This sterling example was never rigged. Original paint with light wear and stacking marks typical for this rig. Minor flaking at neck seam which is slightly loose.

Provenance: Alan Haid Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Patricia Fleming and Thomas Carpenter, eds., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, ON, 1987, p. 11, exact decoy illustrated.

Copley Fine Art Auctions, The Donal C. O Brien Jr. Collection of

Important American Sporting Art and Decoys, Sessions I-II, July 27, 2017, lot 4, Donal O’Brien example illustrated.

$8,000 - $12,000

118 Redhead Hen

Markham Rig

Markham, Ontario, Canada, c. 1900 15 in. long

A rare hollow hen with a high back and thinly hollowed body and excellent head and bill carving. This sterling example was never rigged. Original paint with light wear.

Provenance: Jeff Seregny Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

$8,000 - $12,000

GEORGE

119 Canada Goose George Warin (1830-1905)

Toronto Islands, Ontario, Canada, c. 1880 22 in. long

The Warins created lightweight, hollow decoys that were perfectly suited to the calm waters of southwestern Ontario. George Warin (1830-1905) and his brother James (1832-1884) first apprenticed to the highly esteemed boat-builder Robert G. Renardson before taking over his business in 1873. As a testament to their craftsmanship, a Warin-built racing scull won the 1881 and 1882 world championships. George Warin used his exceptional boat-building skills to carve decoys which “set a new standard of excellence in the region and were imitated by dozens of later Toronto and southwestern Ontario craftsmen,” according to historian Robert Shaw. Warin was also the first president of the St. Clair Flats Shooting Company and his recommendation positioned carver Thomas Chambers (1860-1948) as the club’s keeper.

This decoy represents a robust Warin model with full body, head, and neck carving. Like the Chambers goose in this catalog, this hollow Warin has olive green paint sealing the edges of the bottom board. Original paint with even wear, exposing some wood mostly on the back.

Provenance: Alvin Starkman Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

$7,000 - $10,000

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 232-233, Warin decoys illustrated and discussed.

George Warin getting set to sail, c. 1890.

GEORGE WARIN

120 Pintail Drake

George Warin (1830-1905)

Toronto Islands, Ontario, Canada, c. 1880

16 1/2 in. long

This rare hollow decoy is branded “J.S.W.,””D.S.,” and “H.M.S.” for Long Point Company President Joseph S Wheelright (member 1927-1941), and members Dean Sage (member 1897-1902), and Henry M Sage (member 1902-1933). It was finished with a thin neck, long bill, and fine paint details. Original paint with even gunning wear and repaired chip to top of tail.

Provenance: Long Point Company

Roger Young Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Bernie Gates, Ontario Decoys II, Kingston, ON, 1986, p. 38, Long Point members listed.

$5,000 - $7,000

of lot 120.

121 Rare Snuggle-Head Mallard Hen

George Warin (1830-1905)

Toronto Islands, Ontario, Canada, c. 1880 16 in. long

An important and exceedingly rare tucked-head mallard hen with refined form and exceptional plumage. This may be the only Warin hen mallard to surface at auction in decades. Bob Shaw credits Warin for having “...popularized this low-head form later adopted by many Ontario carvers.” Excellent original paint with light gunning wear, tight age line along right side, and old reset chip on left side of bill. Felt removed from underside.

Provenance: Paul Brisco Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 232, tucked-head drake illustrated.

$5,000 - $8,000

Underside

122 Rare Redhead Drake

Ed Piggot

Georgian Bay, Ontario, Canada, 19th Century 15 in. long

A stylish hollow carving with a deep body and highly articulated head carving. The head has stippled paint and the hollow body was finished with intricate paint, employing a fine comb and a wider scratch technique. Original paint with even wear and rubs to tail edge. Touch-up to crown and tip of bill. Crack in bottom board.

Provenance: John Delph Collection, acquired from a relative of the maker

The George Secor Decoy Collection to Benefit Delta Waterfowl

$6,000 - $9,000

123 Goldeneye Hen

Peter M. Pringle (1878-1953) Toronto, Ontario, Canada, c. 1930 14 in. long

In addition to being a decoy maker, Peter Pringle was a trained and practicing artist. Bob Shaw notes, “Few makers on either side of the border lavished as much time on their work as Pringle.” Beyond the obvious features and details seen in many of his rare works, this decoy distinguishes itself as one of his more refined carvings.

This bird was from Pringle’s personal rig and is signed with his incised “PMP” and is stamped with his “W 28”

designation. Original paint with even gunning wear and a shot scar by the right eye. Bill may have second coat of gunning paint.

Provenance: Peter Pringle Rig The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 234-235, related black duck discussed.

$6,000 - $9,000

124 Blue-Winged Teal Markham Rig Ontario, Canada, c. 1880 12 1/2 in. long

A teal decoy with a high humped back, hollow body, and broad blue wing patches. This bird was likely made by Walker Morley and emanates from the Markham rig. It is one of only four known teal examples from the rig. Original paint with light wear, including a few stacking marks and very minor spot of touch-up in front of right eye.

Provenance: Markham Rig Roger Young Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Keith Avann and David Ness, “Walker T. Morley and the Markham Rig” Parts 1-3, The Rig, Fall 2012, Spring 2013, and Spring 2014, Morley and Markham rigs discussed and illustrated.

$5,000 - $8,000

125 Canvasback Drake

Charles Reeves (1877-1941)

Long Point, Ontario, Canada, c. 1900 16 1/4 in. long

A classic Long Point canvasback from the Club’s distinguished carving family. This is one of the few carvings by Reeves that features carefully stretched canvas fastened around the body with a large number of small tacks. Mix of original and repaint with light gunning wear and less than one inch of bill tip is restored.

Provenance: William P. Thompson Rig The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Bernie Gates, Ontario Decoys II, Kingston, ON, 1986, front and back cover, related teal illustrated.

Patricia Fleming and Thomas Carpenter, eds., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, ON, 1987, p. 31, related decoy illustrated.

$3,000 - $5,000

126 Black Duck

Charles Reeves (1877-1941)

Long Point, Ontario, Canada, c. 1900 16 in. long

The underside of the bottom board has a painted “WW” rig marking and a stylized brand that appears to include a “J.” Old gunning paint with even wear. Tight age lines in head and original knot blemish near tail.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Bernard W. Crandell, “The Reeves Family,” Decoy Magazine, May/June 1992, p. 10, rigmate illustrated.

$700 - $900

127 Canvasback Drake

Henley Sorby (1883-1954)

Gores Landing, Ontario, Canada, c. 1920 16 in. long

Sorby descended from a wealthy English family and his decoys appear to follow his own sleek pattern. He is said to have devised a pulley system to hoist his furniture in the air to convert his living space into a work space. A “WY” is impressed in the underside. Original paint with even gunning wear, ding above left side of tail, and paint drip removed on other side. Head loose at neck seam.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Patricia Fleming and Thomas Carpenter, eds., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, ON, 1987, p. 23, related hen illustrated.

$1,000 - $2,000

128 Tucked-Head Redhead Drake

Nate Quillen (1839-1908)

Rockwood, MI, c. 1890 13 1/2 in. long

Quillen was a well-respected punter, or guide, at the prestigious Pointe Mouillee Shooting Club at the mouth of the Huron River. A 1922 history of the club refers to their talented punter as “an artist as well as an artisan.” During the off-season, Quillen was a cabinet maker and locksmith, and his fastidious craftsmanship is evident in the decoys he created. The bottom board is branded “HHB.” Original paint with some traces of overpaint. Washes to black areas and bill. Moderate gunning wear and roughness to left body seam. Two-thirds of bill restored.

Provenance: Alan Haid Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl, acquired from the above

Literature: Bernard Crandall, “Nate Quillen Decoys,” North American Decoys Magazine, Spring 1972, front cover and pp. 2-11, related decoys illustrated.

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

$1,500 - $2,500

129 Pintail Drake

Nate Quillen (1839-1908) Rockwood, MI, c. 1890 16 1/2 in. long

A rare pintail with carved shoulders and a “J.A.S.” brand on the bottom board. Old paint with extensive craquelure and some overpaint has been removed. Touch-up to neck crack. Tip and sliver under bill are restored.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Bernard Crandall, “Nate Quillen Decoys,” North American Decoys Magazine, Spring 1972, front cover and pp. 2-11, related decoys illustrated.

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

$1,500 - $2,500

130 Hooded Merganser Hen

Edgar McNeil (1869-1954)

Lansdowne, Ontario, Canada, c. 1920. 13 in. long

McNeil was a professional cheese maker who was known for his formal attire in all occasions. He was also an avid hunter who carved his own rig and was a hooded merganser specialist. Original paint with gunning wear and two knots in body.

Provenance: Bernie Gates Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Bernie Gates, Ontario Decoys, Kingston, ON, 1982, p. 150, rigmates illustrated.

$1,000 - $2,000

ADDIE NICHOL

1864-1929

131 Exemplary Bluebill Hen

James Adam “Addie” Nichol (1864-1929)

Smith Falls, Ontario, Canada, c. 1890 13 in. long

A fine hollow bluebill hen with extensive carved and painted feather detail, and raised primaries. The underside has an inlaid bottom board. This is among the family’s and region’s finest forms; indeed, a closely related pair was selected for the cover of the “Nichol Decoys” book. Original paint with light wear, touch-up to bill tip, and one white feather on left wing, and very tips of wings are restored.

Provenance: Bob Youngman Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Bernie Gates, et al., Nichol Decoys: The Smiths Falls School of Carving, Kingston, ON, 2009, front cover and pp. 96-109, related examples illustrated.

$3,000- $5,000

Dust-jacket cover of the Nichol Decoys book.

132 Black Duck

David K. Nichol (1859-1949)

Smith Falls, Ontario, Canada, c. 1880 14 1/2 in. long

A hollow, raised-wing carving with a lightly textured finish and excellent feathering.

David K. was a boat builder and the brother of “Addie” Nichol (1864-1929). According to decoy lore, the pair began carving decoys because the mail-order decoys were such low quality that they burnt them in a bonfire in a fit of disgust. Original paint with light gunning wear, touch-up to neck crack, to a small rub on left side of crown, and to a spot in front of right speculum.

Provenance: Bob Youngman Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

$2,000 - $4,000

133

133 Bluebill Hen

James Adam “Addie” Nichol (1864-1929)

Smith Falls, Ontario, Canada, c. 1880 11 1/2 in. long

The underside is stamped “EJR.” Original paint with gunning wear, including original indentation and rubs along left side and rubs to tail edge. Replaced bill.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

$600 - $900

“Supple necks, careful rasp work and deeply textured wings mark

James ‘Bud’ Tully’s decoys as superior artistic carvings. They are sought after by collectors across the country and...are considered to be an essential part of any comprehensive collection of Canadian decoys.”

— Patricia Fleming and Thomas Carpenter, Traditions in Wood: A History of Wildfowl Decoys in Canada

134 Redhead Pair

Abe Rundle (1847-1924)

Bloomfield, Prince Edward County, Canada, c. 1880 14 1/2 in. long

An early hollow pair with full bodies and pronounced cheek detail. Original paint with moderate gunning wear, touch-up to slight rubs on crowns. Hen has craquelure, wear to tail edge, and a few old plugged shot holes.

Provenance: Roger Young Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

$2,000 - $4,000

135 Bluebill Drake

James “Bud” Tully (1918-1973)

Peterborough, Ontario, Canada, c. 1950 13 in. long

A rare and exceptional decoy with a high degree of detail and refinement and a wonderfully textured surface. Tully was among Canada’s most distinguished decoy makers and a pair of related bluebills was chosen for the front dust-jacket of Traditions in Wood: A History of Wildfowl Decoys in Canada. The underside bears the maker’s incised signature, hollow cavities, and a swing weight. Original paint with light wear.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Patricia Fleming and Thomas Carpenter, eds., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, ON, 1987, front dust-jacket cover and p. 94, closely related carvings illustrated.

$1,500 - $2,500

136 Canada Goose

Ken Anger (1904-1983)

Dunnville, Ontario, Canada, c. 1930 23 in. long

A rare early Anger decoy with a high paddle tail, raised wing tips, and hollow construction. One of the finest examples by this maker known to exist. Original paint with light gunning wear and a small ding in right flank.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Patricia Fleming and Thomas Carpenter, eds., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, ON, 1987, p. 143, related decoy illustrated.

$4,500 - $6,500

SAMUEL R. HUTCHINGS

137 Cross-Hatched Goldeneye Pair

Samuel R. Hutchings (1894-1995) Jones Falls, Ontario, Canada, c. 1919 14 in. long

Rare goldeneye pair exhibiting detailed crosshatch-feather carving from head to tail and incised, raised wing tips.

Samuel Hutchings lived to see his one-hundredth year, but is remembered primarily for his decoys attributed to his teenage years, circa 1908-1914. He was a carving prodigy inspired by his grandfather, a master blacksmith who used similar checkered patterns on his ironwork. Original paint with most working paint taken down. Gunning wear with some roughness to drake’s bill and wear to lower sides.

Provenance: Roger Young Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Bernie Gates, Ontario Decoys, Kingston, ON, 1982, p. 148, closely related examples illustrated. Patricia Fleming and Thomas Carpenter, eds., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, ON, 1987, p. 86, rigmate pair illustrated.

$6,000 - $9,000

138 Black Duck

Burleigh Brothers (1900-1970) Toronto, Ontario, Canada 18 in. long

The Burleigh brothers’ skills as boat builders are evident in the sleek lines of their decoys. Original paint with heavy gunning wear, some age lines, and shrinkage to filler along lower sides.

Provenance: Roger Young Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

$800 - $1,200

139 Canvasback

Ducharme Family

St. Ambrose, Manitoba, Canada, c. 1930 12 in. long

Duncan Joseph Ducharme (1912-1972) was part of a family of hunters, trappers, and decoy carvers. With the Delta Marsh and Lake Manitoba as his hunting grounds, he first carved decoys for his own family’s use and later made hunting stools for Delta Waterfowl Research Station founder James Ford Bell to use at his hunting camp. As found with heavy gunning wear.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

$300 - $400

140 Rare Redhead Drake

Walker T. Morley (1833-1922)

Leslieville, Toronto, Canada, c. 1880 17 in. long

A rare hollow drake with a thin bottom board. Walker Morley was born in England and is credited as the head of his carving and sporting family. Keith Avann and other members of the Canadian Decoy and Outdoor Collectibles Association have shared several installments in their journal, The Rig, laying out the known history and overlap between the Morley decoys and the famous Markham rig birds. There he recorded that Walker “...had been a keen sportsman and a great shot, donating mounted birds to the Royal Ontario Museum, including a passenger pigeon.”

Original paint with even gunning wear and a few stacking marks. Black has an old wash.

Provenance: Markham Rig

The George Secor Decoy Collection to Benefit Delta Waterfowl

Literature: Keith Avann and David Ness, “Walker T. Morley and the Markham Rig” Parts 1-3, The Rig, Fall 2012, Spring 2013, and Spring 2014, Morley and Markahm Rig discussed and illustrated.

$3,000 - $5,000

141 Redhead Ralph Reghi (1910-1995)

Detroit, MI, c. 1930 15 1/4 in. long

The underside of this carving bears the maker’s pencilled name. Appears to be original paint with moderate wear, including flaking to back and rubs to bill tip.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

$400 - $600

142 Miniature Goose

Joseph W. Lincoln (1859-1938) Accord, MA, c. 1920 5 1/4 in. long

This miniature Lincoln carving is stamped with the maker’s “Joe Lincoln, Accord, Massachusetts” ink stamp on the bottom. Original paint with light wear and a reglued neck crack.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

$1,000 - $1,500

143 Premier-Grade Black Duck Mason Decoy Factory (1896-1924) Detroit, MI, c. 1920 18 in. long

The underside retains the “Premier” ink stamp. Original paint with even gunning wear and a couple of tail chips.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

$1,000 - $2,000

144 Miniature Goose Pair Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, c. 1960 8 in. long

The carvings bear labels with “Hand Carved and Painted. The Duck House Rumbly, Maryland” on the bottoms. Original paint with light wear, one has a tight age line on lower left side and minor rub to tail edge.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

$800 - $1,200

145 One Hercules Powder Tin 5 1/4 in. tall

The tin’s label reads “Infallible Shotgun Smokeless.” As found.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

146 Two Books on Pheasants

William Beebe, Pheasants: Their Lives and Homes, Vols. I & II, 1926.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

147 Two Books by Roland Clark

Pot Luck. 1945. No. 393 of 450. Signed by the author. Gunner’s Dawn. 1937, No. 456 of 950.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

148 Five Books on Shooting and Waterfowling

Adam H. Bogardus. Field, Cover, And Trap Shooting. 1878.

Marksman. Dead Shot. 1864. Sir R. Payne-Gallwey. Letters To Young Shooters. On The Choice And Use Of A Gun. Vol. 1 & 2, 1902. Joseph W. Long. Wild-Fowl Shooting. 1874.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

149 Six Books on Waterfowling

William Hazelton. Duck Shooting and Hunting Sketches. 1915.

Sir R. Payne-Gallwey. The Book of Duck Decoys Albert Dixon Simmons, Wing Shots. 1936, No. 157 of 950.

S. Kip Farrington Jr. The Ducks Came Back. 1945. George Bird Grinnell. American Duck Shooting 1901.

Robert Eskine Ross, Wings Over The Marshes 1948.

Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl

Lots 146-149 not illustrated

150 Canvasback

Thomas Chambers (1860-1948)

Wallaceburg, Ontario, Canada, c. 1900 15 1/2 in. long

A classic Ontario decoy by one of the region’s premier makers. Original paint with moderate gunning wear, including some shot from the left side. Neck crack and seam slightly out of alignment.

$2,000 - $4,000

151 Hollow Mallard Drake

John R. Wells (1861-1953)

Toronto, Ontario, Canada, c. 1900 15 3/4 in. long

A feather-light decoy by one of the Great Lakes’ most distinguished carvers. This hollow example showcases his best puddle duck form and blended and combed paint. Original paint with gunning wear down to bare wood on head and a tail chip.

Literature: Bernie Gates, Ontario Decoys, Kingston, ON, 1982, p. 48, related mallard illustrated.

$1,500 - $2,500

152 High-Head Bluebill Drake

John R. Wells (1861-1953)

Toronto, Ontario, Canada, c. 1900 15 1/2 in. long

A hollow decoy with a tall neck and “JAS.C” brand on the bottom. Original paint with even gunning wear and touch-up to bill and several filled shot holes.

$1,200 - $1,600

153 Redhead Hen

Will Smith (1874-1953)

Bloomfield, Ontario, Canada, c. 1900 14 1/2 in. long

A refined hollow decoy with a full suite of paint techniques employed. The bottom board has a painted “LW” and “AS.” Original paint with even gunning wear, minor chipping to tail edge, and original line and ding in back. Excess gunning green bottom paint removed from under tail and around bill.

Provenance: Laverne Wright Rig Private Collection

$2,000 - $4,000

154 Mallard Pair

Clovis LeFebvre (1850-1933)

Alexandria Bay, NY, c. 1920 16 in. long

Clovis was the founder of the Alexandria Bay school of carving. This turned-head pair has refined yet robust carving and deft brushwork. Original paint with even gunning wear, some areas of touch-up and most of drake’s bill is replaced.

$2,000 - $4,000

155 Green-Winged Teal Hen

Leo H. McIntosh (1953-2007)

Woodville, NY, c. 1990 11 1/4 in. long

A turned-head carving with Mason Factory bill detail and “L. H. McIntosh” debossed in the bottom. Original paint with light wear.

$1,000 - $2,000

ALLAN BROOKS

156 Allan Brooks (Canadian, 1869-1945)

White-Fronted Geese, 1932

signed and dated “Allan Brooks 1932” lower left gouache, 14 by 10 in.

$1,000 - $2,000

157 Allan Brooks (Canadian, 18691945)

Raptor and Hare in Snow signed “Allan Brooks.” lower right watercolor and gouache, 11 by 15 1/2 in.

$2,000 - $4,000

158 Allan Brooks (Canadian, 1869-1945) Caribou in Snow signed “Allan Brooks” lower right watercolor and gouache, 10 3/4 by 15 3/4 in.

Allan Cyril Brooks was born in 1869 in India, educated as a boy in England, and moved to Canada in 1881 where his father had become a farmer, eventually settling in British Columbia. He started out as a specimen hunter and collector for museums; however, after being encouraged to pursue his art by William Brewster, he became the Canadian contemporary to Louis Agassiz Fuertes. Due to his accurate shot, Brooks served as a sniper in World War I, achieved the rank of major, and was awarded the Distinguished Service Order for conspicuous gallantry.

His ornithological art appears in John C. Phillips’ The Natural History of Ducks and Forbush’s Birds of Massachusetts, among many other publications.

$2,000 - $4,000

159 Earl Lincoln Poole (1891-1972)

Doves in Flight

signed “E.L. Poole” lower right watercolor, 20 1/2 by 13 3/4 in.

$2,000 - $4,000

160 Louis Agassiz Fuertes (1874-1927)

Mallard Pair

signed “Louis Agassiz Fuertes” lower right; watercolor and gouache, 9 by 13 in.

inscribed “Long Meadow Gun Club Oct 18 19**” lower right

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 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.

$4,000 - $6,000

DAVID A. MAASS

161 David A. Maass (b. 1929)

Skimming the Surf, Surf Scoters signed “Maass” lower right oil on board, 24 by 32 in.

An avid sportsman and ardent contributor to conservation organizations, David Maass has been actively painting game birds for more than fifty years. Over the decades, Maass has designed more than thirty conservation stamps and prints, a distinction few artists can claim. Ducks Unlimited, the National Wild Turkey Federation, and the Minnesota Wildlife Heritage Foundation have each named

David Maass their Artist of the Year. Maass’ original paintings and limited edition prints have been exhibited in galleries and shows throughout the country, including the Smithsonian American Art Museum in Washington, D.C. and the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin.

$5,000 - $8,000

162 David A. Maass (b. 1929)

Frenchman’s Bay, 1999 signed “Maass” lower left oil on board, 24 by 32 in.

A well-executed work depicting the stalwarts of the Maine sea coast: rocks, sailboats, and gulls.

$5,000 - $8,000

$5,000 - $8,000

162

163

163 David A. Maass (b. 1929)

Kodiak Sunrise, Emperor Geese signed “Maass” lower right oil on board, 24 by 32 in.

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

A bright Bahamas bonefishing scene that captures the sunlight and bright blues and greens of flats fishing.

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

$5,000 - $7,000

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

$5,000 - $7,000

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

$5,000 - $7,000

A fine smaller work by this well known artist and sportsman depicting an English

$3,000 - $5,000

167 Luke Frazier (b. 1970)

Patience, 2024

signed and dated “l. frazier © 24” lower left oil on board, 12 by 12 in.

Setter.

168 Luke Frazier (b. 1970) Attack Mode, 2024 signed “l. frazier” lower left oil on board, 18 by 40 in.

Luke Frazier is one of the West’s top wildlife artists. Born and raised in the mountains of northern Utah, Frazier spent much of his youth hunting and fishing. His early forays into nature inspired a passion for the outdoors. As a child, Frazier spent countless hours sketching and sculpting wildlife, demonstrating not only a passionate interest, but also an instinctive ability. Later, he received his formal art training at Utah State University, where he earned a bachelor of fine arts degree in painting and a master of fine arts degree in illustration. Frazier cites the

influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work.

In Attack Mode, Frazier beautifully captures a marlin in action attacking a bait.

$15,000 - $20,000

169 Mike Stidham (b. 1954)

Around They Go - Tarpon, 2024 signed “M. Stidham” lower left oil on linen on board, 24 by 42 in.

Mike Stidham spent his early years in Palm Desert, California, where he dreamed of becoming a desert painter.

As a young teen, he began trout fishing in Colorado, selling his early watercolors through local fly shops, and he worked as a fishing guide in Idaho. Among his honors and accomplishments, in 1992 the artist produced the Saltwater Sportfishing Stamp for Texas and, for a time, held the IGFA record for a hammerhead shark taken on a fly rod. He says, “To me the painting is about the sense of place, the feeling of being there, the various colors of the rocks and rhythm and movement of the gravel bed.” Today, Stidham paints from his Sandy, Utah, studio as well as on the many fishing trips he takes to see, study, and pursue his subjects in their natural environment.

“It is one thing to paint a fish as if simply describing it. It is something quite different to make a painting about it. My work is of course influenced by years spent in pursuit of fish. But I have recently found new artistic energy studying the likes of John Singer Sargent and Joaquin Sorolla. Tarpon are a favorite of mine both as an angler and as an artist,” Stidham writes.

Literature: Norman Kolpas, “Artist Spotlight: Mike Stidham,” Western Art and Architecture, December 2022-January 2023.

$8,000 - $12,000

170 James W. Harris (b. 1946) Schooling Needle Fish, 2024 signed “J.W. Harris” lower left oil on canvas on board, 24 by 24 in. signed and inscribed “Original oil No. 631, Red Fin Needle Fish ‘Schooling’” on back

$1,600 - $1,800

JOANNE BECKER

171 JoAnne Becker (b. 1970) Organized Chaos, 2023 signed and dated “Joanne Becker 11/9/2023” on back acrylic on board, 48 by 36 in. in hand-made frame by artist

JoAnne studied photography at the School of Visual Arts in New York City. With an interest in all mediums and an impulse to create, her path as an artist has led her from photography to printmaking to painting. The large paintings she creates on boards and canvas are explosions of color

that start out as a memory, and, like a photograph, they become a split-second detail of time past. JoAnne resides in central Virginia and spends time in Maine.

$3,000 - $5,000

173

signed “Wm Redd Taylor” lower left watercolor, 10 by 13 1/4 in.

This work depicts an oyster boat at sea under full sail.

$300 - $500

172 Arthur Lingquist (Swedish/American, 1889-1975)

Rockport signed “A. Lingquist” lower right oil on board, 20 by 23 3/4 in.

Born in Helsingborg, Sweden, Lingquist studied art before coming to Boston in 1910. Early in his career, he worked as a fresco painter for a company that specialized in theater decoration. He exhibited throughout his career with the Boston Art League, Copley Society, and the North Shore Arts Association on Cape Ann. Lingquist painted many quaint Vermont landscapes throughout the seasons, in addition to atmospheric coastal scenes such as this.

$1,000 - $2,000

174 American School (19th century) Hunting Scene oil on canvas, 16 by 24 in.

This work depicts two men in a rowboat on a lake, one aiming a rifle toward the shore.

$800 - $1,200

William Redd Taylor (1938-2018) Full Load

CHARLES PAUL GRUPPE

175 Charles Paul Gruppe (1860-1940)

In the Harbor - Gloucester, 1923 signed “Chas P Gruppe” lower right oil on canvas, 35 by 43 in. in Newcomb-Macklin frame signed and titled on Art Institute of Chicago label on back

Charles Gruppe, father of Emile, was born in Canada. After moving to Rochester, New York, when he was ten, Gruppe worked in a sign-painting shop before earning enough to send himself to Europe to study art. He settled in Katwyk Ann Zee, on the coast near Leiden, Holland. After success there, he returned to the US as the winds of World War I gathered in 1909, raising his family between Rochester and New York City. Gruppe was an active member of the Salmagundi Club and exhibited with the National Academy of Design, the Boston Art Club, and the Pennsylvania Academy of Fine Art. In 1925, father and son traveled to Cape Ann together, and after this first trip often painted together in Gloucester and Rockport. After fifteen summers painting from his coastal studio, Gruppe died in Rockport in 1940.

A label on the back of In the Harbor reads, “Mr. Gruppe selected this painting as the most important work he had available to send to the exhibition of paintings by American Artists and Sculptors which was held recently at the Art Institute of Chicago...

“Inspiration for this work came to the artist last autumn when he made the last of a comprehensive series of Gloucester, America’s busiest fishing port. The charms of the water front of this picturesque harbor are well known

to both American painters and art connoisseurs, and form valuable sketching ground to the former while they give much enjoyment to the latter.

“The picture presents a beautiful harmony and wellbalanced composition; a perfect color arrangement, true to the day’s mood. The subject illustrates a portion of the harbor shore, a pleasing group of boats, wharves and houses, made beautiful and restful by reason of the artist expressing the scene in a quiet moment of the day. Two sailing boats built upon graceful lines—fishing schooners with sails furled—are hove to near the end of a pier. Together they form the dominant note of the picture. Most interesting [...] reflections of these boats are cast in the calm water. Smaller boats and a boat house on the distant shore edge, and houses nestling amid trees, as the vista perspective disappears beyond the shore and over the hill, bear just the proper relation to the balance of the picture that these details should do, and are satisfying elements going to make up the pleasing ensemble of a good work of art of this kind.

“‘In the Harbor’...lends grace and beauty to the environment, wherever hung, enriching and ennobling art gallery, museum, spacious living room or club lounge, bank counting room or commodious reception room.”

Provenance: Private Collection, Wisconsin

Exhibited: Chicago, The Art Institute of Chicago, American Paintings and Sculpture, Thirty-Sixth Annual Exhibition, 1923.

$6,000 - $9,000

176 Magnus Colcord “Rusty” Heurlin (1895-1986) Willow Ptarmigan, c. 1930 signed “C. Heurlin” lower left oil on canvas, 24 by 32 in.

Rusty Heurlin was born in Sweden, but grew up in Wakefield, Massachusetts, where he was a childhood friend of Aiden Lassell Ripley. “Rusty Heurlin recounted, ‘I met him (Rip) out in the woods, he had a .22 and I had a Stevens single barrel shotgun. He was ten years of age and I was eleven...In the years that followed, Rip and I, and his cousin Lank must have tromped thousands of miles together during fall hunting days.’” The dynamic trio enlisted in the American Expeditionary Force in 1917 during World War I, and all three studied at the Fenway School of Illustration together. After working as an illustrator in New York, where “he did covers for numerous publications, including four covers in the late 1920s and 1930s for Outdoor Life, as well as for Boys’ Life, The Open Road, and for pulp magazines such as Adventure, Flying Aces, The Popular, and Western Story,” Heurlin left that world for the West and moved permanently to Alaska in 1936.

The willow ptarmigan is the state bird of Alaska, Heurlin’s adopted home. He first went to Valdez in 1916 and ultimately lived in Alaska for seventy years. Linking the two important locations in his life, Heurlin hung a watercolor of Boston’s Public Garden by Ripley in his Ester, Alaska, studio

for many years. His “Big Stampede” canvases depicting Alaska’s gold rush are on display at the Pioneer Museum in Fairbanks. Among other honors, Heurlin is in the 49er Alaska Hall of Fame and received an honorary doctorate in fine art from the University of Alaska in 1971.

This painterly work by one of Alaska’s best-known artists places two willow ptarmigan, one a breeding male, in a soft, snowy alpine landscape.

Provenance: Private Collection, Texas

Literature: A.J. Chester and R.M. Kahler, “Three Friends: Rip, Rusty, and Lank (Ripley, Heurlin, Lassell)” Hunting and Fishing Collectibles Magazine, November-December 2018, Volume 18, No. 6, pp. 34-39.

$12,000 - $18,000

177 Ragan Gennusa (1944-2021)

Vigilant signed “Gennusa” lower right watercolor, 23 by 19 1/4 in.

Gennusa was a Texas-born painter who earned his BFA in art at the University of Texas while also playing varsity football. He is a member of the Texas Athletics Hall of Honor for his performance as a wide receiver, and his artistic awards include being named the 1985-1986 Texas State Artist. For many years, Gennusa lived on a hill

country ranch near Dripping Springs where he had a herd of longhorns.

In this work, an alert deer emerges from the brush.

Provenance: Private Collection, Texas

$2,000 - $4,000

178 George Morrison Reid Henry (British, 1891-1983)

Woodcock

signed “G.M. Henry” lower left watercolor, 7 by 9 3/4 in. titled on The McEwan Gallery, Glengarden, Scotland label on back

$800 - $1,200

179 David A. Hagerbaumer (1921-2014)

Ruffed Grouse, 1982 signed and dated “David Hagerbaumer 1982” lower left watercolor, 22 1/4 by 29 in.

An exceptional upland work by the artist showing his mastery in creating depth of field in the watercolor medium.

$3,000 - $5,000

180 Tim Shinabarger (b. 1966)

Ruffed Grouse, 2007 signed and dated “© 07 Shinabarger” on base bronze, 15 by 9 by 8 in. edition 7 of 40 (sold out)

Much-lauded sculptor Tim Shinabarger was born in Montana and derives his inspiration from the wildness of nature.

One of the artist’s only bronzes depicting game birds, Shinabarger has perfectly captured the explosive take-off of a pair of partridge.

Provenance: Jim Fallon Collection, Asheville, NC

$6,000 - $9,000

181 Pieter Van Der Hem (Dutch, 1885-1961)

in Flight signed “P. Vanderhem” lower left oil on board, 29 1/2 by 23 3/4 in.

Piet Van Der Hem, a well-known Dutch artist, was born in Wirdum and orphaned at age twelve. He studied art in Amsterdam from 1902 to 1907 before moving to Montmartre in Paris to continue his training. He returned to Holland and settled in The Hague, where he created a

broad body of work, including illustrations, portraits, city scenes, and wildlife art. He died in 1961.

Provenance: Private Collection, Massachusetts, descended in the family from grandparents who moved from the Netherlands in 1978

$5,000 - $10,000

Woodcock

183 Walter Matia (b. 1953)

The Sleeper (Quail) signed “Matia” on base bronze, 13 1/2 by 10 by 8 in. edition 14 of 48

Provenance: Jim Fallon Collection, Asheville, NC

$800 - $1,200

182 Walter Matia (b. 1953)

Sometimes a Great Notion (Pointer), 2003 signed and dated “Matia 03” on base bronze, 13 by 17 by 7 in. edition 12 of 48

Provenance: Jim Fallon Collection, Asheville, NC

$1,500 - $2,500

184 Walter Matia (b. 1953)

Late Season (Quail) signed “Matia” on base bronze, 8 1/2 by 13 by 10 in. edition 2 of 48

Provenance: Jim Fallon Collection, Asheville, NC

$1,500 - $2,500

185 Woodcock Bill J. Rice (b. 1952) Warren, CT 8 in. tall, 9 in. wide

A highly refined decorative, signed by the maker on the side of a carved branch base. Original paint with very light wear, including tight age lines at thighs.

Provenance: Jim Fallon Collection, Asheville, NC

$800 - $1,200

186 Antoine-Louis Barye (French, 1796-1875)

Hunting Dog Pair signed “Barye” on base bronze, 4 1/2 by 8 by 4 in.

Provenance: Jim Fallon Collection, Asheville, NC

$300 - $500

187 Remington Dog Head Cane 34 in. long

Provenance: Jim Fallon Collection, Asheville, NC

188 Hanging European Woodcock white metal

Wooden oval plaque is eighteen inches long and woodcock is fifteen inches from tip of bill to toe.

$400 - $600

The Alex Chester Collection of Works by Aiden Lassell Ripley

“Since childhood I have been extremely interested in outdoor hiking and nature activities and my career in biological oceanography, specializing in marine fisheries and management, was a natural outgrowth of those interests. Around 1980 my work brought me to Beaufort, North Carolina, and bird hunting became my main focus. I approached it from an academic and intellectual perspective, reading many books and magazine articles. I was fascinated by W. G. Sheldon’s The Book of the American Woodcock and the artwork in particular, which featured a watercolor by A. Lassell Ripley of two woodcock flying through autumn leaves, and black and white copper plate etchings (drypoints) of woodcock, also by Ripley.

“This fascination with Ripley’s artwork stayed with me until the time of my retirement, when I began collecting the artist’s works. The first piece of art I acquired was Flight Woodcock, one of the etchings in Sheldon’s book. From that initial purchase, I discovered that Ripley had done a number of etchings; forty were published in the book Sporting Etchings by A. Lassell Ripley and Dana S. Lamb, while several others were unpublished. I set a goal of acquiring a full collection of etchings as well as some of Ripley’s watercolors, thus dipping my toe into the auction world.

“The first painting I acquired was Woodcock at Sunset from Copley Fine Art Auctions, which I had conserved by a local member of the American Institute of Conservation. As a result of researching Ripley and his background, I was inspired to search for and collect the full range of his artwork—sporting art, of course, but other areas as well, including city scenes, town life, watercraft, farming, and historical treatments, including the Revolutionary War.

“After acquiring more of Ripley’s etchings and paintings, I began researching his life and communicating with his remaining relatives and friends. After years of collecting and doing research on his artwork, it became apparent that several areas of Ripley’s career were not particularly well known. At that point, I began writing and publishing magazine articles on his unpublished etchings, his early illustrations, his annual salmon fishing trips and related artwork from the Miramichi River in Canada, and his childhood and his lifelong friendships with the nationally-known artists Charles Lassell (his cousin) and Rusty Heurlin. Writing about Ripley and collecting his works has been an important influence on my life since retirement, and has contributed to my continued interest in hunting, fishing, and other outdoor activities well into later life. My age dictates that I begin reducing my collection and distributing it to others with similar interest in and appreciation of Ripley, sporting art, and American culture, in general.”

Copley Fine Art Auctions would like to thank Alex Chester for graciously providing this summary of how he got interested in Ripley’s life and work. For those who would like more information on Ripley, see sources on next page.

Putting together one of the largest Ripley etching collections ever assembled, Chester was a stickler for condition and, as such, had virtually every etching professionally conserved and archively framed.

Stephen B. O’Brien Jr. and Julie Carlson, The Art of Aiden Lassell Ripley, Boston, MA, 2005.

A. J. Chester, “The undocumented dry points of A. Lassell Ripley.” Hunting & Fishing Collectibles Magazine, vol. 16, no. 3, 2016.

A. J. Chester and R. M. Kahler, “Three friends: Rip, Rusty and Lank (Ripley, Heurlin, Lassell).” Hunting & Fishing Collectibles Magazine, vol. 18, no. 6, 2018.

A. J. Chester and R. M. Kahler, “Aiden Lassell Ripley on the 50th anniversary of his death. The art of Aiden Lassell Ripley (18961969).” Illustration Magazine, vol. 16, no. 65, 2019.

A. J. Chester, “A Lassell Ripley – fishing and painting the Miramichi River.” Hunting & Fishing Collectibles Magazine, vol. 20, no. 1, 2020.

AIDEN LASSELL RIPLEY

189 Aiden Lassell Ripley (1896-1969)

Grouse and Juniper, 1946 signed and dated “A. Lassell Ripley © 1946” lower left watercolor, 21 by 30 in.

Perhaps no other painter dead or alive has better portrayed the ruffed grouse. Over the years, collectors of his famous grouse works have often quipped that Ripley must have been a ruffed grouse in a previous life. This watercolor, with its vivid and bright colors, reveals Ripley as the master of upland bird portraits.

Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country’s top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951).

Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors “en plein

air” in North Africa, France, and Holland. 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 (19051983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art.

Provenance: Alex Chester Collection, acquired from Coeur D’Alene Art Auction, July 2014, lot 204

$20,000 - $30,000

190 Aiden Lassell Ripley (1896-1969) After Pheasants signed “A. Lassell Ripley ©” lower left watercolor, 15 3/4 by 24 in.

Provenance: Alex Chester Collection, acquired from Skinner, May 2014, lot 474

Literature: Stephen B. O’Brien, Jr. and Julie Carlson Wildfeuer, The Art of Aiden Lassell Ripley, Boston, MA, 2000, p. 82, related painting illustrated.

$12,500 - $17,500

“There has never been, nor perhaps will there ever be, an artist who so accurately portrayed ruffed grouse, woodcock, pheasant, quail, and turkey in each of their individual environments along with sportsmen in pursuit of these game birds.”

—

Reverend William E. Lewis

AIDEN LASSELL RIPLEY

191 Aiden Lassell Ripley (1896-1969)

A Day on the River signed “A. Lassell Ripley ©” lower left watercolor, 14 by 20 1/2 in.

The Sportsman’s Gallery, New York label on back

Charles Engelhard, who initially acquired this painting from The Sportsman’s Gallery, was an American mining magnate with significant business interests in South Africa. He was a noted thoroughbred horse enthusiast, endowed a court at the Metropolitan Museum of Art in New York, and hung this painting at his fishing camp, Manderville Farms on the Renous River in New Brunswick. Engelhard’s wife,

Jane, gave the painting to Ida Manderville in 1976. Carl Manderville, Ida’s husband who managed the camp, is a member of the Atlantic Salmon Museum’s Hall of Fame.

Provenance: Charles and Jane Engelhard, acquired from The Sportsman’s Edge Carl and Ida Manderville Collection, gifted in 1971 Don and Linda Manderville, by descent Alex Chester Collection

Literature: Alex Chester, “Fishing and Painting the Miramichi,” Hunting and Fishing Collectibles, January-February 2020, Vol. 20, No. 1, p. 14, illustrated.

$12,500 - $17,500

“There’s the sweet rich music of the water when the brooks are soon to freeze. It sends a message to the woodcock travelling south. ‘Come settle in and rest and feed by me,’ it seems to say.”

— Dana Lamb

192 Aiden Lassell Ripley (1896-1969)

A Morning in May

signed “A Lassell Ripley ©” lower left watercolor, 14 1/4 by 20 1/4 in. titled on label on back

Provenance: Alex Chester Collection

Literature: Alexander J. Chester and Robert M. Kahler, “Aiden Lassell Ripley on the 50th Anniversary of His Death,” Illustration, 16(65) p. 74, illustrated.

$5,000 - $8,000

193 Aiden Lassell Ripley (1896-1969)

Woodcock at Sunset, 1940 signed and dated “A. Lassell Ripley 1940” lower right watercolor, 16 3/4 by 22 1/2 in.

P. Shaw Sprague, the original owner of this painting, was a member of the Laurel Brook Club. He married Lucy Carnegie in 1924, and gave this painting to his colleague and best man in appreciation.

Provenance: Phineas Shaw Sprague Collection, acquired from the artist

Private Collection

Private Collection, Massachusetts, by descent Alex Chester Collection, acquired from Copley Fine Art Auctions, July 2011, lot 200

$8,000 - $12,000

AIDEN LASSELL RIPLEY

194 Aiden Lassell Ripley (1896-1969)

Boone Hall watercolor, 13 1/4 by 19 1/2 in.

Boone Hall is a storied estate near Charleston, South Carolina. Established in 1681, this work depicts the house built by Thomas and Alexandra Stone in 1936. Stone commissioned architect William Harmon Beers to design the Colonial Revival building. It shows similarities to Cherokee Plantation, a storied sporting estate also in the Georgian style.

According to O’Brien and Wildfeuer, “With the elite fully settled in their southern hunting plantations, demand arose for realist hunting scenes [and house portraits]. A keen businessman as well as artist, Ripley was more than happy to accommodate his patrons and soon established himself as the most sought-after painter of southern

195 Aiden Lassell Ripley (1896-1969)

Feeding the Pigeons, 1933

signed and dated “A. L. Ripley 33” lower left watercolor, 15 by 23 1/2 in. titled on back

An impressionistic watercolor of ladies feeding pigeons in the Boston Public Garden.

Provenance: Alex Chester Collection

$8,000 - $12,000

hunting scenes. Starting in the mid-thirties, families bearing such well-known surnames as Vanderbilt, Field, and Doubleday invited him to their hunting estates where he would spend days taking snapshots...Ripley worked methodically, developing sketches and asking for approval from his patrons...he captured the southern landscape with a confidence.” With its famous avenue of oaks, Boone Hall continues in operation and is open to the public.

Provenance: Alex Chester Collection

Literature: Stephen B. O’Brien Jr. and Julie Carlson Wildfeuer, The Art of Aiden Lassell Ripley, Boston, MA: 2009, p. 172.

$1,000 - $2,000

197 Aiden Lassell Ripley (1896-1969)

Taking Aim

AIDEN LASSELL RIPLEY

196 Aiden Lassell Ripley (1896-1969)

196 197

watercolor, 3 3/4 by 5 1/4 in. estate stamped on back

A small study depicted two hunters, a dog on point and woodcock.

Provenance: Alex Chester Collection

$1,000 - $2,000

198 Aiden Lassell Ripley (1896-1969)

Three Field & Stream Illustrations signed “A. Lassell Ripley” lower left pencil and watercolor, 8 3/4 by 12 1/2 in.

inscribed “Sketches for Field and Stream” lower left They will often run

This sometimes happens Occasionally its thick where the woodcock are

Provenance: Alex Chester Collection

$1,000 - $2,000

198

Grouse watercolor, 6 by 8 in. estate stamped on back

Provenance: Peter Bartlett Collection Alex Chester Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2013, lot 581

$1,500 - $2,500

AIDEN LASSELL RIPLEY

199 Aiden Lassell Ripley (1896-1969) Covey Rise charcoal, 8 by 12 3/4 in.

A fine charcoal rendering of quail in flight.

Provenance: Alex Chester Collection

$1,000 - $2,000

200 Aiden Lassell Ripley (1896-1969) Quail Hunt charcoal, 8 3/4 by 13 3/4 in. estate stamped lower left

Provenance: Alex Chester Collection

$1,000 - $2,000

201 Aiden Lassell Ripley (1896-1969) Grouse in Snow charcoal, 6 by 8 1/2 in.

Provenance: John E. Lennon Collection Alex Chester Collection, acquired from Copley Fine Art Auctions, Sporting Sale 2011, lot 95

$600 - $900

202 Aiden Lassell Ripley (1896-1969) Bluebills - Drawing and Etching graphite, 8 3/4 by 13 3/4 in. estate stamped lower right

etching, 8 3/4 by 13 3/4 in. signed lower right titled lower left (not shown)

An exceptional original drawing with an example of the etching used for the cover of Dana Lamb’s book, Sporting Etchings By A. Lassell Ripley

Provenance: Alex Chester Collection

$2,000 - $4,000

203

Provenance: Alex Chester Collection

$3,000 - $5,000

AIDEN LASSELL RIPLEY

203 Aiden Lassell Ripley (1896-1969)

Escape from Dartmoor, 1926

signed “A. Lassell Ripley” lower left oil on canvas, 23 1/2 by 16 in.

This image depicts an American sailor likely detained and imprisoned by the British during the War of 1812, making his daring escape. The lot includes a framed Adventure magazine cover, from the June 8, 1926, issue.

Provenance: Alex Chester Collection

Literature: Adventure, June 8, 1926, illustrated on cover. Alexander J. Chester and Robert M. Kahler, “Aiden Lassell Ripley on the 50th Anniversary of His Death,” Illustration, 16(65) p. 65, illustrated.

$5,000 - $8,000

204

204 Aiden Lassell Ripley (1896-1969)

Monkey Pirate signed “A.L. Ripley” lower right oil on canvas, 23 1/2 by 16 in.

205 Aiden Lassell Ripley (1896-1969)

Two Works depicting scenes from the history of the U.S. Postal Service

The Mailing, Transportation and Delivery of a Letter Today oil on board, 10 by 25 1/2 in. framed with sketch of workers and machine graphite drawing on back, 11 1/4 by 27 1/2 in. estate stamped lower center

The Mailing, Transportation, and Delivery of a Letter about 1800 oil on board, 10 by 25 1/2 in.

Provenance: Alex Chester Collection

206 Aiden Lassell Ripley (1896-1969) Study for Dog Versus Steam Roller watercolor, 9 1/2 by 13 1/2 in.

This entertaining anecdote displays Ripley’s close attention to detail and humor.

Provenance: Alex Chester Collection

Literature: Alexander J. Chester and Robert M. Kahler, “Aiden Lassell Ripley on the 50th Anniversary of His Death,” Illustration, 16(65) p. 77, illustrated.

$1,000 - $2,000

205.2

207 Aiden Lassell Ripley (1896-1969)

Irish Grouse signed “A. Lassell Ripley” lower right ink, 9 1/4 by 14 in.

Provenance: Alex Chester Collection

$600 - $900

208 Aiden Lassell Ripley (1896-1969)

I Emptied My Shooting Jacket, 1937 pen and ink, 15 by 10 in.

This drawing appeared in the Grouse chapter of Philip H. Babcock’s book, Falling Leaves: Tales from a Gun Room, published in 1937 by the Derrydale Press.

Provenance: Donal C. O’Brien, Jr. Collection Alex Chester Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2017, lot 148

Literature: Philip H. Babcock and Aiden L. Ripley, Falling Leaves: Tales from a Gun Room, New York, NY, 1937, illustrated. Alexander J. Chester and Robert M. Kahler,

“Aiden Lassell Ripley on the 50th Anniversary of His Death,” Illustration, 16(65) p. 69, illustrated.

$1,000 - $2,000

209 Aiden Lassell Ripley (1896-1969) Goose Stand, Massachusetts ink, 9 by 14 1/2 in.

Likely an illustration done for John C. Phillips.

Provenance: Alex Chester Collection

$600 - $900

210 Aiden Lassell Ripley (1896-1969)

The Pirate, 1922 signed and dated “A L Ripley 22” lower right charcoal, 19 3/4 by 14 in. estate stamped on back

This drawing is an illustration for a story titled “The Don’s Agent” from the magazine The Open Road, which was published in Boston from 1919 until around 1953.

The caption reads, “One of the toughest old sea-dogs imaginable rolled into Crabhole Alley about half an hour before sunset. Men and women stepped aside in narrow doorways to give him sea-room, for there was a glint in his uncovered eye that daunted the [ ] inhabitants.”

Provenance: Alex Chester Collection

Literature: Theodore Goodridge Roberts, “The Don’s Agent: A Story of the Old Sea Days,” The Open Road, Vol. IV, No. 12, December 1922, p. 45, illustrated.

$1,000 - $2,000

211 Aiden Lassell Ripley (1896-1969)

An Unexpected Question, 1923 signed “A.L. Ripley” lower left graphite and conte crayon, 17 by 21 in.

Provenance: Alex Chester Collection

$1,000 - $2,000

AIDEN LASSELL RIPLEY

212 Aiden Lassell Ripley (1896-1969)

Working the Singles

signed “A. Lassell Ripley” lower right etching, 8 1/2 by 13 3/4 in.

titled lower left

Provenance: Alex Chester Collection

213 Aiden Lassell Ripley (1896-1969)

Dove Shooting

signed “A Lassell Ripley” lower right etching, 9 by 13 1/2 in.

titled lower left

Provenance: Alex Chester Collection

214 Aiden Lassell Ripley (1896-1969)

Pointers and Quail

signed “A. Lassell Ripley” lower right etching, 9 1/2 by 12 3/4 in.

titled lower left

Provenance: Alex Chester Collection

215 Aiden Lassell Ripley (1896-1969) Retrieving

signed “A. Lassell Ripley” lower right etching, 8 1/2 by 13 1/2 in.

titled lower left

Provenance: Alex Chester Collection

216 Aiden Lassell Ripley (1896-1969)

Goose Shooting

signed “A. Lassell Ripley” lower right etching, 8 1/2 by 13 1/2 in.

titled lower left

Provenance: Alex Chester Collection

217 Aiden Lassell Ripley (1896-1969)

American Widgeon, 1941-1942

signed “A. Lassell Ripley” lower right drypoint, 6 by 8 1/4 in.

titled lower left

framed with United States Federal Duck Stamp, 1 1/2 by 2 in.

Provenance: Alex Chester Collection

AIDEN LASSELL RIPLEY

218 Aiden Lassell Ripley (1896-1969)

Hunting for Pheasant

signed “A. Lassell Ripley” lower right etching, 8 3/4 by 13 1/2 in.

titled lower left

inscribed “An Original Etching April 1963 Member of Fly Casters” on back

Provenance: Alex Chester Collection

219 Aiden Lassell Ripley (1896-1969)

Covey of Quail, 1967

signed, titled, dated “50 A L Ripley 10/11/67 Covey of Quail” lower left and center etching, 8 1/2 by 13 3/4 in. edition of 50

Provenance: Alex Chester Collection

220 Aiden Lassell Ripley (1896-1969)

Pheasants

signed “A. Lassell Ripley” lower right etching, 9 1/4 by 13 in.

titled lower left

inscribed “To Priscilla Wiswall from A Lassell Ripley” and “Property of David C. Wiswall” on back

David Wiswall, a graduate of Wellesley High School, was a member of the Miramichi-Renouse Club. His mother, Priscilla Alden Wiswall, received this print as a gift from the artist.

Provenance: Priscilla A. Wiswall, gift from the artist

David C. Wiswall

Alex Chester Collection

221 Aiden Lassell Ripley (1896-1969)

Lone Woodcock

signed “A. Lassell Ripley” lower right etching, 8 3/4 by 13 3/4 in. titled lower left

Provenance: Alex Chester Collection

222 Aiden Lassell Ripley (1896-1969)

Pheasant Meadow

signed “A Lassell Ripley” lower right etching, 6 3/4 by 9 3/4 in.

titled lower left

Provenance: Alex Chester collection

223 Aiden Lassell Ripley (1896-1969)

Woodcock and Alders

signed “A. Lassell Ripley” lower right etching, 8 1/4 by 6 1/2 in.

titled lower left

Provenance: Alex Chester Collection

224 Aiden Lassell Ripley (1896-1969)

Cock Pheasant, 1937

signed and dated “A Lassell Ripley 1937” lower right etching, 11 1/2 by 8 1/2 in.

titled lower left

Provenance: Alex Chester Collection

225 Aiden Lassell Ripley (1896-1969)

After Grouse signed “A. Lassell Ripley” lower right etching, 8 3/4 by 13 3/4 in. titled lower left

Abercrombie & Fitch Co., New York label on back

Provenance: Alex Chester Collection

226 Aiden Lassell Ripley (1896-1969)

Ruffed Grouse in Winter signed “A. Lassell Ripley” lower right drypoint, 11 by 9 1/2 in.

titled lower left

Doll & Richards Inc., Boston, MA label on back

Provenance: Alex Chester Collection

227 Aiden Lassell Ripley (1896-1969)

After Woodcock signed “A. Lassell Ripley” lower right etching, 11 by 9 1/2 in.

titled lower left

Provenance: Alex Chester Collection

228 Aiden Lassell Ripley (1896-1969) Turkey Blind

signed “A. Lassell Ripley” lower right etching, 9 by 13 3/4 in.

titled lower left

Provenance: Alex Chester Collection

229 Aiden Lassell Ripley (1896-1969)

Flying Turkey

signed “A. Lassell Ripley” lower right etching, 11 by 9 1/2 in.

titled lower left

Provenance: Alex Chester Collection

230 Aiden Lassell Ripley (1896-1969) Wild Turkeys

signed “A. Lassell Ripley” lower right drypoint, 11 by 9 1/2 in.

titled lower left

Provenance: Alex Chester Collection

231 Aiden Lassell Ripley (1896-1969)

A Turkey Drive, c. 1966

signed “A. Lassell Ripley” lower right color print, 16 1/4 by 27 in. embossed lower left

published in 1966 by Frost & Reed Ltd. of Bristol and London, England and the Sportsman’s Gallery of New York

Provenance: Alex Chester Collection

232 Ogden M. Pleissner (1905-1983)

Setting Out Decoys signed “Pleissner” lower right watercolor, 6 1/2 by 9 in. titled on label on back

A classic waterfowl sketch of duck hunters setting out decoys.

Provenance: Private Collection, New Jersey, acquired from Coeur d’Alene Art Auction, July 2000, lot 165

$5,000 - $8,000

233 Rogers Rig Dowitcher

Theodore Rogers Rig Jamaica Bay, LI, NY, c. 1870 11 in. long

This shorebird is an especially good example from this famous rig branded for “T. ROGERS” on the underside. Birds without the brand are even referred to by this moniker. Rogers (1831-1903) was the president of New York’s Bank of the Metropolis, and a member of many sporting and conservation clubs, including the Aldine Club, the Jamaica Club, the Wyandanch Club, the Bellport Gun Club, and the New York State Association for the Protection of Fish and Game. He also began the Pilentary Hunting Club in North Carolina. Original paint with light wear.

Provenance: Theodore Rogers Rig

Charles Hunter III Collection

Hank Norman Collection

Literature: Francis D. Murphy, “The Rogers Rig,” Decoy Magazine, May/June 2003, front cover and pp. 8-11, rigmates illustrated and discussed.

$3,500 - $4,500

234 Adele Earnest Roothead Yellowlegs

Long Island, NY, c. 1870

7 3/4 in. long

A dramatically turned-head example with an “Adele Earnest Collection” stamp on the underside. Earnest’s groundbreaking book, The Art of the Decoy, demonstrates her love for dynamic and unusual shorebird forms such as this one. The root head has some movement in its mortise-and-tenon fit. The bird also has a stringing hole in tail and raised wings. Old paint with heavy gunning wear mostly to wood, loss to tail and bill tips.

Provenance: Adele Earnest Collection

Hank Norman Collection

$2,500 - $3,500

235

236 Greater Yellowlegs Nelson Verity (1854-1947) (attr.)

Long Island, NY, c. 1880

12 in. long

Related to birds from the Powell Hotel rig. This refined carving displays exceptional three-piece construction and applied wings. Original paint with even heavy gunning wear showing wood and some rust bleeds. Touch-up to reset neck crack.

Provenance: Peter Brams Collection Private Collection

Literature: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 70, pl. XLI, related decoy illustrated.

$1,500 - $2,500

235 Early Shorebird Pair

Mark S. McNair (b. 1950)

Craddockville, VA, c. 1972 9 in. long

An exceedingly early McNair pair from his first year of carving in Connecticut. One carving is in a preening pose and both are carved from a one-and-one-half-inch board. This pair was acquired by the late Marguerite Riordan, a legendary antiques dealer from Connecticut. Each has a small “M” signature stamped on the underside. Original paint with heavy original wear.

Provenance: Marguerite Riordan Collection Private Collection

$1,500 - $2,500

236

237 Yellowlegs Pair

Long Port, NJ, c. 1900

11 1/2 in. long

Original paint with even gunning wear, one replaced bill, and touch-up to heads.

Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 169, pl. 405, rigmates illustrated.

$1,200 - $1,800

238 McCleery Ruddy Turnstone

Hyde Parker (attr.)

New Jersey, c. 1890 9 in. long

The bottom retains the “McCLEERY” ink stamp and the tail has a stringing hole. This rare example has sharp paint design and good red color. Original paint with moderate gunning wear and original indentation on right side.

Provenance: Dr. James M. McCleery Collection Private Collection, New Jersey

Literature: Sotheby’s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, lot 603, exact decoy illustrated.

$1,200 - $1,800

THOMAS H. GELSTON

1851-1924 | QUOGUE, LONG ISLAND, NY

239

Feeding Yellowlegs

Thomas H. Gelston (1851-1924) Quogue, Long Island, NY, c. 1890 13 1/4 in. long

An iconic Long Island form, a related Gelston running pattern was chosen by the Long Island Decoy Collectors Association as the basis for their logo. Gelston’s larger animated sandpipers, the curlew, have been among the top performing shorebirds of all time at auction. This decoy is one of several Gelstons to be discovered on Cape Cod, having been acquired there by the consignor’s family over seventy years ago. The underside has a small incised “V”

under the original paint and a pencilled species identification. Original paint with light wear.

Provenance: Private Collection, acquired on Cape Cod, 1951 Private Collection, by descent from the above

Literature: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 74, pl. 53, related example illustrated in New England chapter.

$6,000 - $9,000

TRULOCK & HARRISS

240

Rare White Wood Pigeon

Trulock & Harris

London, England, c. 1885 15 in. long

Decoys from this famous gunsmith are considered by many to be the British Isles’ finest bird decoys. The skilled stock makers were likely the unnamed carvers who created the elaborate decoys.

A raised-wing example in a rare white plumage with expert feather detail. Original paint with gunning wear, including chipping to wing and tips. Fabric under tail is gone. Replaced eyes with touch-up to that area. Old fill around neck seam and to leg holes.

Provenance: Hank Norman Collection.

$1,500 - $2,500

241 English Wood Pigeon

Trulock & Harris

London, England, c. 1885 16 1/2 in. long

This bold example is in breeding plumage and showcases excellent carved detail throughout. It has three-piece construction and a metal bill. The underside bears two cold stamps reading “A. Lipscomb”. This was likely the owner, and possibly the carver. The belly also has a newspaper packing imprint and a faint paper label on bottom appears to include a “D. Marsh” as the collector in 1983. Original paint with gunning wear. Some areas of touch-up including around grey on back, neck, and tail. Right tail feather is restored. Loss of putty around bill and fabric under tail.

Provenance: D. Marsh Collection Hank Norman Collection

$1,500 - $2,500

242 English Wood Pigeon

Trulock & Harris

London, England, c. 1880 14 in. long

Early style carving with raised wings and incised feather detail. This is a very rare example with a carved cere at the base of a wooden bill. Excellent original paint with light wear, flaked area on left wing, and touch-up to base of reset bill, filled leg holes, and where fabric was under tail. Body seam open on left side.

Provenance: Hank Norman Collection

$1,500 - $2,500

243 English Wood Pigeon 8 in. tall

This little pigeon has carved feet and a metal hook behind the stick hole. “MC” is stamped under the tail. Original paint with moderate wear.

$200 - $400

244 English Wood Pigeon Robert Lange Yorkshire, UK, c. 1890 13 in. long

A rare and highly refined pigeon with applied raised wings and long wing tips showing the maker’s finest model. Original paint with moderate gunning wear, including one shot chip on top of right primary.

Provenance: Hank Norman Collection

$800 - $1,200

245 Feeding Wood Pigeon Perth, Scotland, 1900 16 in. long

A large carving with raised wing tips and a hollowed underside. This carving emanated from Perth near the River Tay. Original paint with moderate gunning wear.

$700 - $1,000

246 Two English Wood Pigeon 15 1/2 in. long

Two large raised-wing examples showing elements of the George G. Bussey Company and Trulock and Harris. As found with heavy wear.

$300 - $500

FRANK W. BENSON

247 Frank W. Benson (1862-1951) Duck Blind, 1925

signed “Frank W Benson” lower left etching, 7 3/4 by 10 3/4 in.

Paff #245, edition of 150

$2,000 - $3,000

248 Frank W. Benson (1862-1951) Woodcock, 1930

signed “Frank W Benson” lower left drypoint, 11 3/4 by 9 1/2 in.

Paff #292, edition of 150

inscribed “To Ralph Feb 1/31” lower left

Provenance: The artist

Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$1,500 - $2,500

249 Frank W. Benson (1862-1951) Yellowlegs in Sunlight, 1928

signed “Frank W Benson” lower left drypoint, 9 3/4 by 7 3/4 in.

Paff #285, edition of 150

$1,000 - $1,500

250 Frank W. Benson (1862-1951) Harbor, 1918

signed “Frank W Benson” lower left etching, 4 by 6 in.

Paff #148, edition of 150

Provenance: The artist

Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$800 - $1,200

251 Frank W. Benson (1862-1951)

The Bridge, 1923

signed “Frank W Benson” lower left drypoint, 13 1/2 by 10 1/2 in.

Paff #227, edition of 150

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$800 - $1,200

252 Frank W. Benson (1862-1951)

Yellowlegs No. 4, 1928

signed “Frank W Benson” lower left drypoint, 7 3/4 by 9 3/4 in.

Paff #284, edition of likely 150

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$800 - $1,200

253 Frank W. Benson (1862-1951)

Yellowlegs at Dusk, 1928

signed “Frank W. Benson” lower left etching, 7 3/4 by 11 3/4 in.

Paff #279, edition of 150

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$600 - $900

END OF DAY ONE

THE SPORTING SALE 2024

LOTS 254-459

DAY 2 | JULY 12 | 10AM

Additional images for each lot are available through the online bidding platforms and should be viewed as a part of each object’s description and condition.

254 Walter Matia (b. 1953)

Nothing But a Hound Dog, 1997 signed, dated, and numbered “W.T. Matia ‘97 1/24” on base bronze, 22 by 20 by 18 in. edition 1 of 24 (sold-out edition)

Walter Matia is known for the remarkable amount of surface detail in his bronzes. He studied both biology and art design, the influence of which is apparent in his balanced and anatomically correct works. His subjects run the gamut of wildlife from eagles, to bulls, to sporting dogs.

$3,000 - $5,000

255 Walter Matia (b. 1953) Wild Turkey Pair, 1995 signed, dated, and numbered “95 © Matia 10/12” on base bronze, 28 by 20 by 18 in. edition 10 of 12 (sold-out edition)

$6,000 - $9,000

“[Walter

Matia] paid his dues, assembled a remarkable body of work, and established himself as a wildlife and sporting sculptor of uncommon perception, imagination and reach.”

—Tom Davis, Sporting Classics

256 Aiden Lassell Ripley (1896-1969) Woodcock at Water’s Edge, 1942 signed and dated “A. Lassell Ripley 1942” lower left watercolor, 16 3/4 by 23 1/4 in.

This masterful watercolor of two woodcock alighting by the water’s edge has another painting of woodcock crossed out in pencil on the back side. Ever the perfectionist, Ripley would often cross out a started work and utilize the other side of the paper.

Provenance: Private Collection, New Hampshire

$12,000 - $18,000

257 Aiden Lassell Ripley (1896-1969)

Three Partridges in a Pitch Pine signed “A Lassell Ripley” lower left watercolor, 18 1/2 by 29 1/2 in.

titled and inscribed “3 Partridges in a Pitch Pine A Lassell Ripley (Done for William M Austin & wife Dot on their 25th Anniversary Left to WA ‘s wife She sold to WS Brewster about 1955 WSB gave to B Chris Brewster 2008” on back

According to his 1947 New York Times obituary, William Austin was a prominent civil engineer and public servant with the Public Roads Administration who supervised the construction of Hoback Canyon Road in Jackson Hole, Wyoming, and the Blue Ridge Parkway, among other notable projects.

Provenance: William and Dot Austin William S. Brewster Collection Private Collection

$20,000 - $30,000

The closely related Grouse in the Orchard, sold for $77,625 at Copley’s Sporting Sale in 2009, at the time the second highest price ever for a Ripley watercolor.

1858-1928

258 Edmund Henry Osthaus (1858-1928)

English Setter, 1907

signed “Edm. H. Osthaus” lower center watercolor and gouache, 14 by 18 3/4 in.

inscribed “Julian N.C. Dec 15.07” lower center

Provenance: Private Collection, New Jersey, acquired from Christie’s, December 1999, lot 92

$2,000 - $4,000

259 Edmund Henry Osthaus (1858-1928) Dogs at Point

signed “Edmund Osthaus” lower right charcoal and gouache, 7 1/4 by 14 1/2 in.

inscribed “Fine pencil and chinese white drawing by Edmund Osthaus Toledo. Nationally known painter of dogs. He was one of the charter members of Toledo Tile Club and a close friend of mine. H.F.C. To George Gadsby” on label on back

Provenance: Private Collection, New Jersey, acquired from Cincinnati Art Galleries in 1998

Exhibited: Cincinnati, OH, Annual Art Exhibition, The University Club, 1997

$1,500 - $2,500

260 Edmund Henry Osthaus (1858-1928)

English Setter, 1892 signed and dated “Edm. H. Osthaus” 92” lower right watercolor, 5 1/4 by 8 in. titled on Midwestern Galleries Inc. label on back

Provenance: Private Collection, New Jersey

$1,000 - $2,000

261 Edmund Henry Osthaus (1858-1928) Reloading, 1889 signed and dated “E.H. Osthaus. 1889” lower left watercolor, 26 1/2 by 40 1/2 in.

Edmund Henry Osthaus was born in Hildesheim, Germany, in 1858, 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, Eduard von Gebhardt, Ernst Deger, and wildlife and landscape painter Christian Kroner. In 1883, after studying painting for six years, Edmund Osthaus became an instructor at the Toledo Academy of Fine Arts. He served as director from 1886 to 1893, refining his painting technique and pursuing his dual passions of hunting and fishing.

In 1893 Osthaus dedicated his full attention to painting, shooting, and field trials. He was a charter member of the National Field Trial Association, established in Newton, North Carolina, in 1895. His artistic talent combined with his love of dogs enabled him to capture the essence of the focused working dog while depicting them in precise anatomical detail.

Toledo historian and author Jack Paquette writes, “As Edmund [Osthaus] became more prosperous, his lifestyle evolved into one that permitted him to enjoy all of his favorite pursuits simultaneously. Like a migrating waterfowl winging its way south for the winter, Edmund followed the field trials from Canada to Florida, judging dogs in some of the trials or merely painting his favorites in others, all the while hunting the local birds over his own dogs.”

This fine work depicts a hunter and his two dogs at work, an English setter and a Gordon setter in the bush. The Gordon returns having retrieved its grouse quarry.

Provenance: Private Collection, New Jersey, acquired from Sotheby’s, March 15, 2000, lot 183

$15,000 - $25,000

262 Edmund Henry Osthaus (1858-1928) Honors Are Even signed “Edmund Osthaus” lower right etching, 5 1/4 by 8 3/4 in. titled in margin depicting two alert young setters

$300 - $400

263 Edmund Henry Osthaus (1858-1928) Dr. Frick’s Setter on Point signed and inscribed “To Dr. J.M. Frick with the compliments of Edmund Osthaus” lower right pencil drawing, 9 1/4 by 13 in.

J.M. Frick was a physician in Toledo, Ohio. He studied at Rush Medical College in Chicago before opening his private practice. Frick served in the Army during World War I, was a Mason, and was a member of Toledo’s Tile Club alongside Osthaus.

$400 - $600

264 I. W. Harper Whiskey Advertising Sign Here’s Happy Days, 1909 Vitrolite, 24 by 18 in. titled “Here’s Happy Days” and “Copyright 1909 by Bernheim Dist. Co.” lower center

Light-up glass sign advertisement for a classic Kentucky Bourbon brand founded in 1848 by I.W. Bernheim, an immigrant from Germany who went on to be a successful businessman and philanthropist.

$1,200 - $1,800

266 Eldridge Hardie (1940-2021)

Crossing-Shot Grouse signed “Eldridge Hardie” lower right watercolor, 10 by 14 in.

Provenance: Private Collection, New Jersey

Literature: “Trick or Treat,” The Double Gun Journal, Winter 1996, Volume 7, Issue 4, pp. 62-63, illustrated.

$2,000 - $4,000

265 Robert K. Abbett (1926-2015) Pointer signed “Abbett” lower right oil on board, 8 3/4 by 11 1/2 in.

A related larger oil titled Windfall set the world record for any Abbett work when it sold in 2016.

Provenance: Private Collection, Greenwich, Connecticut

$6,000 - $9,000

267 Eric Sloane (1905-1985) Fall Sky signed “Sloane” lower right oil on board, 18 by 24 in. signed and inscribed “Eric Sloane Brookfield Conn” on back titled lower left

A classic Sloane hunting scene showcasing his notable sky.

Provenance: Private Collection, Salisbury, Connecticut

$1,000 - $2,000

THOMAS AQUINAS DALY

269 Thomas Aquinas Daly (b. 1937)

Atlantic Salmon Fishing from a Canoe signed “tAdaly” lower left watercolor, 13 by 18 3/4 in.

After training as a graphic artist at the University of Buffalo and working in the commercial printing world, Tom Daly turned to fine art full time in 1981. His distinctive watercolors and oils capture the light and moods of hunting and fishing landscapes with sensitivity and lyricism. Two books are dedicated to his body of work: Painting Nature’s Quiet Places and The Art of Thomas Aquinas Daly, and his paintings have appeared in many magazines and sporting art publications, including Sporting Classics and Gray’s Sporting Journal, among others.

Provenance: Private Collection, California

$2,000 - $3,000

268 Thomas Aquinas Daly (b. 1937)

Quail Hunting signed “tAdaly” lower right watercolor, 11 1/2 by 18 1/2 in.

An atmospheric Southern quail hunting scene depicting two hunters and two pointer dogs.

Provenance: Private Collection, California

$2,000 - $3,000

270 Thomas Aquinas Daly (b. 1937)

Fly Fishing Scene

signed “tAdaly” lower left watercolor, 11 1/2 by 15 1/2 in.

Provenance: Private Collection, California

$1,500 - $2,500

271

272 William H. Machen (1832-1911)

Brace of Woodcock signed “Machen” lower right oil on canvas, 18 by 14 in.

Known for his finely rendered sporting still lifes, Machen, along with Alexander Pope, R. LeBarre Goodwin, and George Cope, painted some of the finest game paintings of the 19th century.

$3,000 - $5,000

271 William H. Machen (1832-1911)

Brace of Quail signed “Machen” lower right oil on canvas, 18 by 24 in.

This depiction of bobwhite quail shows the master bird painter at the height of his craft.

$3,000 - $5,000

272

BRETT JAMES SMITH

273 Brett James Smith (b. 1958) Autumn Thunder signed “Brett James Smith ©” lower right oil on canvas, 16 by 20 in. signed and titled on back

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

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

This bright depiction of upland hunting features two setters and two hunters taking aim at a ruffed grouse.

Provenance: Estate of Sallie Sullivan

$3,000 - $5,000

Provenance: Private Collection, Salisbury, Connecticut

$2,000 - $4,000

Provenance: Private Collection, Salisbury, Connecticut

$2,000 - $4,000

274 Brett James Smith (b. 1958) Making Camp signed “Brett J Smith” lower right oil on canvas, 11 by 14 in. signed and titled on back

275 Brett James Smith (b. 1958) Down to the River signed “Brett J Smith” lower right oil on board, 11 by 14 in.

HAVRE DE GRACE, MD

“These monumental decoys are as exceptional as a decoy can be; in size, rarity, and design they are in a class by themselves.”

—

William J. Mackey discussing wading bird silhouette decoys, American Bird Decoys, 1965

276 Rare Great Blue Heron Decoy Havre de Grace, MD, c. 1930 45 in. long

A rare working heron decoy hunted over by the late Ruly Carpenter who owned the Philadelphia Phillies. This silhouette carving shows fine attention to detail with scalloped bill edges, extended crest, artistic paint application, and innovative leg design.

Although great blue herons and egrets were not often, if ever, hunted for the table because their flesh was generally deemed unpalatable, their feathers were valuable commodities for the millinery trade. In addition, egret and heron carvings were on occasion used as confidence decoys to lure in more tasty waterfowl. Heron decoys with provenance are extremely rare, making the debut of this vintage gunning bird an exciting modern-day decoy find.

A related egret silhouette has resided in the Shelburne Museum since the institution acquired it directly from the

Downtown Gallery in 1952. This groundbreaking art gallery was started by Edith Halpert (1900-1970) in 1926. Original paint with gunning wear, some flaking, and discoloration mostly to body.

Provenance: Ruly Carpenter Rig and Estate

Literature: William J. Mackey Jr., American Bird Decoys. New York, 1965, pl. 36, related decoy illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 83, related decoy illustrated.

Jean Lipman and Allice Winchester, The Flowering of American Folk Art (1776-1876), New York, NY, 1974, p. 167, related decoy illustrated.

Sotheby Parke Bernet Inc., The American Heritage Society Auction of Americana, November 6-8, 1975, lot 262, related decoy illustrated.

$3,000 - $5,000

277 Rare Pinch-Breast Broadbill

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1930

An early pinch-breast decoy with a high and turned head with a thin bill. The body has a pinch-breast, high back, and thin paddle tail. A Noyes Museum exhibition stamp is on the underside from 1984. Mix of original and old gunning paint with gunning wear, chip to right edge of tail, check along underside, and fill to top of nail in head.

Provenance: Private Collection, South Carolina

Literature: Eugene V. Connett, ed., Duck Shooting Along the Atlantic Tidewater, New York, NY, 1947, p. 129, related decoy illustrated. John T. Ordeman and M.C. Weiler, Jr., The Art of Milton C. Weiler, Hilton Head Island, SC, 2011, p. 104, related decoy illustrated.

$2,000 - $3,000

278 Early Swan

Madison Mitchell (1901-1993) Havre de Grace, MD, c. 1936 32 1/2 in. long

A classic Upper Bay working swan decoy showing the maker’s best form. The underside has a swinging and weighted wooden keel. Original paint with even gunning wear, cracked neck, and age line through breast.

Provenance: Ruly Carpenter Rig and Estate

Literature: Maryland Historical Society, Chesapeake Wildfowl Hunting: Maryland’s Finest Decoys, Baltimore, MD, 1991, item # 36, related decoy illustrated.

$3,000 - $5,000

JAMES T. HOLLY

279 Blue-Winged Teal

James T. Holly (1855-1935)

Havre de Grace, MD, c. 1880

12 1/2 in. long

This early decoy is among the Holly family’s and Upper Bay’s finest teal decoys known to survive. Indeed, when it was discovered early in the 21st century, it was the first collector pick to leave the family that owned the rig. Four other picks found their way to top collections, including those of James Doherty and Alan Haid. The sleek lines of the highly refined form show the best of the Holly family, with some even attributing this form to James’s highly esteemed father, John “Daddy” Holly (1818-1992).

The plumage is expertly applied with painted, scratched, and stippled feathering. The large blue wing patches are carefully trailed by white, black, and emerald trim, true to the species. Excellent original paint with even gunning wear.

The Paul Proudfoot Collection

Paul Proudfoot (1930-2010) grew up in Toledo, Ohio. Of Cree descent, his Native American ancestors came down from Canada’s Thunder Bay area in the 1870s. Proudfoot grew up hunting with his father in Northwestern Ohio and Michigan, and developed a love for decoys from using them in the field. Paul’s father also introduced him to fishing, often for walleyes on the Maumee River, a tributary of Lake Eerie.

After graduating from Toledo University with a degree in civil engineering, Paul served his country as a US Navy Seabee in the Korean War from 1952 to 1954. He was stationed in the Philippines where the Naval Construction Battalions were building airstrips to support the war effort. While stationed there, one of his duties that he recorded was using his Colt 45 side arm when he came across pythons and poisonous snakes in the nearby jungle.

After returning from the war, Paul married Marilyn, his beloved wife of fifty-three years. He owned and ran Proudfoot Associates, an engineering company which is still in operation today.

Paul was a natural sportsman who shared his love of hunting and fly fishing with his two children and many grandchildren. An excellent shot, he hunted for waterfowl, along with pheasants and chukar partridge. Proudfoot was a member of the Rockwell Springs Trout Club. Not only an avid fisherman, hunter, and decoy collector, Paul also enjoyed carving decoys along with other objects, including monkeys out of peach pits, a skill he developed after seeing someone carving them in the Philippines. Copley is honored to present the decoy collection of this Renaissance sportsman who loved his family and the natural world.

Paul Proudfoot in his naval uniform, 1952.

Canvasback Drake, lot 280.

280 Green-Winged Teal with “Peach Basket” Wings

Lemuel T. Ward (1896-1984) Crisfield, MD, 1953 13 in. long

A rare teal with a turned and uplifted head with a sweeping crest. This carving also displays rare “peach-basket” speculums and primaries. Under the tail of the balsa body is Lem’s signature and date. The form and wing construction of this drake relates to the Wards’ early and classic carvings from the 1930s. Original paint with light wear, very tight age line along right side of head, and a line along the left side of body, very minor rub to tail tip.

Provenance: Paul Proudfoot Collection, acquired from the Ward Foundation, 1990

Literature: Ronald J. Gard and Brian J. McGrath, Ward Brothers Decoys: A Collector s Guide, Wolf City, TX, 1989, pp. 96-98, related examples without peach-basket wings illustrated.

$7,000 - $10,000

281 Canvasback Pair

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1967 18 in. long

This outstanding hollow pair has raised wing tips and is signed and dated by the Wards on the underside. Original paint with light wear.

Provenance: Patty Holst Collection, acquired from the Wards Paul Proudfoot Collection, acquired from the Ward Foundation, 1990

$4,000 - $6000

282 “Chesapeake Bay Mammouth” Canvasback Pair

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1954 16 in. long

The undersides of the balsa bodies display the date, Lem’s signature, “Best Grade,” a “Chesapeake Bay Mammouth” moniker, and Ward Foundation shop labels. This duo is about as fine a pair of Ward balsa canvasbacks as can be found. Original paint with light wear, slight rub to hen’s crown, and small lift in drake’s right shoulder.

Provenance: Paul Proudfoot Collection, acquired from the Ward Foundation, 1989

Literature: Ronald J. Gard and Brian J. McGrath, Ward Brothers Decoys: A Collector s Guide, Wolf City, TX, 1989, p. 26, related pair illustrated.

$3,000 - $5,000

283 Early Pintail Drake

Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, c. 1960 18 in. long

An excellent pintail decoy with a cedar head and tail and a high-grade balsa body. The underside has misattributed Ward Brothers information. Original paint with gunning wear, including dings, rubs, and some filler loss.

Provenance: Paul Proudfoot Collection

$2,500 - $4,500

THE WARD BROTHERS

284 Rare Bufflehead Drake

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1966 12 in. long

The underside of the hollow body displays a date and Lem and Steve’s signature. Original paint with light wear.

Provenance: Paul Proudfoot Collection, acquired from the Ward Foundation, 1989

$2,500 - $3,500

285 Canada Goose

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1948 22 in. long

The underside of the very full balsa body displays the date and Lem and Steve’s signature. Original paint with light gunning wear, chip to underside of tail and bill tip, and some tight age lines and dings.

Provenance: Paul Proudfoot Collection

$3,500 - $4,500

286 Miniature Pintail Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1963 10 1/2 in. long

A meticulously carved and painted pair with turned heads and exceptional brushwork. They are both signed and dated on the undersides. Original paint with light wear and very minor craquelure to heads and hen’s sides.

Provenance: Paul Proudfoot Collection

$600 - $900

287 Redhead Drake

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, c. 1935 14 1/4 in. long

A classic 1930s model with an early humped back. The underside is inscribed, dated, and bears a Ward stamp. Restored and aged surface with wear, tight age line back, neck crack, and small chip to bill and tail.

Provenance: Paul Proudfoot Collection

$1,000 - $2,000

288 High-Head Canvasback Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1936 16 1/2 in. long

A rare rigmate pair of 1936 canvasbacks, each displaying long necks with turned heads and pronounced crowns. The undersides of the two-piece bodies display the date and Lem and Steve’s signature. The hen has a keel which was likely in response to her top-heavy construction. Original paint and Ward touch-up with gunning wear, chip to hen’s bill. Drake has tight neck crack and hen has some age lines including body seam on right side.

Provenance: James Farlow Rig, acquired from the Wards Robert Farlow Rig, by descent from the above Paul Proudfoot Collection, acquired from the above through the Ward Foundation, 1990

Literature: Ronald J. Gard and Brian J. McGrath, Ward Brothers Decoys: A Collector’s Guide, Wolf City, TX, 1989, p. 18, related pair illustrated with high-head drake.

$6,000 - $9,000

CHARLES H. PERDEW

289 Early and Exceptional Three-Piece Mallard

Charles H. Perdew (1874-1963) and Edna Perdew (1882-1974) Henry, IL 17 in. long

This decoy was a rig-find by the Proudfoot family and is one of the finest Perdew mallards known to exist. The sharp V-hull of the deep three-piece body shows the influence of Charlie’s mentor and the region’s earliest icon, Henry Ruggles (1830-1897). According to Edna Perdew, her husband began making decoys in his mid-teens, about 1890. She states, “At that time he worked with a Mr. Henry Ruggles who was a decorator and decoy maker. He was very fond of Mr. Ruggles and still has a pair of quail mounted by him.” In addition to being skilled carpenters and artisans, Ruggles’ and Perdew’s relationship was furthered as both were accomplished sportsmen and talented musicians.

The decoy features the Perdews’ early pencil-style molded weight. Illustrating the rarity of good early mallards, a repainted example from the collection of Henry Thomas is featured in the Perdew book opposite a Ruggles example.

One of the only finer Perdew mallard drakes is featured on the front dust-jacket cover of Ann Tandy Lacy’s Perdew: An

Illinois River Tradition monograph and resides in the Peoria Riverfront Museum’s Center For American Decoys. While the sophistication and paint of that example are unmatched, the Proudfoot mallard is one of the best Perdew gunning decoys to ever come on the market. Outstanding original paint by Edna Perdew with moderate even gunning wear and original knot in breast.

Provenance: Paul Proudfoot Collection Private Collection, by descent from the above

Literature: Tandy Lacy, The Wooden Bird: Heritage Bird Carvers of the Upper Illinois River Valley, Washburn, IL, 1989, pp. 117-119, and front dust-jacket cover, related examples illustrated and discussed.

$12,000 - $18,000

290 Lawton Rig Mallard Drake

Charles Walker (1873-1954)

Princeton, IL, c. 1948 17 1/2 in. long

Prior to establishing himself as one of the Mississippi Flyway’s top decoy makers, Walker was a painter influenced by his talented father, a blacksmith and violin maker.

Walker was a member of the Princeton Fish and Game Club of Bureau, Illinois, from 1902-1910. However, with a wife and four small children to support, the young painter by trade had to give up the luxury of his duck club membership. However, he continued to hunt there as a guest. After he made a rig of decoys for his host, other club members took note and started placing orders.

He eventually began carving decoys in earnest and set up a workshop near his home on Pleasant Street that became a social hub for club members, fellow carvers, friends, and family. During this period he is known to have carved rigs of birds for Watson Lawton, Merle L. Brown (Vance rig), Henry Gross (Skinner rig), and Clifford Jolley.

This decoy shows very good head carving with a thin neck and the clean lines and exceptional combed and blended paint associated with this esteemed rig. Lawton’s “34” designation is painted on the underside alongside the maker’s slotted weight. Excellent original paint with even gunning wear.

Provenance: Watson Lawton Rig, Princeton Game and Fish Club Private Collection, by descent in the family Private Collection

Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 54-61, Walker club decoys illustrated and discussed.

Alan G. Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, p. 84, rigmate illustrated.

$12,000 - $16,000

ROBERT ELLISTON

1847-1925 | BUREAU, IL

291 G. K. Schmidt Rig Mallard Hen

Robert Elliston (1847-1925) Bureau, IL, c. 1920 17 in. long

Widely regarded as the father of the Illinois River decoy carving tradition, Robert Elliston, along with his wife, Catherine, set the standard against which all Illinois River decoys are measured. They made beautifully crafted decoys using the finest cured white pine. Robert’s honed woodworking skills allowed him to produce birds with nearly invisible body seams, many of which are still imperceptible to this day. The unmistakable raised “V” notched bill carving, pointed head crests, and exquisite paint by Catherine Elliston and Edna Perdew give these Elliston decoys their bold and dynamic appearance.

Catherine applied graceful paint patterns that are virtually unequaled 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 and a stiff-bristled brush 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.

It is no secret among collectors that Catherine Elliston and Edna Perdew 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 maker’s work stands at over $200,000, with both records set by hens.

At the turn of the 20th century, as more and more gentlemen 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 a full-time business and soon the couple was shipping decoys to sporting goods stores and individuals around the country. Though the Ellistons likely produced hundreds, if not thousands, of carvings in their lifetime, perhaps none hailed from a more famous rig than G. K. Schmidt’s, whose brand is burnt crisply in the underside of this decoy.

George K. Schmidt (1869-1939), a Chicagoan, was the president of the Prudential State Savings Bank who famously secured his decoy rig in bank storage for over four decades. According to waterfowling historian Donna Tonelli, the Schmidt family “...owned the K.G. Brewery in Chicago which was started during the late 1880’s... As a young man Schmidt graduated as a Brew Master from Brewers Academy at Worms, Germany in 1890 and then served as an apprentice at his father’s K.G Schmidt brewery.” Schmidt would eventually rise to president of the company in 1933, soon after Congress repealed Prohibition.

Noted for enjoying the finer things in life, including being a gun collector and hunter, Schmidt purchased some of the best decoys ever produced in the Midwest, with representative carvings by the Mason Decoy Factory, Charles H. Perdew, and Robert Elliston, including this mallard hen. Schmidt had both Catherine and Edna paint the mallards from this legendary rig. The underside is struck with the large “G. K. SCHMIDT” brand. Excellent paint by Catherine Elliston and Edna Perdew with light wear. Tight neck crack has been stabilized with a nail.

Provenance: George K. Schmidt Rig Private Collection, Illinois

Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 30, rigmate hen illustrated.

$7,000 - $10,000

CHARLES

PERDEW

“Of his many styles, Perdew is most revered for his masterful sleepers and preening decoys. Both Robert Elliston and Charles Perdew felt that the presence of sleepers and preeners added a suggested calm to the rig that was more enticing to waterfowl. Whether this actually made any difference to the circling birds is subject to debate; however, the graceful pose inherent in these styles is desirable among collectors.”

— Stephen O’Brien Jr. & Julie Carlson, Masterworks of

the Illinois River

292 Preening Mallard Hen

Charles H. Perdew (1874-1963) Henry, IL, c. 1930 14 1/2 in. long

This recently discovered preener shows the Perdews’ most coveted model with an arching neck. This exceptional preening mallard hen has all the traits one looks for in an Illinois River decoy, including elegant form, paint by Edna Perdew, and fine craftsmanship. Original paint with moderate gunning wear, some minor old working fill at neck seam, and several shot marks on left side.

Literature: Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 63-81, related examples illustrated and discussed.

Ann Tandy Lacy, Perdew: An Illinois River Tradition, Muncie, IN, 1993, front dust-jacket cover, related example illustrated.

$10,000 - $20,000

293 Bluebill Drake

Fred Allen (1838-1912) Monmouth, IL, c. 1880 12 in. long

Around 1860 Fred Allen established himself 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. 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 rare.

This bluebill exhibits “152” stenciled on the bottom, denoting the Joe French Collection. The vermiculated paint on the back is impressive and more dynamic than the standard scratch-combed technique. Original paint with even wear and flaked paint.

Provenance: Joe French Collection Hank Norman Collection

Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 22, related redhead illustrated.

$2,000 - $3,000

294 “Premier-Grade” Mallard Hen

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1920 17 in. long

This hollow carving exhibits a sharp blue ink “Premier” stamp on the underside. Strong original paint with moderate gunning wear, factory age line open through the top half, minor rubs to bill and tail, and a few rubs to left side. A little stippled touch-up at neck seam.

$2,000 - $3,000

295 Sleeping Pintail Hen Ed Snyder (1928-2011) Rio Vista, CA, 1947 14 1/2 in. long

A glass-eye sleeper carved from balsa wood with the maker’s signature and date on the underside. It also retains Bill Toth’s “The Decoy Gallery and Gift Shop” label. Original paint with dings to left side and crown, and craquelure to top.

Provenance: Private Collection, Oregon, acquired from the maker

Literature: Michael R. Miller, Wildfowl Decoys of California, Spokane, WA, 2015, p. 420, related decoy illustrated.

$1,000 - $2,000

296 Mallard Warren Dettman (1904-1979) (attr.) Milwaukee, WI, c. 1930 16 in. long

Milwaukee’s foremost decoy makers, Owen Gromme, Warren Dettman, and Walter Peltzer, ran a training program at the Milwaukee Public Museum, which taught WPA workers decoy carving. The museum described the early decoys of its employee Dettman as having the

construction seen in this lot with a large hollow body and applied bottom board. This would be one of Dettman’s best decoys. Original paint with even gunning wear, including a scrape to the underside of the bill tip.

$2,000 - $4,000

297 Tucked-Head Mallard

Ferdinand L. Homme (1901-1963)

Stoughton, WI, c. 1930

16 1/2 in. long

An excellent hollow mallard with extensive carved detail, including raised primaries. The tucked head is turned to the left and has very full cheeks. This decoy relates closely to those branded for the rig of Dr. Ansley Thomas Shearer. Original paint with even gunning wear and spot touch-up mostly to body seam and shot marks.

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 254, McCleery example illustrated.

$10,000 - $12,000

298 Blue-Winged Teal Drake

Paul Lipke (1892-1970)

Whiting, IN, c. 1940 12 1/4 in. long

Only one rig of Lipke decoys have surfaced, and they have found their way into top collections, including those of Jim Cook and Leonard “Rusty” Johnson. This very hollow drake displays the maker’s best form with fat cheeks, a refined bill, and a slightly turned and uplifted head. It was selected for the Great Lakes Decoy Interpretations book. The underside has his “PL” stamped in the weight. Lipke’s are among the finest decoys from the state of Indiana. Original paint with light wear and a few paint flakes.

Provenance: Hank Norman Collection

Literature: Gene and Linda Kangas, Great Lakes Decoy Interpretations, Concord, OH, 2011, p. 180, exact decoy illustrated twice.

$2,000 - $3,000

299 Bluebill Hen

Charles Schoenheider Sr. (1854-1944)

Peoria, IL, c. 1910 13 in. long

This rare decoy has a hollow body and refined form. The underside retains an especially well-preserved display of Schoenheider’s bold “C.S. PEORIA” stencil. Original paint with some old gunning paint, mostly on the back. Moderate gunning wear. Head is slightly loose.

Provenance: Schoenheider Rig Private Collection, Illinois

Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, front cover and pp. 42-51, related decoys illustrated.

$1,000 - $2,000

300 Early Oversize Black Duck

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912 17 in. long

Black duck decoys were Crowell’s signature species. When The Magazine Antiques chose a Crowell raised-wing example for their September 1989 cover, it cemented the iconic status of the maker’s black duck. This carving has a refined plump body and proud breast that relates to the birds Crowell made for his renowned patron John C. Phillips. It was finished with the maker’s signature

feathering. The underside bears an early and crisp Crowell oval brand. Original paint with light gunning wear, including a few rubs.

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 282, closely related black duck illustrated.

$8,000 - $12,000

301 Scoter

Cassius Smith (1847-1907) Milford, CT, c. 1890

Cassius Smith is recorded as a market gunner and skilled carver who supplied wild waterfowl to his brother George, who owned a hotel in Milford, Connecticut, prior to the passing of the Migratory Bird Act of 1918. The underside of the sleek body is branded “D. A. YOUNG.” It has an inlay head with intricate carved bill detail. Original paint with a later wash, neck crack, indentation in lower left side, and lower portion of bill replaced.

Provenance: Marty Hanson Collection, acquired from Stephen O’Brien Jr. Fine Arts, c. 2000

Literature: Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 74-75, rigmate illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 176, rigmate illustrated.

$2,500 - $3,500

302 Rare Brant

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

A rare species for the maker with his early oval brand on the underside. The breast features Crowell’s signature rasp finish and the dry surface exhibits his wet-on-wet blending. An early example in exceptional condition, this is one of the finest brant by the maker known to exist. Excellent original paint with even gunning wear and a chip to tail has been darkened.

Provenance: Emerson and Isabelle Tuttle Collection, acquired c. 1925 Private Collection, by descent in the family Private Collection

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 195 (underside) and 256, exact bird illustrated. Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992.

$6,000 - $9,000

A. ELMER CROWELL

1862-1952 | EAST

303 Sanderling on Clamshell

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

5 in. long

A classic Crowell sandpiper carving complete with a carved quahog base. The underside displays the maker’s rectangular stamp. Original paint with some minor touch-up in front of left eye and behind right eye. Half of bill is replaced. Typical restoration to thighs, knees, and toes.

$4,000 - $6,000

A. ELMER CROWELL

304 Outstanding White-Winged Scoter

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1915 17 in. long

This is perhaps the finest known scoter decoy by Crowell. All Crowell scoters are rare, this unrigged decoy model appears to be unique with its refined form and exceptional detailed paint from tip to tail. The turned head has rasping along the back and highly refined bill carving and painting, including lamellae within the mandible cut. For a decoy species that is typically painted solid black, the feather detail of this scoter is especially notable. The underside bears Crowell’s sought-after early oval brand and this near pristine example was never rigged. Excellent original paint with light wear from handling and several darkened paint rubs on body.

Provenance: Private Collection, Massachusetts, acquired from RJG Antiques

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2018, p. 254, scoter decoy illustrated.

$22,000 - $28,000

“The decoy at the upper right, a Yellowleg, shows an unusual type of construction from Nantucket Island. This last decoy is an interesting convention. The original owner, Mr. Bassett Jones of New York, could give no details as to age or maker—it was found in a Nantucket boat-house—that’s all.”

— Joel Barber, Wild Fowl Decoys, 1934 discussing a rigmate

305 Polpis Harbor Yellowlegs Polpis Harbor, Nantucket, MA, c. 1880 9 in. long

A geometric carving with two-piece construction. This decoy almost has a modern look, conjuring up Constantin Brâncusi’s famous sculpture Bird in Space, which was made later in 1928. This decoy was found under a boathouse in Polpis Harbor in 1929 and Joel Barber secured a rigmate for his collection and book. Old second coat of paint covers a few shot marks. Replaced bill.

Provenance: Peter Brams Collection Private Collection, acquired from the above

Literature: Joel Barber, Wildfowl Decoys, New York, NY, 1932, plates 1, 54, p. 87, rigmate illustrated and discussed.

$2,000 - $4,000

THE WALES & SNOW FLAPPING-WING

“I claim a decoy, having wings hinged thereto, arranged to be operated by manipulation of a sportsman, substantially as and for the purpose described.”

306 The Wales & Snow Flapping-Wing Plover Decoy Wales & Snow Boston, MA, c. 1868 10 1/2 in. long and 10 1/2 in. wingspan

General Nathaniel Wales (1843-1924) of Boston is among the earliest documented decoy makers from any region. At the age of twenty-five, Wales filed to patent a mechanical shorebird. “Wales & Snow Patent” is branded under the left wing of this plover; Snow’s details remain unknown. This exceptionally early Massachusetts shorebird decoy is an important precursor to popular modern-day motion decoys, including the Mojo duck. Indeed, inventors continue to cite Nathaniel Wales’ original patent over 150 years later.

The wooden body has complex and functional flapping wings with clean lines and scalloped back edges. This is

— Nathaniel Wales, Improvement in Decoy-Birds, February 11, 1868

the only intact Wales & Snow plover known to have surfaced. Original paint with light gunning wear, a small chip to right side of tail, and a replaced bill.

Provenance: Peter Brams Collection Private Collection

Literature: Nathaniel Wales, Improvement In Decoy-Birds, Patent No. 74,458, United States Patent Office, February 11, 1868, related decoy illustrated and described.

$12,000 - $18,000

The Wales & Snow Flapping-Wing Plover Decoy illustrated in motion.

AUGUSTUS "GUS" AARON WILSON

“This White-winged Scoter has almost everything—bold, fine carving, excellent conformation, and good color pattern, plus a head that bows to each live counterpart. The workmanship on the rocking head is very clever.”

— William J. Mackey Jr. discussing a related drake in American Bird Decoys

307 Haid Rocking-Head White-Winged Scoter Hen Augustus “Gus” Aaron Wilson (1864-1950) South Portland, ME, c. 1900 20 in. long

A rare white-winged scoter hen with Wilson’s innovative rocking-head design to give the bird a more life-like appearance. Most of Wilson’s scoter were made as drakes. This sea duck displays a long body with raised wings and refined head carving. Original paint with gunning wear, typical Wilson imperfections to wood, significant wear to tail and underside, and reset neck.

Provenance: Alan Haid Collection Hank Norman Collection

Literature: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 90, pl. 71, related decoy illustrated.

$6,500 - $8,500

308 High-Head Black Duck

Augustus “Gus” Aaron Wilson (1864-1950)

South Portland, ME, c. 1900

18 in. long

A rare Wilson black duck form with a high and turned head. The long body has raised wings and an inletted neck seat. Original paint with light wear and original dent under the tail.

$2,500 - $3,500

309 Swimming Goldeneye Hen

Augustus “Gus” Aaron Wilson (1864-1950)

South Portland, ME, c. 1910 15 1/2 in. long

Wilson goldeneye decoys are fairly scarce and this swimmer appears to be one of the best hens to appear at auction in at least twenty years. She exhibits refined Wilson form and paint in a classic whistler pose with a lifted head that is slightly turned. It appears to have never been hunted. Original paint with light wear and typical original Wilson imperfections to wood.

$2,500 - $3,500

“[Gilbert Maggioni] passed his legacy to two young men, William Rhett of Beaufort and Grainger McKoy of Sumter. Both had college degrees but that did not matter. He set them to work in the oyster factory—without pay—and after ten to twelve grueling hours, he would consent to letting them look over his shoulder. ‘Be true to the bird, be true to the bird,’ was his oft repeated mantra.”

310

Gilbert J. Maggioni (1921-2001) Beaufort, SC, 1970 17 1/4 in. tall, 22 in. long

Gilbert Maggioni was one of the most influential decorative bird carvers to follow A. Elmer Crowell (1862-1952). The Ward Foundation relays that “During the later 1960s Gilbert Maggioni, a trained artist, brought new ideas and techniques to carving. He introduced the ideas of positive and negative space to his work, as well as allowing the ‘environment’ of his birds to be included in the piece. Before Maggioni introduced these ideas a piece was judged based on the artist’s painting and carving abilities; however, after the entire composition of the piece was judged as a whole.”

True to Maggioni’s mantra, this life-size decorative wood duck is mounted in motion, climbing down a branch, and exhibits finely incised feather detail. Signed and dated on underside of right wing tip.

Gilbert J. Maggioni (1921-2001) Beaufort, SC, 1969

8 in. tall, 10 1/2 in. long

An early decorative that displays a stretching wing with raised feather carving. The maker’s signature and date is on the side of the driftwood base. Original paint with wear and some discoloration, mostly to white on underside.

Provenance: Evelyn Thayer Chace Collection, acquired from the artist Private Collection, by descent from the above

$3,000 - $5,000

311

311 Stretching Blue-Winged Teal

A. ELMER CROWELL

312 Miniature Bufflehead Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

3 in. long

Mrs. Chace likely chose this example for its pronounced head carving. It displays the species name and the maker’s rectangular stamp on the bottom. Original paint with minor wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

313 Miniature Long-Tailed Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

3 1/4 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear and a replaced bill.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

314 Miniature Red-Breasted Merganser Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 6 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear and restoration to half of bill.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

315 Miniature Goldeneye Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

4 1/2 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

316 Miniature Canvasback Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear and a replaced bill.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

317 Miniature Goldeneye Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1915 4 in. long

A raised-wing miniature with the maker’s blue-paper label on the underside. Original paint with minimal wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

318 Miniature Bluebill Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 3 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear, lower portion of bill is missing.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

319 Miniature Mallard Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 5 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

320 Miniature Redhead Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

321 Miniature Green-Winged Teal Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 3 3/4 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$800 - $1,200

322 Outstanding Preening Brant

Townsend Garvie Carman (1874-1938)

Amityville, Long Island, NY, c. 1900 15 in. long

Never rigged, this is one of the finest Townsend Carman decoys known to exist. Original paint with even gunning wear and craquelure to endgrain of breast and tail.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

Literature: Frank Maresca and Roger Ricco, American Vernacular, Boston, MA, 2002, p. 44, related decoy illustrated.

$2,000 - $3,000

323 Challenge-Grade Merganser

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1910 17 in. long

A rig-found challenge-grade decoy displaying one of the Michigan factory’s most popular forms. A partial “C. S. SIMPSON” brand is on the underside with a poured weight. Untouched original paint with moderate gunning wear, rub to left side of neck, old tail chip, and check along underside.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$1,500 - $2,500

324 Bluebill Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1915 13 1/4 in. long

A well-executed, turned-head bluebill carving by the Cape Cod master. The bottom of this carving is fitted with heavy square lead weight and also features Crowell’s renowned oval brand. Original paint with moderate even gunning wear. Working touch-up to bill.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$1,000 - $2,000

325 Early Canvasback Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1912 15 in. long

This decoy exhibits Crowell’s exceptional early wide body, which pinches towards the breast. It is finished with his signature crossed-raised wing tips. The lengthy bill and crown of the head attest to Crowell’s knowledge of the species.

Like his famous preening goose, he carefully painted around the brand. Original paint with heavy gunning wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$1,000 - $2,000

326 Bluebill Pair

Henry Keyes Chadwick (1865-1958)

Oak Bluffs, Martha’s Vineyard, MA, c. 1930 14 in. long

A rigmate pair that retain their anchor lines. Original paint with gunning wear and a check along each underside.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$400 - $800

327 Snipe

Peter Peltz (1915-2001)

Sandwich, MA, c. 1970

5 1/2 in. tall, 9 in. long

The underside is signed “Peter Peltz.” Original paint with light wear, slightly loose at thighs.

Provenance: Evelyn Thayer Chace Collection

Private Collection, by descent from the above

$100 - $300

328 Rare Root-Head Plover

North Carolina, c. 1920

9 in. long

This Mackey Collection decoy is a rare authentic root-head carving from a rig with interchangeable heads. It has a removable head, the underside bears an illegible brand, and it has the William J. Mackey Collection ink stamp. Original paint with moderate gunning wear and chipping at both ends of neck hole.

Provenance: William J. Mackey Collection

Evelyn Thayer Chace Collection

Private Collection, by descent from the above

$1,000 - $2,000

329 Four Decoys

largest is 19 in. long

One Crowell teal with the maker’s oval brand and the Mackey stamp on the underside. One primitive bundled-reed canvasback, one Long Island brant, and one factory duck.

As found.

Provenance: William J. Mackey Jr. Collection (Crowell only)

Evelyn Thayer Chace Collection

Private Collection, by descent from the above

$400 - $600

330 Pintail

Louisiana, c. 1910 15 in. long

A remarkably light decoy with incised wing carving. The head is secured with five wooden pegs. Original paint with heavy gunning wear.

Provenance: Evelyn Thayer Chace Collection Private Collection, by descent from the above

$500 - $800

331 Racy Miniature Red-Breasted Merganser

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1920 4 1/2 in. long

A rare Lincoln miniature with the species name on the bottom. Original paint with light wear, minute rub to bill tip, and thin green line on lower left edge.

$800 - $1,200

332 Miniature Goldeneye Hen

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1920 3 1/2 in. long

Original paint with wear and restoration to head and tail.

$300 - $500

333 Miniature Mallard

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 1/2 in. long

The carving displays the maker’s rectangular stamp and species identification on the bottom. Original paint with touch-up to head and around reset neck.

$600 - $900

334 Miniature Black Duck

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 5 1/2 in. long

The carving displays the maker’s rectangular stamp on the bottom. Original paint with light wear.

$800 - $1,000

335 Ruffed Grouse on Birch Branch

James Joseph Ahearn (1904-1963)

Stamford, CT, c. 1950 9 1/2 in. tall, 9 in. long

A displaying grouse carving mounted on a birch branch. Original paint with light wear and crack to left wing appears to be reset.

$800 - $1,200

336 Three-Quarter Size Pheasant

James Joseph Ahearn (1904-1963) Stamford, CT, c. 1950 pheasant is 15 in. long

A ring-necked pheasant carving mounted on a birch branch upon a hardwood base. Original paint with light wear, chip to right thigh, and legs and toes are bent.

$500 - $1,000

337 Woodcock

Homer Lawrence and Shirley Riffe Norwalk, CT, c. 1960 8 in. tall, 13 in. long

A large and animated, open-billed example mounted on a driftwood base. Original paint with light wear and minor loss to leg putty.

$1,500 - $2,500

10 by 21 3/4 in.

A plaque with a pair of flying geese. Original paint with moderate wear and both wings are loose.

$1,000 - $2,000

339 Gull Plaque

Charles Hart (1862-1960) Gloucester, MA, c. 1930 13 1/2 by 9 1/2 in.

Original paint with moderate wear.

$1,000 - $2,000

338 Goose Plaque

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

GEORGE H. BOYD

1873-1941

340 Canada Goose

George H. Boyd (1873-1941) Seabrook, NH, c. 1920 26 in. long

Boyd is recognized as New Hampshire’s most celebrated decoy carver. A classic Boyd goose featuring his canvasover-slat construction. This fine example, with its head turned slightly to the left, hails from the Batchelder rig.

Original paint with craquelure, gunning wear, and age cracks in breast. Wear to wood in a couple spots and bill tip.

Provenance: Howard Batchelder Rig, acquired directly from George Boyd

Private Collection by descent in the family

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.

$10,000 - $12,000

341 Running Black-Bellied Plover

Elisha Burr (1839-1909)

Hingham, MA, c. 1880 11 1/2 in. long

Burr’s best reaching plover, including this one from the Elaine and Alan Haid Collection, have been held in high regard by the top collectors for generations with related examples acquired by William J. Mackey Jr., Dr. James M. McCleery, and Donal C. O’Brien Jr.

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.

$7,000 - $10,000

342 Two Yellowlegs Flatties

Atlantic Coast, c. 1870 10 1/2 in. long

Two silhouette stick-up yellowlegs decoys. Each has stippled paint and split tails. Original paint with heavy gunning wear, including paint loss, and one has neck crack.

Provenance: Linda E. Johnson Collection, acquired from Stephen O’Brien Jr. Fine Arts, 2004 Private Collection

$3,000 - $5,000

343 The Johnson Johnson Yellowlegs

J. Taylor Johnson (1853-1929)

Point Pleasant, NJ, c. 1900

11 1/2 in. long

An exemplary yellowlegs with an elegant thin neck and refined head. The body shows Taylor Johnson’s telltale logsplit lines and a screw-eye under the tail used for carrying the bird into the field. Original paint with light gunning wear, reset age line through neck. Minor chips to top of bill insertion and to tip of bill. Minor age lines in head.

Provenance: The Linda E. Johnson Collection Private Collection

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 190, rigmates illustrated. Gene and Linda Kangas, Decoys: A North American Survey,” Spanish Fork, UT, 1983, p. 168, pl. 354, related decoy illustrated.

$2,000 - $3,000

344 Golden Plover

Charles F. Coffin (1835-1919) Nantucket, MA, c. 1870 10 in. long

The carving exhibits adult plumage with good gold dots and the carver’s signature rounded head and tear-drop body. Strong original paint with heavy gunning wear, and most of the bill is replaced.

$800 - $1,200

345 Golden Plover

Joseph W. Lincoln (1859-1938) (attr.) Hingham, MA, c. 1880 10 in. long

An adult in dark breeding plumage. Original paint with touch-up, mostly to crack along left breast, and a replaced bill.

$800 - $1,200

346 Plover Massachusetts, c. 1880 9 in. long

Early working paint with even gunning wear, chips to wing and tail tips, and a replaced bill.

$500 - $700

347 Black-Bellied Plover

Charles W. Thomas (b. 1875) Assinippi, MA, c. 1900 11 in. long

Starr discusses this raised-wing balsa plover’s rig and illustrates a rigmate in his treatise, Decoys of the Atlantic Flyway. Original paint with moderate gunning wear, a few dings, a tail chip, and very old glue residue to reset neck.

Literature: George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 76, fig. 24, rigmate illustrated.

$600 - $900

HARRY V. SHOURDS

348 Swimming Goose

Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890 27 in. long

Harry V. Shourds produced hollow ship-like decoys of the finest quality. This goose is nearly identical in form to the famous goose formerly in the John H. Hillman Collection. Mix of working paint with professional touch-up, including area around the original reset neck.

Provenance: Somers Headley Collection Private Collection

Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, pp. 28-30, related goose illustrated.

$15,000 - $25,000

349 Rare Wigeon Hen

John English (1848-1915)

Florence, NJ, c. 1880 14 1/4 in. long

A hollow carving by “the innovator of the Delaware River decoy.” English’s importance as the father of the Delaware River school of carving is documented by virtually every authority from the region.

This rare example shows excellent form and extensive carved and painted feather detail. Showing this early innovator’s attention to details, the lead ballast weight was added to the inside of the carefully hollowed body when it was made. Original paint with even gunning wear.

Provenance: Private Collection, New Jersey

$3,000 - $5,000

350 Canada Goose

Charles Allen

Bordentown, NJ, c. 1940 25 1/4 in. long

This rare species for the Delaware River is signed and dated in pencil by the maker on the underside. Gunning repaint with cracking in neck and along back. Two-thirds of bill replaced.

$600 - $900

351 Exemplary Bluebill Drake

Reginald Culver (1897-1975)

Stratford, CT, c. 1950 13 in. long

In 1912 Culver began apprenticing for famed decoy carver Roswell Bliss. That same year, carver Ben Holmes died and Culver purchased his unfinished blocks from his widow. The underside is penned “This is a Ben Holmes decoy 9/17/1966. Tom Marshall.” It has excellent combed vermiculation and bill carving. Strong original paint with even gunning wear.

Literature: Henry C. Chitwood, Connecticut Decoys- Carvers and Gunners, West Chester, PA, 1987, p. 94, exact bird illustrated.

$2,000 - $3,000

352 Bluebill

Verity Family

Long Island, c. 1880 13 3/4 in. long

Original paint with moderate gunning wear, hairline crack in neck, and slight chip in tail from shot.

$1,500 - $2,500

ROBERT

353 Robert Verity Clem (1933-2010) Peregrine on Cliff Branch, 1960 signed and dated “Robert Verity Clem 1960” lower left gouache on board, 34 by 26

Robert Verity Clem was a New England artist based in Chatham, Massachusetts. He was self-taught, but heavily influenced by the work of Louis Agassiz Fuertes (18741927). He published his definitive work, “The Shorebirds of North America,” in 1967. He is known for the exactitude of his detail and the sparseness of his pallet.

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

in 2010. Amy Montague of Mass Audubon notes, “If there were a pantheon of bird artists, Robert Verity Clem would be there.” She continues, “He is almost universally acknowledged as ranking among the greatest artists to focus on birds.”

This fine work captures a magnificent peregrine falcon perched near a dramatic cliffside waterfall.

$6,000 - $9,000

354 Roger Tory Peterson (1908-1996)

Six Hawk Silhouettes, 1980 ink on paper, 19 1/2 by 15 1/2 in. inscribed “Falcon,” “Accipiter,” “Kite,” “Harrier,” and “Buteo” lower center, with additional editorial notes inscribed “EFG, 1980, 4th Ed. p. 170” on back

Literature: Roger Tory Peterson, Field Guide to Eastern Birds, 1980, p. 170, illustrated.

$2,000 - $4,000

ROGER TORY PETERSON

355 Roger Tory Peterson (1908-1996) Woodcock, Snipe and Sandpipers stamped and inscribed on back gouache, 17 by 11 3/4 in.

inscribed “RTP put color on birds for revised EFG 5th Ed.” on back

Roger Tory Peterson was born in 1908 in Jamestown, New York. After a childhood spent reading and fascinated with birds, he studied art at the Art Students League and National Academy of Design in New York. Inspired by naturalist bird artists such as John James Audubon, Edward Lear, and Louis Agassiz Fuertes, in 1934 Peterson published his innovative and influential A Field Guide to the Birds of Eastern and Central North America, which went into multiple editions and is still in print. The Peterson Field Guides imprint remains a popular resource.

Peterson said, “In 1934 there was nothing remotely like the Field Guide in print...My special contribution was the visual element within a carefully chosen context. Other ornithologists, both noted and nameless, had worked out the field marks of most birds. I combined their knowledge with my visual presentation and, at the urging of two friends in particular, carried the idea through. Their encouragement, my native interest in birds, and my professional training as an artist enabled me to create something that appeared new, though it was really a kind of fertile hybrid.”

Among his many honors, the artist-naturalist received multiple honorary degrees and the Presidential Medal of Freedom. Today, the Roger Tory Peterson Institute of Natural History continues to educate the public on art and nature in his honor in his hometown of Jamestown.

Provenance: The artist Virginia Peterson Estate Private Collection, by descent

Literature: Roger Tory Peterson, Eastern Field Guide, 5th Edition, Boston, MA, 2002, p. 161, illustrated.

$2,000 - $4,000

356 Roger Tory Peterson (1908-1996) Falcons, 1993 gouache on board, 14 by 9 in. with key on back, depicting Kestrel, Lesser Kestrel, Merlin, Peregrine, Lanner, Saker, Hobby, Eleonora’s Falcon, Red-footed Falcon inscribed “Plate to Birds of Great Britain and Europe, 1993” on back

Literature: Roger Tory Peterson, Birds of Great Britain and Europe, 1993, illustrated.

$2,000 - $4,000

357 Roger Tory Peterson (1908-1996)

Diving Ducks and Bay Ducks, 1993 stamped and inscribed on back watercolor and gouache, 16 by 9 3/4 in.

Provenance: The artist Virginia Peterson Estate Private Collection, by descent

Literature: Roger Tory Peterson, Birds of Britain and Europe, Boston, MA, 1993, plate 13, illustrated.

$2,000 - $4,000

358 Roger Tory Peterson (1908-1996) Wood Storks, 1938 signed “R.T. Peterson” lower left oil on canvas, 28 1/4 by 19 1/4 in.

Peterson created this painting while he was staff artist for the National Association of Audubon Societies. It was published in 1938 as part of a conservation pamphlet with the caption: “Seven of the color plates are the work of Roger T. Peterson, whose paintings are so admired and exhibit such beautiful delineation and character.”

The pamphlet called for “a system which keeps an eye upon the common species as well as the rare, and which makes the field of its responsibility as broad and as consistent as possible, that we may hope for gains which will ultimately restore some semblance of the richness described in early accounts of the American countryside.”

The Wood Stork, Mycteria americana, breeds in Florida, South Carolina, and along the Gulf Coast. It was previously known as the Wood Ibis. “They are partial to dead trees as

perching places, and it must be admitted that a bleached cypress, decked with the great white birds, against a background of palmettos, the whole reflected with faithful detail in a still lagoon, is a sight to be remembered,” Alexander Sprunt writes. “They roost together, nest together and feed together...The nests are large and bulky, made of sticks... The young present a comical appearance during the down stage, staring at one with owlish solemnity, but executing ludicrous movements, which are as awkward as they are ridiculous. They give the photographer excellent ‘sittings’ and the poses are attractive pictures.”

Literature: Alexander Sprunt, South Carolina Bird Life, 1949, p. 98. Alexander Sprunt, Beautiful Birds of Southern Audubon Societies, 1938, pp. 8-10, illustrated on p. 9.

$15,000 - $25,000

Aspevig was born in Montana and has been inspired by the landscape since the beginning. His paintings of the American West are “evocations of places that he perceives as already disappearing during his own lifetime, subjects worthy of both artistic and societal preservation.” In his paintings, he intends to “create something beautiful and harmonic. While subject matter is of prime consideration, further contemplation of the painting eventually yields its subtle nuances of texture and rhythm. His paintings possess qualities meant to outlast the viewer’s initial infatuation, qualities that will endure well into succeeding generations.”

Some of Aspevig’s most successful and inspiring works depict moonlight. In 2013 he received the Edgar Payne Award from the California Art Club for Best Landscape, in addition to other honors, such as the Prix de West in 1997 and multiple awards from the Autry National Center in California.

Provenance: Private Collection, Montana

$15,000 - $25,000

359 Clyde Aspevig (b. 1951) Moonrise signed “C. Aspevig” lower left oil on canvas, 24 by 30 in.

361 Ary Jean Leon Bitter (French, 1882-1973)

Two Polar Bears, 1935 bronze, 9 1/2 by 4 1/4 by 6 1/2 in.

each inscribed “Ary Bitter Sclp, Susse Fres Edrs Paris.” on plaque on base

Ary Bitter was a French sculptor who trained in Marseille for nine years before moving to Paris in 1902 to study, ultimately at the Ecole des Beaux-Arts. He regularly exhibited at the Salon des Artistes Francaises from 1912-1939, and his later career included war memorials, monuments, and public fountains.

Provenance: Private Collection, Massachusetts

$4,000 - $6,000

360 Ken Carlson (b. 1937)

Big Horn Skull signed “Carlson” lower right oil on masonite, 15 by 15 in.

Provenance: Private Collection, Texas

$1,500 - $2,500

362 Peter M. Ewart (Canadian, 1918-2001)

Bull Moose in the Rockies signed “Ewart” lower right oil on canvasboard, 19 by 23 in.

Ewart, born in rural Saskatchewan, trained through an art correspondence course before moving to New York to study at the Commercial Illustration School in 1939. He moved to Western Canada after service as a war artist in World War II, where he painted mountain and coastline scenes such as this majestic moose. Among other prestigious venues, Ewart exhibited with the Royal Academy in London and his paintings can be found in the collections of the Glenbow Museum in Alberta, and the Charles M. Russell Museum in Montana.

$1,000 - $1,500

363 Les Kouba (1917-1998)

Antelope Paradise signed “Les C. Kouba” lower left watercolor, 9 1/2 by 15 1/4 in.

$1,000 - $2,000

364 Les Kouba (1917-1998)

Four Watercolors

each signed “Les C. Kouba” lower left each titled on back

Jack Rabbit

7 1/2 by 10 1/2 in.

Road Runner

7 1/2 by 10 1/2 in.

Javelina

7 3/4 by 10 1/2 in.

Ringtail Cat

7 1/2 by 10 1/2 in.

$300 - $500

365 Gregory Messier (b. 1950) Flushing Pheasants

signed “Gregory F. Messier ©” lower left oil on canvas, 22 by 30 in.

This dynamic depiction of pheasants taking off shows the artist’s mastery of contrasting light.

$3,000 - $5,000

366 Thomas H. Dickson (b. 1946)

Dionysus and Ariadne, 1977

signed and dated “Thomas H. Dickson © 1977” on base

bronze, 25 by 22 by 14 in. edition 8 of 12 depicting two flying mallards

A Denver-based wildlife sculptor, Dickson is a self-taught artist and Navy veteran. Works in public collections include a life-size golden eagle at the Denver Zoo and a bronze in the Leigh Yawkey Woodson Museum, among others.

$3,500 - $4,500

367 Peggy Watkins (b. 1963) Reflecting, 2024 signed “Watkins” lower right oil on canvas, 30 by 24 in.

Peggy Watkins was drawn to animals from a young age. She studied at the Atlanta College of Art and lives and works in the Carolinas, creating sporting and wildlife art paintings in the “impressionistic realism” category. Among other honors, her work is in the permanent collection of the Bennington Center for the Arts in Vermont.

This painting of a pointer with pheasant captures a proud sporting dog resting after a successful hunt.

$3,000 - $5,000

368 Chet Reneson (b. 1939)

Setting Out Decoys signed “Reneson” lower left watercolor, 19 by 29 in.

Provenance: Private Collection, Washington

$2,000 - $4,000

369 Henry McDaniel (1906-2008)

Trout Fishing, VT

signed “Henry McDaniel” lower left watercolor, 18 by 26 in.

Filled with McDaniel’s vibrant greens and blues, this is a quintessential example of the artist’s work.

$1,000 - $2,000

371 Edgar Burke (1889-1950)

Flying Atlantic Brant signed “Edgar Burke” lower right oil on canvasboard, 20 by 24 in.

Dr. Edgar Burke was a surgeon, avid outdoorsman, and artist. He practiced medicine for many years at Jersey City Medical Center and raced pigeons, among his many sporting pursuits. This large-scale Burke oil is one of the artist’s finest waterfowl depictions.

$1,800 - $2,400

370 Angus H. Shortt (1908-2006)

Wood Ducks signed “Angus Short” lower right watercolor, 19 1/2 by 23 1/2 in.

Shortt was an ornithologist who specialized in birds and wildlife. He was a member of the Manitoba Naturalists Society starting in 1926 and served as president from 1948-1950. He also did work painting for Ducks Unlimited. A well-executed and vivid work capturing the summer duck in its natural habitat.

$1,000 - $1,500

372 Frank Vining Smith (1879-1967)

Flight of Canada Geese unsigned oil on masonite, 24 by 32 in. titled on back

Born and raised in South Abington, Massachusetts, Frank Vining Smith grew up sailing and loved other New England outdoor pursuits as well. After graduating from high school, Smith attended the Boston School of the Museum of Fine Arts, where he studied under such notable artists as American Impressionist Frank W. Benson (1862-1951), Phillip L. Hale (1865-1931), and Edmund C. Tarbell (1862-1938).

$1,000 - $2,000

374 Herman Brown Rountree (1878-1946) Canvasbacks Over Currituck signed “Herman Rountree” lower left watercolor, 18 1/2 by 14 1/2 in. titled lower right inscribed “Herman Rountree Wakefield Rhode Island” upper left margin

Born in Springfield, Missouri, Rountree was an illustrator in New York for many years, specializing in animals and creating work for Field and Stream and The Sportsman, among other publications.

$1,000 - $2,000

373 Roland Green (British, 1896-1972)

Mallards signed “Roland Green” lower right watercolor, 17 1/2 by 11 1/2 in.

Mallards in flight over a marsh.

$300 - $500

375 Hugh C.C. Monahan (1914-1970)

The Deserted Islands, Greenlanders Landing Near the Ruins signed “H Monahan” lower right oil on canvas, 20 1/4 by 30 1/2 in. titled on Piccadilly label on back

Hugh Monahan moved to Vancouver, Canada, with his wife, Agnes, and children in 1956, where he painted full time and was a staunch supporter of Ducks Unlimited and the British Columbia Waterfowl Society, among other conservation groups. Monahan died in 1970 while painting on the Fraser River, near the George Reifel Waterfowl Sanctuary, which he helped found, with his loyal yellow Labrador retriever “Happy” by his side.

Provenance: Private Collection, Salisbury, Connecticut

$400 - $600

376

376 Wigeon Drake

Ian McNair (b. 1981)

Belle Haven, VA, 2024 16 in. long

A hollow turned-head decoy from the maker’s personal rig. Incised “I. McNair” on the underside. Original paint with light wear.

$700 - $1,000

377 Sleeping Black Duck

Ian McNair (b. 1981)

Craddockville, VA, c. 2020 14 1/2 in. long

The underside of this hollow decoy displays an incised “I McNair” signature. Original paint with light wear and a couple flakes to lower left side.

Provenance: Private Collection, South Carolina

$500 - $700

378 Yellowlegs

Cameron T. McIntyre (b. 1968)

New Church, VA, c. 2000 12 in. long

A Massachusetts-style yellowlegs with the maker’s incised “CTM” on the underside. Original paint with light wear.

$1,000 - $1,500

379 California Towhee on Peach William Gibian (b. 1946) Onancock, VA, 2023 10 in. long

This carving bears an incised “GIBIAN” and the maker’s signature on his business card on the bottom. Original paint with minimal wear.

$1,500 - $2,500

380 Miniature Pheasant

Frank S. Finney (b. 1947) Cape Charles, VA 8 1/4 in. long

The underside bears the maker’s incised “F” signature. Original paint with light wear.

$1,000 - $2,000

381 Half-Size Barn Owl

Frank S. Finney (b. 1947) Capeville, VA 10 in. tall

The underside of base bears the maker’s incised “FF” signature. Original paint with minimal wear.

$1,500 - $2,500

382 Miniature Golden Pheasant

Frank S. Finney (b. 1947) Capeville, VA 7 1/2 in. long

The underside bears the maker’s incised “F” signature. Original paint with minute rub to bill tip.

$800 - $1,200

383 Cockatoo on Perch

Frank S. Finney (b. 1947) Capeville, VA 8 in. long

The underside bears the maker’s incised “F” signature. Original paint with light wear.

$800 - $1,200

384 Yellow-Bellied Sapsucker

Frank S. Finney (b. 1947)

Capeville, VA

7 3/4 in. long

The underside bears the maker’s incised “F” signature. Original paint with light wear.

$400 - $600

385 Blue-Winged Warbler

Frank S. Finney (b. 1947)

Capeville, VA

6 1/2 in. long

The underside bears the maker’s incised “F” signature. Original paint with minimal wear.

$400 - $600

386 Blue Santa Claus

Frank S. Finney (b. 1947)

Capeville, VA 8 in. tall

A cast resin Santa mounted on a wooden base. The underside bears

Finney’s inked signature and an incised “F.” Original paint with light wear.

$600 - $800

387 Ladder-Backing Woodpecker

Frank S. Finney (b. 1947) Capeville, VA 7 in. long

The underside bears the maker’s incised “F” signature. Original paint with light wear.

$400 - $600

388 Tufted Titmouse with Berry

Frank S. Finney (b. 1947)

Capeville, VA 5 1/2 in. long

The underside bears the maker’s incised “F” signature. Original paint with minimal wear.

$400 - $600

389 Red Santa Claus

Frank S. Finney (b. 1947) Capeville, VA 8 in. tall

A cast resin Santa mounted on a wooden base. The underside bears Finney’s inked signature and an incised “F.” Original paint with light wear.

$600 - $800

390 Indigo Bunting

Frank S. Finney (b. 1947) Capeville, VA 6 in. long

The underside bears the maker’s incised “F” signature. Original paint with minimal wear.

$400 - $600

391 Santa Claus

Grayson C. Chesser (b. 1947) Sanford, VA, 1980 13 in. tall

A carved wooden Santa signed and dated on underside of feet. This figure was modeled after legendary decoy dealer Bud Ward. Original paint with light wear.

$800 - $1,200

392 Passenger Pigeon Pair

John Vulcani

LaSalle, IL

12 1/4 in. tall, 16 1/2 in. long

A pair of life-size animated passenger pigeons on a driftwood base. This duo represents one of the artist’s finest efforts to date, featuring delicate raised wing and tail carving. Once the most abundant land bird species in North America, the last living passenger pigeon died in 1914, adding a poignancy to this carving. Original paint with minimal wear.

$2,000 - $3,000

393 Bobwhite Quail Pair

John Vulcani

LaSalle, IL

6 in. tall, 24 in. long

The maker’s signature is inked on the underside of the driftwood base. Original paint with minimal wear.

$800 - $1,200

MARTY HANSON

394 Gadwall

Marty Hanson (b. 1965)

Prior Lake, MN, 1996 15 in. long

This decoy features excellent blended feathering to the breast and sides and even has combed painting on the bottom. The underside of the hollow body bears the maker’s signature and “1st Gadwall Made” in black ink along with his white “Maker” stamp. Original paint with minimal wear.

$1,000 - $1,500

395 Teal Pair

Marty Hanson (b. 1965)

Prior Lake, MN 11 1/2 in. long

A hollow pair of decoys. The bottoms bear the maker’s signature in black ink along with his “Maker” stamp. Original paint with light wear.

$800 - $1,200

396 Shoveler

Marty Hanson (b. 1965)

Prior Lake, MN, 1991 15 in. long

The bottom bears the maker’s signature and date in black ink, along with a burnt in “MH.” Original paint with light wear.

$600 - $900

397 Ruddy Duck

Russell Owen (b. 1980) Denmark, SC 13 in. long

Incised with the maker’s serifed “R” on the underside. Original paint with even wear.

$500 - $700

398 Preening Ring-Neck

Russell Owen (b. 1980) Denmark, SC 2017 12 In. long

A preening decoy with cross-raised wing carving. The underside bears the maker’s signature, date, and an incised “R.” Original paint with light wear.

$500 - $700

399 Blue-Winged Teal

Russell Owen (b. 1980) Denmark, SC 11 in. long

A raised-wing example with the maker’s incised “R” on the underside. Original paint with light wear.

$300 - $500

400 Atlantic White Shrimp Russell Owen (b. 1980) Denmark, SC 10 1/2 in. long

This wood carving has cleverly crafted metal legs, antenna, eyes, and horns. Original paint with light wear.

$100 - $200

401 Large Orange Fish Decoy

Northern Minnesota, c. 1950 11 in. long

Original paint with even fishing wear.

$800 - $1,200

402 Fish Decoy

Fred Brainard Minnesota, c. 1945

7 1/4 in. long

Original paint with even fishing wear and one detached pectoral fin.

$800 - $1,200

403 LaCrosse Fish Decoy Wisconsin, c. 1925 5 in. long

Original paint with fishing wear.

$400 - $600

404 Two Small LaCrosse Fish Decoys Wisconsin, c. 1920 largest is 5 in. long

Old paint with craquelure and heavy fishing wear.

$200 - $400

405 Bobwhite Quail Family c. 1930 largest is 7 1/2 in. long

An early folky trio of carved quail with wire legs. Original paint with wear, including minor rubs to bill tips and minor chipping. Some damage to wire legs.

$600 - $900

406 Two Miniature Grouse with Lamp

James Joseph Ahearn (1904-1963)

Stamford, CT, c. 1950

21 1/2 in. tall

One is signed on the back of a wing. The birds can be removed from the lamp. The beveled oval base measures ten and one-half inches by seven inches. Original paint with light wear. Front bird has reset wing crack.

407 Three Crows Mackey crow is 17 in. long

One bears the white Mackey Collection ink stamp and is in original paint with even wear. The Charles Perdew decoy has wire legs and a flocked surface with original paint and light wear, including several flakes. The smaller decoy appears to be a Mason factory decoy with old paint and a crack along the left side.

Provenance: William J. Mackey Collection (only one)

$1,000 - $2,000

408 Decoy Carver’s “Shaving Horse” Work Bench

57 1/2 in. by 19 in. by 39 in. tall

The “Shaving Horse” is a combination of a vice and a workbench. The design of this decoy carver’s tool has ancient origins; in fact, an image of one in use was published in the 1556 definitive Latin text “De re metallica.”

In 1984 this shaving horse was in the featured exhibit Decoys: The Lure of American Folk Art, at the Tri-Delta Charity Antiques Show, the largest charitable event in Dallas, Texas. In 1983 the show’s featured exhibit hosted the White House’s Presidential China. As found.

Exhibited: Dallas, Texas, Decoys: The Lure of American Folk Art, The Tri-Delta Charity Antiques Show, 1984.

$600 - $900

409 Three Cigar Boxes largest is 8 1/4 in. by 5 1/4 in.

Two boxes depict trout fishing and the other displays a snipe and crossed rifles. (entire trout box 408.1 illlustrated, only inside covers of 408.2 & 408.3 illustrated.

BERTRAM GEORGE BRUESTLE

410 Bertram George Bruestle (1906-1968)

Blue-Winged Teal Pair signed “BG Bruestle” lower left oil on paper, 9 3/4 by 13 3/4 in.

Born in New York City to fellow painter George M. Bruestle (1871-1939), Bertram grew up surrounded by the Lyme Art Colony. After moving to Maryland, he lectured on birds and worked for the National Association of Audubon Societies. He returned in 1939 to Lyme, where he spent the rest of his career painting landscapes and birds. His works can be found in the Florence Griswold Museum in Old Lyme, Connecticut.

$500 - $800

411 Bertram George Bruestle (1906-1968)

Mallards gouache on paper, 9 3/4 by 13 1/2 in.

The Cooley Gallery, Old Lyme, Connecticut label on back

$500 - $800

412 Bertram George Bruestle (1906-1968)

Two Mallards signed “BG Bruestle” lower right gouache on paper, 10 by 14 in.

The Cooley Gallery, Old Lyme, CT label on back

$500 - $800

413 Charles Emile Heil (1870-1950)

Blue Jay on Flowering Branch signed “Charles E Heil” lower center watercolor, 11 1/4 by 13 1/2 in.

Heil, born in Boston and trained at the Cowles Art School, exhibited with the Boston Art Club for over a decade. He was awarded a gold medal at the Pan-Pacific Exposition in San Francisco in 1915, and his paintings and etchings of birds can be found in the collections of the Smithsonian American Art Museum, the Art Institute of Chicago, and the Museum of Fine Arts, Boston, which has a similar watercolor of a blue jay.

$1,000 - $2,000

414 Gary E. Neel (20th Century)

Two Ruffed Grouse Watercolors, 1972 each 14 by 21 in.

Ruffed Grouse in Winter signed and dated “Gary E. Neel ‘72” lower left

Ruffed Grouse in Autumn signed and dated “Gary E. Neel ‘72” lower right

$400 - $600

415 Guy Coheleach (b. 1933)

Bubo Virginianus V., 1972

Great Horned Owl Head titled, dated and signed “G. Coheleach” lower center gouache, 10 1/2 by 12 1/2 in. titled and dated lower left Graham Gallery, New York label on back

$800 - $1,200

417 Erwin Rambow (1925-2013)

Long-Tailed Duck signed “E Rambow” lower right watercolor, 14 1/4 by 19 1/4 in.

416 David Lazarus (b. 1952)

Mallard Trio signed “DLazarus” lower right oil on canvas, 16 by 20 in.

David Lazarus, born in London, has spent the majority of his life as a resident of Nantucket, 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.

Provenance: Private Collection, New Jersey

$1,000 - $2,000

418 Walter A. Weber (1906-1979)

Montana Black-Spotted Trout signed “W.A. Weber” lower right watercolor, 6 3/4 by 10 1/4 in. inscribed “Montana Black-Spotted Trout, Yellowstone Fish Hatchery” lower right

Walter Weber was a staff artist for National Geographic for many years. In the late 1920s, as a young man, he participated in the Crane Pacific Expedition to the Galapagos and was a staff artist and naturalist for the National Geographic Society. Weber received the Conservation Service Award from the U.S. Department of the Interior in 1967 and his artwork was selected for the Federal Duck Stamp in 1944 and 1950.

$500 - $800

419 Adriano Manocchia (b. 1951) Deer in the Mist signed “Adriano Manocchia” lower left oil on board, 24 by 36 in.

Manocchia began his creative work as a photojournalist before turning to painting full time. An avid sportsman, he lives in New York and travels extensively. Sales of his work have helped support many conservation organizations, including Ducks Unlimited and the Atlantic Salmon Federation, and his paintings have been included in shows at the National Wildlife Art Museum in Jackson,

Wyoming, and the American Museum of Fly Fishing in Manchester, Vermont, among others. He is also a member of the Society of Animal Artists.

Provenance: Private Collection, Massachusetts

$2,000 - $3,000

420 Galen Mercer (b. 1962) Spring, Upper Beaverkill, 1994 signed and dated “G. Mercer ‘94” lower right oil on canvas, 26 by 33 in.

Depicting an April view of the Upper Beaverkill River in New York State.

$2,000 - $4,000

421 Large Salmon Fly Reel

Stan Bogdan

Model 1 Large Salmon left-handed fly reel with a 3 3/4” diameter and 1 1/8” spool width. “S. E. Bogdan, Nashua, N.H.” and drag adjustment on tail plate. In unused condition with some surface grime.

$2,000 - $4,000

422 Reel

Edward Vom Hofe

3 in. diameter with a leather case

As found.

$200 - $400

423 Reel

Stan Bodgan

Model 0 Salmon fly reel with a 3 1/4” diameter and 1 3/8” spool width. “S. E. Bogdan, Nashua, N.H.” and drag adjustment on tail plate. In unused condition with some minor surface grime.

$1,500 - $2,500

424 American School (20th century)

Leaping Atlantic Salmon, c. 1910 oil on canvas, 20 1/2 by 16 1/2 in.

An early rendering of a leaping Atlantic salmon hooked on a Jock Scott fly.

$500 - $1,000

425 Reel

Julius Vom Hofe 3 3/8 in. in diameter in a leather case

As found.

$200 - $400

426 Pierre A. Lutz (1923-1991)

Map of Grand Cascapedia River, 1981 signed and dated “P.L. 1981” lower center watercolor, 22 1/2 by 7 3/4 in. inscribed with landmark, pool, and place names framed with 12 flies

$600 - $900

427 American School

The Day’s Catch oil on canvas, 11 1/4 by 12 in.

Depicting five brook trout spilling out of a wicker creel.

$400 - $600

428 Walter L. Steward (b. 1877)

Brook Trout, 1901

signed and dated “W.L. Steward 1901” lower left oil on paperboard, 12 by 6 1/4 in. inscribed “W.D. Hyatt 1930” on back

Walter L. Steward, son of landscape painter Seth Wyman Steward (1844-1927), was a turn-of-the-century artist from Monson, Maine, who specialized in creating small landscapes and fish paintings, often on faux birch backgrounds, as sporting collectibles.

$2,000 - $3,000

429 T. Bailey (19th-20th Centuries)

Setter signed indistinctly “T. Bai..” lower right oil on canvas laid on board, 19 by 29 1/2 in.

T. Bailey was likely a pseudonym of several artists, including William F. Paskell (1866-1951), a Massachusetts painter who exhibited at the Boston Art Club.

Provenance: Private Collection, Florida

$1,000 - $2,000

430 Jeff Muhs (b. 1966) Marsh in Brown, 1999 oil on board, 30 by 42 in. signed, titled, and dated on back

Muhs, a native of Long Island, received his BFA from the School of Visual Arts in New York. He draws inspiration from the natural environment as well as art history, creating modernist abstracted landscapes.

$2,000 - $4,000

431 Joseph Day Knap (1875-1962)

Federal Duck Stamps and Print, 1937 signed “J.D. Knap” lower right print, 6 1/4 by 9 in.

titled and dated lower left

inscribed “To my good friend Sterling Adams Day” lower right edition of 260 framed with complete set of Federal Duck Stamps, 1935-2013

$1,500 - $2,500

432 Richard E. Bishop (1887-1975)

Federal Duck Stamp Design, 1936 signed “Richard E. Bishop” lower right drypoint, 5 by 8 in.

titled lower left edition of 1845 Canada Geese framed with Federal Duck Stamp

$500 - $700

433 Jay Norwood “Ding” Darling (1876-1962)

Canvasbacks - Evening signed “J.N. Darling” lower right etching and aquatint, 13 by 11 in. second state, #7 trial proof titled lower center

Jay Norwood Darling was born in Norwood, Michigan, in 1876. He rose to prominence as a nationally syndicated editorial cartoonist based in Iowa, winning two Pulitzer Prizes for his work in 1924 and 1942. His efforts supporting conservation were equally impressive, and he was appointed the director of the U.S. Biological Survey

by Franklin D. Roosevelt from 1934-1935. During this time he initiated the Federal Duck Stamp program and designed the first stamp, which was used as a hunting license. The proceeds then, as now, support the National Wildlife Refuge System. Darling designed its Blue Goose logo, and the Ding Darling NWR on Sanibel Island, Florida, is named after him. He also founded the National Wildlife Federation in 1936, which brought conservationists together to form a more powerful voice.

Literature: Amy N. Worthen, The Prints of J.N. Darling, 1991, pl. 13, illustrated.

$200 - $400

434 Jay Norwood “Ding” Darling (1876-1962)

Design for First Federal Duck Stamp, 1934 signed “Ding Darling” lower right etching, 5 3/4 by 8 1/2 in. titled lower left edition of 197, framed with Federal Duck stamp

Provenance: Paul Proudfoot Collection

$2,000 - $3,000

435 Jay Norwood “Ding” Darling (1876-1962)

Editorial Cartoon, May 9, 1931 Why Not Put Everything We Want To Get Rid Of In The River? signed “Ding” or “Darling” lower right pen and ink drawing, 26 by 19 1/2 in inscribed “Municipal Sewage Offenders” and “These Men Have Been Using Our Rivers For A City Dump!”

Created two years before Darling was on the Iowa Fish and Game Commission, this editorial drawing shows his interest in conservation. The complete collection of Darling’s political cartoons and archives is found in the University of Iowa Library.

$1,000 - $2,000

436 Francis Lee Jaques (1887-1969)

Duck Stamp Design, 1940 signed “F.L. Jaques” lower right lithograph, 10 by 12 1/4 in. titled and dated lower left depicting Black Ducks edition of 260, framed with Federal Duck Stamp

Provenance: Paul Proudfoot Collection

$2,000 - $3,000

437 Paul Desmond Brown (1893-1958)

Six Horses

signed “Paul Brown” lower right watercolor, 13 1/2 by 10 1/2 in.

$200 - $400

438 Bob Kuhn (1920-2007)

Lynx signed “Kuhn” lower right conte crayon, 6 1/2 by 9 1/4 in.

Provenance: Private Collection, Montana

$2,000 - $4,000

439 Paul Desmond Brown (1893-1958)

Harness Racing

signed “Paul Brown” lower right watercolor on paper board, 14 1/4 by 10 in. three vignettes of horses

$200 - $400

440 H. Albert Hochbaum (Canadian, 1911-1988)

A Large Herd of Rein-Deer, 1984 initialed “H.A.H.” lower right ink on paper, 8 1/2 by 10 3/4 in. inscribed “Oct. 26, 1821 ‘...a large herd of rein-deer...’” lower left with further notes lower right

Hochbaum created illustrations for the publication of Arctic explorer and surgeon-naturalist John Richardson’s 1820-1822 journal.

Literature: C. Stuart Houston, ed., Arctic Ordeal: The Journal of John Richardson, McGill-Queens Press, 1984, p. 158, illustrated.

$100 - $300

FRANK W. BENSON

441 Frank W. Benson (1862-1951)

Ducks at Play, 1923

signed “Frank W Benson” lower left drypoint, 10 3/4 by 13 3/4 in.

Paff #217, edition of 150

Provenance: The artist

Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$600 - $900

442 Frank W. Benson (1862-1951)

Reflections, 1920

signed “Frank W Benson” lower left drypoint, 5 by 8 in.

Paff #197, edition of 56

Provenance: The artist

Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$1,000 - $1,500

443 Frank W. Benson (1862-1951) Waders, 1930

signed “Frank W Benson” lower left drypoint, 6 3/4 by 12 in.

Paff #298, edition of 150

Provenance: The artist

Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$600 - $900

444 Frank W. Benson (1862-1951)

Off Pea Island, 1921

signed “Frank W Benson” lower left etching, 6 3/4 by 10 3/4 in.

Paff #206, edition of 150

Provenance: The artist

Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$600 - $900

445 Frank W. Benson (1862-1951)

Casting for Salmon, 1929 etching, 7 3/4 by 10 in.

Paff #288

numbered “288” lower right inscribed “Reflections made lighter and changed in form” in margin

Provenance: The artist

Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$1,500 - $2,500

446 Frank W. Benson (1862-1951)

Plodding Home, 1924

signed “Frank W Benson” lower left etching, 2 3/4 by 2 in.

Paff #234, edition of 150

$600 - $900

447 Frank W. Benson (1862-1951)

Running the Rapids, 1927

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

Paff #269, edition of 150 Vose Galleries, Boston label on back

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$600 - $900

448 Frank W. Benson (1862-1951)

Federal Duck Stamp Design, 1935-1936

signed “Frank W. Benson” lower left etching, 3 by 5 in.

Canvasbacks framed with Federal Duck Stamp

$2,000 - $3,000

449 Frank W. Benson (1862-1951)

The Passing Flock, 1927

signed “Frank W. Benson” lower left etching, 11 1/2 by 13 3/4 in.

Paff #277, edition of 150

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$400 - $600

450 Frank W. Benson (1862-1951)

Boats at Dawn, 1920 signed “Frank W Benson” lower left etching, 7 1/2 by 10 3/4 in.

Paff #190, edition of 150

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

Literature: Faith Andrew Bedford, Impressionist Summers, Frank W Benson’s North Haven, 2012, fig. 65, p. 68, illustrated.

$1,000 - $1,500

451 Frank W. Benson (1862-1951)

Soaring Fish Hawk, 1923 signed “Frank W Benson” lower left drypoint, 6 by 8 in.

Paff #225, edition of 150

Provenance: The artist

Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$1,000 - $1,500

452 Frank W. Benson (1862-1951)

Nascaupee Indian, 1921 signed “Frank W Benson” lower left etching, 7 3/4 by 6 in.

Paff #210, edition of 150

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$300 - $500

453 Frank W. Benson (1862-1951)

Portrait of Charles Martin Loeffler, 1919 signed “Frank W. Benson” lower left etching, 9 3/4 by 7 3/4 in.

Paff #156, edition of 22

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$400 - $600

454 Richard E. Bishop (1887-1975) Yellowlegs signed “Richard E. Bishop” lower right etching, 6 1/2 by 9 1/4 in. titled lower left

455 Richard E. Bishop (1887-1975)

Two Christmas Card Etchings (one shown) each signed “Richard E. Bishop” lower left

Hudson Bay Snow Geese, 1961 4 by 6 in.

Flock of Ducks, 1960 5 1/4 by 3 3/4 in.

Created as Christmas cards for Edgar M. Queeny, who collaborated with Bishop to publish Prairie Wings through Ducks Unlimited in 1946. Queeny studied the landing patterns of birds over Wingmead, his 14,000 acre property in Arkansas, which had three named green tree reservoirs: Wingmead, Paddlefoot, and Greenwood. He was also an active patron of Bishop’s.

456 Frank W. Benson (1862-1951)

Portrait of Dr. Arthur T. Cabot, 1923 signed “Frank W Benson” lower left etching, 8 by 6 in.

Paff #221

“Arthur Cabot was a friend who regularly hunted ducks and fished for salmon with Frank Benson.” - John T. Ordeman

Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family

$400 - $600

457 Richard E. Bishop (1887-1975) Widgeon signed “REBishop” lower right etching, 7 by 10 in. titled lower left

458 Ogden M. Pleissner (1905-1983) The Quail Hunters, 1973 signed “Ogden M. Pleissner” lower right color print, 16 3/4 by 25 1/2 in. published and copyrighted by The Crossroads of Sport, New York, NY in an edition of 425

$600 - $900

459 Richard E. Bishop (1887-1975) Old Job, 1929

signed “Richard E. Bishop” lower right etching,10 1/4 by 8 in. titled lower left

Depicting a heron in flight.

END OF AUCTION

Vose Galleries’ Frank W Benson Exhibition label on back

INDEX

Abbett, Robert K.: 109, 265

Ahearn, James Joseph: 335, 336

Allen, Charles: 350

Allen, Fred: 293

Anger, Ken: 136

Aspevig, Clyde: 359

Bailey, T.: 429

Barton, Roger: 91-94

Barye, Antoine-Louis: 186

Bateman, Robert: 107

Becker, JoAnne: 171

Benson, Frank W.: 36, 247-253, 441-453, 456

Bishop, Richard E.: 432, 454, 455, 457, 459

Bitter, Ary Jean Leon: 361

Bodgan: 421, 423

Boyd, George H.: 340

Brainard, Fred: 402

Brooks, Allan: 156-158

Brothers, Burleigh: 138

Brown, Paul Desmond: 437, 438

Browne, George: 106

Bruestle, Bertram George: 410-412

Burke, Edgar: 371

Burr, Elisha: 341

Carlson, Ken: 48-51, 63-65, 360

Carman, Townsend Garvie: 322

Chadwick, Henry Keyes: 326

Chambers, Thomas: 112, 113, 150

Chesser, Grayson C.: 391

Clark, Malcolm: 103

Clark, Roland H. 110, 147

Clem, Robert Verity: 353

Coffin: 344

Coheleach, Guy: 415

Couse, Eanger Irving: 111

Crowell, A. Elmer: 1-21, 29-35, 300, 302304, 312-321, 325, 325, 333, 334 Cruwys, Roger S.: 76

Culver, Reginald: 351

Daly, Thomas Aquinas: 66, 67, 268-270

Darling, Jay Norwood “Ding”: 433-435

Dettman, Warren (attr.): 296

Dickson, Thomas H.: 366

Doellinger, Mick: 72, 74

Ducharme Family: 139

Elliston, Robert: 291

English, John: 349

Ewart, Peter M.: 362

Finney, Frank S.: 380-390

Foote, Jim: 101, 102

Frazier, Luke: 167, 168

Fuertes, Louis Agassiz: 160

Garner, Jerry: 104

Gelston, Thomas H.: 239

Gennusa, Ragan: 177

Gibian, William: 379

Glasner, Jakob: 52

Glassford, Al: 97

Green, Roland: 373

Gruppe, Charles Paul: 175

Hagerbaumer, David A.: 179

Hanson, Marty: 394-396

Hardie, Eldridge: 266

Harris, James W.: 170

Hart, Charles: 338, 339

Hayden, Larry: 80, 82

Heil, Charles Emile: 413

Henry, George Morrison Reid: 178

Heurlin, Magnus Colcord “Rusty”: 176

Hochbaum, H. Albert: 440

Holly, James T.: 279

Homme, Ferdinand L.: 297

Hutchings, Stan: 137

Jaques, Francis Lee: 436

Johnson, J. Taylor: 343

Juracsik, Ted: 83

King, Allen J.: 22

Knap, Joseph Day: 431

Kouba, Les: 363, 364

Kuhn, Bob: 45-47, 438

Lange, Robert: 244

Lawrence, Homer and Shirley Riffe: 337

Lawson, Oliver “Tuts”: 144, 283

Lazarus, David: 416

LeFebvre, Clovis: 154

Lincoln, Joseph W.: 24-28, 142, 331, 332

Lingquist, Arthur: 172

Lipke, Paul: 298

Maass, David A.: 161-163

Machen, William H.: 271, 272

Maggioni, Gilbert: 310, 311

Manocchia, Adriano: 419

Markham Rig: 117, 118, 124

Marryat: 81

Mason Decoy Factory: 143, 294, 323

Matia, Walter: 182-184, 254, 255

McDaniel, Henry: 369

McIntosh, Leo H.: 96, 155

McIntyre, Cameron T.: 378

McLaughlin, John: 98

McNair, Ian: 376, 377

McNair, Mark S.: 37-44, 235

McNeil, Edgar: 130

Mercer, Galen: 420

Messier, Gregory: 365

Mitchell, Madison: 278

Monahan, Hugh C.C.: 375

Morley, Walker T.: 140

Morse, Robert: 23

Muhs, Jeff: 430

Nathaniel Wales & Snow: 306

Neel, Gary E.: 414

Nichol, David K.: 132

Nichol, James Adam “Addie”: 131, 133

Osthaus, Edmund Henry: 258-263

Owen, Russell: 397-400

Parker, Hyde (attr.): 238

Pasqua, Lou: 68-70

Peltz, Peter: 327

Perdew, Charles H.: 292

Peterson, Roger Tory: 354-358

Piggot, Ed: 122

Pleissner, Ogden M.: 232, 458

Poole, Earl Lincoln: 159

Pringle, Peter M.: 123

Quillen, Nate: 128, 129

Rambow, Erwin: 417

Reeves, Charles: 125, 126

Reghi, Ralph: 141

Reneson, Chet: 164-166, 368

Rice, Bill J.: 185

Ripley, Aiden Lassell: 189-231, 256, 257

Rogers, Theodore, Rig: 233

Rountree, Herman Brown: 374

Ruehle, Jon: 71

Rundle, Abe: 134

Rungius, Carl: 53-57

Scheeler, John: 84-90

Schoenheider Sr., Charles: 299

Schultz, William: 95

Shinabarger, Tim: 58-62, 180

Shortt, Angus H.: 370

Shourds, Harry V.: 348

Sloane, Eric: 267

Smith, Brett James: 273-275

Smith, Cassius: 301

Smith, Frank Vining: 372

Smith, Will: 153

Snidow, Gary: 75

Snyder, Ed: 295

Sorby, Henley: 127

Steward, Walter L.: 428

Stidham, Mike: 169

Strasser, Herbert A.: 78, 79

Tait, Arthur Fitzwilliam: 108

Taylor, William Redd: 173

Thomas, Charles W.: 347

Trulock & Harris: 240-242

Tully, James “Bud”: 135

Van Der Hem, Pieter: 181

Verity, Nelson (attr.) 236

Vom Hofe, Edward: 422

Vom Hofe, Julius: 425

Vulcani, John: 392, 393

Walker, Charles: 290

Ward Brothers: 277, 281, 282, 284-288

Ward, Lemuel T.: 280

Warin, George: 119-121

Watkins, Peggy: 367

Weber, Walter A.: 418

Wells, John R.: 114-116, 151, 152

Wilson, Augustus “Gus” Aaron: 307-309

Wood, Pat: 77

Zachmann, John F.: 99, 100

THE TOP CHOICE FOR DISCERNING DECOY COLLECTORS

With the best decoy guarantee in the field three years running, Copley’s live-streamed auctions have dominated the top of the decoy market.

In 2023 Copley sold 7 of the top 10 decoy lots at auction, including the top 7

In 2022 Copley sold 9 of the top 10 decoy lots at auction

In 2021 Copley sold 7 of the top 10 decoy lots at auction

Stephen B. O’Brien Jr. Fine Art & Decoy Specialist steve@copleyart.com 617.388.0792

Colin S. McNair Decoy Specialist colin@copleyart.com 757.999.0078

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Crowell Black Duck SOLD FOR $600,000 for any Crowell black duck at auction WR

ESTATE AND COLLECTION SERVICES

Copley offers a comprehensive program for both auction and private sales. Our team of professionals has over 100 years of combined service dedicated to the fields of American antiques, folk art, fine art, and decoys. We work with law firms, trust and estate professionals, executors, heirs, museums, institutions, clubs, and private clients, assisting with the valuation and sale of single items and entire estates.

Copley offers free confidential auction evaluations, and will be able to advise you on how to achieve the highest prices for your valuable objects. Our specialists will assist you in every step of the process, from the initial valuation of your item or collection to the conclusion of sale. If, for some reason, an item or collection falls outside the parameters of a Copley sale, our vast network of contacts ensures that our clients will be given the appropriate referral. Depending on the number of objects and their location, we offer a complimentary initial walk-through service to determine the extent of the project.

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Signed and Numbered Limited Edition BY RON GARD AND CHRISTIE GARD PHOTOGRAPHY BY JEFF

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With a Foreword by Alan Fausel, The American Kennel Club Museum of the Dog

WEDNESDAY, NOVEMBER 13, 2024

WEDNESDAY, NOVEMBER 13, 2024 THE

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Joan

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Christopher

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TERMS AND CONDITIONS OF SALE

1 Your bidding on items indicates your acceptance of the following Terms and Conditions of Sale by Copley Fine Art Auctions, LLC. These terms are subject to amendment before or during the sale. Copley Fine Art Auctions, LLC operates as an agent of the seller only, and is not responsible in any way in the event the seller or buyer fails to fulfill their respective agreements. In all instances the auctioneer’s interpretation of these conditions is final and binding on all bidders.

2 All bids are per lot as numbered in the catalog unless otherwise announced by the auctioneer. The sales price shall consist of the final bid price plus the buyer’s premium, plus any applicable sales tax. A buyer’s premium of 20% (23%-25% 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.

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 Increment

To 950 50 1,000 – 2,400 100 2,500 – 4,750 250 5,000 – 9,500 500

10,000 – 24,000 1,000

25,000 – 47,500 2,500

50,000 – 95,000 5,000

Over 100,000 at auctioneer’s discretion

17 Copley Fine Art Auctions, LLC is the owner of the images of each lot offered for sale, and may use such images at any time at its sole discretion for advertising, publicity, and for archival purposes.

18 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.

19 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.

20 Any legal disputes arising from this auction shall be settled in the court system of the Commonwealth of Massachusetts.

BUYER PRE-REGISTRATION FORM

COPLEY FINE ART AUCTIONS | 65 Sharp Street | Hingham, Massachusetts 02043

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Bids will not be accepted without a completed form, including your signature. Your signature denotes that you have read and agree to be bound by the Terms and Conditions of Sale issued by Copley Fine Art Auctions, LLC for The Sporting Sale 2024. All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof while registering. Failure to do so will subject the bidder to a mandatory 6.25% Massachusetts sales tax on purchases.

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ABSENTEE/TELEPHONE BID FORM

COPLEY FINE ART AUCTIONS | 65 Sharp Street | Hingham, Massachusetts 02043

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please check one of the following:

ABSENTEE TELEPHONE

1 All bids must be received at least 24 hours before the start of the sale. We cannot guarantee that bids placed after this time will be accepted. A Copley representative will send you an email to confirm receipt. If you have not received confirmation within 24 hours, please call 617.536.0030. Bids will not be accepted without your signature on this form.

2 This service is offered as a convenience at no charge; however, Copley Fine Art Auctions, LLC will not be held responsible for error or failure to execute bids. Copley staff will try to purchase these lots for the lowest possible price taking into account the reserve and other bids.

3 All bids are subject to the Terms and Conditions of Sale listed in this auction catalog. Further, it is the responsibility of the bidder to check with Copley staff whether a sale room notice relates to any lot which they have listed.

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.

4 Payment: If successful, you will be contacted. Payment is due immediately upon notification unless arrangements have been made with Copley prior to bidding. A buyer’s premium of 20% of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the Buyer to Copley Fine Art Auctions, LLC as part of the purchase price.

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OUT-OF-STATE DELIVERY AND AUTHORIZED SHIPPING RELEASE FORM

Item(s) will not be released without a signed authorization form from the invoiced Buyer. You may include this form with your payment or fax it to 617.266.4896. Payments of cash, check, or bank transfer must be posted to your account before property is released.

If Copley Fine Art Auctions, LLC (Copley) is required to deliver the items to a purchaser outside of Massachusetts, the sale is exempt from Massachusetts Sales Tax under MGLA 64H §6(b) .

1 Copley is obligated to deliver the items out of the Commonwealth of Massachusetts.

2 Copley is obligated to deliver the items to an interstate carrier as noted below.

3 Title will pass upon delivery to the out-of-state destination.

4 Please be aware that packing and the payment for shipping is the responsibility of the successful Buyer. Upon making the item(s) available for shipping to the Buyer or its Agent, Buyer shall be responsible for the care and packaging of the item(s). The Buyer shall bear the risk of loss from and after Copley making available such item(s) to the interstate carrier, including the insurance of the item(s) against all risks of loss including without limitation, fire, theft, or any other damage to the item(s).

5 Shipping can take up to four weeks and is processed in the order in which payment is received.

6 At your option, you may contact one of the interstate carriers listed below, or one of your choosing, to arrange for shipping. Carriers pick up frequently at our offices.

SHIPPING OPTIONS:

The UPS Store #4423 Wakefield, MA

781.224.2500 or store4423@theupsstore.com

Scott Cousins/North South Art Transfer Hand delivery service

978.491.9353 or scottcousins22@aol.com

Print name: (as invoiced)

Shipping Address:

Phone:

Email:

Signature:

Boston Pack and Ship

781.849.8696 or 1.800.400.7204 info@bostonpackandship.com

U.S. Art*

781.986.6500 or 1.800.872.7826

Place and Manner of Delivery:

To an Interstate Common Carrier for delivery out of state:

I authorize: to pick up my items(s) (Please specify Name of Common Carrier)

Sale Date:

Lot #s :

*Specializing in high-value art, large works, and specialty items (required)

Internal use only

Received by:

Signature: Print Name:

Date:

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