As Copley enters its 20th year since its founding in 2005, I am happy to report on some of our company's milestones. With an unrivaled team and sales approaching the $100 million mark, Copley has become one of the nation’s leading and most respected auction companies. However, it is our stalwart commitment to our buyers and sellers that I am most proud of. Our database now hosts over 16,000 accurate sales results. While the world of online reporting continues to be the “Wild West,” Copley’s unwavering commitment to transparency and accuracy serves as a safe haven for our clients.
During the last two decades, our team has set countless world records for not only individual decoy makers, but the vast majority of the top decoy regions, including Canada, New Hampshire, Nantucket, Connecticut, Rhode Island, Delaware River, Chesapeake Bay, the Susquehanna Flats, California, Pacific Coast, and the Illinois River.
In the Sporting painting realm, Copley has set world records for master painters including A. B. Frost, Lynn Hogue Hunt, Edmund Osthaus, Ogden Pleissner, and Aiden Lassell Ripley, and a virtual “Who’s Who” of other sporting artists. Copley’s consistent sell-through rate that regularly approaches 95% speaks volumes in terms of our market knowledge as well as our commitment and dedication to these fields.
Whether engaging with Leah Tharpe, one of the nation’s most respected art appraisers, or Colin McNair, our decoy specialist who knows decoys inside and out, it is our team of dedicated specialists that makes Copley the “go-to” firm. In my over thirty years in the field, I have not met two specialists who are more dedicated or better suited to assist you.
My wife, Cinnie O’Brien, continues to captain the Copley ship with a steady hand on the wheel, answering consignor questions, managing catalog deadlines, and making sure shipments are picked up and go out on time.
As we have evolved as a company over these two decades, Chelsie Olney, the head of our media and PR department, has developed marketing platforms with exceptional content that are often copied, but never equaled. In addition to social media posts like Object of the Week, Blasts from the Past, and Duck Talk, Copley sends out informative emails and press releases notifying our customers of happenings within the field.
Our conservation-minded partnerships continue to yield benefits for our clients and the nonprofits that we support. In the past year alone, Copley has helped raise hundreds of thousands of dollars for the Atlantic Salmon Federation, Bonefish & Tarpon Trust, Delta Waterfowl, and Ducks Unlimited.
Our strategic business partnerships with organizations like the Southeastern Wildlife Exposition (SEWE) continue to pay dividends for both organizations; Copley’s February Charleston auction preview is one of the signature Sporting Art events of the year. Under Director John Powell, SEWE has steadily grown and now boasts approximately 40,000 attendees each year and hosts 500 of the world's top artists, exhibitors, and wildlife experts.
Copley is rising to new heights in 2025 and we couldn't make this journey without our loyal clients. We embrace the changes that modern technology affords us, while steadfastly adhering to our founding pledge to “Treat our customers honestly, the way we would like to be treated.” As always, we will continue to offer quality objects in a simple and down-to-earth fashion that befits the Sporting Art tradition.
We greatly appreciate all of you who share our passion for the art forms within the pages of this catalog. We look forward to seeing you at our gallery or out there on the road!
Thank you for your continued support.
Stephen B. O’Brien Jr.
SPECIALISTS:
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
Ben Davenport Fishing Tackle Specialist ben@copleyart.com
Like us on Facebook Facebook.com/copleyfineartauction
Follow us on Instagram Instagram.com/copleyfineartauctions
THE WINTER SALE
SCHEDULE OF EVENTS
AUCTION: FEBRUARY 21-22
Day 1:Friday, Feb. 21, 10:00AM Lots 1-261
Day 2:Saturday, Feb. 22, 10:00AM Lots 262-501
Live-streamed from Massachusetts; there will be no in-person bidding during the auction.
ADDITIONAL PHOTOS AND AUCTION PREVIEW
Please visit copleyart.com for links to view additional images of each lot. You may view objects in our gallery by appointment or contact us to find out if we will be traveling to your area. Our specialists 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 291 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.
2Buyer’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.
3Consign to our next sale
Copley Fine Art Auctions, LLC is accepting consignments for our The Sporting Sale 2025. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com.
4Pre-registration
Pre-Registration forms are available online, as well as in the back of this catalog.
5Absentee 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.
6Sales 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.
7Inspection 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.
8Flat 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.
9Additional images
Please visit copleyart.com for additional images of each lot.
THE WINTER SALE
IMPORTANT NOTICES
10 Stands
Please be aware that stands are not included with items purchased.
11Condition of objects
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.
15Pick 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.
16Auction day contact information
On site: 617.536.0030
Auctioneer Peter J. Coccoluto
MA License #2428
PROPERTIES FROM
Dave Campbell Collection
Bill Carter Collection
The Alex Chester Collection of Works by Aiden Lassell Ripley
The Estate of Sandy Elliott
Ronald J. Gard Collection
Gary and Niki Giberson Collection
Linda Johnson Collection
John E. Lennon Collection
Andrew R. McCown, Philadelphia, Pennsylvania
Samuel Murray Mitchell Collection
Hank Norman Collection
Estate of William S. Sachse
The George Secor Decoy Collection to Benefit Delta Waterfowl
Ace Seybolt Collection to Benefit Broadwater Academy
Trenton Spolar M.D. Collection
Robert C. Vose III Collection
Masterworks of the Illinois River Collection
Private Collection, California
Private Collection, Cape Cod
Private Collection, Connecticut
Private Collection, Florida
Private Collection, Indiana
Private Collection, Maine
Private Collection, Maryland
Private Collection, Massachusetts
Private Collection, Minnesota
Private Collection, Missouri
Private Collection, Montana
Private Collection, New Jersey
Private Collection, New York
Private Collection, Wisconsin
THE WINTER SALE 2025
LOTS 1-261
DAY 1 | FEBRUARY 21 | 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.
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 below.
SOURCES:
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.
1 Aiden Lassell Ripley (1896-1969) Walking Up signed “A. Lassell Ripley” lower right etching, 9 by 14 in.
titled lower left
Provenance: Alex Chester Collection
$400 - $600
2 Aiden Lassell Ripley (1896-1969) Turkey Drive
signed “A. Lassell Ripley” lower right etching, 8 ¾ by 11 7⁄8 in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
3 Aiden Lassell Ripley (1896-1969) Point on Quail signed “A. Lassell Ripley” lower right etching, 9 by 14 ¼ in. titled lower left
A superb etching depicting quail hunting.
Provenance: Alex Chester Collection
$400 - $600
4 Aiden Lassell Ripley (1896-1969) The Duck Blind signed “A. Lassell Ripley” lower right etching, 9 ¾ by 14 in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
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 archivally framed.
5 Aiden Lassell Ripley (1896-1969)
Woodcock Shooting
signed “A. Lassell Ripley” lower right etching, 9 by 14 in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
6 Aiden Lassell Ripley (1896-1969)
Grouse Shooting
signed “A. Lassell Ripley” lower right etching, 8 ⅞ by 11 ⅞ in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
AIDEN LASSELL RIPLEY
7 Aiden Lassell Ripley (1896-1969)
Duck Shooting
signed “A. Lassell Ripley” lower right etching, 9 by 14 in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
8 Aiden Lassell Ripley (1896-1969)
Duck Hunter
signed “A. Lassell Ripley” lower right etching, 7 ¼ by 9 ¾ in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
AIDEN LASSELL RIPLEY
9 Aiden Lassell Ripley (1896-1969)
Pheasant Shooting
signed “A. Lassell Ripley” lower right etching, 8 ⅞ by 14 ⅛ in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
10 Aiden Lassell Ripley (1896-1969)
Dove Shooting at Dawn
signed “A. Lassell Ripley” lower right etching, 13 by 11 ¾ in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
11 Aiden Lassell Ripley (1896-1969)
The Start of the Day
signed “A. Lassell Ripley” lower right etching, 9 by 14 in. titled lower left
Provenance: Alex Chester Collection
$400 - $600
12 Aiden Lassell Ripley (1896-1969)
Rising Grouse signed “A. Lassell Ripley” lower right etching, 5 ½ by 7 in. titled lower left
Provenance: Alex Chester Collection
$200 - $400
13 Aiden Lassell Ripley (1896-1969)
Two Grouse, 1937
signed “A. Lassell Ripley 1937” lower right etching, 11 ⅛ by 9 ¾ in. titled lower left
Provenance: Alex Chester Collection
$500 - $800
AIDEN LASSELL RIPLEY
14 Aiden Lassell Ripley (1896-1969)
Grouse on a Pine Bough
signed “A. Lassell Ripley” lower right etching, 9 by 12 in.
titled lower left
Provenance: Alex Chester Collection
$500 - $800
15 Aiden Lassell Ripley (1896-1969)
Snipe
signed “A. Lassell Ripley” lower right etching, 7 by 9 in.
titled lower left
Provenance: Alex Chester Collection
$400 - $600
16 Aiden Lassell Ripley (1896-1969)
Early Woodcock
signed “A. Lassell Ripley” lower right etching, 8 ¾ by 11 ¾ in. titled lower left
Provenance: Alex Chester Collection
$500 - $800
17 Aiden Lassell Ripley (1896-1969)
Flight Woodcock
signed “A. Lassell Ripley” lower right etching, 9 by 12 in.
inscribed “To Jack Knight” lower center, titled lower left
John Alden Knight authored the book, Woodcock, as well as many other sporting books.
Provenance: John Alden Knight
The Collection of Gene Hill
Russ Fink Gallery, c. 1997 Alex Chester Collection, 2011
$500 - $800
AIDEN LASSELL RIPLEY
18 Aiden Lassell Ripley (1896-1969)
Getting Ready, 1940
signed and dated “A. Lassell Ripley 1940” lower left watercolor, 19 ¾ by 29 ¾ in.
Getting Ready Field Sketch signed “A. Lassell Ripley” lower right pencil on paper, 6 by 9 ¾ in.
inscribed “General Scene” lower left
By the 1930s and 1940s, Aiden Lassell Ripley had established himself as the most sought-after painter of Southern plantation scenes. Business executives and political leaders traveled to estates during the dreary Northern winters to hunt for wild turkey and quail. Plantation owners and their guests commissioned Ripley to paint family members while hunting.
Just a few of the luminaries that Ripley painted were the former President Dwight Eisenhower hunting at the plantation of his former Secretary of the Treasury, George M. Humphrey. He also produced a hunting portrait of Mrs. Walter Evans Edge, the wife of the former New Jersey senator. Ripley also visited and painted greeting cards for Dwight F. Davis, the Assistant Secretary of War under President Calvin Coolidge and founder of the tennis world’s prestigious Davis Cup.
An important Ripley work passed down through the Webb family of Shelburne Museum fame, Getting Ready has all the characteristics of a classic Southern quail hunting scene. The viewer is drawn in as the two pointers are locked onto a covey of quail. A handler steadies the horses as the hunters dismount, unsheathe their side by sides, and load up in preparation of the flush.
Provenance: (Probably) Mr. and Mrs. Harry Havemeyer Webb, Shelburne, Vermont
Kate Webb Harris, Shelburne, Vermont, by descent
Alex Chester Collection
Literature: Stephen O’Brien Jr. and Julie Carlson Wildfeuer, The Art of Aiden Lassell Ripley, Boston, MA, 2009, p. 171.
$40,000 - $60,000 18.2
“Word spread in the North that there was a place to the south of them— and trains ran there—where the air was fragrant with balsam; where the Cherokee roses often bloomed even in December; where an icicle was so rare you almost welcomed it; and where, also, the bobwhite whistled from every hedgerow; and where, if you crept out carefully in the early morning, you could hear the put-put-put of the turkey gobbler as he lorded it over his hens.”
— Thomas C. Chubb, The History of the Georgia-Florida Field Trials Club, 1966
AIDEN LASSELL RIPLEY
19 Aiden Lassell Ripley (1896-1969)
Working the Thicket, 1938 signed “A. Lassell Ripley 1938” lower right watercolor and gouache, 17 by 25 in. signed and titled on back
An upland scene depicting two hunters walking up on an English setter on point.
Provenance: Alex Chester Collection
$7,000 - $10,000
20 Aiden Lassell Ripley (1896-1969)
Fishing A Rocky River
signed “A. Lassell Ripley” lower left watercolor, 14 ½ by 20 ¾ in.
In Fishing a Rocky River, Ripley captures a blue sky day of salmon fishing on the river. Fishing scenes by Ripley are harder to come by than his hunting works. This painting is an excellent example with vibrant colors.
Provenance: Collection of Robert and Nathalie Nordstrand
Peter Bartlett Collection
Alex Chester Collection, acquired from Copley Fine Art Auctions, Sporting Sale 2013, lot 508
Exhibited: Boston, MA, Guild of Boston Artists, Aiden Lassell Ripley Retrospective, Sept. 10-26, 1996
Literature: Stephen O’Brien Jr. and Julie Carlson Wildfleur, The Art of Aiden Lassell Ripley, Boston, MA, 2009, p. 166, pl. 152, illustrated.
$5,000 - $8,000
21 Aiden Lassell Ripley (1896-1969)
Larry’s Camp, 1950 signed and dated “A. Lassell Ripley 1950” lower center watercolor, 15 by 21 in.
inscribed “To Larry Foster” lower left
Larry Foster was the president and head rod-maker of H. L. Leonard Rod Company. He provided drawings for the 1974 book on whales and dolphins, Mind in the Waters by Joan McIntyre. He was good friends with Ripley and the two would hunt and fish from this cabin, situated on a pond in Boxford, Massachusetts.
Provenance: The artist Larry Foster Collection Private Collection, 1993 Alex Chester Collection
$2,000 - $4,000
23 Aiden Lassell Ripley (1896-1969)
Migrant Farm Workers
signed “A. L. Ripley” lower right, likely by his wife, Doris watercolor, 8 ¾ by 13 ¼ in.
Provenance: Alex Chester Collection
$1,500 - $2,500
22 Aiden Lassell Ripley (1896-1969)
Boat in Dry Dock signed “A. Lassell Ripley (D.R.)” by Doris Ripley lower right watercolor, 15 by 21 in.
Provenance: Estate of Marjorie and Charles West Private Collection, acquired from Sotheby’s New York Arcade, September 22, 1987, lot 349 Alex Chester Collection
$1,500 - $2,500
24 Aiden Lassell Ripley (1896-1969)
Brittany Gathering, 1928
signed and dated “A. L. Ripley 1928” lower right watercolor, 15 by 19 ½ in.
Provenance: Alex Chester Collection
$2,000 - $3,000
26 Aiden Lassell Ripley (1896-1969)
Study for Grouse in Flight estate stamped charcoal, 11 by 8 ¾ in. titled on David S. Ramus Ltd. label on back
Provenance: Alex Chester Collection
$1,000 - $2,000
AIDEN LASSELL RIPLEY
25 Aiden Lassell Ripley (1896-1969)
Turkey Shooting, 1940 estate stamped lower right charcoal, 9 by 13 ½ in.
Provenance: Alex Chester Collection
$1,000 - $2,000
27 Aiden Lassell Ripley (1896-1969)
The New Dog estate stamped charcoal, 6 ½ by 11 in. also titled Boys with American Water Spaniel
Provenance: Alex Chester Collection
$700 - $1,000
AIDEN LASSELL RIPLEY
28 Aiden Lassell Ripley (1896-1969)
Dog Meets Bear and Cubs, 1930 pen and ink, 14 ½ by 9 ½ in.
inscribed “Chap. XXVI” lower right
Arthur Walden (1871-1947) trained and bred sled dogs in New Hampshire after his time in Alaska during the Klondike Gold Rush. He founded the New England Sled Dog Club in 1924 and provided dogs for and went on Richard Byrd’s first Antarctic Expedition in 1928-1930.
Provenance: Alex Chester Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2016, lot 109
Literature: Arthur T. Walden, Leading a Dog’s Life, Boston, MA, 1931, p. 190 A, illustrated.
$800 - $1,200
29 Aiden Lassell Ripley (1896-1969)
Two Men on a Balcony, 1922 signed and dated “Ripley 22” lower right charcoal, 15 ¾ by 23 in.
Likely created for an Open Road magazine adventure story.
Provenance: Alex Chester Collection
$500 - $800
30 Aiden Lassell Ripley (1896-1969)
World War I Soldier ink, 14 by 8 ¼ in.
Provenance: Alex Chester Collection
$200 - $400
31 Aiden Lassell Ripley (1896-1969)
The Conversation, 1923 signed and dated “A. L. Ripley 1923” lower right charcoal, 16 by 23 ½ in. inscribed “Perhaps he understood, for he resorted conventionally to the weather when he spoke again” on back
Provenance: Alex Chester Collection
$600 - $800
32 Aiden Lassell Ripley (1896-1969)
Two Illustrations, 1923 each initialed and dated “ALR 23” lower right graphite, each 9 ½ by 13 ½ in.
From The Dark Frigate, a 1923 pirate adventure novel by Charles Boardman Hawes that won the Newbery Medal in 1924.
The first drawing corresponds to the text found on page 162: “From a chest of arms Harry Malcolm handed out muskets and pistols and pikes. ‘This for you,’ he said -- ‘and this for you -- and here’s a tall gun for Paul Craig.”
The second drawing depicts a scene from pages 213-214: “Yet, though they had broken his body, they failed to touch his courage; despite his pain, he could smile and even laugh. Turning his great grief into jest, he cried, ‘Holla, O bravest of boatswains! It seems that, if hang I must, I shall not hang alone.” And laughing again, right merrily, he swooned away.”
Provenance: Alex Chester Collection
Literature: Charles Boardman Hawes, The Dark Frigate, 1923, pp. 162 and 214, illustrated.
$200 - $400
33 Aiden Lassell Ripley (1896-1969)
Frost Morning, 1937 signed and dated “A. Lassell Ripley 1937” lower right watercolor, 15 5/8 by 22 3/8 in. titled on The Crossroads of Sport, New York label on back
$8,000 - $12,000
MARK S. MCNAIR
34 Hollow Preening Great Blue Heron
Mark S. McNair (b. 1950)
Craddockville, VA, c. 2010
57 ¼ in. tall, 35 in. long
Herons of any vintage are rare and were historically made as confidence decoys. Copley has previously offered only one life-size heron by this maker.
This life-size great blue heron with a long root head has a removable mortise-and-tenon fit that slides into the hollow body. Incised “McNair” on the tenon. Original paint with light wear.
Provenance: Private Collection, Florida
$5,000 - $8,000
35 Hollow Heron
Mark S. McNair (b. 1950)
Craddockville, VA, c. 2010
55 ¼ in. tall, 38 in. long
A life-size heron with a removable mortise-and-tenon root head that slides into the hollow body. Incised “M. S. McNair” on the tenon head. Original paint with light wear.
Provenance: Private Collection, Florida
$5,000 - $8,000
36 Exceptional Sperm Whale Carving
Mark S. McNair (b. 1950)
Craddockville, VA, c. 2010
50 ¾ in. long
Measuring a full fifty inches in length, this carving matches the largest McNair whale carvings ever to come to market. Made to hang above a fireplace mantle or on the wall, it features the maker’s finest carving detail with an intricate
37 Preening Dove
Mark S. McNair (b. 1950)
Craddockville, VA, c. 2010
13 in. long
A rare preening dove with raised and split wing tips. The primaries on the right wing are incised and the maker’s signature is carved in the underside. This pattern was inspired by a dove that took a long rest on the open window sill of the carver’s old workshop. Its graceful form elevates the work, making it one of the best dove decoys we have had the pleasure to come across. Original paint and wear.
Provenance: Private Collection, Florida
$5,000 - $7,000 37
eye, a row of carved inset bone teeth, a raised pectoral flipper, separated flukes, and McNair’s meticulous incised signature on the back. Original paint with light wear
$8,000 - $12,000
S. MCNAIR
Mark McNair in his Eastern Shore studio, 2023. Photo courtesy of Gately Williams and Garden & Gun.
MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA
38 Rig of Three Long-Billed Curlew
Mark S. McNair (b. 1950)
Craddockville, VA, 2009 box: 14 by 22 in.
running curlew: 6 by 19 by 3 in.
turned-head curlew: 7 ½ by 12 by 3 ¼ in.
alert curlew: 9 by 17 ½ by 3 ½ in.
All carvings are incised on the underside with “McNair.”
Original paint with light wear.
Provenance: Private Collection, Florida
$12,000 - $18,000
“My New England sensibilities inspired the idea for the shooting box of curlew decoys. Nantucket shipwrights, the Protestant work ethic, and the finely worked decoys of Cape Cod all conjoined in this rig of rare and beautiful long-billed curlew. Perhaps the heroic size and utilitarian sturdiness were influenced by the work of the Cobb family, islanders of the Eastern Shore of Virginia who sailed south from Cape Cod in the mid-1800s: New England transplants, like myself. The paint is artist’s oils. The wood is white cedar and oak for the bills. The box is white pine, cypress, and salvaged yellow pine, held together with I9th-century square-cut nails. It’s a box I would dream of finding, with a sense of treasure held within.”
— Mark
McNair
MARK S. MCNAIR
39 Tucked-Bill Curlew
Mark S. McNair (b. 1950)
Craddockville, VA, 2014 11 ½ in. long
This carving was inspired by one of the maker’s earlier works, circa 1980, which is pictured in Henry Fleckenstein’s Shore Bird Decoys. The decoy features a turned head with the bill reaching under the wing and the bill tip emerging on the other side. The raised and split wing tips are finished with carved primaries. This is an exceedingly rare carving and the only such form by the maker to surface at auction. Original paint with light wear.
Provenance: Private Collection, Florida
Literature: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, pp. 107 and 135, related early example illustrated.
A refined preening hollow root-head carving with an incised “McNair” on the underside. Original paint and wear.
Provenance: Private Collection, Florida
$2,500 - $4,500
41 Rare Wood Duck Hen
Mark S. McNair (b. 1950)
Craddockville, VA, 2024 14 in. long
The rarity of wood duck hens cannot be overstated, as only a handful have ever been made by this maker. This is the second Copley has offered and the first in over a decade.
The artist’s best form, paint, and patina are on display with carved primary feathers, soft blended paint, and a delicate turned head. Original paint and wear.
Literature: Nic Brown, “Chesapeake Chops,” Garden & Gun, April/May 2024, pp. 132-139, the artist is shown working on this rig.
$3,000 - $5,000
42 “Garden & Gun” Wood Duck Drake
Mark S. McNair (b. 1950)
Craddockville, VA, 2024 14 ¼ in. long
This hollow carving is signed with an incised “McNair” and a painted “Garden & Gun” on the underside. This bird, along with its rigmates, was made when the Garden & Gun article was written.
The bird has exceptional form, a turned head and crest, exquisite paint with combed vermiculation, and carved primary feathers. Original paint and wear.
Literature: Nic Brown, “Chesapeake Chops,” Garden & Gun, April/May 2024, pp. 132-139, the artist is shown working on this rig.
$3,000 - $5,000
43 Pintail Pair
Mark S. McNair (b. 1950)
Craddockville, VA, c. 2010 21 ¾ in. long
A hollow pintail pair with incised primaries and refined paint. The hen is in a rare preening pose and the drake has a long inlaid oak tail which is finished with star-head nails. Incised “McNair” on the undersides along with three collection markings. Original paint with minimal wear.
Provenance: Dave Campbell Collection
Dennis Jenny Collection Private Collection
$5,000 - $8,000
44 Feeding Dowitcher
Mark S. McNair (b. 1950)
Craddockville, VA, c. 1985 10 ½ in. long
A refined feeder with dropped wing carving and the maker’s incised signature. Original paint with minimal wear.
$1,200 - $1,500
45 Hooded Merganser
Mark S. McNair (b. 1950)
Craddockville, VA, c. 1990 10 in. long
A lively hoodie with hollow and pegged construction. This fun little fowl is a favorite visitor, often seen off the artist’s dock on the Chesapeake Bay. The underside has an incised signature. Original paint with light wear.
$1,500 - $2,500
46 Exceedingly Rare Cinnamon Teal Pair
Mark S. McNair (b. 1950)
Craddockville, VA, c. 2020 12 in. long
A rare pair of hollow cinnamon teal inspired by the maker’s waterfowling trips to California’s Central Valley. The undersides have the maker’s incised signature. Original paint with minimal wear.
$3,000 - $5,000
47 Miniature Preening Swan
Mark S. McNair (b. 1950)
Craddockville, VA 4 ¾ in. long
A petite swan decoy in a rare breast-preening pose. The underside is rigged and signed with an incised “McNair.”
A related life-size example was acquired by the Shelburne Museum in Vermont. Original paint and wear.
$1,500 - $2,500
48 Merganser Hen with Mussel
Mark S. McNair (b. 1950)
Craddockville, VA, c. 2000 17 in. long
A Monhegan-Island-inspired wide-bodied sea duck with a refined mussel in her bill. The grand body has raised wings and an inlaid head. The underside bears an incised “McNair” signature. Original paint with minimal wear.
$2,000 - $4,000
49 Miniature Curlew
Mark S. McNair (b. 1950)
Craddockville, VA 5 in. long
A rare miniature featuring a “root head” that is pegged to the body. The body has heart-shaped raised wings and the underside has an incised signature. Original paint with light wear.
$800 - $1,200
50 Early Loon
Mark S. McNair (b. 1950)
Craddockville, VA, c. 1975 17 ½ in. long
The underside of the body bears a rarely seen incised “MSM” signature. Original paint with light wear and a tight crack through the neck.
$2,000 - $4,000
51 The Gray-Rig Preening Goose Massachusetts, c. 1890 18 in. long
Less than a dozen T. Gray rig decoys are known to have surfaced in any condition. Of these, a number are in repainted or heavily distressed condition, and this is the only preener in original paint.
This exact decoy has been published on the covers of at least three volumes, two on the covers of Decoy Magazine, including the 2002 Year In Review edition, and one on the cover of Guyette & Schmidt, Inc.’s North American Decoys At Auction catalog, July 25 & 26, 2002. This decoy realized the second-highest price for any decoy at auction in 2002, setting a world record for the rig and maker. Additionally, three rigmates are published in David Tieger’s monumental Spiritually Moving
Decoy Magazine published an in-depth article on the T. Gray rig in which it was noted, “Although no maker’s name was available, the intriguing sculptural attributes of the decoys were readily apparent.” The authors go on to compare the works to the famous Osgood rig held at the Shelburne Museum, the dovetailed geese, and Elmer Crowell’s Harry V. Long geese. They write that it is “...the vigorous sculptural vocabulary evident from decoy to decoy that elevates them to the relatively rare status of ‘great rig’…Collectively they comprise the illusion of energetic activity.”
The authors conclude that “the particulars of T. Gray and his rig of migrant Canada geese, for now, remain an
enigma…Based upon regional stylistic norms, conceptual precedents and various decoy collector experiences, Massachusetts is the most logical location of inception.”
With its rare pose, excellent condition, and strong provenance, this decoy ranks at the very top of this “great rig.” Original paint with even gunning wear and darkening around nails.
Provenance: T. Gray Rig Gordon and Virginia Hayes Collection, acquired 1959, Georgetown, D.C Hope and George Wick Collection. Private Collection, Colorado Ronald J. Gard Collection
Literature: Gene and Linda Kangas, “T. Gray’s Migrant Goose Decoys,” Decoy Magazine, July/August 2011, front cover, pp. 24-29, exact decoy illustrated.
Jackson Parker, “The Year in Review: The Decoy at Auction 2002,” Decoy Magazine, 2002, front cover, p. 9, exact decoy illustrated. Guyette and Schmidt, Inc., North American Decoys at Auction, July 2002, front cover, lot 138, exact decoy illustrated.
Copley Fine Art Auctions, LLC, The Sporting Sale 2015, Plymouth, MA, July 25, 2015, lot 195, exact decoy illustrated.
$30,000 - $50,000
JOHN MCANNEY
52 Hillman-McAnney Ruddy Turnstone
John McAnney (1866-1949)
New Gretna, NJ, c. 1910
9 ½ in. long
Several of the finest turnstones by any maker have emanated from this small and refined rig. Henry A. Fleckenstein Jr. chose to feature a rigmate in color in his New Jersey book, highlighting the bird’s crisp and brilliant paint.
Whether he intended it or not, McAnney’s black paint pattern on the decoy’s throat bears a striking resemblance to a woodpecker’s head. Excellent original paint with very light wear, including one paint rub on right wing.
Provenance: John Hillman Collection Private Collection, New Jersey
Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 40, color plate XXI, rigmate illustrated. Copley Fine Art Auctions, The Sporting Sale 2022, lot 218, rigmate illustrated.
$8,000 - $12,000
53 The Updike Calling Mallard
John Updike (1886-1955) Green Bank, NJ, 1922 18 in. long
John Updike was not only a decoy carver, but also one of the earliest collectors, alongside his friends Joel Barber and William Mackey. This decoy was made as a special presentation piece for a close friend and neighbor of Updike’s. The bird was never rigged and has a stamped “640” from the Noyes Collection on the underside. It also has a penciled “Jack Updike, Greenbank, 1922” on the bottom.
This mallard carving represents this early and important New Jersey maker’s very finest work and is among the most dynamic decoy forms from the entire region. The rarity of early mallards along the Atlantic flyway cannot be overstated as the species was not prevalent along the coast during this era.
This exact bird is illustrated in two important volumes, leading the New Jersey chapter of The Great Book and it was also chosen by Jim Doherty for his Classic New Jersey Decoys. A black duck with related form was in the Collection of John and Isabelle Hillman.
A top collector from New Jersey, Gary Giberson understood rarity, putting together the greatest ruddy turnstone collection ever assembled, and one of the finest collections of Jersey mallards. Given his knowledge, Giberson was selected by Decoy Magazine to tackle the New Jersey chapter of the monumental decoy publication The Great Book of Wildfowl Decoys. The Updike Calling Mallard represents the crown jewel of the Giberson Collection. Excellent original paint with light wear, including minor flaking to area of each side and possible minute touch-up to original hairline crack in neck.
Provenance: Fred Noyes Collection The Gary and Niki Giberson Collection
Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 153, exact decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 110, exact decoy illustrated leading the New Jersey chapter.
Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 56, Hillman black duck illustrated.
$15,000 - $25,000
DANIEL LAKE LEEDS
1852-1922 |
54 Black-Bellied Plover
Daniel Lake Leeds (1852-1922)
Pleasantville, NJ, c. 1890 9 ¾ in. long
A New Jersey classic with raised wings, a well-rounded head, and thick stippled feathering.
In Classic Shorebird Decoys: A Portfolio of Paintings, William J. Mackey Jr.’s text reads: “Jeremiah Leeds, keeper of the salt flats, left one descendant, Dan Lake Leeds, who carved bird decoys including sanderling, plover, yellowlegs, turnstones, and curlew. His own rig, numbering over fifty snipe, came to light a few years ago. It was probably the greatest single find of its kind in New Jersey decoy history. The Dan Leeds birds have a stylized exaggeration that has an artistic appeal. The black-bellied plover have heads that indicate their local name, “bull heads,” the sanderling have a slimness that suggests their speed before the advancing waves. Paint patterns are bright and adequate, and the technique is unusual; Dan used thick oily paint and laid it on instead of brushing it out. This viscous coating made a durable finish, and the rig was found in mint condition. The old gentleman lavished great care on his decoys during their years of service.” Original paint with light wear, minor touch-up around right eye.
Provenance: Private Collection, New Jersey
Literature: Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 11, Mackey text.
Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 55, similar shorebird illustrated. James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, front cover, and pl. 400, related decoys illustrated.
$4,000 - $6,000
DANIEL LAKE LEEDS
55
55 The Leeds Mallard Drake
Daniel Lake Leeds (1852-1922) Pleasantville, NJ, c. 1890 16 in. long
Any early mallard decoy from New Jersey is rare, and this decoys by Leeds is the only one by the maker known to have surfaced and is his grandest decoy. The body is refined with a turned head, raised shoulders, a groove between the wings, and remnants of a curl feather. The hollow body was finished with carefully blended paint and detailed feathering. The underside has the Giberson and Noyes Collection markings on either side of the poured weight. Many consider this to be the finest Leeds waterfowl decoy known to exist. Excellent original paint with
light gunning wear, minor putty loss at neck seam, and minute darkening to several shot marks.
Provenance: Fred Noyes Collection Gary and Niki Giberson Collection
Literature: Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 11, Mackey quote.
$5,000 - $8,000
“The Dan
Leeds birds
have
a
stylized
exaggeration
that has
an artistic appeal...[He] lavished great care on his decoys during their years of service. They stand on their own unique merit and have little in common with their New Jersey contemporaries.”
— William J. Mackey Jr., Classic Shorebird Decoys, 1971
DR. GILBERT E. WALLACE
1873-1917 | FORKED RIVER, NJ
56 Mackey Dovetailed “Lumberyard” Yellowlegs
Dr. Gilbert E. Wallace (1873-1917) Forked River, NJ, c. 1900 9 ¼ in. long
A rare yellowlegs carving with a removable dovetailed head. The vertically-laminated hollow body is finished with raised wings and split and raised wing tips.
The maker used an ingenious method to construct this elaborately designed decoy. The vertical lamination allowed Wallace to not only hollow the body, but also more easily carve out the dovetail cavity. Additionally, the dovetail keystone was applied to the underside of the head rather than carved out of the neck. The underside has the rig numeral “VI” and the Mackey Collection ink stamp. A rigmate that was picked from a museum by Joe French went on set the high-water mark for the maker at $37,500 in 2009.
An extensive biography on Wallace, along with an example of his one-piece decoy, is published in James Doherty’s Classic New Jersey Decoys Original paint with even gunning wear, including a paint flake under the bill.
Provenance: William J. Mackey Collection Private Collection, by descent from the above Private Collection
Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 172, fixed-head examples illustrated, Appendix C, xx-xxii, Wallace biography.
Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey, Hyannis, MA, 1973, Sessions I & II, lot 340, rigmate illustrated.
William J. Mackey Jr., American Bird Decoys, New York, 1965, pl. 51, rigmate illustrated.
$10,000 - $20,000
DAVID A. MAASS
Provenance: Estate of William S. Sachse
$10,000 - $20,000
“My intent was to capture the exact moment that this pair of wood ducks springs from their hidden sanctuary among the cattails. The brilliant plumage of the drake added a ‘flash of color’ to the composition.”
David A. Maass discussing this exact painting, which was made into a print
57 David A. Maass (b. 1929) Flash of Color - Wood Ducks signed “Maass” lower right oil on board, 21 by 28 in.
DAVID A. MAASS
58 David A. Maass (b. 1929) Canvasbacks On The Wing signed “Maass” lower right oil on board, 24 by 32 in.
Provenance: Estate of William S. Sachse
$6,000 - $9,000
59 David A. Maass (b. 1929) Ring-Necked Ducks signed “Maass” lower left oil on board, 24 by 32 in.
An exceedingly rare species for the artist. Based on records from AskArt and Michael McIntosh’s book, The Wildfowl Art of David Maass, ring-necked ducks are the subject of only two paintings by Maass.
A survey of the over 225 Maass works that have surfaced at auction over the last thirty years reveals this specialorder commission to be the only work depicting the ring-necked duck.
Provenance: Estate of William S. Sachse
$6,000 - $9,000
60 Walter Matia (b. 1953) Mixed Double, 2010 signed and dated “Matia 2010” on grass bronze, 57 by 43 by 27 in. edition 1 of 1
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. As Tom Davis writes in Sporting Classics, “[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.”
Mixed Double represents an important defining moment in the artist’s career. With this work, the artist created a three dimensional space where the ducks are not simply the subject, but are a part of a larger landscape.
A unique one-of-a-kind life-size bronze capturing a mallard and pintail in flight.
$12,000 - $18,000
“This would be the start of my signature work.”
— Walter Matia discussing this exact casting
61 Walter Matia (b. 1953)
Damn That Dog is Good, 1989 signed and dated “Matia ‘89” on base bronze, 24 ½ by 14 by 10 in. edition 4 of 24 (sold out edition)
Showing his creativity, Matia whimsically titles this work from the pheasants’ point of view, conjuring the famous line from Butch Cassidy and the Sundance Kid, “Who are those guys?”
$3,000 - $5,000
62 Walter Matia (b. 1953)
Hanging Quail, 2007 signed “Matia” lower right bronze, 20 ½ by 9 ½ by 3 ½ in. marked as the first casting in an edition of 48 (only 12 were completed)
This work was inspired by a challenge from Bubba Wood for Matia to create a still-life game bag in the same vein as 19th-century painters, including William H. Harnett (1848-1892) and Richard LaBarre Goodwin (1840-1910).
$3,000 - $5,000
63 Walter Matia (b. 1953)
Setter and Pointer Bookends each signed “Matia” and numbered “5/48” on base bronze, each 8 ½ by 6 by 8 in. edition 5 of 48
Provenance: The Estate of Sandy Elliott
$2,000 - $3,000
64 Maynard F. Reece (1920-2020) Mallards in Winter signed “Maynard Reece” lower right oil on canvas, 20 by 25 ¼ in.
An ardent conservationist, Maynard Reece donated artwork to benefit numerous environmental and conservation causes throughout his career. He won the
Federal Duck Stamp contest more than any other artist, with his designs chosen in 1948, 1951, 1959, 1969, and 1971.
Provenance: Estate of William S. Sachse
$3,000 - $5,000
“Ding [Darling] told me the secret of the whole thing is to make five drawings every day for five years and by the end of five years you’d be an artist.”
— Maynard Reece
65 Owen J. Gromme (1896-1991)
Weathering the Storm, 1982 signed and dated “O. J. Gromme. ‘82.” lower left oil on canvas, 23 ¾ by 35 ½ in.
A flock of eight redheads flying through a snow squall.
Provenance: Estate of William S. Sachse
$8,000 - $12,000
“I have a special love for hunting ducks in stormy weather. As a young man, I experienced some of my very best canvasback hunting on stormy, windy days, when retrieving one on the open waves with a duck skiff was tantamount to taking your life in your own hands. But that was all part of what made duck hunting particularly appealing for me.”
— Owen Gromme discussing a related painting of canvasbacks titled Bucking the Storm
66 Joseph Day Knap (1875-1962)
Pintails signed “J.D. Knap” lower left watercolor, 10 by 14 in.
Joseph Day Knap first began selling his paintings of wildfowl in 1924, at the age of 49. Finding success, he exhibited his works at Abercrombie & Fitch, Crossroads of Sport, and other fine art galleries.
Pintails represents one of the artist’s best and brightest works with a vivid pallet.
67 Joseph Day Knap (1875-1962)
Redheads signed “J D Knap” lower left watercolor, 11 by 15 in.
This watercolor features a similar composition to his winning Federal Duck Stamp painting from 1937. The birds are presented boldly, in contrast to the vast majority of the artist’s waterfowl which are depicted further recessed in their landscapes.
Closely related 1937 Federal Duck Stamp print by J.D. Knap.
68 Luke Frazier (b. 1970) Golden Glow, 2024 signed “L. Frazier” lower right oil on board, 12 by 10 in.
An intimate oil depicting an English setter.
$2,000 - $4,000
69 Thirteen Osthaus Postcards
Edmund Henry Osthaus (1858-1928) 1916 each 3 ¼ by 5 ½ in.
A series of postcards depicting thirteen National Field Trial Championship winners from 1896 to 1910, including Joe Cumming and Count Gladstone IV. There are twelve setters and one pointer. They were produced by the E. I. Du Pont De Nemours & Company with the logo “Shoot Dupont Powders,” and each bears the dog’s name and pedigree in the lower left.
Provenance: Paul Proudfoot Collection
$300 - $500
70 Percival Rosseau (1859-1937)
Over the Fence, and a Point, 1919 signed and dated “Rosseau 1919” lower right oil on canvas, 26 by 32 in.
Painted during Rosseau’s key period, this quintessential Carolina quail hunting scene depicts two English setters in the field. The main dog, in profile, stands on point, attentively indicating the direction of the quarry off to the right of the scene. The body of the dog is captured in luminous white with cascading fur, and its tail extends horizontally. Its bracemate, nearer to the fence, honors the point by coming to a freeze as well. The soft landscape surrounding the dogs, a hallmark of Rosseau’s mature style, complements the precision of the working canines.
This fresh-to-market painting descended in a prominent Minneapolis family. George P. Douglas (1865-1951) was born in Stowe, Vermont, and raised in Minneapolis. After attending Yale, he returned to Minnesota and became an attorney. He was a club man, belonging to three country clubs in addition to two Yale clubs. He served as the first president of the Minneapolis Athletic Club as well as
a life member of the Minneapolis Society of Fine Arts, which was founded in 1883 and established what is now the Minneapolis College of Art and Design and the Minneapolis Institute of Art (MIA). The family donated a fine Luigi Lucioni (1900-1988) painting of Stowe, dated 1931, to MIA in 1955. Other family members include supporters of Carleton College in Northfield, Minnesota, and the founder of H. S. Cleveland Co., a Minneapolis furniture retailer.
This fine painting is a classic Rosseau depiction of these majestic sporting dogs.
Provenance: Private Collection, Minnesota
$30,000 - $50,000
“Eventually such men … who own high class shooting dogs began to cultivate [Rosseau’s] acquaintance, for artists who can portray the pointer and the setter, as he really appears in the field, those who are able to transfer to canvas an actual hunting scene where the dog is not a mere caricature, are few and far between the world over.”
— A. F. Hochwalt, dog historian
EDMUND HENRY OSTHAUS
71 Edmund Henry Osthaus (1858-1928)
Two Setters signed “Edm. H. Osthaus” lower right watercolor, 12 ½ by 17 ½ in.
Around the turn of the century, S. Murray Mitchell (18431908), proprietor of the Aldine Hotel in Philadelphia, commissioned Edmund Osthaus to paint a three-paneled mural depicting his ten setters for the hotel on Chestnut Street circa 1900. Mitchell, born in Harrisburg, was a Civil War veteran and rose from hotel clerk to manager, eventually becoming the leaseholder for the Aldine, one of the premier hotels in the city.
He was a noted sportsman and breeder of successful field trial setters, including Sandy Gladstone, of the famous Gladstone line. Indeed, according to Field and Stream, “S. Murray Mitchell had an experience rarely granted to anyone. An English setter over which he was shooting twice pointed another bird while
having a bird, which he was retrieving, in his mouth; this occurred twice within twenty minutes and while working one bevy of birds. Many persons have hunted a lifetime without seeing it, as it is not a very common occurrence.”
Literature: Field and Stream, Vol. 5, No. 7, December 1899, p. 390. B. Waters, “As to Mr. Edmund H. Osthaus’ Great Work,” Forest and Stream, Vol. 54, April 28, 1900, p. 334.
Provenance: From the Collection of Samuel Murray Mitchell, by descent in the family
$6,000 - $9,000
72
72 Edmund Henry Osthaus (1858-1928)
Setter on Point, 1894 signed and dated “Edm. H. Osthaus 94” lower right watercolor, 9 ¾ by 13 ½ in.
A classic portrait of an elegant setter backed by fall foliage and tall grass.
Provenance: From the Collection of Samuel Murray Mitchell, by descent in the family
$3,000 - $5,000
Samuel Murray Mitchell and his wife, Mary, on the front steps of their Nantucket estate. At their feet are the two setters that Osthaus painted in Lot 71.
c.
A classic New England scene showing a fall pumpkin harvest. The original signed and titled stretcher bar is attached to the back of the frame. A copy of the original receipt and a handwritten letter from Pleissner are included.
Provenance: Private Collection, acquired from Lyme Art Association in 1937
Private Collection, Connecticut, by descent in the family
$6,000 - $9,000
“It's the weather that makes the subject, and the time of year. You can see something in the spring and there's nothing to paint, then in the summer there is, or vice versa. This is the thing that is so interesting in New England, the change of the seasons. I really prefer to paint in the latter part of fall and in the early spring when everything isn't all the same color green.”
—
Ogden Pleissner
73 Ogden M. Pleissner (1905-1983)
New England Pastoral,
1937 signed “Pleissner” lower right oil on canvas, 24 by 36 in.
74 Eldridge Hardie (1940-2021) Foxhounds
signed “Eldridge Hardie” lower right oil on board, 14 by 20 in. signed and titled on back
Eldridge Hardie grew up in Texas between a ranch in Hill Country and El Paso. After his uncle, a commercial illustrator, inspired him to take up painting, Hardie attended art school at Washington University in St. Louis. In 1966 he settled in Denver and enjoyed a long and successful career as a sporting and wildlife artist.
“In a sense, a sporting artist must be three painters in one, rendering convincing landscapes, dogs and wildlife that are both accurate in detail and lively, and believable human figures,” Grudowski writes. “It’s little surprise that Hardie’s immersion in the sporting life that he paints--his intuitive feel for his subjects--strikes a chord.”
Hardie’s paintings can be found in the National Museum of Wildlife Art in Jackson, Wyoming, the Fresh Water Fishing Hall of Fame in Hayward, Wisconsin, the National Bird Dog Museum in Grand Junction, Tennessee, and the El Paso Museum of Art, to name several important collections and institutions that support and exhibit the artist’s work. Hardie was Artist of the Year for the Atlantic Salmon Federation and Trout Unlimited, and Featured Artist at the Plantation Wildlife Arts Festival and the Southeastern Wildlife Exposition, among other honors.
A Moment’s Rest - Foxhounds at the Ford, 1926 signed and dated “Rosseau 1926” lower left oil on canvas, 18 ⅛ by 24 ¼ in. titled on back
Percival Rosseau was born near Baton Rouge, Louisiana, in 1859. Although considered a premier painter of sporting dogs, he did not pick up a paintbrush until the age of thirty-five. After leaving an eclectic business career, Rosseau sailed to Paris to attend the Académie Julian. His entry at the 1904 Paris Salon, a painting of a pair of Irish wolfhounds, garnered pivotal acclaim. He returned to the United States where he found a ready market for his work among wealthy sportsmen, including Percy Rockefeller, nephew of oil tycoon John. D. Rockefeller and a successful businessman in his own right.
“By the 1920s the sport [of fox hunting at Overhills] fell under the influence if not patronage of Percy Rockefeller. Its character rapidly evolved to become more consistent with the sport’s status among America’s elite. With proper facilities in place, a pack led by one of the leading breeders and foxhunters of the day was brought to Overhills each season,” according to Overhills Oral History
“The greatest natural challenge presented by the terrain came in the form of the ubiquitous pocosins and streams that dissected the land. ...Although most hunts were small-scale, private affairs with a handful of friends as a hunt party, they were formal, rich with the traditions of
proper attire, the finest hounds, and horses. In at least one episode in the 1920s, scenes of hunters at Overhills were featured in The New York Times
“From 1925 until his death in 1937, Rosseau spent his summers in Lyme and winters at Overhills where he painted numerous hunt scenes and bird dogs.”
In this painting, a spirited pack of twelve hounds and one horse and rider takes a break in the water. Rosseau’s finest works capture dogs lapping at water’s edge, and this painting also includes the rare equestrian. Of the many works by Rosseau to appear at public auction, only three depict equestrians, including a likely related 1925 work, titled Fox Hunting in the Carolinas and painted for Percy Rockefeller.
The title, A Moment’s Rest - Foxhounds at the Ford, implies a specific location where the pack often crossed the river, and allows the artist to display his mastery in depicting the refracted water, including the hunter’s red jacket reflected at lower center. The date of the painting, 1926, is at the height of fox hunting at Overhills, which ended in 1935 upon the death of Percy Rockefeller. Rosseau himself died at Overhills several years later, making this painting an important artifact of fox hunting’s golden age in America.
Literature: Jeffrey D. Irwin and Kaitlin O’Shea, Overhills Oral History, Fort Bragg, NC, 2009, pp. 17-19.
$50,000 - $80,000
A. ELMER CROWELL
77 Extraordinary Wing-Up Yellowlegs on Shell A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1930
7 ¾ in. tall
The preening posture presents an exceptionally difficult challenge for any maker. Crowell was a master of preening forms, and he used this special wing-up model to showcase his deft painting abilities. He seems to thrive within the self-presented challenge of doubling the size of his canvas and adding two different plumage presentations, one on each side of the wing. This example represents a particularly fine execution of his paint and form, finished with incised tail feathers.
Crowell’s wing-up examples are rare and highly sought after. To wit, a closely related wing-up greater yellowlegs with similar paint treatment brought $84,000 at Copley’s Sporting Sale 2022. The carving displays the maker’s
rectangular stamp and handwritten signature, “A. E. Crowell, Cape Cod,” on the bottom of the clamshell base. Excellent original paint with light wear and typical minute beads at neck seam.
Provenance: Estate of William S. Sachse
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 147, related Evans Collection curlew example illustrated.
$15,000 - $25,000
A. ELMER CROWELL
78
A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930
8 ¼ in. tall
An exquisite small mantel bird with a turned and uplifted head in a lively posture mounted on a carved clamshell base. This specific execution is notable for its particularly fine paint, thin neck, and pronounced breast. The underside of the base is signed with Crowell’s rectangular stamp. Excellent original paint with light wear. Thigh putty and one and one-half inches of bill restored.
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 214-215, related yellowlegs illustrated.
$7,000 - $10,000
Exquisite Yellowlegs on Shell
Provenance: Estate of William S. Sachse
A. ELMER CROWELL
A. ELMER CROWELL
79 Early Raised-Wing Golden Plover
A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 10 ½ in. long
Born in East Harwich, Massachusetts, Elmer Crowell possessed an early fascination with ornithology and hunting. These passions led to a career as a market gunner in the late 1800s. In 1898 Dr. John C. Phillips, Jr. (1876-1938), a sportsman who was also a prominent member of Boston society and a prolific author, asked Crowell to manage his Wenham Lake hunting camp. Upon seeing Crowell’s masterful carvings, Phillips and the camp’s affluent guests persuaded Crowell to make decoys for them. The resulting decoys from this early period are some of the most desirable bird carvings ever made. The father of American bird carving, Elmer Crowell’s influence on all future carvers cannot be overstated.
This early Crowell model shows “dust-jacket” style wing carving and elaborate paint. The efforts required to make this type of decoy were time consuming and Crowell had pretty much abandoned the model altogether by 1920. This rare example stands out as one of the only golden plover decoys with this wing treatment known to exist.
The underside retains the “NELSON” Collection stamp for Grant Nelson who assembled one of the finest shorebird decoy collections ever assembled. Original paint with even gunning wear, very minor one-third-inch restoration to wing tip, slightly lifted grain line by stick hole, and very minor spot of touch-up to original bill.
Provenance: Grant Nelson Collection Private Collection, Florida
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 218-219, related decoys illustrated.
William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 64, pl. III, and dust-jacket cover, related decoys illustrated. John and Shirley Delph, New England Decoys, Exton, PA, 1990, dust-jacket cover, related decoys illustrated.
Jeff Waingrow, American Waterfowl Decoys, New York, NY, 1985, pp. 90-91 and back cover, related decoy illustrated.
$30,000 - $50,000
A. ELMER CROWELL
80 Shorebird Trio
A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1910 running yellowlegs is 14 in. long
This shorebird trio consists of three rare decoys. There is rigmate pair of yellowlegs from the rig of Joseph F. Sherer and a willet made during the same period. The yellowlegs duo features a rare running greater yellowlegs and an even less common sentinel lesser yellowlegs. The long and thin original bill on the lesser yellowlegs is especially noteworthy. Their incredible near-mint condition suggests that they were never used in the field. In the early 1900s, Joseph F. Sherer hunted with A. Elmer Crowell and George Flynn, the largest landowner on Martha’s Vineyard at the time. This pair is from the same collection as the record-setting Crowell decorative running curlew sold as lot 198 in Copley’s Sporting Sale 2007.
The rarity of Crowell’s willet decoys cannot be overstated and only a handful of decoys from this rig have ever surfaced. This willet pattern is an inch longer than his greater yellowlegs of the same pose. It is finished with Crowell’s well-executed blended paint and a two-tone painted tack eye. The underside bears a conjoined “JF” stamp for the Joe
French Collection. A rigmate resided in one of the nation’s top Crowell collections. The yellowlegs pair are in original paint with minimal wear. Willet is in original paint with light gunning wear, a replaced bill, and small ding to left side of neck.
Provenance: Joseph F. Sherer Collection, acquired directly from the artist (yellowlegs)
Private Collection, by descent from the above (yellowlegs)
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, no willet decoy illustrated, p. 164, exact yellowlegs pair illustrated.
Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 14-15, McCleery lesser yellowlegs with replaced bill illustrated.
Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 162 and 163, McCleery greater yellowlegs decoys illustrated.
Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Sandwich, MA, 1992, p. 60, Harmon lesser yellowlegs with short bill illustrated.
$40,000 - $60,000
A.
A. ELMER CROWELL
81 Bobwhite Quail
A. Elmer Crowell (1862-1952) East Harwich, MA, 1932 8 ¼ in. tall
This rare upright life-size quail has a storied past having been in several prominent collections. A notation on the underside by Crowell expert and decoy curator Gigi Hopkins relates, “Bobwhite (male symbol). One of 4 birds ordered in 1929 by Mark Hopkins, then of Dover, Mass. Made by Mr. Crowell in 1932-’33. Original cost - $7.50.”
Mark Hopkins was Gigi’s father and she lived with this bird for decades. Details include exceptional paint, carved tail feathers, and a raised crest. The maker’s rectangular stamp and Gigi’s signature also grace the bottom of the base next to an empty slot for Charles Hunter’s collection tag. Original paint with light wear, touch-up along legs and a spot on crown.
Provenance: Mark Hopkins Collection, acquired from the maker Gigi Hopkins Collection, by descent from the above Charles Hunter Collection Private Collection
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 15, exact bird illustrated.
$20,000 - $30,000
A.F. Tait oil of quail and chicks, 1867.
A.
82 Feeding Bobwhite Quail
A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 8 ½ in. long
A life-size bobwhite quail carving in a rare feeding pose. This decorative game bird has a remarkable amount of detail, starting with Crowell’s best blended plumage from tip to tail. It also has incised tail feathers, two-tone glass eyes, and the maker’s rectangular stamp on the bottom of the base. The quail, native to Cape Cod, was on the decline by the start of the 20th century. As a result, Crowell, who loved to carve and paint from real models, did not make many of these important game birds.
While the reaching bird form is a pose Crowell applied to a number of species, his pairing of a feeding quail with an alert bird has a special significance in the pantheon of American Sporting Art. Crowell was known to take direct inspiration from his greatest carving and painting predecessors (see lot 98) and that certainly appears to have been the case with his quail. More than half a century
prior to Crowell’s decoratives, Arthur Fitzwilliam Tait (18191905) painted a famous bobwhite scene that became the iconic Nathaniel Currier (1813-1888) (of Currier and Ives) hand-colored lithograph The Cares of a Family in 1856. Given the parallels, it’s hard to imagine this was not an influence on the carver. Original paint with light wear and craquelure to end grain. Professional touch-up mostly to throat, left side of head, shoulder, and just a little above tail. Touch-up and replaced putty to feet.
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 19, Tait painting illustrated, p. 183, exact bird illustrated.
Copley Fine Art Auction, The Winter Sale, January 2012, lot 44, related pair illustrated.
$20,000 - $30,000
83 Outstanding Whittemore-Rig Willet
A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1900
12 ¾ in. long
Branded “P. W. W.” for the Parker Williams Whittemore rig on the underside. Parker W. Whittemore (1872-1959), Harvard class of 1895, was captain of the baseball team and played on the football team. A large percentage of Crowell’s best customers were turn-of-the-19th-century Harvard graduates. Whittemore was treasurer and later a director of the Laconia Car Company. The company made horse-drawn and electric trolley cars for the streets of Boston, its Elevated Railway, and even for use as far away as the streets of Los Angeles.
This exact decoys was selected for the Elmer Crowell book which features a write-up discussing Whittemore as a celebrated patron. Crowell was known for making special decoys for his early patrons; indeed, this carving exhibits one of the maker’s most grand shorebird patterns and a rarely seen feathering with soft blending and a tight dot pattern. Original paint with even gunning wear, minor flaking, and repair to end of wing tip.
Provenance: Parker William Whittemore Rig
Robert D. Congdon Collection, Nantucket, Massachusetts
Grant Nelson Collection
Private Collection, Florida
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 140-141, exact decoy illustrated.
Linda and Gene Kangas, “Connecting the Dots: Exploring the provenance of Elmer Crowell’s decoys,” Decoy Magazine, March/ April 2010, p. 33, rigmates illustrated.
Copley Fine Art Auctions, LLC, The Harry V. Long Collection of A. Elmer Crowell Decoys, The Sporting Sale, Boston, MA, 2009, lot 64, pp. 24, 73 and dust-jacket cover, Long calling yellowlegs decoy illustrated.
$20,000 - $30,000
84 Complete Set of Twenty-Five Miniature Waterfowl
A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 Canada goose is 6 in. long
In addition to Crowell’s unparalleled carving and painting prowess, the maker’s vast ornithological knowledge and interest led him to create a huge variety of bird species. Author and collector Joseph Ellis, who meticulously tallied the maker’s miniature species in Birds in Wood and Paint, reports, “The result—50 ducks, geese, and upland game birds (including females), 42 shorebirds and wading birds, and 91 songbirds, for a grand total of 183—is staggering.”
Crowell created three varieties of miniature bird carving sets, each with twenty-five pieces. These sets were of either waterfowl, shorebirds, or songbirds, which he sold to not only his decoy buyers and seasonal tourists, but also schools and museums around the nation for species identification purposes.
This group of twenty-five waterfowl miniatures, each bearing the maker’s rectangular stamp on the underside, represents a full Crowell waterfowl set, numbered one through twenty-five on the underside of each carving. Each bird is original to this set. The vast majority of the original Crowell sets have been broken up over the years, making this a rare opportunity to acquire a single flock with remarkable consistency from bird to bird.
This lot includes the following birds listed by their original and inscribed assigned number. Crowell’s names are included in parentheses.
1. Mallard drake
2. Mallard hen
3. Pintail drake
4. Pintail hen
5. Redhead drake
6. Redhead hen
7. Ruddy Duck drake
8. Bufflehead drake
9. Bluebill drake
10. Bluebill hen
11. Red-Breasted Merganser drake
12. Red-Breasted Merganser hen
13. Canvasback drake
14. Canvasback hen
15. Green-Winged Teal drake
16. Brant
17. American Merganser drake (gooseander)
18. Blue-Winged Teal drake
19. Hooded Merganser drake
20. Black Duck
21. Goldeneye drake
22. Long-Tailed Duck drake (old squaw)
23. Wood Duck drake
24. Wigeon (widgeon)
25. Canada Goose
Excellent original paint with minimal wear. Goose has a reset neck. Merganser hen has a chip to reset bill.
Provenance: Private Collection, Philadelphia, by descent from the original owners
Private Collection, Florida
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 239-241, waterfowl set and list illustrated.
Brian Cullity, The Songless Aviary, Hyannis, MA, 1992, pp. 90-99, similar birds illustrated.
Joseph Ellis, Birds in Wood and Paint, Hanover, NH, 2009.
$40,000 - $60,000
COMPLETE SET OF TWENTY-FIVE MINIATURE
STEVE WEAVER
85
85 Life-Size Belted Kingfisher
Steve Weaver (b. 1950)
Sandwich, MA, 1995
10 in. long, 20 in. tall
Weaver’s art studio overlooks a scenic Cape Cod pond, giving the maker opportunities to study this entertaining bird. Kingfishers are unlike most bird species in that males feature more drab plumage. This female shows distinct bright red feathering on her underside. This grand Weaver carving is among his very best works to ever be offered.
Signed and dated by the artist on the underside of its base. The branch bears the maker’s incised initials. In very good original paint with minimal wear.
$4,000 - $6,000
86 Life-Size Chickadee Steve Weaver (b. 1950) Sandwich, MA, 2004 4 in. long, 6 ¼ in. tall
Signed and dated by the artist on the underside of its base. The branch bears the maker’s incised initials. Original paint with minimal wear.
$600 - $800
87 Rare Frog Carving Steve Weaver (b. 1950) Sandwich, MA, 2013 5 ½ in. long
An exceedingly rare subject for the maker. It is signed, titled Along The Waters Edge, and dated on the base. Original paint with minimal wear.
$1,000 - $1,500
88 Brown Trout Steve Weaver (b. 1950) Sandwich, MA 15 ½ in. long, 6 ½ in. wide
A full-bodied brown trout with a fly in its mouth mounted on a driftwood board. There is a faint “SAW” signature on lower left corner of board. Original paint with minimal wear.
$1,000 - $2,000
STEVE WEAVER
Sandwich, MA
8 in. tall
This raised-wing example on an elaborate base is titled A Tentative Moment by the maker on the underside beside a signature. Original paint with minimal wear.
$1,000 - $1,400
90
Steve Weaver (b. 1950)
Sandwich, MA, 2006
2 ¼ in. long, 4 ½ in. tall
A very fine little swallow, signed and dated by the artist on the underside of its base. The top of the base bears the maker’s incised initials and his signature carved feather. Very good original paint with minimal wear.
$1,000 - $1,500
91 Miniature Robin
Steve Weaver (b. 1950)
Sandwich, MA, 2011
2 ½ in. long
Signed and dated on the base. Original paint with light wear.
$1,000 - $1,400
89 Miniature Upland Plover
Steve Weaver (b. 1950)
Miniature Swallow
THE MCCLEERY DEXTER AND GARDNER DOWITCHER
“Dr. Clarence Tripp Gardner (1844-1907), a prominent surgeon and president of the Rhode Island Medical Society, and Newton Dexter (1841-1901), a naturalist associated with the Smithsonian, were hunting and fishing companions who worked together on the creation of a number of remarkable shorebird decoys, including hollow and solid-bodied curlews, yellowlegs, black-bellied and golden plovers, and dowitchers. Both men were skilled in taxidermy and mounted many of the birds they shot; their collection of specimens was later donated to the Roger Williams Park Museum of Natural History in Providence.
“Gardner was precocious and ambitious—he taught school briefly at fourteen, entered Brown University at sixteen, enlisted in the Union Army when the Civil War broke out even though he was two years under age, fought in the first and last engagements of the war, and graduated from Harvard Medical School in 1866. In 1883, he built a summer home in Little Compton, Rhode Island, on a spot on Sakonnet Point that is still called Gardner’s Bluff, where he hunted and fished with Dexter and his son, Clarence H. Gardner, who was also a skilled taxidermist...
“Newton Dexter was a largely self-taught naturalist whose early talents were sufficient enough that he was invited to assist the renowned Harvard scientist Louis Agassiz on an 1865 expedition up the Amazon. The pioneering psychologist William James, who was then a medical student at Harvard, was also an assistant on the trip and became a good friend of Dexter’s. Dexter showed such remarkable ability as a naturalist during the trip that Agassiz recommended him to the Smithsonian for a return expedition, after which he gave up the idea of going to college and devoted the rest of his life to scientific studies.
“He spent several years in the American West, where he lived for a time in a Sioux village and befriended both Sitting Bull and Buffalo Bill Cody, and traveled extensively in pursuit of specimens throughout his life. In later years, Dexter wintered at Oak Lodge in Grant, Florida, a boardinghouse frequented by naturalists and sportsmen, on the St. Johns River south of Melbourne, and spent summers with Gardner in Sakonnet. He died there in 1901 after suffering a heart attack while the two men were out fishing.”
— Robert Shaw, Bird Decoys of North America
"Nothing short of bankruptcy will prevent my bidding on the Rhode Island Pair."
— Dr. James M. McCleery, March 7, 1990, discussing lot 92
NEWTON DEXTER AND DR. CLARENCE T. GARDNER
1838-1901 AND 1844-1907 | SAKONNET POINT, LITTLE COMPTON, RI
92 The McCleery Dexter and Gardner Dowitcher Pair Newton Dexter (1838-1901) and Dr. Clarence T. Gardner (18441907)
Sakonnet Point, Little Compton, RI, c. 1885 11 ¾ in. long
Newport, Rhode Island, produced some of the best woodworkers the world has ever known, perhaps none more recognized than the cabinet makers John Goddard (1723-1785) and John Townsend (1732-1809). A century later, just a few miles across the bay at Sakonnet Point, the naturalists Dexter-Gardner produced Rhode Island’s finest bird carvings.
In the 1930s Frank D. Lisle (1871-1940) purchased the summer home of Dr. Clarence Gardner. The summer home was built In 1883 and perfectly located on the productive shores of Sakonnet Point, ideal for fishing and hunting. Soon after the purchase, Lisle discovered Dexter and Gardener’s rig of shorebirds in an outbuilding on the property.
Newton Dexter was an excellent taxidermist. While both gentlemen carved shorebirds, Dexter painted them as well. Information regarding this important rig was first published in Hal Sorenson’s 1966-67 Decoy Collector’s Guide. These exact dowitchers are prominently featured in the article written by Frank Lisle’s sons, Lawrence and Richard.
Measuring almost twelve inches long, these boldly carved shorebird decoys exhibit hollow, laminated, three-piece, pegged- body construction. One bird has a turned head, while the other displays a tucked head. Both have carved raised wings and a superb dry original surface. The turnedhead carving bears the James M. McCleery Collection stamp on the underside.
This peerless pair rank not only among the finest shorebird decoys ever to come on the market, but also, like the Nina Fletcher Little duo of Bunn curlews, Crowell dust-jacket plovers, and Fred Nichols animated plover and yellowlegs, these iconic bird decoys represent the very finest of American folk art. Indeed, they have been selected time and time again by top collectors, curators, and authors.
The pair came to auction in 1990 and McCleery set his sights, stating in a letter to a friend before the sale that “Nothing short of bankruptcy will prevent my bidding on the Rhode Island Pair.” He acquired them and they were brought to the attention of a national audience. “Jim McCleery lived in Texas and was an absolutely lovely man,” recalled curator and author Gigi Hopkins, “He had one of the three best collections in the country and Stephen B. O’Brien Jr. gave me the enormous treat of a trip to Jim
McCleery’s in Texas to see in the flesh his collection and meet him.”
Gigi went on to be a speaker at Sotheby’s during the sale of the McCleery Collection, where the decoys were purchased by O’Brien for top shorebird and sporting art collector Grant Nelson. Ronald Gard then acquired the pair, bringing his favorite shorebirds from his friend Dr. McCleery’s collection, back to Texas. Gigi Hopkins then followed them to Texas again, this time not only to admire the Dexter Gardners, but to acquire them on loan as the centerpiece for her exhibition The Surgeon & The Explorer-Naturalist: The Shorebird Decoys of Clarence Gardner and Newton Dexter at the Museum of American Bird Art in 2019.
In a featured interview in 2024, Hopkins chose this pair to discuss as a highlight from her lifelong involvement with the finest bird carvings. “If you look at the animation in the [turned-head] bird, it is quite extraordinary for a decoy [and the animation of tucked-head bird] is quite remarkable,” She continues, “The paint is fast and easy and effortless. They definitely are one of my favorite groups of birds.” Both are in fine original paint with minor gunning wear.
Provenance: Dexter and Gardner Rig Frank D. Lisle Collection
Lawrence Lisle Collection
James M. McCleery, M.D. Collection, acquired 1990 Grant Nelson Collection
Ronald J. Gard Collection
Literature: Hal Sorensen, ed., Decoy Collector’s Guide: 1966-67 Annual, Burlington, IA, p. 64, exact shorebird decoys illustrated. Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22, 2000, lots 541 and 542, exact decoys illustrated.
Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 32-33, exact decoys illustrated.
Ronald J. Gard and Robert Shaw, eds., The McCleery Auction, Dallas, TX, 2001, back dust-jacket cover and pp. 168-169, exact pair illustrated and discussed.
Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 165-167, exact decoys illustrated.
Gene and Linda Kangas, Decoys, Paducah, KY, 1992, p. 310, exact decoys illustrated.
Decoy Magazine, “Museum News: Gardner and Dexter shorebirds on exhibit at Canton Museum,” July/August 2019, p. 31, exact pair illustrated.
Copley Fine Art Auctions, The Winter Sale 2014, Charleston, SC, lot 42, exact decoys illustrated.
Exhibited: Houston, Texas, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston Museum of Natural History, 1992-1993.
Dallas, Texas, Eye of the Collector, Perot Museum, April - September 2016.
Canton, Massachusetts, The Surgeon & The Explorer-Naturalist: The Shorebird Decoys of Clarence Gardner and Newton Dexter, Museum of American Bird Art, July - October 2019.
$200,000 - $300,000
"During the early 80s and through the 90s, our firm had four offices in Houston that were under my supervision. So while I had important business reasons to visit Houston, there was a much more interesting and enjoyable reason—to spend time with my best friend, Dr. Jim McCleery. We had a lot to do and discuss which, of course, revolved around decoys: his wonderful collections, decoys for sale from other collectors, upcoming auctions, and what we were planning to buy. I bid for Jim in many of the auctions as Jim was a big man and in a wheelchair so it was difficult for him to go to all the auctions. This was one of the most enjoyable times of my life.
"What I enjoyed most was getting to hold and admire the hundreds of individual birds in his collection— all works of art by creative and talented artists in paint and sculpture. Of course, we all have favorites.
When someone asked Jim which was his favorite, he would say, ‘The last one I bought.’ I had a few favorites in his duck decoys, but in the shorebirds, there was no doubt that my favorites were the GardnerDexter dowitchers. In my opinion, the form is unsurpassed. The original paint and patina is wonderful and the overall condition is splendid. Either one could stand alone as a work of art, but shown together, they become vibrant and alive.
"Jim usually displayed them near or at the center of his collection in the place of prominence where you couldn’t help but notice them when you walked into his main gallery.
"I always knew that if I ever had the opportunity I would try to buy them. When Jim passed away and his auction was coming up in New York, I was planning to bid on two main lots: the Mason Premier Wood Duck and the Gardner-Dexter shorebirds. The Mason Wood Duck came up first in the auction, and so by the time the shorebird came up for bidding I was a little short on funds and I missed them. They did come up for sale a few years later, and this time I was successful. It has been a joy and a privilege to have them in my collection for many years."
— Ron J. Gard, co-editor of The McCleery Auction
View of Dr. McCleery’s living room. Photo courtesy of Sotheby’s. Special thanks to Erik Gronning.
93 Rare Dowitcher Pair Old Saybrook, CT, c. 1990 11 ¼ in. long
A full-bodied pair with raised wings and distinctive incised wing feathering. This plump dowitcher pair displays high necks and ornate wing primary feather carvings. A rigmate was featured on the front cover of a 1983 Bourne catalog.
A related plover by this unnamed maker, collected by Dr. James McCleery, was marked by William J. Mackey Jr as Old Saybrook, Connecticut. Original paint with light gunning wear. One bird has minor chips and a few age/grain lines.
Literature: Richard A. Bourne Co., Inc., Rare American Bird Decoys, Bird Carvings, and Related Materials, Hyannis, MA, July 1983, front cover, rigmate illustrated.
Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 55, pl. XXIII, related example illustrated.
Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22–23, 2000, lot 560, related example illustrated.
$10,000 - $15,000
LOTHROP TURNER HOLMES
1824-1899 |
94 Running Golden Plover
Lothrop Turner Holmes (1824-1899) Kingston, MA, c. 1860 10 in. long
Unlike many professional carvers who earned a living selling their decoys, Lothrop Turner Holmes only carved decoys for his own use along the marshes of the Jones River in Kingston and where it flows into Duxbury and Plymouth Bays.
Holmes is one of the earliest documented shorebird makers from any region and is considered one of the top decoy makers of the 19th century.
This rare decoy is believed to be the only known Holmes golden plover in original paint to have surfaced at auction, making it even more rare than the maker’s coveted ruddy turnstones and black-bellied plover. The only other known golden plover, a rigmate to this bird, resides in the Harmon collection. At least two other rigmate black-bellied plover are known to exist. One of those is featured in Shorebirds: The Birds, The Hunters, The Decoys by Levinson and Headley, and hailed from the Grant Nelson Collection.
This O’Brien Collection golden plover displays spectacular blended feather paint, the maker’s signature split-tail
carving, and remarkable condition. The underside retains the Donal C. O’Brien Jr. Collection ink stamp. Outstanding original paint with light gunning wear.
Provenance: Donal C. O’Brien Jr. Collection Private Collection
Literature: John M. Levinson and Somers G. Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centreville, MD, 1991, p. 57, pl. 4-11, rigmate illustrated. Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 83, exact decoy illustrated.
Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions III, Plymouth, MA, July 19, 2018, lot 16, exact decoy illustrated.
$25,000 - $35,000
JR
DCOB
ELISHA BURR
95 The Earnest-Muller Burr Plover
Elisha Burr (1839-1909)
Hingham, MA, c. 1880 11 in. long
Burr was a master at capturing the animated postures of his avian subjects. In fact, he appears to have made more plover in running and feeding poses than upright. This important carving is pictured in The Art of the Decoy next to a more common mate in breeding plumage. Adele Earnest chose a rigmate to this decoy when she curated an exhibit for the World’s Fair in 1967. That work now resides in the American Folk Art Museum Collection in New York.
The plump body of this decoy is finished with the maker’s best deep-cut split wings, incised primaries, and drop-tail carving. He finished this stellar example with his lively
brushwork depicting emerging plumage. The underside retains a Muller Collection ink stamp. Original paint with light gunning wear. Original maker’s patch behind neck.
Provenance: Lloyd Johnson Collection Phyllis Tavares Collection
Dr. Peter J. Muller Jr. Collection Private Collection
Literature: Adele Earnest, The Art of The Decoy: American Bird Carvings, New York, NY, 1965, p. 55, pl. 33, exact decoy illustrated. Copley Fine Art Auctions, The Winter Sale 2020, Charleston, SC, February 15, 2020, lot 33, exact decoy illustrated.
$14,000 - $18,000
96 The O’Brien Nelson Plover
George Boyd (1873-1941)
Seabrook, NH, c. 1900
10 ½ in. long
Collected by three of the world’s top shorebird collectors, the spectacular paint on this Boyd did not go unnoticed.
Excellent original paint with light gunning wear, one-half bill replacement, and a very small spot of black paint on the wing tip.
Provenance: Donal C. O’Brien Jr. Collection Grant Nelson Collection Private Collection, Florida
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. 23 and 71, similar decoys illustrated.
Guyette and Schmidt, North American Decoys At Auction, November 12 & 13, 1997, West Farmington, ME, 1997, p. 37, lot 146, exact bird illustrated.
$5,000 - $8,000
97 Plump Golden Plover Nantucket, MA, c. 1880
8 ¾ in. long
A charming golden plover with a flared split tail and a petite tenoned bill. The bird displays excellent paint with carefully applied gold and white dots on the back and wet-on-wet blending across the underside. A collector or museum code is written in red on the bottom. This is one of the finest examples to come out of this rig. gunning wear.
Provenance: Alan Haid Collection Dr. S. Lloyd Newberry Collection
97
Drawer from a secretary, c. 1770, with a fan design.
Detail of plover, c. 1850 (lot 98), with a fan design.
98 Early Nantucket Plover with Raised Wings Nantucket, MA, c. 1850 10 ½ in. long
A feather-light, hollow plover with extraordinary carving and construction detail by a great, yet to be named, Nantucket craftsman. This delicate decoy has few surviving comparables, with only one exceptional curlew and a few plover by the maker known to have survived in any condition. In 2022 Copley sold a rigmate plover for a Nantucket record of $108,000. Months later Copley hammered down a rigmate curlew for a new record of $228,000. The design, execution, and refinement of this form place it in the ranks of the best shorebirds by Massachusetts makers, including A. Elmer Crowell (1862-1952), Fred Nichols (1854-1924), Charles Sumner Bunn (1865-1952), and the Phillips Rig maker. Given the apparent age of this carving and the history of golden plover hunting on Nantucket, it is likely that this 19th-century sculpture predates the aforementioned named masters by decades.
Along with the great dovetailed maker, this Nantucket carver is among the greatest craftsmen ever to construct a working shorebird decoy. These two early and unnamed 19th-century makers routinely applied an elevated level of refinement to both the inside and outside of their distinct hollow decoys. This plover displays a very tight vertical body seam, which was hollowed to an egg-shell-thin hull. The underside has a small stick hole, typically seen on Nantucket decoys, particularly those from the Folger family.
The wing carving alone represents an extraordinary execution. Its thin primaries are among the most delicate
features seen on any decoy, ever. Flaring away from the wings is a curved and fanned tail treated on top and bottom with V-parted feathering that leads to a scalloped edge. The surface is finished with excellent adult plumage, painted feathers, and mottled blending. The surface remains in remarkably good condition.
There are at least two known plover by this maker that were repainted very early on by Elmer Crowell (18621952). The similarities between this maker and Crowell’s “dust-jacket” plover are extensive in both overall form and in the detailed carving features, especially around the wings. The combination of Crowell’s early exposure and the distinct similarities presents a highly plausible case that this unknown island maker was a direct inspiration for the East Harwich master and his “dust-jacket” decoys. Original paint with light gunning wear and touch-up at base of reset wing tip.
Provenance: Private Collection, Florida
Literature: Copley Fine Art Auctions, The Winter Sale 2022, March 4-5, 2022, lots 149 and 164, two related plover illustrated, one with early Crowell paint.
Copley Fine Art Auctions, The Sporting Sale 2022, July 2022, lots 18, rigmate curlew illustrated.
William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 76, Nantucket decoys discussed.
$10,000 - $15,000
JOSEPH W. LINCOLN
99 Golden Plover
Joseph W. Lincoln (1859-1938) Accord, MA, c. 1900 9 ¾ in. long
This is one of the finest Joseph Lincoln shorebirds to come to market and represents his highest grade of carving style and paint. It is closely related to the yellowlegs in the American Folk Art Museum, illustrated on the back dust jacket of Waingrow’s American Wildfowl Decoys. The excellent form is finished with distinct transitional golden plover plumage and an appealing craquelure. Original paint with light gunning wear.
Provenance: Peter Brams Collection, acquired from Stephen B. O’Brien Jr. Fine Arts, 2001 Private Collection, Maryland Private Collection
Literature: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 63, similar bird illustrated.
Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p. 90, similar decoys illustrated.
Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1989, back dust-jacket cover, related example illustrated.
$4,500 - $6,500
100 Turned-Head Yellowlegs
Dr. Lombard C. Jones Rig Sandwich, MA, c. 1900
7 ½ in. long
With its head sharply turned almost ninety degrees, this refined decoy is from the rig of Dr. Lombard C. Jones. Jones was a sportsman, accomplished relic collector, beloved country doctor, and early Crowell patron. This rare turned-head form was likely influenced by the Chipman family’s turned-head shorebirds that were also gunned in Sandwich’s Old Harbor. Old paint with gunning wear and a replaced bill.
Provenance: Dr. Lombard C. Jones Rig Peter Brams Collection
Private Collection
$2,500 - $3,500
101 Plover in Winter Plumage Massachusetts, c. 1900 11 ½ in. long
An upright plover with broad shoulders and a tight stippling pattern. Original paint with light gunning wear. Some surface discoloration under and around neck.
Provenance: Linda E. Johnson Collection, acquired from Stephen O’Brien Jr. Fine Arts, 1999 Private Collection
Literature: Stephen B. O’Brien Jr, American, Sporting & Western Paintings, Antique American Bird Decoys, 1999 Catalog, Boston, MA, 1999, p. 34, lot 74, exact bird illustrated.
$2,000 - $4,000
102 Trio of Yellowlegs Silhouettes Atlantic Coast, c. 1870 10 ½ in. long
Three 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
$4,000 - $6,000
103 Peter Corbin (b. 1945)
A Chance for Permit, 2024 signed “Peter Corbin” lower left oil on canvas, 20 by 30 in. Bonefish & Tarpon Trust Artist of the Year
Peter Corbin has established himself as one of the finest American sporting artists of his generation. While his reputation is based primarily on his meticulously composed scenes of sport—fly fishing and wing shooting in particular—the paintings collected in his portfolio reveal the full range of his talent, the stunning breadth of his reach and vision. Landscapes, portraits of people and dogs, depictions of birds and other wildlife in their natural habitat, and equestrian art: these too are realms in which Corbin’s classic style and respectful sensibility have made a lasting mark.
Peter Corbin is the 2025 Artist of the Year for the Bonefish & Tarpon Trust. 50% of the proceeds from the sale of this painting will go directly to BTT, whose mission is to conserve and enhance global bonefish, tarpon, and permit fisheries and their environment through stewardship, research, education, and advocacy. The BTT serves as a repository for information on the life history of these species and works internationally with anglers, guides, scientists, regulators, and the public to nurture and enhance fish populations.
$10,000 - $15,000
“’A Chance for Permit’ is my presentation of one of the most exciting moments in flats fishing. Two large permit headed for your fly as the sun rises on a still morning.”
— Peter Corbin
104 Luke Frazier (b. 1970) Cruising the Shallows, 2024 signed “L. Frazier” lower right oil, 16 by 24 in.
“As a young artist, I was enamored by the amazing paintings that adorned publications like Field & Stream, Alaska Magazine, Outdoor Life, Sporting Classics and Gray’s Sporting Journal. Artists-Illustrators that captured the wilds of the natural world both afield and on the water. Masters like N.C. Wyeth, Bob Kuhn, Robert Abbett, Phillip R. Goodwin, Howard Terpning, Carl Rungius and the incomparable Stanley Meltzoff.
“I was driven and burned the midnight oil earning a Bachelor of Fine Arts degree and then a Master of Fine Arts degree with an emphasis in illustration from Utah State University. During which time I was incredibly lucky to meet many of these artists, heroes of mine—who through
their kindness and tutelage helped me gain confidence. Starting in 1990, I was able to illustrate many hunting and fishing scenes for those same magazines, which still goes on today.
“In a nutshell I paint what I love, I paint my life, whatever I find myself doing—whether it’s my lifelong love of wildlife, my hunting dogs pointing birds, canoeing and fly fishing on rivers, lakes, or oceans, or simple campfire gatherings—I love it all!” — Luke Frazier
$8,000 - $12,000
105
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’s degree in painting and a master’s degree in
illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work.
In Sky Runner, Frazier captures a hooked tarpon going airborne, one of the most exciting moments in fly fishing.
$10,000 - $15,000
105 Luke Frazier (b. 1970) Sky Runner, 2024 signed “L. Frazier” lower right oil, 22 by 28 in.
106 James W. Harris (b. 1946)
Majestic Flats, 2003 signed “J. W. Harris” lower right acrylic on canvas on board, 14 by 19 in. titled and inscribed on back
This painting was created for the 10th Annual George Bush Cheeca Lodge Bonefish Tournament. The mat bears the seal of the President of the United States and is signed “G Bush” above a plaque designating this painting as the prize for the largest fish in the spin division.
$2,000 - $3,000
107 Jim Rataczak (b. 1965)
Spanish Angels, Snowy Egrets, 2020 signed “Rataczak” lower right oil on linen on board, 16 by 27 in.
Jim Rataczak was the 2021 Artist of the Year for the Bonefish & Tarpon Trust. He grew up in Minnesota, graduated from Notre Dame and the University of Michigan, and studied both biology and art for many years. After a stint at the Delta Waterfowl Research Station, he moved to Chicago where he studied at both the Field Museum and the Art Institute of Chicago. By the mid1990s, Rataczak was able to turn to his artwork full time.
He says, “Lugging a spotting scope, sketchbook, paint, and pencils outside can be a lot of work. But field sketching is
the foundation of my work as a bird artist. It trains my eyes to see, and my hand to record, interesting shapes, colors, and events.” Rataczak continues, “My hope is that my work will encourage viewers to take a second look at the natural world, to make them want to be outside and deepen their own connections with nature.” Today, the artist lives and paints near St. Paul, Minnesota, and exhibits his artwork across the country.
Provenance: Private Collection, Cape Cod
$3,000 - $5,000
WILLIAM J. SCHALDACH
108 William J. Schaldach (1896-1982)
Leaping Brook Trout signed “Wm J. Schaldach” lower left watercolor, 13 by 16 ¼ in.
William Joseph Schaldach was born in Elkhart, Indiana, in 1896. From a young age, he showed great interest in hunting and fishing. Schaldach moved to Michigan with his family in 1908. As a teenager he spent much of his time writing, drawing, and exploring the countryside. An ambitious young man, Schaldach published an article of his own illustrations at the age of nineteen. After high school and a stint in the Navy, William Schaldach attended the Art Students League in New York. He studied the techniques of painting, drypoint, and etching with revered professors: John Sloan, George Bridgman, and Harry Wickey.
Many of Schaldach’s paintings and etchings reflect his background as a sportsman. His favorite subjects were wildfowl, anglers with fly rods in rivers, streams and lakes, and game fish in the water. Schaldach was employed by the magazine Forest and Stream as a managing editor until the late 1930s. He returned to the magazine, then renamed Field and Stream, after World War II. In addition to writing many magazine articles about sporting art, Schaldach wrote and illustrated a number of books, including Fish by
Schaldach, Currents and Eddies, Coverts and Casts, Upland Gunning, and Path to Enchantment: An Artist in the Sonora Desert, a book about his own paintings of the Sonora Desert that he completed between 1948 and 1956. He was also the author of a biography of the well-known wildlife artist, Carl Rungius.
Schaldach was a member of the Society of American Etchers, the Independent Society of Printmakers, and the Salmagundi Club of New York. His work has been exhibited at the Chicago Society of Etchers, the Artists for Victory at the New York Metropolitan Museum of Art, the 1939 New York World’s Fair, the National Academy of Design, the American Watercolor Society in New York, and in numerous other galleries and museums throughout the country.
No other artist was more consistent in capturing leaping trout in action, especially in the difficult medium of watercolor.
$2,000 - $4,000
109 Henry “Hy” Sandham (1842-1910)
Atlantic Salmon Fishing signed “Hy Sandham” lower right watercolor, 13 ¼ by 19 in.
Hy Sandham got his start as a photographer working with a firm in Montreal. His interests gradually expanded and in the 1880s he worked as an illustrator for Century Magazine While illustrating for the publication, he exhibited at the Boston Art Club and the American Watercolor Society.
Provenance: Robert C. Vose III Collection, acquired from Vose Galleries in 2000
$2,000 - $3,000
Ewoud de Groot (b. 1969)
by 39¼ in.
Ewoud de Groot lives and works in Egmond aan Zee, a coastal village in the Northern Netherlands. After receiving a degree in illustration and painting from the Minerva Academy of Art, he began illustrating nature books for a period before pursuing painting full time in 1999. Today, de Groot is recognized as a rising star in wildlife painting, bringing a truly unique perspective to the genre. His work strives to find both a balance and a tension between the
representational and the abstract, the traditional and the contemporary. For de Groot, painting wildlife is not an exercise in rendering all the exact details. Instead, his work is an ongoing experiment of composition, color, and technique, concerned with conveying a sense of mood and atmosphere found in the natural world.
$8,000 - $12,000
110
Snowy Owl signed “Ewoud” lower right oil on canvas, 39¼
Resting Wigeon signed “Ewoud” lower right oil on canvas, 27½ by 55 in.
$8,000 - $12,000
"My technique is based on the principle of painting in layers, using cold blueish-greys and warm brownish-greys. This delicate balance ensures that they compliment and enhance each other. I start a painting by sketching with big brushstrokes and using the palette knife to look for the right composition, not allowing myself to be distracted by specifics. Once the form of the painting has been established then I begin to work on the birds or a particular detail of the bird(s) themselves.”
— Ewoud de Groot
111 Ewoud de Groot (b. 1969)
THE WARD BROTHERS
112 Martin-Rig Canvasback Hen
The Ward Brothers
Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1932 17 in. long
The underside displays the “GLM” brand for the rig of Glenn L. Martin. An early aviation pioneer, Glenn Luther Martin (1886–1955) was fascinated with flight from a young age, building box kites and using sails on everything from ice skates to wagons, and even his bicycle to move faster with less effort. In 1909 Martin built his first of several airplanes. He founded an aircraft company in 1912, which designed bombers for both world wars. Still in business today and now called Lockheed Martin, it is one of the world’s largest companies in the aerospace, military, security, and technology industries.
The skill and reputation of Martin as a craftsman appears to have been a motivation for the Wards to create their best work. This Martin-rig canvasback exhibits rarely seen features, including pronounced cheeks, incised bill detail, a ridged back, and a flared paddle tail.
Finding Ward hens in good condition, even with standard features, from this era is incredibly difficult. Original paint with even gunning wear and restoration to right corner of tail.
Provenance: Glenn L. Martin Rig Private Collection
Literature: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 13, related pinch-breast presentation pair illustrated.
$10,000 - $15,000
Photo of Glenn L. Martin. Courtesty of A. James Clark School of Engineering, University of Maryland.
LLOYD AARON STERLING
113 Rare Wigeon Pair
Lloyd Aaron Sterling (1880-1964) Crisfield, MD, c. 1920 14 ¼ in. long
These bold Crisfield ducks are among the finest wigeon pairs by any maker. They are also exceedingly rare, as they seem to have been made like swans and gulls, as additions to rigs, rather than as full rigs of baldpate. Compounding their rarity, finding Sterling decoys, especially pairs, in good original paint is extremely challenging. The design of these birds shows the Crisfield archetype which influenced the Ward Brothers, with wide bodies and strong lines. Each decoy is finished with rich stippled paint, and excellent scratch feathering.
In their Ward Brothers book, Ron Gard and Brian McGrath chose to include a Sterling wigeon drake to contrast with the Wards’ interpretations. They also addressed the special relationship Crisfielders had with wigeon decoys: “This bird was often referred to as the robber duck for his habit of stealing food that had been loosened from the bottom by the feeding of other ducks, geese and swans. This habit is also what made the wigeon decoy into the rigs of
other birds such as canvasbacks, scaup, mallards, black ducks, and geese. Swan decoys, placed among wigeon decoys made a particularly effective rig. It would seem that even though the wigeon decoyed into other species, hunters and decoy makers alike still used wigeon decoys, possibly because of the attractive coloring of this bird.”
Original paint with even gunning wear, including a crack in the drake’s underside and the hen’s back. Drake has paint loss to heartwood on breast, a restored chip along underside of bill, and touch-up to head including a reset crack. Hen has a replaced eye. Overall, very good condition for this maker.
Provenance: Private Collection, Maryland
Literature: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 92, related wigeon illustrated.
$20,000 - $30,000
1896-1984 AND 1895-1976 | CRISFIELD, MD
“I have owned many Ward Brothers decoys and seen many, many more. I spent over thirty-five years visiting Crisfield and the Eastern Shore searching for Ward decoys and their other works of art to collect and for our book, The Ward Brothers’ Decoys: A Collector’s Guide. I have great friends there, and some who have passed on, who have lived on the Eastern Shore all of their lives and are experts on the Ward Brothers. When the Egret was found in a house in Crisfield nearly thirty-five years ago and was put in a James Julia Gary Guyette auction, none of us had ever heard of a Ward Egret. Guyette cataloged it as a ‘very rare and possibly unique full size egret by the Ward brothers.’ When it came to auction, I knew I needed it for my collection.”
— Ron Gard, author of The Ward Brothers’ Decoys: A Collector’s Guide
114 The Ward Egret
The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1945 20 in. tall
In addition to waterfowl, the Ward brothers made upland game birds, birds of prey, and shorebirds. That said, no herons have surfaced and this is the only egret known.
It was made with a full balsa body with raised wings and highly developed legs. The turned head and neck is finished with carved bill detail and inserted fibers to simulate feathering. Lem embraced the challenge of painting a white bird, employing both warm and cool grey feathering and fine stippling. Original paint with minimal wear, some cracks and putty to toes.
Provenance: Private Home, Crisfield Ronald J. Gard Collection
Literature: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 116, 127-128, Ward decoratives illustrated.
$15,000 - $25,000
Related carving by A. Elmer Crowell (1862-1952), c. 1928. Image courtesy of Heritage Museum & Gardens, Sandwich, MA.
THE WARD BROTHERS
1896-1984 AND 1895-1976 |
115 Rare Hollow Wigeon Pair
The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1948 13 ¾ in. long
Hollow decoys by the Wards are rare and this appears to be a unique pair from the Somers Headley Collection. They can be seen on the wall behind Headley in a classic photo of the early collector.
Each is signed and dated 1948 on the underside by Lem and stamped for the Noyes Museum and the Headley Collection. The hen also has a painted signature by Lem dated 1952.
The Ward Brothers’ Decoys authors Gard and McGrath write that “Steve Ward often stated that the widgeon was his favorite bird … this species allowed the Ward brothers to give full expression to their artistry in color and form.”
A study of the few gunning Ward wigeon that remain shows that Steve’s preference for the baldpate carried into the exceptional and dynamic carvings he made of this species. In their book, only balsa wigeon from this era are illustrated, emphasizing the rarity of this pair’s construction. Original paint with light wear.
Provenance: Somers G. Headley Collection Estate of William S. Sachse
Literature: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989.
Exhibited: Oceanville, NJ, Noyes Museum, 1984.
$6,000 - $9,000
The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1967 15 in. long
Both turned-head carvings are inscribed “To Roy and Lulu with the makers and painters compliments. Steve. Lem” and dated. Original paint with light wear, hen has tight crack in breast, and drake has some discoloration, mostly on right side.
Provenance: Roy Bull Collection, acquired from the makers Private Collection
$2,000 - $3,000
The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1972 14 in. long
Lem was a poet and a carver. The duo both have dramatically turned heads and fine paint detail. Both are signed by Lem and Steve, dated, and each bears a poem. The poem upon the hen reads, “Just think some night a star will gleam upon a cold gray stone and trace a name in silvery beams and ‘low’ will be your own.” The drake’s poem reads, “To those who’s love and loyalty shared I can but offer this small legacy That when I to some other shore have fared I still may live again in memory. Lem Ward.” Original paint with light wear.
$2,000 - $4,000
116 Goldeneye Pair
117 Bluebill Pair with Poems
1896-1984 AND 1895-1976 |
118
118 Oversize Canvasback Pair
The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1970 16 in. long
A rare oversize Ward pair with hollow bodies, drawn-back heads, and extensive carving details. Lem embraced this enlarged canvas to apply his best decorative paint techniques. Both are signed “Lem Ward,” inscribed “Oversize Shooting Stool,” and dated. Original paint with light wear.
$6,000 - $9,000
119 The Tyler Hooded Merganser
Lloyd Tyler (1898-1970)
Crisfield, MD, c. 1930 16 in. long
Lloyd Tyler was born and raised in Crisfield, Maryland, and lived across the street from the Ward Brothers. He was nearly the same age as the Wards, yet is credited with beginning his carving career eight years prior to them. With Crisfield’s three greatest carvers living virtually on top of each other, there was clearly a drive of creative energy shared between them. That said, Tyler and the Wards each took the regional archetype in their own direction.
In the mid-1980s Henry Stansbury was the leading collector of Lloyd Tyler’s works. It was at this time that this singular hooded merganser made its first impression on Stansbury and the decoy and folk art collecting communities. Stansbury recounts, “In the fall of 1986, Richard Bourne had a superb Tyler hooded merganser for sale in his auction. It was the first Tyler decoy I had seen that threatened to break the ‘world record’ price I paid for my preening pintail ...” After losing out to multiple competing bidders, he acknowledges, “My Tylers would never be treated the same again.” Indeed, less than a decade later Stansbury published his first book, Lloyd J. Tyler, Folk Artist, Decoy Maker, which features and discusses this carving. History repeated itself on a larger scale in 2007 when the decoy next surfaced, setting a record at auction not only for Tyler, but for any Maryland decoy.
Collectors have long recognized that this decoy captures the charming nature of the species with a high and slightly turned head topped by a thin crest. The body’s form and paint show seemingly effortless sweeping lines with detailed plumage and a long thin tail. This decoy represents one of the great examples of Southern Americana and folk art. The underside retains its Bourne auction tag, a Huster collection ink stamp, and the imprint of the Hunter collection tag. Excellent original paint with light gunning wear.
Provenance: H. Harrison Huster Collection
Charlie Hunter Collection
Private Collection
Literature: Henry H. Stansbury, Lloyd Tyler: Folk Artist, Decoy Maker, Lewes, DE, 1955, p. 21, exact carving illustrated. Richard A. Bourne, Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, July 1986, lot 781, exact decoy illustrated.
Joe Engers, ed., “Year in Review 2007,” Decoy Magazine, 2007, front cover, exact decoy illustrated.
$100,000 - $150,000
Zane Grey Fishing Collectables from the Ronald J. Gard Collection
Lot 124 showing Zane Grey fishing with a massive Kovalovsky reel.
Copley is honored to offer the following Zane Grey Fishing Collectables from the Ronald J. Gard Collection (lots 120-145). Presented here are some of the finest fishing reels, photographs, and collectables that Zane Grey (1872–1939) owned. For many, the name Zane Grey recalls images of the Wild West, wandering cowboys, and romantic depictions of the American frontier. For others, his name is reminiscent of voyages through vast oceans, monstrous fish leaping from the waves, and the perpetual quest to catch ever-bigger fish. These dual legacies define how Zane Grey is remembered today as one of America’s most prolific authors and the world’s leading fisherman of the early-20th century.
Growing up in Zanesville, Ohio, Grey often scuffled with other boys and frequently rebelled against his strict father. According to Frank Gruber’s 1969 biography on Grey, his mother tried to keep a fishing rod out of his hands at a young age, telling him, “A
fisherman is a lazy bad boy grown up. He never helps his mother. He stays away all day and is never home for supper. He always carries a bottle.” Her words did little to discourage Grey, who learned to fish from a local fisherman known as “Old Muddy Miser.” Grey’s love for fishing and escaping to the outdoors became a constant and driving factor in his life.
As a young adult, Grey worked at his father’s dentistry office, pulling client’s teeth at a time when cocaine was the standard anesthesia. He attended the University of Pennsylvania from 1895 to 1896, studying dentistry and playing baseball. After opening a practice in New York City, Grey did dental work during the day and spent his nights eagerly reading and writing with the hopes of building a career as an author. Realizing that dentistry was not his true calling, Grey and his new wife, Dolly, left the stresses of the city and relocated to Lackawaxen, Pennsylvania.
Here at the confluence of the Delaware and Lackawaxen Rivers, Grey began his illustrious career as an author, during which he wrote over 100 books and countless short stories. It is estimated that over 250 million copies of his books have been sold worldwide, and over 100 movies and television shows have been adapted from his writings. To put this in perspective, Grey ranks with John Grisham and JRR Tolkien in terms of number of books sold. His total income in 1923-1924 was estimated to be over $500,000. Grey pioneered and helped popularize the American Western genre in the US and abroad. In addition, his books, articles, photographs, and films about angling expeditions helped popularize big-game fishing.
Zane Grey’s accomplishments as a fisherman were second to none. He was the most accomplished and impactful fisherman of his time, drawing new attention to the sport and driving innovations in equipment. Grey sailed far and wide through the Atlantic and Pacific oceans, searching for trophy fish and always finding remarkable experiences. He has held world records for the largest bluefin tuna, yellowfin tuna, Pacific sailfish, yellowtail, broadbill swordfish, mahi mahi, Pacific blue marlin, black marlin (see lot 126), and tiger sharks. Grey broke many of these records multiple times and was the
first person to ever catch a fish, a blue marlin, over 1,000 pounds on a rod and reel, a feat once thought impossible.
Grey worked with the finest tackle manufacturers to produce specialized equipment. His name appeared on top-of-the-line fishing reels, fishing rods, fishing lures, and fishing lines. His massive and prolonged success as a writer funded his other passions and allowed Grey to buy boats, including a 190-foot sailboat named Fisherman, take trips around the world, and spare no expense on the finest fishing equipment. Grey’s sailboat was outfitted with six staterooms, six engines, a tackle room, three tenders, and even a darkroom to develop the photographs shot onboard. Grey was always accompanied by a large crew of friends, family, and supporters on his expeditions on the open oceans and through the American wilderness. Frequent additions included his brother R.C., his son Romer (see lots 128, 131, 134), Captain Mitchell (see lots 125, 126), a film crew (see lot 123), and whomever of his girlfriends he was seeing at the time.
By studying the life and works of Zane Grey, it becomes clear that he was a complicated and fascinating figure, a pioneer by all definitions of the word. He was a best-selling author who proliferated the spirit of the American West. He was an avid lover of the natural world who dedicated much of his life to catching world-record fish. Above all, Zane Grey was a wild man with an adventuresome spirit and a burning passion to push boundaries and confront the unknown.
Sources: Frank Gruber. Zane Grey, A Biography. Mattituck, NY: Aeonian Press Inc., 1969.
Lot 126 showing Zane Grey with his world-record 704-pound black marlin.
120 Kovalovsky “Zane Grey, Duplex”
Arthur Kovalovsky (1881-1958) Hollywood, CA, c. 1935 8 ¾ in. diameter
Arthur Kovalovsky (1881-1958) began his career as a metalworker at the ripe age of twelve in his hometown of Whitechurch, Hungary. After immigrating to the US in 1904 and moving to St. Louis, Kovalovsky worked as a machinist for car and motorcycle companies. Ever an innovator, he briefly became interested in aviation, designing and building his own rotary engines. He even received a US patent on his design for the valve gearing. Reportedly, he built an airplane frame to go with one of his engines, only for it to be stolen before he had a chance to fly it.
As an avid big game fisherman, Kovalovsky wasn’t satisfied with the quality of the reels available and knew he could do better. After moving to California, Kovalovksy built his first fishing reel in 1928 in his automobile repair shop. By 1931, he had closed the repair shop and was making reels full-time in Hollywood. Kovalovksy gained a reputation for making the finest big game reels available and was continually improving his designs. His reels were the top choice for affluent fishermen, such as Zane Grey, one of Kovalovsky’s best customers. Grey even endorsed a line of reels that were made to his specifications.
This exceedingly rare Kovalovsky “Zane Grey, Duplex” big game reel is one of only two “Duplex” models known to exist. Lang’s Auction Company cataloged that “this
huge reel was made for and used by the famous writer and sportsman Zane Grey.” It is thought that Kovalovsky made this reel to Grey’s specifications as an improved version of the previous “Duplex” model. The reel has an interesting two-tiered “wedding cake” construction, hiding its precisely machined internal mechanisms. Also on the front plate is a large drag adjustment knob. With an 8 ¾ in. diameter and 4 ⅛ in. spool width, this massive reel is marked “Capacity 900 YDS. No. 54.” It is also stamped with two patent numbers: “1.958.919,” which was used on Kovalovsky Standard Model Type 1 reels, and “2.022.204,” which was the patent for Kovalovsky’s innovative rim control mechanism. These markings indicate the reel was likely made between 1935 and 1941. The reel’s foot is marked “14/0 L No. 12.” Kovalovsky reels were Grey’s tackle of choice for wrangling the largest fish that had ever been caught. As found.
Provenance: Zane Grey Tackle Collection Ronald J. Gard Collection
Literature: John Bechtold, Arthur Kovalovsky & Sons: A 100-Year History of Design Innovation and Excellence, Deepfins Publishing, Pismo Beach, CA, 2024, pp. 57-58, exact reel illustrated. Zane Grey, An American Angler in Australia, Harper & Brothers, New York, NY, 1937, Zane Grey discusses preferred tackle. Lang’s Sporting Collectables, Inc., Spring Auction of Fishing Tackle & Accessories, May 15, 2004, lot 116, exact reel illustrated.
$20,000 - $40,000
“I used three big tackles, favoring the Coxe, Hardy-Zane Grey, and Kovalovsky reels, carrying a thousand and more yards of thirty-nine-thread [lines].”
— Zane Grey writing about his preferred tackle in An American Angler in Australia, 1937
121 Zane Grey’s J.A. Coxe 12/0
Joe A. Coxe
Los Angeles, CA, c. 1930 6 in. Diameter
Like Arthur Kovalovsky, Joe A. Coxe approached reelmaking from an angler’s perspective. An accomplished big game fisherman, Coxe was director of the Tuna Club of Santa Catalina Island and later served as its president for seven years. Zane Grey praises Coxe in Tales of Fishes, writing that “he has rebuilt and rejuvenated the Tuna Club on the splendid standard set by its founder.”
Coxe recognized that the tackle available in the early 1900s could not always meet the demands of big game fishermen. Around 1920, he began making his own reels and used his experience as a fisherman to incorporate features he knew would be effective. They proved to be some of the best and most reliable reels that money could buy. Zane Grey was a friend and loyal customer, working with Coxe to have reels specially built to his requirements. He is thought to be the first to make a reel larger than 9/0 and did so on a special order for Grey. The rare and exceptional J. A. Coxe 12/0 reel in this lot was owned and
fished by Zane Grey. Grey landed many giant fish using the power and precision hidden within the black plates of this reel. Several photographs exist of Grey fighting fish using this exact reel, including in a character card from Grey’s film, Sea Adventures. The leather Hardy Bros. case that Grey used to hold this reel is included. On the top of this case, Grey inscribed “Coxe 12/0 most used” along with his signature, indicating that this was one of his favorite reels. The reel has a six-inch diameter and a star drag adjustment on the front plate. Stamped on the handle is “J. A. Coxe. 218
E. 25 St. L.A. Cal., Maker, Pat. Apld. For.” As found.
Provenance: Zane Grey Tackle Collection
The Brian McGrath Collection
Ronald J. Gard Collection
Literature: Zane Grey, Tales of Swordfish and Tuna, Harper & Brothers, New York, NY, 1927, Zane Grey writes about Coxe reels. Zane Grey, Tales of Fishes, Harper & Brothers, New York, NY, 1919, Zane Grey writes about Joe A. Coxe.
$8,000 - $12,000
122 Zane Grey’s “Hardy-Zane Grey” Reel Hardy Brothers Ltd. Alnwick, England, c. 1935 6 in. Diameter
Hardy Brothers Ltd. of Alnwick, England, has been creating high-quality fishing tackle since 1873. Beginning with small fly fishing reels, they began selling big game reels in 1921 as figures such as Grey were pushing boundaries and pioneering the field. Recognizing the value of Grey’s experience with big game tackle, Hardy Bros. worked alongside him in the 1930s to produce their top-of-the-line “Zane Grey” models. These were the largest and most expensive reels that Hardy Bros. had ever sold.
Presented in this lot is a rare Hardy Bros. “Zane Grey” six-inch model reel, which was owned by Zane Grey himself and gifted to his son, Romer. This elegant piece of equipment is made of monel, a strong alloy often used in marine and aerospace engineering. It features a star drag adjustment and is stamped “The ‘Hardy - Zane Grey’ Size 6” - To Hold 600 YDS. 39 Thread.” The spool still holds hundreds of yards of original linen line. Grey signed the reel handle with his initials in a stylized engraving and signed the inside of the case in ink. On the back plate of the reel are Romer Grey’s red and white colors. Matching colors can be seen on the top of the reel’s case, alongside a very faint inscription that once read “To Romer, From Dad,
Zane Grey.” With multiple anglers bringing their own gear into one boat for a trip, these colors would help identify ownership. Romer, a diehard fisherman himself, almost always accompanied his father on their frequent fishing trips.
With this reel comes a Hardy Bros. rod butt that was also owned and fished by Zane Grey. The rod butt and reel were loaned together to the International Game Fish Association for exhibition by Brian McGrath. The butt features red and blue paint, which McGrath identifies as “Grey’s personal colors for his fishing equipment.” Grey even etched his name into the metal reel seat. This butt would have been used in conjunction with a larger and interchangeable rod to catch the giant fish Grey pursued. As found.
Provenance: Zane Grey Tackle Collection
Huck Spawr Zane Grey Collection (reel only)
Brian McGrath Collection
Ronald J. Gard Collection
Literature: Richard W. Oliver and Bob Lang, The Fourth Annual Summer Auction of Fishing Tackle & Related Items, July 1, 1987, lot 1148, exact reel illustrated.
123 Photo of Zane Grey on the Alma G. photograph, 18 by 27 in.
A large photo owned by Zane Grey showing him fighting a fish on the Alma G. This was Grey’s boat of choice when big game fishing in New Zealand, where he caught multiple world-record fish off its coasts. Grey wrote about his fishing adventures on this boat in great detail in Tales of The Angler’s Eldorado, New Zealand. The megaphone Grey is holding in this photo was likely used to provide direction to his camera crew on another vessel. This important photo once hung in Grey’s famous Altadena estate. Toning and some wear to surface.
Provenance: Zane Grey Altadena Estate
Brock-Tinglum Collection
Ronald J. Gard Collection
Literature: Zane Grey, Tales of The Angler’s Eldorado New Zealand, Harper & Brothers, New York, NY, 1926, Grey writes about fishing on the Alma G.
Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 754, exact photo illustrated.
$2,000 - $4,000
124 Zane Grey with a Kovalovsky Reel photograph, 7 ½ by 5 ½ in.
An original photo owned by Zane Grey showing him fighting a fish using a Kovalovsky reel. This photo reportedly used to hang in the front of Kovalovsky’s shop. Grey was one of Kovalovsky’s best customers, with the reel maker even having a line of “Zane Grey” reels. On his fishing expeditions, Grey would always have cameras handy to document his experience. If he, his brother R.C., or son Romer hooked a fish, the others would rush for a camera and snap photos. They would photograph or film the fight and would often try to capture the fish as it flew out of the water. Some surface wear and flaking.
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 766, exact photo illustrated.
$2,000 - $4,000
125 Photo of Zane Grey with a Black Marlin photograph, 10 ⅝ by 6 ½ in.
A photo owned by Zane Grey showing him congratulating Captain Mitchell on catching his first black marlin. This fish weighed an impressive 685 pounds. Inscribed in ink by Zane Grey on back. Good with some toning and light wear.
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 768, exact photo illustrated.
$1,000 - $2,000
126 Photo of Zane Grey with a World Record Marlin hand-colored photograph, 18 by 10 in.
A photo owned by Zane Grey which shows him being congratulated by Captain Mitchell for catching a world-record 704-pound black marlin. Captain Laurie Mitchell was a loyal companion and fishing partner of Grey’s. He later broke Grey’s record by catching a 976-pound black marlin in 1926, also in the Bay of Islands, New Zealand. Some scuffs and wear to surface. Vertical scratch through center.
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 748, exact photo illustrated.
$2,000 - $4,000
127 Zane Grey Tuna Photo and Ashaway Fishing Line (photo shown)
“I was certain that these Coxe reels, Murphy hickory rods, and Ashaway linen lines were the very finest and most enduring which could possibly be built.” — Zane Grey in Tales of Swordfish and Tuna
A photo owned by Zane Grey of him and his crew with a large tuna. In 1924, Zane Grey caught the world-record bluefin tuna weighing 758 pounds using Ashaway fishing line. Subsequently, Ashaway produced “The Zane Grey Deep Sea Reel Line,” a spool of which is also included in this lot. This spool contains 350 yards of 36-pound test and includes its original box. As found.
Provenance:Zane Grey Collection
Brock-Tinglum Collection (photo)
Brian McGrath Collection (line) Ronald J. Gard Collection
Literature: Zane Grey, Tales of Swordfish and Tuna, Harper & Brothers, New York, NY, 1927, Zane Grey writes about his preferred tackle.
Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 768, exact photo illustrated.
$600 - $900
128 Romer Grey with the Virgin Seas Wahoo photograph, 30 ¼ by 17 ½ in.
“’Wahoo!’ I yelled, amazed. ‘Sure as you’re born. It’s a wahoo, Romer, and a whopper!’” — Zane Grey in Tales of Fishing Virgin Seas
In 1925, Zane Grey and his crew sailed 300 miles west of Panama to the tiny and remote Cocos Island. They were aboard Grey’s newly acquired 190-foot sailboat, Fisherman, which he outfitted specifically for fishing expeditions such as this. This trip is described and photographed in great detail in Grey’s book, Tales of Fishing Virgin Seas. In this book, Grey tells of Romer catching a massive 50-pound wahoo, the first wahoo that Grey had ever seen in the Pacific Ocean. The photo in this lot shows Romer straining to lift the wahoo described in the book. Grey even placed this very photo in the book alongside another shot of Romer’s launch approaching the boat, Fisherman, with the fish. Grey clearly cherished this memory, keeping the large photo in his Altadena home. Good with some discoloration and wear. Horizontal scratch lower right.
Provenance: Zane Grey Altadena Estate
Brock-Tinglum Collection
Ronald J. Gard Collection
Literature: Zane Grey, Tales of Fishing Virgin Seas, Harper & Brothers, New York, NY 1925, Illustration 5, exact photo illustrated. Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 744, exact photo illustrated.
$1,000 - $2,000
129 Zane Grey’s Biography and Personal Ledger biography 7 ¾ by 5 ½ in., ledger 5 ⅛ by 2 ⅞ in.
Zane Grey’s own leather-bound copy of his biography. The 56-page book was published in 1928 and is titled Zane Grey, The Man And His Work: An Autobiographical Sketch, Critical Appreciations And Bibliography. Grey wrote the first twenty of the book’s pages himself. According to the inscription inside the front cover, this copy was gifted by Grey’s wife to a friend in 1952. It later returned to the Zane Grey estate and bears its library sticker.
Also in this lot is Zane Grey’s personal ledger which contains twelve pages of notes from 1924 and nine pages of notes from 1927. In this ledger, Grey took notes on his fishing trips, recording catches, fish sizes, weather conditions, and the summaries. The pages from 1927 contain notes from tennis matches he played with family and friends. Grey used this section to record scores and results from his games. As found.
Provenance: Zane Grey Altadena Estate
Brock-Tinglum Collection
Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lots 800 and 801, exact books illustrated.
$1,000 - $2,000
Please visit live.copleyart.com to view photos of all of the pages of Zane Grey’s letters in Lots 130, 132, 133, 135, 136, 139, and 140.
130 Letter from Zane Grey to Romer Grey c. 1920 ink on paper, each 8 ½ by 5 in.
A four-page handwritten letter written by Zane Grey to his young son, Romer. Zane describes a successful grouse hunting trip with his dog, Don. This dog was likely the inspiration for his short story, “Don, the Story of a Lion Dog,” which was first published in 1925. As found.
Provenance: Zane Grey Altadena Estate
Brock-Tinglum Collection
Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lots 800 and 801, exact books illustrated.
$400 - $800
131 Photo of Zane and Romer Grey with Two Bears photograph, 6 ½ by 4 ⅝ in.
A photo owned by Zane Grey showing him and his son, Romer, with two black bears they hunted. Grey was an avid hunter of all types of game, both in the water and on land. He frequently went on long expeditions throughout the American West, often for several weeks, during which
he spent much time hunting. These trips were essential to Grey’s writing process, allowing him to personally interact with the environments that showed up in his books. He would be accompanied by family, friends, lovers, guides, chefs, and much equipment. For a 1920 hunting trip in Arizona, Grey brought twenty-one horses, three supply wagons, and over a dozen people. Not examined out of frame. Very good.
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 763, exact photo illustrated.
$400 - $800
132 Letter from Zane Grey to Romer Grey 1934 ink on paper, each 10 by 8 in.
A four-page handwritten letter from Zane Grey to his son Romer. Included is the original envelope which shows the letter as coming from Grey’s fishing camp near Roseburg, Oregon. This long letter discusses family matters, fly fishing, and the details of his current fishing trip. As found.
Provenance: Zane Grey Collection
Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 814, exact letter illustrated.
$400 - $800
133 Letter from Zane Grey to Romer Grey c. 1930 ink on paper, 10 ¼ by 8 in.
A one-page handwritten letter from Zane Grey to his son, Romer. Zane writes from a camp while on a steelhead fishing expedition. He discusses catching steelhead, the people he is with, and mentions motion pictures. As found.
Provenance: Zane Grey Collection Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 812, exact letter illustrated.
$400 - $800
134 Four Photos of Zane Grey and his Family (one shown) photographs, each 10 by 8 in.
Four photos owned by Zane Grey depicting him and his family. One shows Grey poised over the gunwale with a harpoon, ready to spear an incoming fish. Another shows Grey assisting a woman as she wrangles a hooked fish. Another shows his son, Romer, posing earnestly, a pipe in his mouth and a trout in his hand. The last shows Romer and his mother in a rowboat. As found.
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 769, exact photos illustrated.
$400 - $800
135 Letter from Zane Grey to Romer Grey c. 1925 ink on paper, each 11 by 8 ½ in.
A three-page handwritten letter from Zane Grey to his son, Romer. In the letter, Zane provides advice for young Romer. Later, Grey writes about catching bonefish in the tropics. The letterhead shows that Grey was writing from the historic Long Key Fishing Camp in Long Key, Florida. Grey was the first president of this camp, which often hosted notable guests such as Herbert Hoover, Franklin Roosevelt, Andrew Mellon, and Charles Kettering. As found.
Provenance: Zane Grey Collection
Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 810, exact letters illustrated.
$400 - $800
Lot 135 showing part of the first page of Zane Grey’s letter to his son, Romer. Please visit live.copleyart.com to view all of the pages of Zane Grey’s letters.
the
Lot 132 showing
four-page letter that Zane Grey wrote to his son, Romer.
136 Five Love Letters to Zane Grey (not shown)
1901 ink on paper, each 6 ¼ by 4 7⁄8 in.
Five letters written to Zane Grey in 1901 from an early love interest. Each letter is signed “Diosus,” which was a pseudonym for a woman named Doris who Grey maintained a relationship with for eight years. Each letter is tenderly addressed “Dearest Boy,” “Dearest Doc,” or “Dear old Sweetheart” and discusses their friends, events, and plans. As found.
Provenance: Zane Grey Collection
Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 822, exact letter illustrated.
$400 - $800
137 Book Owned by Zane Grey Fred Harvey, American Indians: First Families of the Southwest, Kansas City, MO, 1920.
A second-edition copy of American Indians: First Families of the Southwest, which was published by the author in 1920. According to Lang’s Sporting Collectables, Inc., this book was personally owned by Zane Grey. As found.
Provenance: Zane Grey Collection
Romer Grey Collection
Norine Fife Collection, by descent from above Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Spring 2007 Auction, lot 1004, exact book illustrated.
$200 - $400
138 Two Books Owned by Zane Grey Lou Ella Archer, illustrated by Lillian Wilhelm Smith, Canyon Shadows and Sonnets to the Southwest, Times-Mirror Printing & Binding House, Los Angeles, CA.
Canyon Shadows and Sonnets to the Southwest were both written by Lou Ella Archer and illustrated by Lillian Wilhelm Smith. Each book is inscribed to Zane Grey’s wife, Dolly (Lina Elise Grey), from Lillian Smith. As found.
Provenance: Zane Grey Collection
Romer Grey Collection
Norine Fife Collection, by descent from the above Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Spring 2007 Auction, lot 1003, exact books illustrated.
$200 - $400
139 Two Letters from Lewis Grey to Zane Grey (not shown) 1904 ink on paper, each 11 by 8 ½ in.
These two letters were written to Zane Grey by his father, Lewis Grey. Both are on “Dr. Grey’s Aromatic Toothpaste” letterhead, and the included envelope is addressed to “Dr. P. Z. Grey” in Lackawaxen, PA. The letter, dated July 1904, was sent to Grey at a decisive time in his life. He was unhappy, working as a dentist and depressed by his life in New York City. Against his father’s wishes, Grey closed his practice in the city and moved to Lackawaxen within the following year. When he received this letter, Grey was likely in the small town surveying the residence he purchased just two months later. This property, now a museum, is where he wrote many of his most famous works, including Riders of the Purple Sage.As found.
Provenance: Zane Grey Collection
Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 816, exact letters illustrated.
$400 - $800
140 Two Coded Love Letters to Zane Grey (not shown) c. 1920 ink on paper, largest is 9 ½ by 6 in.
According to Lang’s Sporting Collectables, Inc., these two letters were written to Zane Grey by Mildred Smith, who worked as one of Grey’s secretaries from 1916 to 1930. During this time, she became one of Grey’s closest companions, accompanying him on his travels worldwide. Their relationship went beyond work; however, with Smith being one of the many women with whom Grey had extramarital affairs. Grey was very close with Smith, even financing a house for her, and remained so until their falling out in 1930.
These two letters are partially written in Grey’s infamous code of letters, numbers, and symbols that he used to communicate with lovers. Grey and his lovers used this
code to describe their sexual adventures and send explicit messages to one another. As found.
Provenance: Zane Grey Collection
Ronald J. Gard Collection
Literature: Lang’s Sporting Collectables, Inc., Fall Two Session Auction, November 2-3, 2007, lot 820, exact letters illustrated.
$400 - $800
141 1926 Heddon Fishing Tackle Catalog
A twenty-four-page catalog filled with tackle offered by Heddon. The cover features a leaping bass in bright color. As found.
Provenance: Zane Grey Collection
Brian McGrath Collection
Ronald J. Gard Collection
$100 - $200
142 Tarp-Oreno, Oreno-Teaser, and Vom Hofe Catalog boxes 9 ¼ in. long
The Tarp-Oreno and Oreno-Teaser were South Bend Bait Company’s premier big game fish lures. These eight-inch-long wooden plugs danced in the water, making them uniquely effective at attracting hungry fish. The yellow Tarp-Oreno is fitted with large, 4 in. hooks designed to sink into the mouths and bills of any fish unfortunate enough to fall for its deception. According to the orange Oreno-Teaser’s box, it is “Recommended as the most effective ‘teaser’ obtainable” by anglers such as Zane Grey. Tales of Fishing Virgin Seas by Grey tells of many fish that were drawn in, hooked, or caught using these lures. Also included in this lot is a 1941 Edward vom Hofe & Company fishing tackle catalog. In this catalog alone, an angler could shop through a wide range of high-quality equipment for any fishing expedition. As found. Lures with some flaking to paint. Catalog with some deterioration to spine.
Provenance: Zane Grey Tackle Collection Brian McGrath Collection
Ronald J. Gard Collection
$600 - $900
ZANE GREY’S BIG GAME RODS
143 Hardy Brothers Big Game Rod
Hardy Brothers Ltd.
Alnwick, England, 1928
82 in. long
This Hardy Palakona saltwater big game rod was owned by Zane Grey and later became a part of the Huck Spawr Zane Grey Collection. This impressive and rare rod would have been used to wrangle monster fish on Grey’s many expeditions around the world. The rod is inscribed “The No 5A Salt Water Palakona Regal” and contains eight unique markings noting the serial number, patents, and Hardy branding. The serial number “E 11128” indicates the rod was made in 1928. Appears to be in good condition with fishing wear. Second ferrule from top appears to be different thread type.
Provenance: Zane Grey Tackle Collection
Huck Spawr Zane Grey Collection
Brian McGrath Collection
Ronald J. Gard Collection
Literature: Richard W. Oliver and Bob Lang, The Fourth Annual Summer Auction of Fishing Tackle & Related Items, July 1, 1987, lot 1148, exact rod described.
$1,000 - $2,000
144 J. A. Coxe “Double Enamel” Rod
83 ¼ in.
This big game rod consists of an original butt section that is believed to have been owned and fished by Zane Grey. It was cataloged by Brian McGrath as a “J.A. Cox double-enameled big game rod with cord-wraped foregrip” and “red and black Zane Grey colors on the butt section.” These colors match those on Grey’s “ZG” pennant which flew proudly from the mast of his boat that he named Fisherman. The rod above the reel seat appears to be refinished or replaced and is inscribed “Double Enamel - ‘J. A. C. Hvy.’” As found.
Provenance: Zane Grey Tackle Collection
Brian McGrath Collection
Ronald J. Gard Collection
$200 - $400
Butt section of Lot 143. showing the warrant of appointment from the Royal family.
A close-up image of Lot 144 showing the Zane Grey colors on the rod’s butt section.
A close-up image of the fine Hardy Brothers hardware of Lot 143.
145 Six Rods (one shown) tube 81 ½ in. long
Six old fishing rods from various makers with various inscriptions. One three-piece rod with two tips, two onepiece bamboo fly rods, and three rods inscribed for “Ruth Carleton, Dallas, Texas.” Three rods are dated 1939, 1940, and 1941. With a large rod tube. As found with wear.
Provenance: Ronald J. Gard Collection
$500 - $800
146 E.F. Payne Fly Rod (one shown) E.F. Payne Fly Rod Co. (1898-1968) Highland Mills, NY tube 37 ¾ in. long
An E.F. Payne Model 400 three-piece bamboo salmon rod with two tips. This nine-foot rod comes with its original sleeve and rod tube and is stamped “2” on its butt. Appears to be in good original condition with light fishing wear.
$1,000 - $2,000
147 Four Bamboo Fly Rods (one shown) longest tube 46 ½ in.
Three Asa C. Osborn two-piece six-foot rods and one “Standard Boston” three-piece rod with two tip. Comes with four rod tubes. All appear to be in good original condition.
$600 - $800
148 Four Bamboo Fly Rods (one shown) longest tube 50 in.
A large E. F. Thomas “Special” three-piece rod with two tips and a handle extension. An Orvis Impregnated Deluxe two-piece rod with two tips. A Hardy Brothers “C.C. de France” Palakona two-piece rod with one tip and its original bag. An unmarked three-piece rod with two tips. Comes with four rod tubes. All appear to be in good original condition with light wear.
$800 - $1,200
A close-up image of one of the rods in Lot 145.
ERNEST HEMINGWAY’S TYCOON TACKLE “BIMINI KING” ROD
149 Ernest Hemingway’s Tycoon Tackle “Bimini King” Rod Tycoon Tackle Miami, FL 83 ¼ in. long
Ernest Hemingway (1899-1961) is one of the preeminent authors of the last century, receiving a Pulitzer Prize for Fiction in 1953 for The Old Man and the Sea and a Nobel Prize in Literature in 1954. Hemingway’s books are taught in high schools and colleges around the world, and he is considered to be one of the most important writers of all time. Hemingway’s influence also spread into the world of big game fishing, where he helped found the International Game Fish Association and served as the organization’s first vice president. A lifelong fisherman, he always traveled with a rod, casting over the creeks, rivers, and lakes he found during his world travels. In the Atlantic, he spent many years fighting big game fish in Florida waters and the Gulf Stream on his 38-foot boat, Pilar. He set a world record in 1938 for catching seven marlin in one day, won countless tournaments in the Caribbean, and started the Ernest Hemingway International Billfishing Tournament in Cuba. The tournament began in 1950, with Hemingway himself winning the first three years. Like Zane Grey, his writings in magazines and journals spread tales of sport fishing to millions. No author could write an angling novel like The Old Man and the Sea without battling monster fish, fending off sharks, and drifting through the vast and unforgiving sea.
This exceedingly rare, and likely unique, Tycoon Tackle “Bimini King” was specially made for Ernest Hemingway. This big game rod is one of the most important Hemingway items to ever come to market. The rod is monogrammed “E. Hemingway” in India ink under the original varnish, which was only done for special clients or on custom orders. Hemingway was a friend and customer of Frank O’Brien, the founder of Tycoon Tackle, and the author recommended “Bimini King” rods for catching marlin “from 250 to over 1000 pounds.” Hemingway favored these rods, writing in Holiday magazine’s July 1949 publication that “The best [rods] I have found, outside of the old Hardy HickoryPalakona bamboo #5, are those made by Frank O’Brien of
Tycoon Tackle, Inc. His rods are incomparably the best I know made today.” He was photographed many times using these rods, often with a Hardy Zane Grey reel, as he fought big billfish on Pilar. The rod is made of a five-strip laminate, which uses three different types of wood and provides superior strength and flexibility. This rod retains all its original hardware, including its lower chrome-plated rolling guide and tip. A letter from Tycoon Tackle President Tim O’Brien, son of Tycoon Tackle founder Frank O’Brien, certifies that the rod “does not appear to have been modified, changed, or tampered with in any manner.” This exact rod was featured in the IGFA’s 1999 exhibition Papa, A Tribute to Ernest Hemingway, at their museum in Diana Beach, Florida, which celebrated the centennial of the author’s birth.
This “Bimini King” was purchased in 1997 from the renowned Kleiser’s Sport Shop in West Palm Beach, Florida. Opening in 1929, Kleiser’s catered to the affluent sportsmen of South Florida, selling the finest fishing and sporting equipment available. They supplied sportsmen with Tycoon Tackle rods, Kovalovsky reels, hunting gear, and high-end firearms. The shop’s founder, Bob Kleiser, was a personal friend of Hemingway’s and went on trips with the leading fishermen of the time around the Atlantic. This rod bears a “Bob Kleiser’s Sport Shop” label below the first guide. In good original condition with some wear, including some oxidation to metal.
Provenance: Kleiser’s Sport Shop, West Palm Beach, Florida Private Collection, Florida, acquired from the above in 1997
Literature: Ernest Hemingway, “The Great Blue River,” Holiday, July, 1949, p. 97.
Exhibited: Diana Beach, Florida, Papa, A Tribute to Ernest Hemingway, International Game Fish Association, IGFA Fishing Hall of Fame and Museum, July 1999-January 2000.
$10,000 - $20,000
Ernest Hemingway (right) fishing with Tycoon Tackle “Bimini King” rods.
Ernest Hemingway with a 750-pound black marlin that he caught using Tycoon Tackle “Bimini King” rod seen beside him.
150 Bogdan Model 2 Salmon Reel
Stan Bogdan (1918-2011) Nashua, NH
A Model 2 Large Salmon right-handed fly reel with a 3 ¾ in. diameter and 1 ⅜ in. spool width. “S. E. Bogdan, Nashua, N.H.” and drag adjustment on tail plate and “No. 2” on seat.
The reel is engraved “Guido R. Perera,” who was a patron and close friend of Aiden Lassell Ripley. Perera and his family were heavily involved in the Boston art scene, supporting local artists and the Museum of Fine Arts. Perera and Ripley spent four decades upland hunting and salmon fishing together. Perera even wrote the introduction for the book Sporting Etchings by A. Lassell Ripley. Appears
to be in good working condition with some fishing wear.
$2,000 - $4,000
151 Limited Edition Hardy Cascapedia 4/0 c. 1995
A House of Hardy Cascapedia 4/0 salmon reel with a sliding switch and drag adjust on tail plate. “Maker, I. Evans, No. 199, House of Hardy” on head plate. With original leather case. Limited edition 199 of 500. Appears to be in good working condition.
$600 - $900
152 Bogdan Model 2 Salmon Reel
Stan Bogdan (1918-2011) Nashua, NH
A Model 2 Large Salmon left-handed fly reel with a 3 ¾ in. diameter and 1 3⁄8 in. spool width. “S. E. Bogdan, Nashua, N.H.” and drag adjustment on tail plate and “2” on seat. Appears to be in very good working condition with some adhesive on seat.
$2,000 - $4,000
153 Ted Godfrey Trout Reel 2002
A Ted Godfrey trout reel with its original warranty paper. It is listed as a Model 252 and has a 2 ¾ in. diameter and 7⁄8 in. spool width. Drag adjustment and “T. Godfrey
USA” plaque on tail plate. Comes with House of Hardy case. Appears to be in good working condition.
$600 - $900
154 Saracione Deluxe II Trout Reel
A Model 2 ¾ in. Deluxe II trout reel with a spool width of 7⁄8 in. Stamped “Saracione” and “#082” on seat. Appears to be in good working condition.
$800 - $1,200
155 Bogdan Baby Trout Reel Stan Bogdan (1918-2011) Nashua, NH
A left-handed Baby Trout Narrow reel with a 2 ¾ in. diameter and 11⁄16 in. spool width. “S. E. Bogdan, Nashua, N.H.” on tail plate. Appears to be in unused working condition with minimal wear.
$800 - $1,200
156 Limited Edition Hardy Cascapedia Brunswick c. 1995
A House of Hardy Cascapedia Mark I Brunswick Trout 1/0 reel with a sliding
switch and drag adjust on tail plate. “Maker, I. Evans, No. 278, House of Hardy” on head plate. With original case and box. Limited edition 278 of 500. Appears to be in unused working condition with minimal wear.
$600 - $900
157 Saracione Salmon Reel
A left-handed salmon reel with a 3 ½ in. diameter and 1 3⁄16 in. spool width. Drag adjustment on tail plate and stamped “Saracione” and “#082” on seat. Appears to be in good working condition with light fishing wear.
$800 - $1,200
158 Charlton Trout Reel
A Charlton Model 8350c left-handed trout reel with a 1/5 weight spool. Diameter of 3 in. and spool width of 1 in. with drag adjustment knob. Appears to be in good working condition with light fishing wear.
$800 - $1,200
A left-handed Abel Super 4 with a pattern designed by James Prosek. Edition 97 of 100. Diameter of 3 ¼ in. and spool width of 13⁄16 in. Drag adjustment on tail plate. Appears to be in good working condition.
$1,200 - $1,800
Four trout reels by the Hardy Brothers, including three “Flyweight” reels and a “Marquis #4.” As found with wear.
$500 - $800
Six fly reels, including a Hardy Bros “Uniqua” 3 ⅛ in., a Hardy Bros “St. George” 3 ¾ in., a Hardy Bros “St. John” 3 ⅞ in., an L. H. Hagen & Co. reel, a J. W. Young & Sons “St Louis,” and an unmarked reel. As found with fishing wear.
$400 - $600
A right-handed Abel Super 9 with a pattern designed by James Prosek. Edition 39 of 100. Diameter of 4 ⅛ in. and spool width of 1 in. Drag adjustment on tail plate. Appears to be in unused working condition with minimal wear.
$1,200 - $1,800
159 Abel Super 4 Fly Reel
160 Four Hardy Bros Trout Reels
161 Six Fly Reels
162 Abel Super 9 Fly Reel
163 William E. Plimpton (1857-1940)
The Fishing Lesson, 1892 signed and dated “W.E. Plimpton ‘92” lower right oil on canvas, 18 by 24 in.
A highly accomplished landscape and portrait painter from New York, Plimpton exhibited at the Brooklyn Art Association between 1876-1886, the National Academy of Design between 1882-1900, and the Pennsylvania Academy of the Fine Arts Annual Exhibition in 1890.
$2,000 - $3,000
164
A beautifully rendered 19th-century oil of the majestic and now threatened Atlantic salmon.
$1,500 - $2,500
Walter M. Brackett (1823-1919)
Salmon, 1897
signed and dated “W.M. Brackett 1897” lower left oil on canvas, 17 ¾ by 29 ¾ in.
Provenance: Rebecca Park Collection
FRANK S. FINNEY
“Finney revels in telling allegoric and anthropomorphic tales through his whimsical carvings. These often highly complex and detailed stories fashioned in wood and paint engage the viewer in a fashion like no other carver working today.”
— Stephen O’Brien Jr.
FRANK S. FINNEY
165 Chipmunks Riding a Rattlesnake
Frank S. Finney (b. 1947)
Capeville, VA
25 in. long, 17 in. wide, 10 in. tall
A unique Finney carving showing the maker at the height of his artistic and allegorical talents. Four chipmunks are mounted upon a bridled rattlesnake. The lead chipmunk is holding the reins while three student chipmunks, with books strapped to their backs, clutch smaller harnesses. The smallest chipmunk is wearing a baseball cap with a propeller that actually spins. There is a drawer that slides open with mushroom pulls. The underside of the carved
leaf and mushroom box bears the maker’s incised “F” signature. This storied box is one of the maker’s most elaborate and monumental undertakings to date. Original paint with minimal wear.
$20,000 - $30,000
FRANK S. FINNEY
166
167 Life-Size Hairy Woodpecker
Frank S. Finney (b. 1947)
Capeville, VA
6 ½ in. long
This turned-head bird is enjoying a morsel in its open bill. The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$600 - $900
168 Outstanding Life-Size Preening Pelican
Frank S. Finney (b. 1947)
Cape Charles, VA
21 ½ in. long 23 in. tall
A rare, and perhaps unique, life-size pelican with raised wings, elaborate head and bill carving, and textured paint details. In this grand undertaking, Finney masterfully tackles the twists, turns, and complexities in executing this rarely carved species. The underside bears an inked “FF.” Original paint with light wear from handling and some body seam lines are showing.
Provenance: Private Collection, acquired from the artist
$4,500 - $6,500
166 Cat Playing with Yarn
Frank S. Finney (b. 1947)
Capeville, VA
8 ½ in. tall, 9 in. wide
A cat sits on a heart shaped base decorated with a painted rug in this playful carving. The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$5,000 - $7,000
167
“MOUSE-LE” BEACH
8 in. tall, 14 in. wide
A one-of-a-kind carving depicting a tiny romance at the beach. A lady-mouse admires an athletic character posing with arms and tail flexing, while a would-be suitor is left holding his diamond ring. Finney demonstrates his unique ability to tell in wood and paint this well-known story with delightful whimsy. The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$18,000 - $24,000
169 “Mouse-le” Beach
Frank S. Finney (b. 1947) Capeville, VA
7 ½ in. tall
The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$1,200 - $1,800
A refined owl with a turned head, laid back plumicorns, and extensive carved detail. The underside bears the maker’s incised “F” signature. Original paint with light wear.
$5,000 - $7,000
This owl carving bears the maker’s incised “F” signature. Original paint with minimal wear.
$1,200 - $1,800
170 Half-Size Barred Owl
Frank S. Finney (b. 1947) Capeville, VA
171 Half-Size Barn Owl
Frank S. Finney (b. 1947) Capeville, VA
7 in. tall
172 Half-Size Great Horned Owl
Frank S. Finney (b. 1947) Capeville, VA
13 in. tall
FRANK S. FINNEY
finch is 5 ½ in. long
A life-sized goldfinch on the lid of a turned wooden bowl. The underside of this rare piece bears the maker’s inked signature and the species. Original paint with light wear.
$500 - $700
174 American
Frank S. Finney (b. 1947)
Capeville, VA
4 ¾ in. long
The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$400 - $600
4 ½ in. long
The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$400 - $600
176
Frank S. Finney (b. 1947)
Cape Charles, VA
3 ½ in. tall
The underside bears the maker’s incised “F” signature. Original paint with light wear.
$400 - $600
173 Goldfinch on Bowl
Frank S. Finney (b. 1947) Capeville, VA
Goldfinch
175 Painted Bunting
Frank S. Finney (b. 1947) Capeville, VA
Miniature White Ibis
177 Indigo Bunting
Frank S. Finney (b. 1947)
Capeville, VA
5 in. long
The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$400 - $600
178 Baltimore Oriole
Frank S. Finney (b. 1947)
Cape Charles, VA
5 in. long
The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$400 - $600
179 Yellow-Bellied Sapsucker
Frank S. Finney (b. 1947)
Cape Charles, VA
5 ½ in. long
The underside bears the maker’s incised “F” signature. Original paint with minimal wear.
$400 - $600
180 Rare Common Grackle
Frank S. Finney (b. 1947)
Capeville, VA
6 ¼ in. long
A rare and possibly unique species. The underside of this colorful black bird bears the maker’s incised “F” signature. Original paint with minimal wear.
$400 - $600
MARK S. MCNAIR
181 Golden Plover
Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 11 ½ in. long
The bird’s best transitional plumage is embraced with intricate feathering from tip to tail. The primaries and “McNair” signature are all crisply incised. Original paint with light wear.
$1,200 - $1,800
182 Running Yellowlegs
Mark S. McNair (b. 1950) Craddockville, VA, c. 2010 16 in. long
A running yellowlegs with an especially long and thin neck. Signed with an incised “McNair” on the underside. Original paint and wear.
$1,200 - $1,800
183 Bone-Bill Curlew
Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 13 in. long
The underside of this Eskimo curlew bears an incised “McNair” signature and the tail has a stringing hole. Original paint and wear.
$1,000 - $1,500
184 Killdeer
Mark S. McNair (b. 1950) Craddockville, VA, c. 2000 11 in. long
The underside of the carving bears an incised “McNair” signature and the tail has a stringing hole. Original paint and wear.
$800 - $1,200
185 Dowitcher
Mark S. McNair (b. 1950)
Craddockville, VA, c. 1985 11 ½ in. long
A sleek early dowitcher with split and raised wing tips. The underside has an incised signature. Original paint with light wear.
$1,000 - $1,500
186 Verity-Style Feeding Plover
Mark S. McNair (b. 1950)
Craddockville, VA, c. 1995 10 ¼ in. long
The underside bears an incised “McNair” signature. Original paint and wear.
$800 - $1,200
187 Yellowlegs
Mark S. McNair (b. 1950)
Craddockville, VA, c. 1990 10 ½ in. long
This shorebird is carved in the Ira Hudson style with an incised “McNair” signature on the underside. Original paint with light wear.
$800 - $1,200
188 Early Dowitcher
Mark S. McNair (b. 1950)
Craddockville, VA, c. 1977 11 ¼ in. long
This rare early carving has a chip-carved finish, raised wing detail, and a slightly turned head. It is signed with an early incised “M” and is signed and dated with a painted “McNair 1975-1980.” Original paint and wear.
$1,000 - $1,500
REGGIE BIRCH
189 Outstanding Merganser Pair
A Lothrop Holmes style merganser pair with expressive head positions and incised bill, crest, and wing detail. Both bear the maker’s incised signature on the undersides. Original paint and wear.
$1,500 - $2,500
Reggie Birch (b. 1953) Chincoteague, VA 17 in. long
190 Rare Standing Snow Goose
Cameron T. McIntyre (b. 1968)
New Church, VA, c. 1990 21 in. long
A rare, if not unique, hollow snow goose in a deep feeding pose showing inspiration from John Tax (1894-1967). The underside bears an incised “CTM” signature. Original paint with minimal wear.
$2,000 - $4,000
191 Oversize Sleeping Mallard
Sean Sutton (b. 1967)
Paulsboro, NJ 19 in. long
An oversize mallard with its bill tucked between its wings. The underside of the hollow body is signed and its weight is stamped. Excellent original paint with minimal wear.
$300 - $500
192 Bufflehead Pair
Reggie Birch (b. 1953)
Chincoteague, VA each 10 ½ in. long
A Charles Jester influenced pair, the undersides bear an incised “R. Birch” signature. Original paint and wear.
$400 - $600
193 Pintail Pair
Pete Peterson (b. 1944) Cape Charles, VA, 2008 19 ½ in. long
“Hurricane” Pete Peterson is a living legend and a decoy carver from Virginia’s Eastern Shore. The undersides of these increasingly popular pintails are signed, dated, and branded. Original paint with light wear.
$600 - $900
CAMERON T. MCINTYRE
The consignor of lots 194-198, Ace Seybolt, will be donating 100% of the proceeds to Broadwater Academy, an independent, Pre-Kindergarten through Grade 12 co-educational college preparatory school located on Virginia’s Eastern Shore.
Cameron T. McIntyre (b. 1968)
New Church, VA, 1990
17 ½ in tall, 33 in. long
A life-size standing goose with spread wings and a reaching head with an open bill. This decorative was done in the style of A. Elmer Crowell’s famous goose made for Harry V. Long and collected by Paul Tudor Jones II. The underside of the base is signed and dated with the
maker’s incised “CTM.” Original paint with light wear, mostly to wing edges. Slight seam showing at neck and right foot.
Provenance: Ace Seybolt Collection to Benefit Broadwater Academy, acquired from the artist
$4,500 - $6,500
194 Standing Goose
Cameron T. McIntyre (b. 1968)
New Church, VA, 1990 31 ¼ by 20 ¼ in.
A life-size hanging redhead on a custom-built panel. The redhead measures twenty-two inches in length. Signed “Cameron McIntyre 1990” on the lower right of the panel. Original paint with light wear and some sap showing under the paint.
Provenance: Ace Seybolt Collection to Benefit Broadwater Academy, acquired from the artist
Literature: Zac Zetterburg, ed., American Decoy: The Invention, Peoria, IL, 2020, pp. 103-105, related carvings illustrated.
$2,000 - $4,000
Cameron T.
New Church, VA longest 21 in.
A rig of ten black ducks and two mallards ready to be hunted over. Original paint with gunning wear.
Provenance: Ace Seybolt Rig and Collection to Benefit Broadwater Academy, acquired from the artist
$5,000 - $10,000
196
195 Hanging Redhead
196 Rig of Twelve Gunning Decoys
McIntyre (b. 1968)
197 Brant Pair
Grayson Chesser (b. 1947) Sanford, VA, c. 1990 20 in. long
A dynamic brant pair with hollow bodies and incised “C” signatures. Original paint and wear and a small chip to one wing tip.
Provenance: Ace Seybolt Rig and Collection to Benefit Broadwater Academy, acquired from the artist
$800 - $1,200
198 Thomas Aquinas Daly (b. 1937)
Atlantic Salmon Brace signed “TAdaly” lower right oil on board, 15 ½ by 11 ½ in.
“The simple shape of an Atlantic salmon is so sleek and elegant that it needs no further embellishment to create a stunning image. I simply isolate a pair of fish against a bare wall in pleasing light and adjust the relationships between their bodies and shadows. Whenever depicting a specific species of fish, I take care to describe any distinguishing characteristics with a certain degree of accuracy. This is especially true when painting salmonoids, as a deviation in color or shape could easily translate to another species.” — Thomas Aquinas Daly
One of Daly’s most iconic subjects, the artist pays tribute to this “king” of freshwater game fish.
Provenance: Ace Seybolt Collection to Benefit Broadwater Academy
$2,000 - $3,000
199 Glossy Ibis with Fish
William Gibian (b. 1946)
Onancock, VA
13 in. tall, 21 ½ in. long
The scientific name for the glossy ibis derives from the Greek and Latin words for “sickle” due to the distinctive shape of the bill. This dramatic carving is signed by the maker with an incised “GIBIAN” on the bottom. A detailed carved bait fish can be fitted into the bird’s open bill. Original paint with light wear.
$2,000 - $3,000
200 Bullock’s Oriole on Pear
William Gibian (b. 1946)
Onancock, VA, 2023 10 in. long
This Bullock’s oriole carving is signed by the maker with an incised “GIBIAN” on the bottom. Orioles are known for their love of fruit; this one has a refined carved pear. Original paint with light wear.
$1,500 - $2,500
201 Bird Tree
Lloyd Cargile (b. 1938)
Baltimore, MD
25 in. tall
Ten animated birds perched on a carved tree. Each bird can removed from the tree and rearranged. The species featured include a red-winged blackbird, a robin, a golden-winged warbler, a pine warbler, a common yellowthroat warbler, a Baltimore oriole, an Eastern bluebird, and American goldfinch, among others. The back of the turned wooden base has the maker’s signature and incised “LC.” A related Folk Art Bird Tree by Frank Finney sold for $33,000 at Copley’s Sporting Sale 2022. Original paint with light wear.
$3,000 - $5,000
202 Decorative Wren in Marsh
Jack Franco
Assonet, MA, 1980 9 ½ in. tall
A calling long-billed marsh wren on a length of grass with carved oysters below. The base is signed, dated, inscribed on the underside. This carving earned third place at the World Championship Wildfowl Carving Competition as annotated on the bottom. Three years later, Franco went on to earn two blue ribbons at the “Worlds.” Original paint with light wear.
$1,000 - $1,500
203 Chickadee and Nuthatch
Jess Blackstone (1909-1988)
Concord, NH, c. 1960
3 ½ in. long
Each is slightly smaller than life-size and has a signature on the underside. Original paint with minimal wear.
$600 - $900
204 Robin
James Lapham (1909-1987)
Dennisport, MA, c. 1960
8 ¼ in. long
Lapham followed in the footsteps of fellow Cape Codder A. Elmer Crowell (1862-1952). An inked inscription on the underside of the base lists the species and the maker’s signature. Original paint with light wear.
$400 - $600
205 Goldfinch
Jess Blackstone (1909-1988)
Concord, NH, c. 1960
3 ½ in. long
Species identified, numbered 393, and signed on the bottom with the maker’s conjoined “JB” initial signature. Original paint with minimal wear, original tip of beak cleanly reset.
$500 - $700
CHARLES S. SCHOENHEIDER, SR.
206 Standing Pintail Drake
Charles S. Schoenheider Sr. (1854-1924)
Peoria, IL, c. 1910
18 in long, 13 ½ in tall
Exceptionally well crafted, these rare standing “ice” decoys are sought after by decoy and folk art collectors alike. Very few makers made standing decoys, and none finer than Schoenheider. In his lifetime, Schoenheider produced only a few dozen standing decoys, consisting of mallards, pintails, and Canada geese. These birds were mounted on cast metal legs and used for late season shooting on the ice. The seam lines of this hollow decoy are very clean and precise for a bird of this age.
This pintail is out of Schoenheider’s personal gunning rig and is stenciled “C.S. PEORIA” on the belly. An added bonus to this sculpture is the original metal foot which also bears the “CS” stencil, many of these original castings have been lost.
The importance of Schoenheider’s influence on the region is illustrated by three major decoy books highlighting his work on their covers, including The Great Book of Wildfowl Decoys, Masterworks of the Illinois River, and Bird Decoys of North America Original paint with gunning wear, touch-up,
and some working paint taken down, mostly on white. Belly appears to be re-stenciled “C. S. PEORIA” by the maker. Original stick hole was likely plugged at the same time. Original foot.
Provenance: Peter Brams Collection, acquired from Stephen O’Brien Jr. Fine Arts, 2001 Private Collection, Florida
Literature: Alan Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, pp. 85 and 153, rigmate illustrated.
Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 123, pl. 107, rigmate illustrated.
Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 53, lot 87, rigmate illustrated.
Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 106-107, rigmate illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, dust-jacket spine, Masterworks rigmates illustrated.
Stephen O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 42-46 rigmates illustrated.
Stephen O’Brien Jr. Fine Arts, 2001 Catalog, Boston, MA, 2001, p. 37, exact decoy illustrated.
$30,000 - $50,000
Front cover of The Great Book of Wildfowl Decoys.
CHARLES S. SCHOENHEIDER, SR.
207 Rare Canvasback
Charles Schoenheider Sr. (1854-1944)
Peoria, IL, c. 1910 15 ¾ in. long
While Schoenheider produced very few decoys, the carvers impact on the regions decoy portfolio was significant. This canvasback decoy, with its excellent condition and fine provenance, is perhaps the finest Schoenheider canvasback to ever cross the auction block. The underside of the hollow body shows the “C.S. PEORIA” stencil still visible under a wash of white paint. Original paint with working wash of white and black and light gunning wear.
Provenance: Schoenheider Rig Walter White Collection Masterworks of the Illinois River Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 51, exact decoy illustrated, front cover, related mergansers illustrated.
Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2November 13, 2005.
$3,000 - $5,000
208 Mallard Hen
Charles Schoenheider Sr. (1854-1944)
Peoria, IL, c. 1910 15 ½ in. long
A rare mallard hen by the maker displaying his signature long-body style. Like all Schoenheider’s best decoys, this hollow bird was finished with exceptional Jack Franks paint. With its sublime carving and meticulous paint, this is one of the most refined Schoenheider decoys known to exist. The underside has a “H.S.M.” rig brand. Original paint with gunning wear showing some wood, and a tail crack.
Provenance: Masterworks of the Illinois River Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 51, exact decoy illustrated.
Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2-November 13, 2005.
$3,000 - $5,000
CHARLES BERGMAN
“Charlie Bergman was a premier decoy carver; the grand old man in the Astoria group. He was a true master, producing hundreds or maybe thousands of extremely well crafted gunning decoys to sell commercially as well as for his own use. Bergman was a giant of a man physically and a legend in his own time with local carvers and waterfowl hunters. He remains a legend to this day. His decoys were the best available among many offered, and of the quality one would expect from a fine boat builder. He had many imitators, as the Astoria ‘school’ of carvers was remarkably consistent in many design characteristics.”
— Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast
CHARLES BERGMAN
209 Exceptional Green-Winged Teal
Charles Bergman (1856-1946)
Astoria, OR, c. 1925 12 in. long
One of the best known decoy carvers in the Astoria area, Bergman immigrated to the United States from Scandinavia by jumping ship in San Francisco while he was a first mate on a clipper. He later moved north to Oregon and lived at the mouth of the Columbia River where he is credited for crafting over seventy wooden boats.
His love of waterfowling and well-honed woodworking skills led to Bergman making his own rigs, and around 1929 he became a professional carver. This is among the earliest decoys he made for sale, with the original owners dating it prior to 1930. The rest of this rig was loaned out and never returned, and this single decoy remains in near-mint condition. Fortunately it shows Bergman’s best effort to make a good first impression on potential customers he hoped to attract. The rig was a significant endorsement, having been made for William F. McGregor Jr. The McGregors were a
prominent family with a wood products manufacturing business, and an island on the Columbia was named for William McGregor Sr. Indeed, Bill Carter, who sourced this decoy plainly states, “Of the more than 200 Bergmans I’ve owned, this is the best.” The refined hollow form, soft blending, precise feathering, and exceptional condition are unsurpassed. This hen teal is among the absolute finest decoys to emerge from the Pacific Flyway. Excellent original paint with minimal wear. Faint hairline crack and minute ding by neck seam.
Provenance: William McGregor Rig Bill Carter Collection, acquired from the family of the above
Literature: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Portland, OR, 1989, pp. 77 and 80, related examples illustrated.
$30,000 - $50,000
CHARLES BERGMAN
1856-1946 |
210
210 Pintail Hen
Charles Bergman (1856-1946)
Astoria, OR, c. 1940
16 ½ in. long
A classic pintail hen with a hollow body, sweeping form, and strong feathering. This decoy was acquired from Bill Toth’s personal collection, which was distinct from The Decoy Gallery in Carmel, California, where he also sold birds. Original paint with even gunning wear.
Provenance: William Toth Collection Bill Carter Collection, acquired from the above
Literature: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Portland, OR, 1989, p. 78 related decoy illustrated.
$10,000 - $15,000
The Trenton Spolar M.D. Collection
Trenton “Trent” Spolar grew up in Depue, Illinois. During Trent’s youth, his father, John, was the caretaker for the Depue Rod and Gun Club and the family lived in the clubhouse. With hunting literally at his doorstep, Trent was indoctrinated into the sport at a very early age. After learning the ropes from his father, Spolar soon began “pushing” or guiding clients on his own. With the tacit blessing of an accommodating teacher, the twelve-year-old pusher would often guide club members from 7am until noon and then attend school in the afternoons. This scheme ended abruptly in 1950 when local reporter Murray Crowder published an article about the club which included a photo of Spolar and two other guides holding their feathered quarry. Other teachers read the article, noted that Spolar was often caught napping during class, and the jig was up.
During Spolar’s tenure as a guide, he and the club’s gunners often shot over stools from the workshops of Robert Elliston (1847–1925) and Charles H. Perdew (1874–1963). Trent’s first foray into decoy collecting occurred as a result of his father tapping him to be the “pusher” for Mr. Worley, the oldest member of the Dupue Club. Trent’s knowledge of the hunting grounds and his duck-calling ability enabled him to effectively draw in the ducks, which made Worley successful in the field despite his poor eyesight and advanced age. Upon her father’s death, Worley’s daughter delivered Trent a gunny sack full of Perdew decoys that they had hunted over as a token of Worley’s appreciation for the young pusher’s efforts.
Receiving his client’s stools helped spark Trent’s decoy collecting passion which has spanned over half of a century and traveled with him to Washington state.
In addition to collecting decoys, Spolar credits his work as a hunting guide for providing opportunities in life that he would not otherwise have had. Notably, a client loaned Spolar the money to attend Notre Dame University, and subsequently tore up the note of obligation after Spolar graduated at the top of his class. Spolar went on to graduate from medical school and practiced as a doctor for many decades.
Spolar is among the very last of the collectors whose experiences reach back to the golden age of waterfowling over wooden decoys by the old masters. His connection to Perdew and his decoys was particularly notable, with many of his sports using Charlie’s rigs. On one occasion, while attempting to acquire decoys from Perdew, the old carver told a young Spolar that his decoys weren’t ready simply because he was going fishing for bullhead. On another occasion Trent witnessed a rig of exceptional pintails being destroyed after being caught in an ice sheet. Spolar also recalls what he terms “the sound of a Perdew,” referencing the signature resonance and reverberation made by a stack of Perdew decoys with their hollow bodies and thin weights humming distinctly on the bow of a running boat.
Copley Fine Art Auctions would like to thank Trent Spolar for graciously providing information for this biography.
Trent Spolar and friend after a successful hunt.
CHARLES BERGMAN
1856-1946 | ASTORIA, OR
211 Mallard Pair
Charles Bergman (1856-1946)
Astoria, OR, c. 1930 17 in. long
A hollow mallard pair by one of the West Coast’s premier carvers. Bergman was a boat builder and his craftsmanship is evident in the construction of his decoys. The lines of his birds are clean and stylized in both the carving and the paint, creating a consistently appealing decoy. Original paint with moderate gunning wear, including some paint rubs, a light ding on the hen’s back, and an age line on left side of her neck.
Provenance: Trenton Spolar M.D. Collection
Literature: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Davis, CA, 1986, pp. 78 and 84, related examples illustrated.
$6,000 - $9,000
Wild Duck Hunting Area Permits for the Depue Rod and Gun Club.
CHARLES BERGMAN
1856-1946 |
OR
212 Rare Canvasback Drake Charles Bergman (1856-1946) Astoria, OR, c. 1930 15 ½ in. long
A rare and hollow canvasback by this premier Oregon carver. This example has excellent head and bill carving and a refined spade tail. Under the chin and on the bottom are markings for the “M H SMITH” rig. Original paint with light gunning wear, including slight rubs to tail edges. Professional touch-up to head and neck mostly at crown and reset line in neck.
Provenance: Smith Rig Trenton Spolar M.D. Collection
Literature: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Davis, CA, 1986, pp. 80-81, related decoys and pattern illustrated.
$8,000 - $12,000
CHARLES BERGMAN
1856-1946 | ASTORIA, OR
Charles Bergman (1856-1946)
Astoria, OR, c. 1925 17 in. long
A refined hen with strong scratch feather paint and a hollow body. The fine head carving has a rounded bill top. Original paint with even gunning wear and a restored section through neck.
Provenance: Trenton Spolar M.D. Collection
Literature: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Portland, OR, 1989, p. 79, related carving illustrated.
$3,000 - $5,000
Charles Bergman (1856-1946)
Astoria, OR, c. 1930 20 in. long
This decoy shows the maker’s crisp and stylish paint patterns over a hollow body with a long sprig tail and ridged bill. Working second coat of Bergman paint with gunning wear and a partial bill restoration.
Provenance: Trenton Spolar M.D. Collection
Literature: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Portland, OR, 1989, p. 79, related carving illustrated.
$1,000 - $1,500
213 Pintail Hen
214 Pintail Drake
CHARLES H. PERDEW
215 Early Mallard Pair
Charles H. Perdew (1874-1963) Henry, IL, c. 1910 17 in. long
An exceedingly early pair with rare three-piece hollow body construction. Each retains a thin pencil weight. Original paint with moderate gunning wear, craquelure, and a rich patina. Each has minimal touch-up to a tight neck crack. One-third of hen’s bill tip has been professionally replaced.
Provenance: Trenton Spolar M.D. Collection
$5,000 - $8,000
1874-1963
216 Rare Pintail Pair
Charles H. Perdew (1874-1963) Henry, IL, c. 1950 16 ½ in. long
A bright and elaborate pair of hollow pintails with vibrant painting, including tight feathering along the back of the hen’s head. This exceptional pair was rigged, but never gunned over.
Near-mint original paint, drake has ding to very tip of bill, hen has a paint flake to crown.
Provenance: Otto Meyer Collection, acquired from the artist Trenton Spolar M.D. Collection
Literature: Tandy Lacy, The Wooden Bird: Heritage Bird Carvers of the Upper Illinois River Valley, Washburn, IL, 1989, p. 216, related Meyer mallards illustrated.
$8,000 - $12,000
217 Six Crow Calls
Charles H. Perdew (1874-1963) [four of the six] Henry, IL
largest Perdews are 5 ½ in. long
“From the early 1900s when Charlie Perdew established himself as an independent businessman in the town of Henry, until the last years of his life, Charlie was recognized as the maker of one of the finest crow callers ever crafted.”
— Ann Tandy Lacy, Perdew: An Illinois River Tradition
The four Perdew calls have brass shim bands around the top and bottom of the barrel and the maker’s “CHAS. H. PERDEW, HENRY, ILL.” and patent number stamped on the sides. The insides of the calls are painted as black as a crow. One call is by Charles Allen, and one’s maker is unknown. Calls are in working order and have gunning wear.
Provenance: Trenton Spolar M.D. Collection
$400 - $600 217
CHARLES H. PERDEW
Charles H. Perdew (1874-1963) Henry, IL, c. 1935 16 ½ in. long
This “golden” pair is from the Wally Drennen rig. He was a game warden, an Illinois River champion duck caller, and the maker of Selectone duck calls. As a warden, Drennen also ticketed a young Trent Spolar for mistakenly spearing gar out of season.
Alan Haid selected this pair for his book, noting “Charlie’s finest paint.” Each has unmarked Perdew weights on the underside. Old Perdew paint with moderate gunning wear, including some flaking. Both have tight head and neck cracks. Hen’s has been tightly reset with some touch-up to neck area.
Provenance: Wally Drennen Rig
218 Rare Black Duck
Charles H. Perdew (1874-1963) Henry, IL, 1945 16 in. long
This entire decoy received detailed feathering, including subtle combing under the painted feathering along the underside. This special combing feature does not seem to appear in the few related examples that have surfaced. It retains a “Henry... Perdew...Ill.” lead-strip weight on the underside. Original paint with minimal wear.
Provenance: Trenton Spolar M.D. Collection
$3,000 - $5,000
219 “Golden” Mallard Pair
220 Pintail Drake
Robert Elliston (1847-1925) Bureau, IL, c. 1890 17 ½ in. long
An exceptionally well-kept decoy showing the skills of Robert and Catherine. The Illinois River’s most discerning sporting patrons, such as George K. Schmidt, were known to have their favorite carvers and painters keep their rigs in tip top shape, as was the case here. Excellent second coat of Catherine Elliston paint with light gunning wear and a few stacking marks. One-third of bill was professionally restored.
Provenance: Trenton Spolar M.D. Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 34, similar decoy illustrated.
$1,500 - $2,500
221 Blue-Winged Teal
Robert Elliston (1847-1925) Bureau, IL, c. 1890 12 ¼ in. long
A rare teal with excellent Catherine Elliston feathering along the back. The underside has an Elliston weight and a partial rig brand that appears to read “H A Boldrer &.” Mostly original paint with gunning wear, some working touch-up successfully removed, touch-up to worn areas, and a reset neck. Minor rough spot on left side of tail.
Provenance: Trenton Spolar M.D. Collection
$2,000 - $4,000
222 Redhead Drake
Robert Elliston (1847-1925) Bureau, IL, c. 1880 15 in. long
Catherine applied sophisticated, yet graceful paint patterns on her husband’s diving ducks that are virtually unequalled by any of her contemporaries. She developed her own techniques of scratch feathering that echo the finest grain-painted chests of Pennsylvania made during the mid19th century. This example has strong comb painting and exceptional brushed feathering on the back. The underside of this hollow decoy has a painted “D. Webster, Oshkosh Wis.” and an Elliston weight marked “XXV.” Original paint with gunning wear, working fill to a few shot holes. Very minor touch-up to feathering on back.
Provenance: Trenton Spolar M.D. Collection
$2,000 - $3,000
223 Bluebill Drake
Robert Elliston (1847-1925) Bureau, IL, c. 1880 13 in. long
This hollow decoy displays a paddle tail, scratch comb paint detail, a gracefully arching neck, and full cheeks. The underside bears a weight stamped “The Elliston Decoy.” Original paint with gunning wear, some old white around top of bill, black has a thin wash, and old fill to a few shot scars.
Provenance: Trenton Spolar M.D. Collection
$1,500 - $2,500
HIRAM "HY" HOTZE
224 Mallard Pair
Hiram “Hy” Hotze (1886-1977) Peoria, IL. c. 1930 16 in. long
A rare rigmate pair with “L.J.R.” brands. This hollow Illinois River mallard pair displays all of the elements of the makers refined craftsmanship and Jack Franks’ original signature paint. Franks was employed to paint not only Hotze’s decoys, but also many of Charles Schoenheider’s best decoys as well. These carvings have elegant wing tips, which draw back to a sharp point, abruptly dropping into the spade tail. Franks saved some of his most elaborate paint detail for his hens, which feature intricate “cut brush”
stippling throughout most of the body. Proud of his work, Hotze is known to have signed and dated the inside of some of his hollowed bodies. Original paint with moderate gunning wear. Hen has some old fill in chip to tip and underside of bill. Grey on the sides of the drake has a second wash. Both have darkened tail chips.
Provenance: Trenton Spolar M.D. Collection
$2,000 - $3,000
225 Canvasback
Hiram “Hy” Hotze (1886-1977) Peoria, IL, c. 1930 15 ½ in. long
A classic Hotze with a hollow body and tight feathering. The underside has “E. Champion” on the weight and a stylized “LL” brand. Original feathering on the wings and back, the rest is in old working paint with even gunning wear.
Literature: Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 115, related decoy illustrated.
$1,200 - $1,800
226 Pintail Pair
Clark Madara (1883-1953) Pitman, NJ, c. 1920 17 ¼ in. long
One of the finest New Jersey pintail pairs to ever come to market. This important pair of hollow decoys exhibits crisp lines, superb painted feather detail, and their original chamfered weights.
A county directory from the turn of the century lists Madara as a “house painter, gun smith and decoy maker.”
Original paint with even gunning wear. The hen has minor flaking on base of neck.
Provenance: Richard Gove Collection Trenton Spolar M.D. Collection
Literature: John Clayton, “New Jersey’s Best Go West,” Decoy Magazine, January/February 2014, p. 31, exact decoys illustrated. James R. Doherty, Classic New Jersey Decoys, Philadelphia, PA, 2011, p. 162, plate 339, similar decoy illustrated.
Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 46, pl. XXIV, similar decoys illustrated.
Exhibited: St. Charles, Illinois, North American Vintage Decoy & Sporting Collectibles Show, Vintage New Jersey Decoy Display, April 25-26, 2014.
$8,000 - $12,000
WALTER J. RUPPEL
227 Calling Canada Goose
Walter J. Ruppel (1902-1999)
Sheboygan, WI, and Portland, OR, 1974 22 in. long
The underside is signed and dated by the maker. Original paint with minimal wear.
Provenance: Trenton Spolar M.D. Collection, acquired from the artist
$500 - $700
228 Reaching Canvasback Pair
Walter J. Ruppel (1902-1999)
Sheboygan, WI, and Portland, OR, 1974 18 in. long
A signed and dated pair with extended necks. Original paint with minimal wear.
Provenance: Trenton Spolar M.D. Collection, acquired from the artist
$500 - $700
229 Calling Loon
Walter J. Ruppel (1902-1999)
Sheboygan, WI, and Portland, OR, 1976
19 ½ in. long
This hollow diver is signed and dated on the underside. Original paint with minimal wear.
Provenance: Trenton Spolar M.D. Collection, acquired from the artist
$400 - $600
230 Long-Billed Curlew
Walter J. Ruppel (1902-1999)
Sheboygan, WI, and Portland, OR, 1975
17 in. tall on base
A life-size long-billed curlew. The long-billed curlew’s “candlestick” nickname is credited as the origin for baseball’s historic Candlestick Park. The side of the base is signed and dated. Original paint with minimal wear.
Provenance: Trenton Spolar M.D. Collection, acquired from the artist
$300 - $500
"FRESH AIR DICK" JANSON
1872-1951
231 Canvasback Pair
“Fresh Air Dick” Janson (1872-1951) Sonoma Creek, CA, c. 1930 15 in. long
Often regarded as the West Coast’s most renowned maker, Janson carved this canvasback pair with incised bill and tail detail. Excellent representations of the maker’s carving, both feature Janson’s integrated keels carved out of the backside. The drake’s head is slightly turned.
Drake is in original paint with light gunning wear and some white touch-up, mostly towards the keel area and to one spot on back. Hen is in repaint.
Provenance: Trenton Spolar M.D. Collection
Literature: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Davis, CA, 1986, front cover, similar carvings illustrated.
$3,000 - $5,000
MASON DECOY FACTORY
232 Rare Hollow Challenge-Grade Pintail Pair
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910 17 in. long
A rare pair of challenge-grade pintails with hollow bodies. This special body treatment was typically only applied to the premier-grade decoys. Original paint with moderate gunning wear. Drake has slight loss to bill tip. Hen has area of touch-up on back lower left side. Three spots of touch-up to shot on drake’s back.
Provenance: Trenton Spolar M.D. Collection
$5,000 - $7,000
233 Early Premier-Grade Mallard Pair
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1900 17 ¼ in. long
An early pair with exceptional swirled paint, thin necks, and pronounced head carving. Excellent original paint with light wear. Hen has strip of loss along lower left edge from original line in wood and drake has a few imperfections on right side. Some spots of professional touch-up, including two spots on left side of drake’s head, and hen’s neck, edge of crown, and spot in tail.
Provenance: The Alan G. Haid Collection Trenton Spolar M.D. Collection
Literature: Russ J. Goldberger and Alan Haid, Mason Decoys: Updated Edition, Lewes, DE, 2014, p. 21, related early examples illustrated.
$4,000 - $6,000
234 Dowitcher
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910 10 ¼ in. long
A glass-eye decoy with strong stippled paint and a rich red tone in rarely seen untouched condition. Original paint with light gunning wear and a shot mark on the head.
$3,000 - $5,000
235 Willet Pair
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910 12 in. long
A rigmate pair with very dry surfaces and some traces of old newsprint. Original paint with a dry untouched surface and moderate gunning wear. One has tight age lines in body.
Provenance: Private Collection
$2,000 - $3,000
236 Early Canada Goose
J. N. Dodge Factory (1883-1893)
Detroit, MI, c. 1880 19 ¼ in. long
This early factory decoy shows its elaborate construction with dowels and cut nails securing a two-piece head and three-piece hollow body. Notably, the body was a single block band-sawed for the purpose of efficient hollowing. Original paint with heavy gunning wear, including some loss to original filler.
$2,000 - $4,000
John C. Phillips holding a similar decoy at his Chatham gunning shanty during the blizzard of 1898. Image from Phillips’ 1898–1900 hunting journal.
THOMAS GELSTON
1851-1924
237 Hudsonian Curlew
Thomas Gelston (1851-1924)
Quogue, Long Island, NY, c. 1880
15 in. long
A fine high-head example by this highly esteemed Long Island carver. The underside has an O’Brien Collection ink stamp and early collector’s notes. Original paint with gunning wear, an old reset neck crack, a small tail chip, and bill appears to be replaced.
Provenance: Donal C. O’Brien Jr. Collection Private Collection
Literature: Timothy R. Sieger, The Decoys of Long Island, Water Mill, NY, 2010, p. 29, related decoys illustrated. E. Jane Townsend, Gunners Paradise; Wildfowling and Decoys on Long Island, Stony Brook, NY, 1979, p. 110, pl. 176-178, similar decoys illustrated.
$7,000 - $10,000
DCOB JR
THOMAS GELSTON
1851-1924 | QUOGUE, LONG ISLAND, NY
238 Important Gelston Plover
Thomas Gelston (1851-1924)
Quogue, Long Island, NY, c. 1890
12 ½ in. long
An excellent, full-body Gelston plover with the maker’s signature black glass eyes and raised primaries. While the maker was rather prolific, his wooden plover decoys are rare in any condition. The underside bears the “Nelson” Collection ink stamp. Original paint with even gunning wear and some shrinkage common to Gelstons.
Provenance: Grant Nelson Collection Private Collection
Literature: Timothy Sieger, The Decoys of Long Island, Water Mills, NY, 2010, p. 28, related example illustrated.
$6,500 - $8,500
JOHN DILLEY
239
239 Outstanding Dowitcher in Winter Plumage
John Dilley Quogue, Long Island, NY, c. 1890 10 in. long
Regarding the rig of six Dilley shorebirds that he acquired, William J. Mackey Jr. recounts in Classic Shorebird Decoys, “These decoys had real class and were envied by fellow collectors such as Joel Barber and Edgar Burke, who left my house walking on air because I had given them each a snipe.”
When referring to Dilley shorebirds in American Bird Decoys, Mackey states, “There is no question that the detailed, stylized painting is unsurpassed. They are beautiful examples from the hand of a fastidious workman.”
Starting with clean lines and a solid form, Dilley applied some of the finest representations of plumage ever demonstrated. Using a two-tiered paint technique, he was able to imply detail without carving or painting every feather. This bird exhibits excellent wing detail that subtly resolves under the tail. Original paint with even gunning wear, including minor flaking and a very small spot of touch-up on crown.
Provenance: Dr. Morton D. Kramer Collection Private Collection, Florida
Literature: Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 7, related example illustrated.
Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 95, related example illustrated.
Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 60, pl. 41, related example illustrated.
Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 84, related example illustrated.
$17,500 - $22,500
240 Exceedingly Rare Tern
Obediah Verity (1813-1901)
Seaford, Long Island, NY, c. 1880 13 in. long
There was a time when a hat decorated with tern feathers and wings was considered the height of couture and led to the large reductions in tern populations. However, conservation efforts and legislation in the late-19th century forced a change in the millinery industry. Although once popular for fashion, terns were evidently never considered a culinary delight. As a result, market hunters received only ten dollars per hundred birds and terns were not widely hunted after use of their feathers was outlawed. For this reason, old working tern decoys are extremely rare, with Long Island being one of the few areas where rigs have been found.
Two of this bird’s rigmates are illustrated on page thirty-one of Henry Fleckenstein’s book, Shore Bird Decoys. The caption states that they “were made by Obediah Verity of Seaford, Long Island, New York, c. 1880.” In July of 1999, a rigmate set an auction record for any Obediah Verity decoy at that time.
This Verity tern was passed down through the extended family to Nelson Verity (1854-1947). Nelson Verity is known to have guided Yankee baseball greats, Babe Ruth and Lou Gehrig, in South Oyster Bay. Old in-use repaint, with some flaking, gunning wear, and some restoration to top of head.
Provenance: Nelson Verity Rig Private Collection, Florida
Literature: Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 103, rigmate illustrated.
Joe Engers, ed., “1999 Year In Review,” Decoy Magazine, 1999, front cover and p. 9, rigmate illustrated.
Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 131, similar decoy illustrated (caption reversed).
Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 31, pl. 34 and color plate 72, rigmates illustrated.
William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 58, pl. 38, related example illustrated.
Timothy Sieger, The Decoys of Long Island, Water Mills, NY, 2010, pp. 32 and 36, similar examples illustrated.
Richard P. Baldwin, The Verity Family of Long Island, New York, Southold, NY, 2000, p. 126.
$8,000 - $12,000
241 Tern
William Southard (attr.) Bellmore, Long Island, NY, c. 1880 13 ½ in. long
Finding any authentic old tern decoys is extremely difficult, with Long Island being virtually the only region from which they have surfaced.
A rare feather hunter’s decoy with painted eyes and crossed painted primaries carved from a one-and-one-half-inch board. Shaw chose to highlight two examples by the same maker in his Bird Decoys of North America book. In old, possibly original paint with areas of craquelure and gunning wear. Chip on left wing.
Provenance: William Tosi Collection Private Collection, Florida
Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 130, related examples illustrated.
$2,000 - $4,000
WILLIAM H. SOUTHARD
242 Running Sandpiper
William H. Southard (1874-1940) Seaford, Long Island, NY, c. 1900 9 in. long
A racy bird from Seaford with S-curve wings and nicely stippled paint. The underside bears the ink stamp of the Adele Earnest Collection. Earnest was well acquainted with the shorebirds of Long Island with her gallery located nearby in Stony Point, New York. She selected this rare little gem for her book Folk Art in America Original paint with gunning wear.
Literature: Adele Earnest, Folk Art in America, Exton, PA 1984, p. 163, exact decoy illustrated.
$8,000 - $12,000
HARRY V. SHOURDS
244 Yellowlegs
This example has a rich red breast and tight stippled paint. Red knot carvings by this maker are rare with the majority of Shourds decoys fashioned as plovers and yellowlegs. This long-distance migrant flies more than 9,000 miles from south to north every spring, and then reverses the trip every fall. Original paint with light gunning wear and a one-half-inch bill tip restoration.
$5,000 - $7,000
A classic yellowlegs by one of New Jersey s most important decoy carvers. Original paint with gunning wear, including some shot scars, and a one-and-three-quarter-inch bill restoration.
$2,000 - $3,000
243 Robin Snipe
Harry V. Shourds (1861-1920)
Tuckerton, NJ, c. 1890 8 ½ in. long
Harry V. Shourds (1861-1920)
Tuckerton, NJ, c. 1890 11 in. long
245 Exceedingly Rare Fish Decoy with Scales
Oscar W. Peterson (1887-1951)
Cadillac, MI, c. 1925
8 ⅛ in. long
In this rare example, Peterson used the natural golden color of the wood as the primary tone for the fish. Over these golden sides he then carefully penciled scales from the gills to the tail. The top is finished with white tracking dots. Old paint with fishing wear.
Literature: Steven Michaan, American Fish Decoys, Pound Ridge, NY, 2003, pp. 64-65, related example with no scales illustrated.
$2,000 - $4,000
246 Rare Fish Decoy with Wood Finish
Oscar W. Peterson (1887-1951)
Cadillac, MI, c. 1925
7 ¾ in. long
As seen in the previous lot, Peterson used the natural golden color of the wood as the primary tone for the fish.
The grain of the wood acts a lateral lines. Original paint with fishing wear, red paint has been successfully removed and there is some touch-up to black.
Literature: Steven Michaan, American Fish Decoys, Pound Ridge, NY, 2003, pp. 64-65, related example illustrated.
$1,500 - $2,500
247 Perch Decoy
Oscar W. Peterson (1887-1951)
Cadillac, MI, c. 1935
7 ¼ in. long
Appears to be in original paint with fishing wear, including some paint loss, mostly to tail and underside.
$600 - $900
248 Tin Ruddy Turnstone and Robin Snipe
Strater & Sohier
Boston, MA, c. 1875 robin snipe is 10 in. long
A rare folding tin pair consisting of a turnstone and a robin snipe. Original paint with gunning wear.
$400 - $600
249 Two Tin Golden Plovers
Strater & Sohier
Boston, MA, c. 1875 9 ¼ in. long
A folding tin pair consisting of plover with patent stencils enclosed. Original paint with gunning wear.
$200 - $400
250 Two Tin Yellowlegs
Strater & Sohier
Boston, MA, c. 1875 11 in. long
A folding tin yellowlegs pair. Original paint with gunning wear.
$200 - $400
251 Three Tin Dowitchers
Strater & Sohier
Boston, MA, c. 1875 11 in. long
A folding tin trio of dowitchers, one has the patent stencil. Original paint with gunning wear. One of which shows some flaking.
$200 - $400
252 Crow Pair 17 in. long
An early rigmate pair of crows with hollow undersides and wires to hang from the trees in which they were hunted. As found.
$600 - $900
253 Crow Roswell Bliss (1887-1967)
Stratford, CT, c. 1950 17 ½ in. long
A rare Bliss decoy with very good wing and bill carving and excellent provenance.
Provenance: Walter White Collection Private Collection
$600 - $900
254 English Wood Pigeon
George G. Bussey Co. London, UK, c. 1915 15 in. long
An early-style carving with incised wings and a metal bill. It was made for the Bussey Company and is attributed to a Yorkshire carver known to collectors as “Mr. Z.” Original paint with gunning wear and brighter white is working touch-up.
Provenance: Hank Norman Collection
$700 - $1,000
255 English Wood Pigeon United Kingdom, c. 1890 14 in. long
A pigeon decoy with a very full body and long sweeping lines. The bird’s refinement includes catchlights in the eyes. A staple in the back and stick hole in the bottom allow for two presentations. Original paint with even wear.
Provenance: Hank Norman Collection
$1,000 - $1,600
256 Two Powder Tins larger 8 in. tall
The smaller tin shows a hunter and his dog and reads “Sea Shooting Gunpowder by the Hazard Powder Co.” The back label reads “Duck Size. No 1.” The larger tin shows a graphic of a successful duck hunt and reads
“Duck & Sea Shooting Gunpowder. Manufactured by the American Powder Company Boston Mass.” Recently found at a New England estate. As found.
257 English Wood Pigeon
“Mr. Wright” Yorkshire, UK, c. 1880 13 in. long
This is among the earliest decoys from not only Yorkshire, but the entire country. Yorkshire decoys of this vintage include some of the finest ever produced in the UK. The stick hole retains a brass liner. Original paint with moderate wear, a replaced bill, and a couple nails in back.
Provenance: Hank Norman Collection
$600 - $900
258 Two Powder Tins larger 7 ¼ in. tall
The smaller tin shows a hunter and his dog and the label reads “Kentucky Rifle Gunpowder by the Hazard Powder Co.” The larger tin’s label reads “Orange Ducking Powder. Laflin & Rand Powder Co. New York.” Recently found at a New England estate. As found.
259 Rocking Wood Pigeon
Edward A. “Ted” Grace Kent, UK, c. 1950 14 ½ in. long
The underside of this ingenious design is hollowed and stores a specialized stick that the bird can be mounted on to teeter in the breeze. The mounting bracket has a patent number. The head has a lead bill, a screw, and washer eyes. Original paint with even gunning wear. Stick appears to be a replacement.
Provenance: Hank Norman Collection
$500 - $1,000
260 Two English Wood Pigeon Cockermouth UK, c. 1930 16 in. long
One pigeon has a Daniel Folster shell with a cloth finish and the other is a large wooden bird with an obscured maker stamp by the stick hole. As found.
Provenance: Hank Norman Collection
$300 - $500
261 Two Powder Tins larger 8 in. tall
The smaller tin has a label reading “Treble Refined Star Sporting Powder.” The larger tin shows a graphic of a successful duck hunt and reads “Duck & Sea Shooting Gunpowder. Manufactured by the American Powder Company Boston Mass.” Recently found at a New England estate. As found.
THE WINTER SALE 2025 LOTS 262-5O1
DAY 2 | FEBRUARY 22 | 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.
JOANNE BECKER
“I’ve always been such a purist with photography—photographing real places real people real things. With painting I can make what’s in my head—the fantasy, the explosions of color. The beauty of the unexpected comes to life without the confines of reality.”
— JoAnne Becker
262 JoAnne Becker (b. 1970) Red, White, and Blue, 2024 signed “JB” lower right acrylic on canvas, 12 by 24 in.
$2,000 - $3,000
263 JoAnne Becker (b. 1970)
Chaos Organized, 2024 signed “JB” lower right acrylic on board, 24 by 36 in. signed and dated on back
$3,000 - $5,000
Aiden Lassell Ripley (1896-1969) Grouse on an Apple Tree signed “A. Lassell Ripley” lower right watercolor, 18 by 27 in. signed and titled on back
This fine watercolor, depicting the artist’s favorite bird, shows Ripley as the master of upland bird portraits. Sporting art collector Guido R. Perera, a friend and patron of the artist, marveled at Ripley’s knowledge of his favorite game bird: “Aiden may have been a grouse in one incarnation.”
Provenance: Private Collection, Maine
$15,000 - $25,000
264
Related watercolor on the front cover of The Art of Aiden Lassell Ripley
Provenance: Private Collection, Maine
$15,000 - $25,000
“Aiden may have been a grouse in one incarnation.”
— Guido R. Perera
265 Aiden Lassell Ripley (1896-1969)
Two Grouse in Apple Tree, 1939 signed and dated “A. Lassell Ripley 1939” lower left watercolor, 18 ½ by 25 in. titled on back
AIDEN LASSELL RIPLEY
266 Aiden Lassell Ripley (1896-1969) Grouse and Woodcock, 1936 signed and dated “A. Lassell Ripley 1936” lower right watercolor, 18 ¾ by 25 in. titled on back
A large and rare still-life painting by Ripley. This fall scene shows the curated display of a successful upland hunt.
Provenance: John E. Lennon Collection
$4,000 - $8,000
267 Aiden Lassell Ripley (1896-1969)
Winter on the Marsh signed “A. Lassell Ripley” lower left watercolor, 17 ½ by 29 ¼ in. signed and titled on back
Using a soft palette of whites, grays, blues, and earth browns, Ripley created a well-executed composition in this work. The viewer’s eye runs up the creek, zeroes in on the hunters and Labrador, and follows the alighting black ducks.
Provenance: John E. Lennon Collection
$15,000 - $25,000
268 Aiden Lassell Ripley (1896-1969)
Sketch signed “A. Lassell Ripley” lower right pastel on paper, 8 ¼ by 12 ½ in. titled lower right
This work is a study for Winter on the Marsh.
Provenance: John E. Lennon Collection
$2,000 - $4,000
BRETT JAMES SMITH
269 Brett James Smith (b. 1958) Lost Then Found signed “Brett J Smith” lower right oil on canvas, 40 by 34 in. signed, titled, and inscribed 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. Smith’s 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 dynamic Western scene features a hunter in unexpected competition with a grizzly bear over his mountain goat quarry.
$8,000 - $12,000
JAMES MORGAN
270 James Morgan (b. 1947) Night Talker signed “Jim Morgan” lower left oil on linen, 30 by 20 in.
“The most important aspect of being an artist is being a keen observer. Nature’s ever changing moods are a wellspring of inspiration. My goals for my work are to enjoy the process of painting and seeing, to engage emotional participation from people who view the painting, and to share the often overlooked, intimate aspects of nature. I seek to achieve a balance between the subject and its environment. The excitement for me is constantly exploring new ways to interpret nature. I am convinced that no one can improve on natural compositions, when they can be isolated. Rhythms too, can be magical if you can isolate them and that gets easier with experience. It comes from
trusting your own vision. It is the way you look at things and see something lyrical or harmonious. This harmony is further aided by the play of light, shadow, and subtle color changes. I am intrigued by the patterns and shapes found in nature and concentrate on the effects of light on these elements and the resulting array of colors in nature’s ever-changing moods.” — Jim Morgan
This oil depicts one of the emperor’s of the night: the swift and stealthy great horned owl.
$10,000 - $15,000
271 James Morgan (b. 1947)
Reflections on a Small Pond signed “Jim Morgan” lower left oil on linen, 20 by 30 in.
Born, raised, and continuing to live and paint in Utah, Jim Morgan is a lifelong close observer of nature. As an artist, he had a single-artist retrospective exhibition at the Steamboat Art Museum in 2018 and has participated in the “Prix de West” in Oklahoma, “Birds in Art” at the Leigh Yawkey Woodson Museum, and “Western Visions” at the National Museum of Wildlife Art in Jackson, Wyoming, among other prestigious shows. He is a member of the
Society of Animal Artists and his paintings can be found in the collections of the Leigh Yawkey Woodson Museum and Buffalo Bill Historical Center in Cody, Wyoming.
Beautifully capturing two swans on the water in reflected light and shadow, Morgan’s powers of acute observation are on full display.
Two majestic elk tangle in this award-winning bronze depiction of the rut. “A slight gold reflection lingers, scraping the last of the day’s long shadow. A piercing whistle is returned from across the canyon, a rattling of sabers. Guttural sounds of raging passion and eyes red with territorial mania express the need to dominate and procreate. Bluff is called. One not yet strong enough will
soon be sulking in the safety of a stand of crowded pines where he’ll blow and plot revenge for another day.” — Sherry Salari Sander
Provenance: Private Collection, Massachusetts
$6,000 - $9,000
274 Philip R. Goodwin (1881-1935) Moose at Water’s Edge signed “Philip R. Goodwin” lower right watercolor, 5 ¾ by 8 ½ in.
Artistically inclined from a young age, Philip Goodwin began his career at the age of eleven when he sold an illustration to Collier’s magazine. He then studied at the Rhode Island School of Design, and later at the Art Students League in New York City. In order to pursue illustration, Goodwin traveled to Pennsylvania and Delaware to study under famed draftsman Howard Pyle (1853-1911).
Pyle insisted that all good illustration came from first-hand knowledge of subjects, and encouraged Goodwin to visit places before depicting them. Consequently, Goodwin traveled west several times throughout his career, often to visit his friend Charles Russell (1864-1926).
Goodwin earned a living by publishing his illustrations in magazines like Harper’s Monthly, Outing, and Scribner’s. His
illustrations were also used by Brown & Bigelow for their popular calendars, as well as in advertisements for major firearms dealers. These commissions brought about more opportunities for Goodwin, including illustrating books by some of the most celebrated authors of the day, such as Jack London’s Call of the Wild and Theodore Roosevelt’s African Game Trails. Goodwin maintained his illustration career and eventually built up a clientele for his oil paintings as well. The Great Depression hit him hard and he spent the last several years of his life in perilous financial straits. Though he died of pneumonia on December 14, 1935, his art continues to be published and collected to this day.
$3,000 - $5,000
275 Carl Rungius (1869-1959) Osborne’s Caribou, 1925 signed “C. Rungius” lower right etching and drypoint, 6 by 8 ½ in. edition of 100
$1,200 - $1,800
276 William H.D. Koerner (1878-1938)
Winter Scene signed “W.H.D.K” lower center oil on board, 22 ½ by 14 ¼ in. Trailside Galleries label on back
Born in Germany, Koerner moved to Iowa with his family when he was three years old. At twenty, he began his artistic career as an illustrator for the Chicago Tribune. He attended the Art Institute of Chicago before moving with his wife to New York City and enrolling in the Art Students League. Koerner then completed his formal education in Delaware with famed illustrator Howard Pyle (1853-1911), whose other students included N. C. Wyeth (1882-1945), Philip R. Goodwin (1882-1935), and William Harnden Foster (1886-1941). Koerner’s artwork can be found in museums across the country, including the American Museum of Western Art in Denver and the Whitney Western Art Museum in Cody, Wyoming, where his studio is replicated.
This narrative oil sketch of a man trudging among high snow drifts is a “white field” illustration, likely created for a book or magazine during Koerner’s successful career.
Provenance: The Estate of Sandy Elliott
$2,000 - $4,000
277 Bob Kuhn (1920-2007) Lynx signed “Kuhn” lower right conte crayon, 6 ½ by 9 ¼ in.
Provenance: Private Collection, Montana
$1,500 - $2,500
278 William Redd Taylor (1938-2018) Bluebills, 1975 signed and dated “Wm Redd Taylor ‘75” lower left watercolor, 14 by 21 in.
$600 - $900
279 Douglas Allen (b. 1935) Vermont Bear Hunt, 1971 signed “Douglas Allen” lower right oil on panel, 21 ½ by 24 ¼ in. titled, dated, and inscribed on back
Thomas A. Chadwick recounts a 1951 hunt with a friend, Bill Baker, where they bagged a 400-pound bear:
“In the fall of 1951, I frequently passed a steep sidehill surrounded by woods ... The sidehill was mostly clear of trees and brush, but there was a clump of wild apple trees in the middle of the opening. Those apple trees were at the foot of the steep slope … When I first passed the place, the apples had begun to ripen and fall … When I went back a few days later, those apples had been eaten and there were only a scattered few on the ground. Bear droppings told me who the harvester was
“Thirty yards to my right, the stone wall, topped by barbed wire, ran straight south and down the hill next to the pines … Nearly at the foot of the slope was the gap in the fence through which the bear would come, if he came from the west. By turning my eyes to the east, I could see the golden carpet of apples under the wild-apple trees…
“I wasn’t conscious of any sound or movement, but I turned my head. There stood my bear, only 25 yards away and right out in the open. He looked huge …
“He stood like a shining black statue, his left front foot raised as though frozen midstride just when his full weight came on his right leg. His posture was like the classic pose of a pointer that has tensed on finding hot bird scent.
“We both knew that the outcome of any hunt, no matter how meticulously planned, still depends partly on luck. There are always unforeseen circumstances. We didn’t dream how critical timing would prove to be or how close we would come to spooking the bear in spite of all our efforts to set up a perfect ambush …”
Douglas Allen, who adeptly captured this bear hunt on canvas, trained as an artist and illustrator at the Newark School of Fine and Industrial Arts, among other venues. His long career as a wildlife artist includes several retrospectives, and his work hangs in the National Museum of Wildlife Art in Jackson, Wyoming.
Literature: Thomas A. Chadwick, “A Vermont Bear Hunt,” Outdoor Life, November 1971, pp. 65, 106-112, illustrated.
$2,000 - $3,000
280 Mark Susinno (b. 1957)
Feeding Brown Trout, 2012 signed “Mark Susinno” lower left acrylic, 4 ¾ by 6 ¾ in.
Mark won the 1986 Maryland Trout Stamp contest and decided to concentrate on art professionally. Since then, he has specialized in painting underwater depictions of freshwater and saltwater game fish, scenes of fly fishermen plying their craft, and above- and below-water landscapes, working primarily in oil and acrylic. Along the way, Mark has added twenty more fishing stamps to his list of credits, including the 1991 First-of-State Pennsylvania Trout/Salmon Stamp and the 2004 First-of-State Texas Freshwater Stamp. Since 1987, Mark’s limited-edition prints have been published by Wild Wings.
$300 - $500
282 Milton C. Weiler (1910-1974)
Brook Trout signed “M. C. Weiler” lower right watercolor and gouache, 15 ½ by 12 in.
As a conservationist and an outdoorsman, Milton C. Weiler lived the life he painted, and his watercolors have authenticity as a result. Nelson Bryant of The New York Times comments, “Weiler was considered one of the most accomplished painters of hunting and fishing scenes in the country, and he was also an expert carver of decoys.”
$1,000 - $1,500
281 Milton C. Weiler (1910-1974)
Black Ducks Over the Inlet Blind signed “M.C. Weiler” lower right watercolor, 19 by 28 in.
A watercolor showing hunters raising their guns as black ducks lock-in on their decoys.
$1,500 - $2,500
283 Peter Markham Scott (British, 1909-1989)
Ferruginous Ducks, 1952
signed and dated “Peter Scott 1952” lower left oil on canvas, 12 ½ by 20 in.
Sir Peter Scott was described by David Attenborough as the “patron saint” of conservation in the UK. He founded the Wildfowl and Wetlands Trust, co-founded the World Wildlife Fund, and designed its iconic panda logo. As the son of Antarctic explorer Robert Falcon Scott, Sir Peter continued in his father’s footsteps by conducting an expedition to Iceland in search of the breeding ground of the pink-footed goose. In 1975 Scott gave a scientific name to the Loch Ness Monster so it could be registered as an endangered species; the name turned out to be an anagram of “Monster Hoax by Sir Peter S.” He was the host of a BBC television series on natural history, and wrote and illustrated many books on birds and other subjects. He won a bronze medal in sailing at the 1936 Berlin Olympics. In addition to these many pursuits, Sir Peter Scott had his first art exhibition in London in 1933 and continued to paint throughout his life.
signed and dated “Burl Jones ‘97” on base bronze, 12 by 25 ½ by 8 in. edition 15 of 30
Born in West Virginia, Burl Jones is an award-winning sculptor whose monumental works can be found at Notre Dame and Marshall Universities. He splits his time between Montana and West Virginia.
“Birds of prey have always fascinated me, perhaps for the same reason that the felines have. Their beauty, softness and graceful movements are superimposed upon the power and cunning of the quintessential predator. I find this dichotomy captivating and mysterious and it is all of these qualities that this sculpture portrays,” the artist writes. Based on a specific, favorite bird of prey for a Dubai prince, an example of this work was exhibited at Birds in Art at the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, as well as the Society of Animal Artists and the National Sculpture Society, among others.
Literature: www.rosettasculpture.com/soldout/index. html
John Merrill Olin (1892-1982) was the inventor or coinventor of twenty-four US patents in the field of arms and ammunition manufacture and design. Not only a titan of industry, Olin also established a foundation which distributed over $350 million to universities and think tanks.
John and his wife Evelyn Olin bred and raced thoroughbred racehorses, winning the 1963 Epsom Oaks and the 1974 Kentucky Derby. In 1958 John and Evelyn Olin appeared together in their hunting garb on the cover of Sports Illustrated. The article, titled “A Man, A Dog and A Crusade: John Olin, Maker of Shotgun Shells, Made the Game Preserve A National Concern,” notes, “He is proud of King Buck, who is a personal project of his, and for that matter he is probably prouder of his kennels and of adjacent Nilo Farms, a sprawling, game-rich, 522-acre shooting preserve, than of any other part of his considerable empire. This is the place where John Olin would rather spend his time than anywhere else in the world.”
“From fall to spring on many a day he can be found roaming through the lush acreage after pheasants or crouched in a blind waiting for flighted mallards to come winging overhead. In between, he works his dogs, readying himself and them for the dozens of field trials which are his favorite hobby.”
King Buck was a storied retriever who won back-to-back National Retriever Field Trial Championships in both 1952 and 1953, as commemorated on the plaque that reads, “Natl. F.T. Champion 1952 1953, Presented to Evelyn B. Olin by John M. Olin Dec. 25, 1955.” Over the course of his career, King Buck competed in eighty-three national field trials. He was also the subject of Maynard Reece’s 1959 Federal Duck Stamp painting, the first duck stamp to include a dog.
Among his many concerns, Olin served on the board of the American Museum of Natural History in New York, where he likely encountered sculptor James Lippitt Clark, who was head taxidermist and preparator there. Clark also worked for Gorham and studied at the Rhode Island School of Design. Olin commissioned a life-size sculpture of King Buck from Clark in 1955, which currently resides on the dog’s grave at Nilo Farms, as well as fifteen of these smaller editions. Lois Peach was John Olin’s executive secretary for many years and received this bronze as a memento of her employer.
Provenance: John and Evelyn Olin Collection Estate of Lois I. Peach, gifted from the above Private Collection, Missouri
Literature: Virginia Kraft, “A Man, A Dog and A Crusade: John Olin, Maker of Shotgun Shells, Made the Game Preserve A National Concern,” Sports Illustrated, November 17, 1958.
$4,000 - $6,000
King Buck (left) with John Olin and younger Nilo dog featured in Sports Illustrated, 1958, a copy of which accompanies this lot.
288 Pieter Van Der Hem (Dutch, 1885-1961)
Woodcock in Flight signed “P. Vanderhem” lower left oil on board, 29 ½ by 23 ¾ 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
William Koelpin was an avid hunter and fisherman from Wisconsin. He went on to become a celebrated sporting artist who excelled in a number of mediums, including bronze, paint, and wood. Throughout his career, Koelpin displayed his passion for the outdoors through his accurate and detailed works. His first sold-out exhibit was at the Midwest Decoy Collectors Annual Show in the mid-1970s.
Koelpin enjoyed many honors in his time, including the “Best in World” Award from the Ward Museum in Salisbury, Maryland. He was also named “One of America’s Premier Artists” by the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin.
This bronze woodcock is a fine representation of this beloved bird.
Provenance: Private Collection, Indiana
$4,000 - $6,000
King Buck memorialized in Maynard Reece’s 1959 Federal Duck Stamp print.
290 Percival Rosseau (1859-1937)
Carolina Sandhills signed “Rosseau” lower right oil on canvas, 14 by 18 in. signed and titled on Lyme Art Association label on back
Titled Carolina Sandhills by the artist, this atmospheric work depicts eight wild turkeys in the longleaf pine forest ecosystem distinctive to areas of North and South Carolina. Throughout the 1920s and 1930s, when bird hunting on the site was in its heyday, Rosseau painted from a cottage at the fabled property of Overhills, a private hunt and country club with stables and kennels in Cumberland County, North Carolina. In time Overhills became a private estate for the Rockefeller family before being acquired by the U.S. Army. The land is now part of Fort Bragg.
Although quail hunting dominated, in Overhills Oral History, Andrew Jackson Sr., son of a dog handler, recalled, “Daddy took them [Harry G. Blagden and W. Averell Harriman] turkey hunting. They liked to turkey hunt. The best turkey hunting was over in the Fort Bragg area. There used to be a lot of turkeys. That was on the side of the river of Fort
Bragg. They had some special dogs for turkeys. That was a different dog. They didn’t use those for quail shooting because your turkey hunting is a little bit different from quail shooting.”
As indicated by the label on the back, Rosseau was a member of the Lyme Art Association and exhibited with them regularly. When not traveling the country to paint sporting scenes, he lived in Lyme, Connecticut.
Literature: Jeffrey D. Irwin and Kaitlin O’Shea, Overhills Oral History, Fort Bragg, NC, 2009, p. 132.
$8,000 - $12,000
291 Maud Earl (English/American, 1864-1963) Pointers, 1907 signed and dated “Maud Earl 1907” lower right oil on canvas, 17 ½ by 29 ½ in. signed, titled and inscribed on back of canvas signed, titled, and inscribed “Wolverhampton Exhibition” on label on back of frame
Known as the “Queen of Canine Art,” Maud Earl was the daughter of noted English sporting artist George Earl (1824-1908). Born and trained as an artist in London and the English countryside, she moved to Paris in 1907 and New York in 1916. Her work ethic and knowledge of canine anatomy contribute to this detailed yet artistic rendering of pointers.
$3,000 - $5,000
Proceeds from the sale of this lot will benefit the Rockport Art Association & Museum.
292 Roland H. Clark (1874-1957)
Three Black Ducks and a Mallard signed “Roland Clark” lower left oil on canvas, 22 ¼ by 28 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.
A fine early work depicting the artist’s favorite subject: black ducks in the marsh. An interloping mallard drake also joins the flock.
Provenance: Private Collection, Wisconsin
$8,000 - $12,000
293 Chet Reneson (b. 1934)
The Long Reach signed “Reneson” lower left acrylic on board, 21 by 35 in.
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
In this classic Reneson Bahamas bonefishing scene, the guide in the stern reaches out to net a “ghost” of the flats.
$5,000 - $7,000
294 Chet Reneson (b. 1934) Quail Country signed “Reneson” lower left acrylic on board, 21 by 35 in.
$5,000 - $7,000
295 Chet Reneson (b. 1934) Run on Silver signed “Reneson” lower left acrylic on board, 21 by 35 in.
$5,000 - $7,000
DAVID HAGERBAUMER
296 David Hagerbaumer (1921-2014) Green-Winged Teal signed “David Hagerbaumer” lower left watercolor, 18 by 24 in.
A crisp scene of green-winged teal taking flight among fall foliage.
$2,000 - $3,000
297 David Hagerbaumer (1921-2014) Mallards in a Winter Storm signed “David Hagerbaumer” lower right watercolor, 15 by 20 in.
Provenance: Private Collection, California
$1,000 - $2,000
297
298 George Edward Lodge (British, 1860-1954) Flushed Pheasants signed “G. E. Lodge” lower left watercolor and gouache, 11 by 17 ¼ in.
Lodge exhibited paintings at the Royal Academy and produced plates for over sixty scientific books, including Lord Lilford’s Birds of Northamptonshire, alongside his contemporary Archibald Thorburn. His scientific work culminated with David Bannerman’s Birds of the British
300 Derek Buckner (b. 1970)
Walking the Dunes signed “D Buckner” lower left oil on linen, 22 by 28 in.
Derek Buckner studied at the Art Students League in New York and the School of the Art Institute of Chicago, among other prestigious institutions. Today he lives and paints in Brooklyn.
$2,000 - $3,000
Isles, a twelve-volume work for which he created 389 plates of 426 species. Bannerman and Lodge hoped “that both text and illustrations will appeal to the increasingly wide public who find relaxation in art and in the scientific study of bird life.”
$1,000 - $2,000
299 Roger Blum (b. 1950)
Taking Aim, Ruffed Grouse and Setter, 1984 signed and dated “Roger Blum 1984” lower right watercolor and gouache, 11 ¼ by 15 in.
Roger Blum was born in 1950 in Watsonville, California. He spent his childhood outdoors, hunting, fishing, and exploring nature. Today he lives and paints near a lake in the San Juan Mountains of Colorado.
titled on label on underside of base edition 16 of 45
During her lifetime, Sandy Elliott was a strong supporter of the arts, conservation, and was a member of multiple hunt clubs, having her own pack of hounds at one point. This sale includes multiple sporting and wildlife art selections from her estate.
305 Pair of Fox Hunting Shadowboxes each 8 ½ by 12 ½ by 2 ¾ in.
A pair of shadowboxes showing fox hunting scenes, set in front of historic prints of Westwood House in Worcestershire, England, and Aston Hall in Warwickshire, England.
Provenance: The Estate of Sandy Elliott
$300 - $500
306 after Thomas Hewes Hinckley (1813-1896) Disputed Game, c. 1864 oil on canvas, 25 ¾ by 30 ¼ in.
The back of the canvas is reportedly once signed “D. Cowles Jan 30, 1864.” It is based on Thomas Hewes Hinckley’s famous painting, Disputed Game, which is owned by the Smithsonian.
Literature: Robert Elman, The Great American Shooting Prints, Alfred A. Knopf, Inc., New York, NY, 1972, pl. 7, related painting shown.
$2,000 - $4,000
307 Henry Koehler (1927-2018) A Brace of Pheasant, c. 1981 signed “Henry Koehler” upper left oil on paper on board, 14 ¾ by 10 ¾ in.
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.
$2,000 - $3,000
308 James Robinson (1944-2015)
Mallards Coming In signed “Robinson” lower left watercolor, 21 ½ by 29 ½ in.
James Robinson was a prominent Texas painter of the America West, wildlife, and animals. Born in Houston, he earned his BFA degree from University of Houston before setting out as a commercial artist. Before too long, Robinson could support himself by painting full-time. Among many other honors, he was the Ducks Unlimited Artist of the Year in 1990.
$1,000 - $2,000
310 Charles Emile Heil (1870-1950)
Magnolia Warbler signed “Charles E Heil” upper left watercolor, 8 by 7 ¾ 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.
$400 - $600
311 Robert Verity Clem (1933-2010)
Golden Plover, 1970 signed and dated “Robert Verity Clem 1970” lower left watercolor and gouache, 13 ¾ by 34 ½ in.
Robert Verity Clem was a New England artist based in Chatham, Massachusetts. He was self-taught, but heavily influenced by the work of Louis Agassiz Fuertes (18741927). He published his definitive work, The Shorebirds of North America, in 1967.
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.”
$4,000 - $6,000
312 Robert Verity Clem (1933-2010)
Black-billed Cuckoo, 1961
signed and dated “Robert Verity Clem 1961” lower right watercolor and gouache, 26 by 18 in.
$1,000 - $2,000
313 Robert Verity Clem (1933-2010)
Yellow-billed Cuckoo, 1961
signed and dated “Robert Verity Clem 1961” lower right watercolor and gouache, 26 by 18 in.
$1,000 - $2,000
ROGER TORY PETERSON
314 Roger Tory Peterson (1908-1996) Harriers, c. 1993
signed “R. T. Peterson” on back gouache on board, 16 by 10 in. stamped and inscribed on back
Plate 25 from Roger Tory Peterson’s Birds of Britain and Europe showing harriers in flight.
Provenance: The artist
Virginia Peterson Estate Private Collection, by descent
Literature: Roger Tory Peterson, Birds of Britain and Europe, Houghton Mifflin Company, Boston, MA, 1993, pl. 25, illustrated.
$1,000 - $2,000
315 Roger Tory Peterson (1908-1996) Meadowlarks, c. 1990
signed “R T Peterson” on back gouache on board, 16 ¾ by 12 in. stamped, inscribed, with faintly sketched coot and waterfowl on back
Plates 309 and 311 from Roger Tory Peterson’s Field Guide to Western Birds showing meadowlarks.
Provenance: The artist
Virginia Peterson Estate Private Collection, by descent
Literature: Roger Tory Peterson, A Field Guide to Western Birds, Houghton Mifflin Company, Boston, MA, 1990, pp. 309 and 311, illustrated.
$1,000 - $2,000
316 Roger Tory Peterson (1908-1996) Terns, c. 1993
signed “R. T. Peterson” on back gouache on board, 16 by 10 ¼ in. stamped and inscribed on back
Plate 58 from Roger Tory Peterson’s Birds of Britain and Europe showing four species of terns in their various seasonal plumages.
Provenance: The artist Virginia Peterson Estate Private Collection, by descent
Literature: Roger Tory Peterson, Birds of Great Britain and Europe, Houghton Mifflin Company, Boston, MA, 1993, pl. 58, illustrated.
$1,000 - $2,000
317 Roger Tory Peterson (1908-1996) Nightjars, c. 1993
signed “R. T. Peterson” on back gouache on board, 16 by 10 ¾ in. stamped and inscribed on back
Plate 68 from Roger Tory Peterson’s Birds of Britain and Europe showing different species of nightjar.
Provenance: The artist Virginia Peterson Estate Private Collection, by descent
Literature: Roger Tory Peterson, Birds of Great Britain and Europe, Houghton Mifflin Company, Boston, MA, 1993, pl. 68, illustrated.
$1,000 - $2,000
318 Roger Tory Peterson (1908-1996)
Gulls
stamped “Roger Tory Peterson” on back gouache on board, 20 ½ by 13 ½ in. stamped and inscribed on back
Plate 175 from Roger Tory Peterson’s Eastern Field Guide showing the plumage transition of ring-billed and black-headed gulls.
Provenance: The artist Virginia Peterson Estate Private Collection, by descent
Literature: Roger Tory Peterson, A Field Guide to the Birds of Eastern and Central North America, 5th Edition, Houghton Mifflin Company, Boston, MA, 2002, pl. 175, illustrated.
$1,000 - $2,000
319 Roger Tory Peterson (1908-1996)
Sandpipers, Hawk, Jar, and Others, c. 1983 signed “R.T. Peterson” on back gouache on board, 16 ½ by 10 ½ in. stamped and inscribed on back
Provenance: The artist
Virginia Peterson Estate Private Collection, by descent
$1,000 - $2,000
320 Frank W. Benson (1862-1951)
The Gunner, 1915 signed “Frank W Benson” lower left etching, 10 by 8 in.
Paff #52, edition 32 of 50
Along with Old Tom, Marsh Gunner, and Winter Wildfowling, The Gunner anchors Benson’s “Big Four” waterfowling etchings. While the other three were printed in editions of 150, Benson only plated fifty of his iconic Gunner. Of these, very few have appeared on the open market.
$8,000 - $12,000
320 Benson’s Big Four
Marsh Gunner
Winter Wildfowling
Old Tom
FRANK W. BENSON
321 Frank W. Benson (1862-1951)
Dark Pool, c. 1920
signed “Frank W. Benson” lower left drypoint, 8 by 11 ⅞ in.
Paff #189, edition of 150
$800 - $1,200
323 Frank W. Benson (1862-1951)
November Moon, 1931
signed “Frank W Benson” lower left etching and aquatint, 10 by 8 in.
Paff #316, edition of 150
$800 - $1,200
321
322 Frank W. Benson (1862-1951) Pointer Dog, 1925
signed “Frank W. Benson” lower left etching, 5 ¾ by 7 ¾ in.
Paff #251, edition of 150
Togo, Benson’s pointer, was near and dear to his heart and appeared in some of the artist’s most important oils, along with his daughter and son.
$600 - $800
323
324 Lynn Bogue Hunt (1878-1960)
Replica No. 2 - Federal Duck Stamp, 1939
signed “Lynn Bogue Hunt” lower right graphite on paper, 8 by 11 ¼ in. titled and dated lower left
Hunt created a small series of pencil drawings of his Federal Duck Stamp design.
$3,000 - $5,000
325 Frank W. Benson (1862-1951) Canvasbacks, 1935
signed “Frank W. Benson” lower left etching, 3 by 5 in. Paff #355, edition of 100 framed with Federal Duck Stamp, 1936
$2,000 - $3,000
326 Jay Norwood “Ding” Darling (1876-1962)
Design For First Federal Duck Stamp, 1934 signed and dated “JN Darling 1934” lower right etching, 5 ¾ by 8 ½ in. edition of 197 titled lower left framed with Federal Duck Stamp, 1934
$1,500 - $2,500
327 Roland H. Clark (1874-1957)
Duck Stamp Design, 1938
signed “Roland Clark” lower right drypoint, 6 ⅞ by 10 ⅞ in. titled and dated lower left framed with 1939 Federal Duck Stamp
Literature: Roland Clark, Roland Clark’s Etchings, New York, NY, 1938, No. 69, illustrated.
$800 - $1,200
RICHARD E. BISHOP
328 Richard E. Bishop (1887-1975)
Glassware Set with Game Bird Designs
A cocktail pitcher with a stirrer and twelve silver-rimmed highball glasses. All are adorned with various species of game birds. The pitcher is ten inches tall, and the glasses are five-and-one-eighth-inch tall.
$300 - $500
329 Richard E. Bishop (1887-1975)
Six Etchings of Canada Geese (one shown) etchings, largest 8 by 5 ¾ in.
Lot of six Christmas card etchings of geese from 1952, 1957, 1967, 1968, and 1970.
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in the family
330 Richard E. Bishop (1887-1975)
Four Etchings of Canada Geese (one shown) etchings, largest 8 by 5 ¾ in.
Lot of four etchings of geese from 1953, 1966, 1972, and one from 1971 with a taped feather placed by the artist. Each with a Christmas inscription in plate.
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in the family
331 Richard E. Bishop (1887-1975)
Four Christmas Card Etchings (one shown) etchings, largest 8 by 5 ½ in.
Lot of four etchings depicting sandpipers from 1932, American egret, gulls, and grouse. Each with a Christmas inscription in plate. American egret etching signed “RE Bishop” lower right
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in
332 Richard E. Bishop (1887-1975)
Federal Duck Stamp Design, 1936 signed “Richard E. Bishop” lower right etching, 5 by 8 in.
inscribed “For Fred Merry Christmas 1967 from Uncle Rick” lower center
$500 - $700
333 Richard E. Bishop (1887-1975)
Two Cocker Spaniel Etchings (one shown) each signed “Richard E Bishop” lower right etchings, largest 8 ¼ by 5 ¾ in.
Lot of two Christmas card etchings depicting cocker spaniels, one of which is from 1937. Each is signed and has a Christmas inscription in plate.
334 Richard E. Bishop (1887-1975)
Six Waterfowl Etchings (one shown) etchings, each 8 by 5 ¾ in.
Six Christmas card etchings: one of snow geese, one of mallards, two of pintails from 1937 and 1965, and two of Canada geese with one dated 1969. Each has a Christmas inscription in plate.
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in the family
335 Richard E. Bishop (1887-1975)
Four Waterfowl Etchings (one shown) etchings, largest 5 ¾ by 8 in.
Four Christmas card etchings depicting mallards from 1950 and 1954, geese from 1951, and a pintail from 1962. Each with a Christmas inscription in plate.
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in the family
336 Richard E. Bishop (1887-1975)
Three Waterfowl Etchings (one shown) etchings, largest 8 by 5 ¾ in.
Lot of three Christmas card etchings depicting waterfowl. One is dedicated to Andy McCown, April 8, 1937, and has numerous pencil signatures, including Richard E. Bishop, Nash Buckingham, E.E. DuPont, Charles J. Biddle, Jay Cooke, W.T. Walter Jr., G.O. Roberts, and Bru Biddle. One from 1947 depicts canvasbacks and one from 1948 depicts mallards.
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in the family
337 Richard E. Bishop (1887-1975)
Three Christmas Card Etchings (one shown)
Pheasant etching is signed “Richard E Bishop” lower right etchings, largest 4 ½ by 6 in.
Lot of three etchings depicting a wild turkey from 1933, a ruffed grouse from 1931, and pheasant. Each with a Christmas inscription in plate.
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in the family
338 Two Duck Stamp Design Prints (one shown)
Francis Lee Jaques (1887-1969)
Federal Duck Stamp Design, 1940 signed “F.L. Jaques” lower right lithograph, 9 ½ by 12 in. titled and dated lower left edition of 260 depicting black ducks framed with Federal Duck Stamp, 1941
Edwin Richard Kalmbach (1884-1972)
Duck Stamp Design, 1941 signed “E. R. Kalmbach” lower right titled lower left lithograph, 6 ½ by 8 ¾ in. edition of 110 depicting Ruddy Ducks framed with Federal Duck Stamp, 1942
$800 - $1,200
339 Richard E. Bishop (1887-1975)
Four Waterfowl Etchings (one shown) etchings, largest 9 by 8 in.
Lot of four etchings depicting waterfowl from 1940, 1950, 1954, and 1958. Each with a Christmas inscription in plate.
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in the family
340 Owen J. Gromme (1896-1991)
Shovelers, Federal Duck Stamp Design, 1945 signed “Owen J Gromme” lower right lithograph, 5 by 7 in. titled and dated lower left framed with Federal Duck Stamp, 1946 stamp signed “O.J. Gromme” upper left
$800 - $1,200
341 Richard E. Bishop (1887-1975)
Three Waterfowl Etchings (one shown)
One canvasback etching signed “Richard E Bishop” lower right etchings, largest 5 7/8 by 8 in.
Three Christmas card etchings, two of canvasbacks and one of redheads. Each with a Christmas inscription in plate.
Provenance: Andrew R. McCown, Philadelphia, PA, by descent in the family
342 Frank W. Benson (1862-1951)
Portrait of Charles Martin Loeffler, 1919 signed “Frank W. Benson” lower left etching, 9 ¾ by 7 ¾ in. Paff #156, edition of 22
A portrait of famed German-American violinist and composer.
Provenance: The artist Collection of Katherine Shaw Kripke and Samuel Benson Shaw, by descent in the family Private Collection
$400 - $600
343 Frank W. Benson (1862-1951)
Black Ducks Towering, 1930 signed “Frank W. Benson” lower left drypoint, 11 ¾ by 7 ¾ in. Paff #305, edition of 150
$400 - $600
344 Aiden Lassell Ripley (1896-1969)
Woodcock and Alders, 1936
signed “A. L. Ripley” lower right etching, 8 ¼ by 6 ½ in. titled lower left
345 Hartwell Leon Woodcock (1853-1929)
A Caribbean Street, 1907 signed and dated “Hart L. Woodcock 1907” lower left watercolor, 17 by 24 ½ in.
Originally from Maine, Hartwell Woodcock spent many of his winters in the Bahamas and is well known for his Caribbean watercolors.
Provenance: From the collection of Samuel Murray Mitchell, by descent in the family
$800 - $1,200
346 Lawrence C. Earle (1845-1921)
Sit Up Pup, 1893 signed and dated “LC Earle ‘93” lower right oil on canvas, 10 by 14 in.
Born in New York and raised in Grand Rapids, Michigan, Earle was boyhood friends with Frederick S. Church and studied art in Chicago, New York, and Europe before setting up his studio in Manhattan and living in Montclair, New Jersey. In the same year that Earle painted this charming work, he also painted murals for the Chicago World’s Columbian Exhibition, also known as the Chicago World’s Fair. Earle became an associate of the National Academy of Design in 1897, which holds his self-portrait, and exhibited with the Boston Art Club for many years. The artist also created the iconic image for Dutch Boy Paints in 1907 and a popular print of a St. Andrew’s caddie for Stetson Shoe Company in 1908, among other well-known works.
Provenance: Private Collection, Connecticut
$600 - $900
347 James Walter Folger (1851-1918)
‘Sconset, c. 1905 signed “J. W. Folger” lower right carved and painted wood, 6 ½ by 11 ½ in. built-in frame, 10 ¾ by 15 ¾ in. titled “Sconset” lower left
James Walter Folger is a renowned Nantucket carver and painter. A mainly self-taught artist, Folger is best known for his carvings of Nantucket scenery and wildlife. His card can be seen adhered to the back of the frame. This piece depicts a rundown boathouse in Siasconset, Nantucket.
Provenance: From the Collection of Samuel Murray Mitchell, by descent in the family
$3,000 - $5,000
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.
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.
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.
“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.
HENRY "HANK" CATTON
348 Exceedingly Rare Canvasback Pair
Henry “Hank” Catton (1854-1933)
Ridgetown, Ontario, Canada, c. 1920 15 in. long
A rare and iconic pair of Catton canvasbacks with highly articulated head and bill carving, high backs, tall necks, and sharply cut tail carving. Rondeau Harbor rigs were generally left out for the entire season, making Catton decoys in good condition exceedingly rare. Indeed, this pair set an auction record for the maker over fifteen years ago and are representative of his finest examples to have survived.
Along with George Warin, Catton was among Canada’s decoy makers known for their target shooting accomplishments.
Both have keels on the underside and a penciled “O’Conner.” The drake has a painted “J.B.K.” rig marking. The hen has a “’Hy’ Dahlka” brand and collector notes. Hen is in original paint with moderate gunning wear. Drake is in mix of original and repaint with an age line in left side.
Provenance: Thomas J. O’Connor Jr. 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. 144, canvasback illustrated and maker discussed. Guyette and Schmidt, Auction Catalog, April 2007, lot 454, exact pair illustrated.
$18,000 - $24,000
PHINEAS REEVES
1833-1896 | LONG POINT, ONTARIO, CANADA
PHINEAS REEVES
349 Early Canada Goose
Phineas Reeves (1833-1896)
Long Point, Ontario, Canada, c. 1880 22 in. long
After emigrating from England, Phineas settled in St. Williams and Port Rowan, Ontario, where he was employed as a carriage and furniture painter. He also took up duck hunting in the marshes around Long Point and developed a strong enough reputation to be hired as the first punter (guide) of the newly founded Long Point Company in 1866.
This hollow carving by the patriarch of the Long Point Company’s distinguished carving family is branded “J. A. HEWLETT” twice on the back and once on the bottom board for use at Long Point. Discussing Reeves, author Bernard Gates states, “He was particularly noted for his
classic hollow Canada Geese.” Original paint with moderate gunning wear, including a few shot scars and some discoloration by the bottom-board seam.
Provenance: James A. Hewlett Rig The George Secor Decoy Collection to Benefit Delta Waterfowl
Literature: Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, p. 192, related example illustrated. Bernie Gates, Ontario Decoys, Kingston, Ontario, 1982, p. 17.
Bernard W. Crandell, “The Reeves Family,” Decoy Magazine, May/ June 1992, p. 11, related example illustrated.
Patricia Fleming, ed., Traditions in Wood, Ontario, Canada, 1987, p. 136, related decoy illustrated.
$7,000 - $10,000
JOHN COOPER REEVES 1860-1896 | LONG POINT, ONTARIO, CANADA
350 Canada Goose
John Cooper Reeves (1860-1896)
Long Point, Ontario, Canada, c. 1880 24 in. long
This flat-bottomed decoy was carved by the eldest son of Phineas Reeves (1833-1896). John worked at the Long Point Company as a guide, a carver, and its first bookkeeper. This refined bird is finished with stippled paint and wet feather blending. Original paint with moderate gunning wear, replaced bill, and some inpainting to worn spots mostly on head and back.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$5,000 - $8000
“...the Reeves story dominates the decoy making of Long Point and Port Rowan...”
— Patricia Fleming, The Great Book of Waterfowl Decoys
351 Rare Canvasback Drake
Morris Boat Works (1874-1972)
Hamilton, ON, c. 1890 14 in. long
The Morris Boat Works is known for making some of Ontario’s most distinct and refined decoys, as can be seen in this rare and classic example. This hollow decoy has raised wing carving, a high and thin neck with very full cheeks, and detailed bill carving. Morris decoys with excellent form and in good condition, such as this one, are rare.
In addition, his wooden boats are still widely celebrated. During its ninety-eight-year history Morris Boat works is said to have made speedboats for both law enforcement and the rum runners during Prohibition. Mix of old and original paint with craquelure, gunning wear, and some touch-up. Tight crack around neck.
Provenance: Paul Brisco Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
Literature: Patricia Fleming, ed., Traditions in Wood, Ontario, Canada, 1987, p. 147, related decoy illustrated.
$5,000 - $8,000
352 Rare Early Canvasback Pair
William Humphrey (1823-1880s)
Toronto, Ontario, Canada, c. 1880 17 in. long
A pair of very early Toronto decoys with hollow bodies and weighted metal keels. Humphrey is among the earliest known makers. It is believed that his decoys helped provide food for this parents’ Highland Creek Inn. Each has the Roger Young collection mark on the underside. Drake is in original paint with even gunning wear, worn area on right flank, and one-half of the bill has been replaced. Hen has been successfully taken down to mostly original paint. Both have neck cracks.
Provenance: Roger Young Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
Literature: Patricia Fleming, ed., Traditions in Wood, Toronto, Ontario, 1987, p. 126, Humphrey shorebirds illustrated.
$5,000 - $8,000
353 353 Bluebill Drake George Warin (1830-1905) Toronto Islands, Ontario, Canada, c. 1880 14 ½ in. long
A stylish hollow example by this legendary Long Point carver. Original paint with even gunning wear, touch-up to reset neck crack, edge near tip of bill, and a few rubs on the lower left edge.
GEORGE WARIN
1830-1905 | TORONTO ISLANDS, ONTARIO, CANADA
Provenance: Jim and Debbie Allen Collection The George Secor Decoy Collection to Benefit Delta Waterfowl, acquired from the above
$4,500 - $6,500
354 Early Redhead Drake
Robert Renardson (1813-1878)
Toronto, Ontario, Canada, c. 1850 14 in. long
A hollow carving with its head resting in a drawn-back position. Renardson is among the earliest known decoy makers from any region. Appears to be original paint with even gunning wear, a chip to bill, a few shot marks to head, and a tight crack in the breast.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$3,000 - $5,000
355 Redhead Drake
Thomas Dalton (1840-1895)
Hamilton, Ontario, Canada, c. 1870 14 ½ in. long
According to decoy lore, Thomas Dalton carved some of the earliest hollow-bodied decoys in the Hamilton, Ontario, area. This feather-light decoy is finished with lively scratched feather paint. The thin bottom board bears the Roger Young collection mark. Original paint with moderate gunning wear. Some fine black splatter mostly on bottom and right side. Wear at reset neck seam.
Provenance: Roger Young Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$3,000 - $5,000
356 Canvasback
Thomas Chambers (1860-1948)
Wallaceburg, Ontario, Canada, c. 1900 15 in. long
The underside is branded “J.T.N” for John T. Nichols who was a St. Clair Flats Shooting Company member from 1901 to 1935. An old collector’s note is stuck on the lower left edge. Original paint with light gunning wear, wear to bill tip, black on breast, and tail is in early gunning paint.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$1,000 - $2,000
357 Bluebill Pair
Roy Fahrner (1893-1965)
Chatham, Ontario, Canada, c. 1940 14 in. long
A rare bluebill pair with softly blended paint and weighted keels. In excellent Fahrner paint with light gunning wear. Drake has an age line in left cheek and hen has a knot on lower left flank.
Provenance: Paul Brisco Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$2,000 - $4,000
358 Broadbill Pair
Ken Anger (1904-1983)
Dunnville, Ontario, Canada, c. 1930 23 in. long
A hollow rigmate pair that appears to have had swing weights. Original paint with light gunning wear, including small rub to left side of hen’s tail.
Provenance: Francois St-Onge Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$1,500 - $2,000
359 Bluebill Pair
Will Smith
Bloomfield, Ontario, Canada, c. 1900 14 ½ in. long
A hollow pair with fine scratch comb feather detail and rig markings on the underside. In excellent Smith paint with light gunning wear. Drake has slight chipping to tail.
Provenance: Laverne Wright Rig
The George Secor Decoy Collection to Benefit Delta Waterfowl, acquired from RJG Antiques
$700 - $1,000
360 Bluebill Hen
David K. Nichol (1859-1949)
Smith Falls, Ontario, Canada, c. 1880 13 in. long
A refined hen with the maker’s brass rigging shim on the underside. Original paint with gunning wear, a crack in neck tightly reset, and a ding in left side of back.
Provenance: Bob Youngman Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$600 - $900
361 Black Duck
Roland Jarvis (1899-1967) Hamilton, Ontario, Canada, c. 1930 17 in. long
The long and hollow body is finished with scratched feather detail from head to tail. Original paint with light gunning wear.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$600 - $900
362 Black Duck
William “Billy” Ellis (1865-1963) Whitby, Ontario, Canada, c. 1930 16 in. long
This decoy has a tucked head and proud breast. Original paint with moderate gunning wear, very minor spot touch-up to right top corner of bill and crown.
Provenance: Bob Youngman Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$800 - $1,200
363 Hollow Mallard Hen
William “Billy” Ellis (1865-1963) Whitby, Ontario, Canada, c. 1930 17 ½ in. long
A rare hollow decoy by the maker with an inlaid bottom board. Old gunning paint with even gunning wear and a loose neck seam.
Provenance: Roger Young Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$800 - $1,200
DANIEL B. JONES
1834-1903 |PRINCE EDWARD COUNTY, CANADA
364 Rare and Early Canada Goose
Daniel B. Jones (1834-1903)
Crofton, Prince Edward County, Canada, c. 1870 22 in. long
A rare hollow goose from Price Edward County. It has a high thin neck held from the inside by an L-bolt. The underside is marked with “LXXII.” Original paint with moderate gunning wear. Restoration and touch-up includes bill tip, loss to tip of tail, cracked neck, and body seam.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
Literature: Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 151, related example illustrated (with old maker).
$7,000 - $10,000
365 High-Head Pintail Drake
John English (1848-1915) Florence, NJ, c. 1880 16 in. long
English’s eminence as the “father” of the Delaware River school of carving is documented by virtually every authority from the region. Robert “Bob” White describes English as “the ultimate Delaware River carver.” Author Kenneth L. Gosner notes, “The work of John English set a standard against which other Delaware River makers have been measured and compared ever since. Indeed, for many collectors, the English style is the Delaware River style.”
English was in complete command of his artistry when creating this hollow decoy, which exhibits refined features, from the thin bill and high neck to the precise raised wingtip carving that marks the region’s style. This early work is one of the few English decoys that relates closely to the Delaware River’s masterwork, the O’Brien English pintail, which holds the regional record at $246,000.
The underside bears a “J.D. PERKINS’ brand, which is partly obscured by a lead pad weight. The Perkins rig is known for having included a number of English’s best surviving forms. Early working paint with even gunning wear, an upper neck crack, and a chipped tail.
Provenance: J.D. Perkins Rig
Jim Stokes Rig
Peter Bartlett Collection
Trenton Spolar M.D. Collection
Literature: Harrison H. Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 61, related low-head example illustrated. Guyette, Schmidt & Deeter, North American Decoys at Auction, St. Charles, IL, 2013, lot 563, exact decoy illustrated. Allen Linkchorst, “John English,” Decoy Magazine, March/April 2000, front cover and pp. 8-12, O’Brien English pintail illustrated.
$6,000 - $9,000
Detail of front cover of Decoy Magazine 2017 Year in Review showing a related English Pintail.
366 Rare Standing Brant
J. Taylor Johnson (1853-1929)
Point Pleasant, NJ, c. 1900
19 ½ in. long, 13 ½ in. tall
A rare true stick-up waterfowl decoy with plump full-body carving, hollow construction, and two leg holes. The top of the tail has a small stamped marking that begins with a “C.” This may for Charles Chafee who hunted Taylor Johnson decoys at his Sedge Island Club. Mostly old gunning paint to body with gunning wear. Filled to crack along underside and to bill tip chip, some repair and repaint to neck area and adjacent black.
Provenance: Private Collection, New Jersey
$2,500 - $3,500
366
367 Rare Cackling Goose
John McAnney (1866-1949)
New Gretna, NJ, c. 1910
16 ¾ in. long
Old decoys representing the smallest Canada goose variety called the cackling or Hutchins goose are extremely rare. This well-preserved example was made by one of New Jersey’s top makers. Original paint with even gunning wear.
Provenance: Private Collection, New Jersey
$2,000 - $3,000
368 Rare Redhead
Joe King (1835-1913)
Manahawkin, NJ, c. 1880 16 in. long
A rare and early Jersey redhead with deep shoulder carving and a hollow body. The underside has a debossed rig marking that appears to read “HZ.” Original and old working paint with moderate gunning wear.
$1,500 - $2,500
369 Black Duck Pair
Clark Madara (1883-1953)
Pitman, NJ, c. 1910 17 in. long
An excellent black duck pair with exaggerated features, including humped backs, pinched breasts, thin necks, and deep eye-groove carving. The large hollow bodies are finished with flocked paint, which was popular among Jersey hunters for its flat finish. This iconic head pattern was the basis for Joel Barber’s famous bronze castings. Original paint with gunning wear. Hen has a reworked breast, drake has touch-up to reset neck.
Provenance: Trenton Spolar M.D. Collection
Literature: Joel Barber, Wild Fowl Decoys, Garden City, NY, 1937, p.
131, pl. 99, related example illustrated. James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 163, related example in Lem Ward paint illustrated.
$700 - $1,000
370 Black Duck
Charles Black (1882-1956)
Bordentown, NJ, c. 1950 15 in. long.
This hollow tucked-head black duck has a plate on its underside reading “Edward Forman, RFD Bordentown N.J.” Original paint with light gunning wear.
$300 - $500
371 Black Duck
Jess Heisler (1891-1943)
Burlington, NJ, c. 1920 16 in. long
A tucked-head model with Heisler’s lively form and hollow construction. Original paint with scattered touch-up to areas of wear. A couple tight age lines to back of head.
Provenance: Private Collection, New Jersey
$600 - $900
372 Rare Mackey Curlew New Jersey, c. 1880 15 in. long
A distinct South Jersey curlew with a thin neck and very full cheeks from the collection of William J. Mackey Jr. A Mackey inscription on the underside reads, “Only shaded pattern I have seen.” A rigmate was selected for Colio’s American Decoys book. Original paint with gunning wear, including to tail edge. Some original imperfections to wood. Original bill has a tight marline wrap.
Provenance: William J. Mackey Jr. Collection Private Collection, New Jersey
Literature: Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 67, rigmate illustrated.
$3,000 - $5,000
373 Ruddy Turnstone Otis Seaman Wildwood, NJ, c. 1880 9 ½ in. long
A rare turnstone carved from a one-and-one-half-inch board with old collector’s notes on the underside. Original paint with even gunning wear.
Provenance: Private Collection, New Jersey
Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 178, pl. 431, related curlew illustrated.
$600 - $900
374 Hollow Brigantine Plover
Brigantine Island, NJ, c. 1880
12 ½ in. long
An oversize plover with exceptionally hollow construction, which is very rare for any shorebird decoy south of Rhode Island. The body is finished with raised wings and a flocked paint treatment to reduce glare. Original paint with even gunning wear.
Provenance: Joseph and James West Collection Private Collection, New Jersey
$800 - $1,200
375 Two Yellowlegs Silhouettes
c. 1900
13 in. long
The feeder is from the McCleery Collection and bears his ink stamp; it was lot 555 in the McCleery Auction. The other has a well-known form by a skilled unnamed maker. Both are original paint with light wear. The reaching bird has a reset crack in bill.
Provenance: Private Collection, New Jersey
Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 178, pl. 431, related curlew illustrated.
$1,000 - $2,000
376 Rare Pectoral Sandpiper
Cooper Predmore
Barnegat, NJ, c. 1900
8 ½ in. long
A rare and delicate shorebird with excellent provenance and history. This decoy hails from both the Lloyd Johnson and John Hillman Collections. It was also selected by James Doherty for his Classic New Jersey Decoys book.
The long thin bill and small form of this rare species separate this bird from most other shorebird decoys. Peeps and plover have much shorter bills, and virtually all of the other sandpiper decoys are notably larger. Original paint with light gunning wear.
Provenance: Lloyd Johnson Collection
John Hillman Collection Private Collection, New Jersey
Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 147, exact decoy illustrated.
Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22 23, 2000, p. 221, lot 610, related example illustrated.
$2,000 - $3,000
377 Exceedingly Rare Sanderling
John P. Shourds (1869-1954)
Tuckerton, NJ, c. 1900 8 ½ in. long
An exceedingly rare decoy by the younger brother of the famous Harry V. Shourds. Original paint with even gunning wear and a small chip to edge of tail.
Provenance: Hank Norman Collection
$1,500 - $2,000
378 Rig of Six Beach Birds
Chris T. Sprague (1887-1982)
Beach Haven, NJ, c. 1930 18 in. long, 13 ½ in. tall
This rig includes five Sprague peeps with the maker’s signature on the underside. There is a sixth bird in the same style. Original paint with light wear.
Literature: Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22 23, 2000, p. 221, lot 609, related decoy illustrated.
$1,500 - $2,500
379 Golden Plover
Long Island, NY, c. 1890 10 ¼ in. long
An refined golden plover decoy with two-piece construction and a very plump body. The sophisticated wing carving shows the s-curve of the Verity Family and the subtle wing-tip treatment exhibited in the best Dilley carvings. The back shows the goldgreen dots of the golden plover. Mix of original and old working paint with some touch-up and fill to wear and cracks.
Provenance: Edwin Thorne Rig
William Thorne Collection
Richard LaFountain Collection
Private Collection
Literature: Decoys Unlimited Auctions, Rare and Important Decoys, Related Artifacts & Americana, July 22 & 23, 2001, lot 76C and color spread, exact decoy illustrated.
$1,000 - $1,500
380 Outstanding Swimming Merganser
Martha’s Vineyard, MA, c. 1900
17 ½ in. long
A rare Martha’s Vineyard bird in original paint. Most decoys from Martha’s Vineyard were heavily gunned in salt water during the island’s long temperate season and were often repainted. This merganser features a unique crest that resembles a Spartan helmet. Strong original paint with gunning wear.
$5,000 - $8,000
381 Scoter
Cassius Smith (1847-1907)
Milford, CT, c. 1890
14 ¼ in. long
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 inlaid head with intricate carved bill detail. Original paint with a later wash, a neck crack, indentation in lower left side, and the lower portion of bill is 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.
$2,000 - $3,000
382
382 Turned-Head Long-Tail Drake
Orlando “Os” Bibber (1882-1970)
South Harpswell, ME, c. 1910 16 in. long
This turned-head long-tailed drake was carved by renowned Maine maker “Os” Bibber. In Bird Decoys of North America, author Robert Shaw writes, [Bibber was] a sophisticated man who worked as a chief engineer on steamships that ran from Portland to New Brunswick and often as far south as Cuba. Known as Os or Ollie, he made decoys that are atypical of the Maine coast...He was apparently a fastidious man who, unlike Huey, made decoys only for his own use and devoted considerable time to their making.
This decoy is a closely related rigmate to the iconic Bibber long-tailed drake which was also held in the Johnson Collection. It displays fine head carving and a long and wide body that finishes with elegant elongated lines. Bibber s deceptively simple paint pattern has produced an exceptional minimalist presentation of this sleek sea duck
species. Not only one of the finest Bibbers, it is one of the finest long-tails to hail from the state of Maine. Original paint with moderate gunning wear.
Provenance: Linda Johnson Collection
Literature: Joe Engers, ed., The Great Book of Wildfowl Decoys, Lewes, DE, 1990, pp. 33-35. related decoy illustrated.
Guyette & Schmidt Inc., North American Decoys at Auction, St. Michaels, MD, July 29 and 30, 2006, lot 83, p. 29, related example with touch-up to flaking illustrated.
Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 62, 145-146, related example illustrated and discussed.
Copley Fine Art Auctions, The Sporting Sale 2010, Plymouth, MA, July 22-23, 2010, lot 726, related hen illustrated.
Copley Fine Art Auctions, The Johnson Collection of American Bird Decoys, The Sporting Sale 2021, Hingham, MA, July 9, 2021, back cover and lot 22, rigmate illustrated.
$10,000 - $15,000
“Bibber’s birds are the best carvings on the coast.”
— John Dinan, The Great Book of Wildfowl Decoys
383 Pintail Weathervane
A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1920 27 in. long
A rare weathervane depicting one of Crowell’s most iconic species. It retains a brass-lined stick hole. Some wear from exposure and a coat of repaint.
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 249, related example illustrated.
$1,500 - $2,500
384 Early Black Duck
A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1910 15 ½ 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. Original paint with gunning wear, check in underside, and tight cracks at base of neck.
Provenance: Private Collection, Massachusetts
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 232-233, black ducks illustrated.
$2,000 - $3,000
385 Rare Black Duck
Allen P. Stuart (1865-1942)
Edgartown, Martha’s Vineyard, MA, c. 1900 15 ¼ in. long
A rare Vineyard decoy with clean lines and refined plumage details. Stuart is typically known for his sleek goldeneye and mergansers. The left side has an original wood patch over its hollow cavity. Original paint with gunning wear, including to top of tail and discoloration on left side of head. Old working yellow wash on bill and crown.
Provenance: Recently found at a New England estate
$1,000 - $2,000
386
386 The Bush Long-Tailed Duck New Jersey, c. 1890 13 ½ in. long
Occasionally, decoys come to light that are complete unknowns, as was the case with the appearance of the now-famous Kankakee pintail rig that surfaced over a decade ago. This elegant high-head long-tailed hen invokes the same visceral sense of wonder, standing as a long-undocumented form. It was first collected by Walter Bush; in 1953 it went to a New York museum for over a half century. More recently it has resided in another museum, the Center for American Decoys at the Peoria Riverfront Museum.
The exceptional qualities and distinctive features of this carving are immediately evident. The high head on the raised neck seat is among the most stately seen on any long-tail or sea duck. It features full cheeks which taper to a sharp ridge along the crown. On the opposite end, the maker has carved an exceedingly thin, uplifted tail with a spade-shape tip, remarkable for its survival. The two-piece body is held together with two dowels, providing evidence of its early New Jersey origin. The unknown maker has creatively reduced the weight of the bird by hollowing the bottom half of the decoy.
Very few early long-tail decoys carved along the MidAtlantic region survive today and this singular example is a standout for the species.
The carving’s right side displays the museum identification code “A51-98” in red paint. Very early working paint with even gunning wear and a minor touch-up to a partial crack in neck.
Provenance: Walter L. Bush Collection Collection of a New York City Museum, acquired from the above in 1953 Private Collection
Literature: Henry A. Fleckenstein Jr., Decoy of the Mid-Atlantic Region, Exton, PA, 1979, p. 20, Shourds long-tail pair illustrated. H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 55, English long-tailed drake illustrated.
$12,000 - $18,000
387 Half-Sized Bluebill Drake
A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1935 10 ¾ in. long
A fine scaup with carved tail details. The bottom displays Crowell’s rectangular stamp three times on the underside. Original paint with light wear.
Provenance: Private Collection of George W. Canterbury Sr., Hingham, Massachusetts, purchased directly from the artist in the 1930s
Descended in the family to his granddaughter Robert Sampson Collection
$2,000 - $3,000
388 Early Goldeneye Hen
Joseph W. Lincoln (1859-1938)
Accord, MA, c. 1880 14 in. long
This is among the finest forms of any Lincoln decoy. It is a very early work with raised carved upper wing detail, an unusual oval inletted neck design, and helmet-head carving.
Branded “G. A. Jones” on the bottom. In good original paint with gunning wear, bill is a professional replacement.
Literature: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 53, later hen illustrated.
David S. Webster and William Kehoe, Shelburne Museum Decoys, Shelburne, VT, 1961, p. 45, later hen illustrated.
$2,000 - $4,000
389 Half-Size Mallard
A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 10 in. long
A ten-inch-long mallard drake with a drawn-back and slightly turned head and the maker’s rectangular stamp on the underside. Original paint with light wear and a tight crack at base of neck.
Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 35, related drake illustrated.
$2,000 - $3,000
390 Oversize Preening Black Duck
Joseph W. Lincoln (1859-1938) Accord, MA, c. 1880 20 in. long
A rare and early Lincoln decoy, the carver is known to have made very few preening models. The large body has subtle separation between the wings. Original and old working paint with gunning wear, cracks through the body including the underside, and a tail chip.
Literature: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 31, related preener illustrated.
$800 - $1,200
391 Rare Preening Black Goose
Miles Hancock (1888-1974)
VA, c. 1940
22 in. long
A rare black Canada goose decoy with Hancock’s best head carving. Black and white geese decoys are popular for use in the greens and tans of fields and in low light conditions. This was made from cottonwood and was never rigged for floating. Original paint with light wear and spot touch-up by Gigi Hopkins to blistered spots mostly on back right. Tightly reset crack in bill.
$2,000 - $4,000
392 Curlew
Virginia, c. 1900 12 in. long
A Virginia curlew with tight stippling and fine provenance. Appears to be original paint with some darkening to wear and moderate gunning wear. Original imperfections to right side, chips to head, and a replaced bill.
Provenance: Private Collection, acquired from Bud Ward, 1972
$2,000 - $3,000
Chincoteague,
393
The Ward Brothers
Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1935 16 in. long
This dramatically turned-head decoy bears the brothers’ signatures, the date, and a “Made for David Baker’s Collection of Working Decoys” inscription on the underside. This Baker-rig bird features an oversize body and exceptional head carving with full cheeks and a thin broad bill. This exact decoy is featured in a signed photo of the Wards holding the bird. Old Ward paint with gunning wear, excellent second head added by the Wards. Maker’s fill to chip in right side of tail.
Provenance: David Baker Rig, acquired from the Ward Brothers Davison Hawthorne Collection Private Collection, New York
$2,000 - $4,000
394 Black Duck
The Ward Brothers
Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1948 17 ¾ in. long
An exceptional ‘48 decoy with a very full balsa body and excellent feathering. The underside is signed and dated by the makers and bears the Pappas Collection ink stamp. Excellent original paint with light gunning wear.
Provenance: Peter Pappas Collection Trenton Spolar M.D. Collection
$2,500 - $3,500
The Ward Brothers
Lemuel T. (1896-1984) and Stephen (1895-1976)
Crisfield, MD, c. 1940 14 ½ in. long
A 1932-model balsa-bodied decoy with a turned head and high humped back. Original paint with gunning wear and scattered fill and touch-up to worn areas. Crack in head.
$1,200 - $1,800
396 Swan
Milt Watson (1911-1985)
Chesapeake City, MD, c. 1950 36 in. long
A life-size swan decoy with a turned head. The weight bears an “RCL” stamp. Original paint with gunning wear and some flaking, mostly to top left.
$1,500 - $2,500
Oversize Broadbill Drake
395 Bluebill Hen
Steve Ward holding
397 The Masterworks High-Head Blue-Winged Teal Rig
Illinois River Valley, c. 1900
11 ½ in. long
This dynamic rig includes two pairs of teal showing highly distinct forms and details. They remain among the most compelling of the Illinois River’s great unknowns. The highhead poses are reminiscent of “Tube” Dawson, however, with more refinements. Two of the birds have turned heads. The preener has only one eye showing; the maker must have been a highly adept student of waterfowl, as ducks do, indeed, exhibit this behavior, particularly when on the outside of a resting flock. All of the birds have eye groves, pinched carving in front of the wings, and carved keels with poured weights. Each is finished with bright and lively plumage. Original paint with gunning wear. The straight-head drake’s neck seam is reset and lower slice of bill is restored. Drakes’ heads appear to be in old working paint.
Provenance: Charles and Walter Drennen Rig Joseph and Donna Tonelli Collection Masterworks of the Illinois River Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 147, exact rig illustrated. Tandy Lacy, The Wooden Bird: Heritage Bird Carvers of the Upper Illinois River Valley, Washburn, IL, 1989, p. 26, three exact decoys illustrated.
Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2–November 13, 2005.
Peoria, Illinois, The Wooden Bird Exhibition, Lakeview Museum of Arts and Sciences, January 7–February 18, 1990.
$4,000 - $6,000
“...Masterworks of the Illinois River, an exceptional collection of Illinois River Valley decoys that is nationally recognized as the gold standard.”
— Zac Zetterberg, Curator of Art & the Center for American Decoys
CHARLES H. PERDEW
398 Extremely Rare G. K. Schmidt Rig Redhead Hen Charles H. Perdew (1874-1963) Henry, IL, c. 1928 13 in. long
The rarity of Perdew redheads cannot be overstated with only perhaps six known in good condition. This sterling example boasts exceptional paint by Edna Perdew (18821974), and displays the maker’s skills at their finest. The underside is branded “G. K. SCHMIDT.”
This famous rig was commissioned by George K. Schmidt (1869-1939), a prominent Chicagoan and the president of the Prudential State Savings Bank. For roughly four decades Schmidt rig decoys resided unused in a bank. Since then the carving has spent much of its time in museums across the country. Excellent original paint with minimal wear.
Provenance: G. K. Schmidt Rig Masterworks of the Illinois River Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 70-75, rigmates illustrated. Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 126, exact decoy illustrated. Ann Tandy Lacy, Perdew: An Illinois River Tradition, Indianapolis, IN, 1993, p. 104, rigmate drake illustrated.
Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2–November 13, 2005.
Peoria, Illinois, Masterworks of the Illinois River, Center for American Decoys, Peoria Riverfront Museum.
$14,000 - $18,000
399
399 The Masterworks Dupee Rig Bluebill
Robert Elliston (1847-1925) Bureau, IL, c. 1900 13 in. long
Widely regarded as the founders of the Illinois River commercial decoy carving tradition, the duo of Robert and Catherine Elliston set the standard against which all Illinois River decoys are measured. Like Lem and Steve Ward from Crisfield, Maryland, and a number of Illinois River decoy makers to follow, they divided the carving and painting roles. Robert applied his honed woodworking skills, while Catherine proved herself to be one of the finest decoy painters of all time.
Catherine applied sophisticated, yet graceful, paint patterns that are virtually unequalled by any of her contemporaries, with the exception of Edna Perdew. She developed her own techniques of scratch feathering that echo the finest grain-painted chests of Pennsylvania made during the mid-nineteenth century. Implementing a metal grain-comb to help suggest feathering and to give the decoys a more realistic look, her painting techniques were later copied by Millie Graves and other painters up and down the Illinois River and beyond.
This bird hails from the Dupee rig, one of the Midwest’s most coveted groups. Indeed the few bluebills from this rig have been the most sought after from the entire region. This decoy has a extra-full and round body with Robert’s best form and it is finished with Catherine’s very best swirl and comb paint. The underside of the hollow body bears the “W. H. Dupee” brand and a “The Elliston Decoy” weight. It is been selected for at least two important museum exhibitions and two books. Excellent original paint with some typical rig discoloration to back and left side.
Provenance: W. H. Dupee Rig Masterworks of the Illinois River Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 41, exact decoy illustrated. Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 71, exact decoy illustrated.
Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2–November 13, 2005.
Peoria, Illinois, Masterworks of the Illinois River, Center for American Decoys, Peoria Riverfront Museum.
$14,000 - $18,000
BERT GRAVES
400
400 “White-Sided” Mallard Drake
Bert Graves (1880-1956) Peoria, IL, c. 1920 17 in. long
This carving exhibits fine scratch comb feather detail. Collectors and dealers have termed this bright plumage representation as the “white-sided” Graves mallards. Excellent Graves paint with even gunning wear and a hairline crack in the back of neck.
Provenance: E. I. Rogers Rig Cleary Rig Estate of William S. Sachse
$2,500 - $4,500
401 Rare Mallard Pair
Oscar Alford (1883-1962) Beardstown, IL, c. 1920 13 in. long
Oscar Alford had one of the most whimsical styles of all the Illinois River decoy makers. With perfectly round heads, thin pointed bills, gently concave backs, intricate tail carving, and highly stylized paint patterns, Alford’s decoys are capricious examples of American folk art.
Oscar Alford, along with his sons, Howard and Glenn, produced a total of only three dozen decoys for personal use. Of this rig of exclusively mallards, there were two dozen drakes and only one dozen hens. Howard was known to have done most of the painting. From observing live, caged birds, he developed a stylized feather pattern that is among the most elaborate ever applied to an early gunning decoy. Every feather on the hen is represented, including on the bottom of the bird.
Each bird is hollowed, yet the body seams remain virtually invisible after a century. The drake’s head is turned to the left and the hen’s is slightly turned to the right. The family hunted over the rig for more than twenty years. Despite heavy usage and the bird’s delicate construction, the Alfords took very good care of the rig, fashioning individual bags for each bird to carry the decoys to and from the field. Original paint with even gunning wear. Typical gunning touch-up to drake’s breast and bill by the Alfords. A few stacking rubs. Hen has tight cracks at base of neck.
Provenance: Alford Family Rig Masterworks of the Illinois River Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 110-111, exact pair illustrated.
William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 90, pl. 71, rigmate illustrated.
Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2–November 13, 2005.
$10,000 - $15,000
402
402 Rare Redhead Drake Henry Ruggles (1830-1897) Henry, IL, c. 1880 14 ¼ in. long
Finding any Ruggles decoys in original paint has proven difficult for collectors, making this prime redhead example a highly collectible Illinois River masterwork.
An apprentice studio painter in St. Louis, Missouri, Ruggles was a talented portraiture and landscape artist. In Henry, he was also noted locally as a musician; in the summer months, he played violin, mandolin, and guitar for the pleasure of family and friends, including his neighbor and protégé, Charles Perdew.
This hollow decoy has full cheeks with gold rings around
the tack eyes, and a long thin neck. The body is finished with incredible combed details and blended feathering that is reminiscent of Catherine Elliston’s best work. The underside has what appears to be a “Y” brand. Original paint with gunning wear, including a hairline crack at right base of neck and a rub to body seam on left side.
Provenance: Masterworks of the Illinois River Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 19, exact decoy illustrated.
Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2–November 13, 2005.
$6,000 - $9,000
“One of the earliest decoy carvers in the Illinois River Valley, Henry Ruggles created very fine and distinctive birds. Very few of his decoys have survived and been found, a fact that has limited recognition of his name. His style, however, influenced a generation of carvers, including Charles Perdew. Finding any Ruggles’ decoys in original paint has proven difficult for collectors, making this prime mallard example all the more desirable.”
— Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River
HENRY RUGGLES
1830-1897 | HENRY, IL
403
403 Early and Important Mallard Drake
Henry Ruggles (1830-1897) Henry, IL, c. 1870 17 in. long
Finding any Ruggles’ decoys in original paint is rare, making this prime mallard example a highly collectible Illinois River masterwork.
According to Edna Perdew, her husband, Charles, 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.
Hunting and fishing were Ruggles’ true passions. To aid in his success in luring waterfowl, he carved graceful birds with sleek bodies and elongated heads. Ruggles fashioned hollow, feather-weight decoys that were wide-bodied in comparison to other Illinois decoys. Another recognizable Ruggles carving trait is the unusual squared tail with which he finished his decoys, as seen on this mallard. His painting style was well honed with bold, sure-handed brush strokes.
Several Ruggles and Robert Elliston decoys migrated north to Wisconsin where affluent Chicago hunters brought them
to the prestigious Nee-Pee-Nauk Club. Organized by A. H. Sellers in 1882 and situated by the Horicon Marsh, the NePee-Nauk Club is on some of the best hunting grounds in Wisconsin. The club boasted a distinguished membership, including Civil War General Philip Sheridan (1831-1888), along with numerous Chicago congressmen and doctors who would venture by train up from the city. The club has remained in continuous operation for nearly 140 years and is the oldest active duck club in Wisconsin.
The underside of this early mallard drake is branded “DENTON” and “MORRIS SELLERS” and the lead-strip weight is embossed “CHICAGO ILL.” Original paint with even gunning wear, including a minor chip on left side of neck seam. Original plug in back is inset.
Provenance: Morris Sellers and Denton Rigs
Herb Wetanson Collection
Trenton Spolar M.D. Collection
Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 21, related decoy illustrated. Tandy Lacy, The Wooden Bird: Heritage Bird Carvers of the Upper Illinois River Valley, Washburn, IL, 1989, pp. 117-119, related example illustrated and discussed.
$15,000 - $20,000
BERT GRAVES
404 High-Head Brant
Bert Graves (1880-1956)
Peoria, IL, c. 1940
17 in. tall, 23 in. long
This grand decoy leads the Graves chapter in the Masterworks of the Illinois River book. Brant decoys by Illinois River makers are virtually nonexistent. This special bird only came into existence because Graves’ son was moving to the West Coast and needed brant decoys. The hollow body was made with four-piece construction, and the long neck was even hollowed to lower the center of gravity.
Graves built the Graves Decoy Company out of the workshop behind his home. Graves purchased Elliston’s entire business, including wood, patterns, tools, and commissioned rigs. He also astutely hired Catherine
Elliston to continue painting decoys for his company. Original paint with even gunning wear, including a few dings in the back. Sealer around slightly loose neck seam.
Provenance: Graves Rig Masterworks of the Illinois River Collection
Literature: Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 94, exact decoy illustrated.
Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2–November 13, 2005.
Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019.
$6,000 - $9,000
405 Zearing-Rig Mallard
Charles Walker (1873-1954) Princeton, IL, c. 1945 17 in. long
Walker was a member of the Princeton Fish and Game Club of Bureau, Illinois, from 1902-1910. Unfortunately, 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.
This turned-head example has excellent original combed feathering, a double weight on the bottom, and a painted “25” for club member Joseph Zearing’s rig. As was typical for Walker and his patrons, the maker maintained the rigs he made. This decoy appears to be an important piece in the Walker portfolio. In addition to maintaining the paint, it appears he rounded the lower edges of a working flat-bottom decoy. That makes this bird the keystone in his transition from his early flat-bottoms to the round bottoms. Original feathering on the back, typical working paint by the maker elsewhere. Small crack to back of crown and touch-up to white speculum trim.
Provenance: Joseph Zearing Rig Masterworks of the Illinois River Collection
$4,000 - $6,000
406 Canvasback Drake
Bert Graves (1880-1956) Peoria, IL, c. 1930 17 in. long
A hollow canvasback with fine swirl paint and a Graves weight. Original paint with even gunning wear.
Provenance: Trenton Spolar M.D. Collection
$1,200 - $1,800
407 Pintail Hen
Stephen Lane (1843-1900) Lacon, IL, c. 1880 16 in. long
A rare hollow decoy showing Lane’s refined form. Excellent Perdew paint with moderate gunning wear, some scattered flakes have spot touch-up. Under the paint is a tight neck crack and chip to the tail.
Provenance: Trenton Spolar M.D. Collection
$1,800 - $2,400
CHARLES H. PERDEW
408 Mallard Drake
Charles H. Perdew (1874-1963)
Henry, IL, c. 1920 17 in. long
This carving exhibits bold carving and excellent paint by Edna Perdew. In Perdew paint with moderate gunning wear, some uneven varnish, tight crack in neck, and scattered touch-up to worn spots.
Provenance: Estate of William S. Sachse
$800 - $1,200
409 Wigeon Hen
Charles H. Perdew (1874-1963)
Henry, IL, 1955 13 ½ in. long
A pristine hollow wigeon decoy. The underside has White and French collections markings, including a notation that French took a photo of Perdew holding this exact bird for Decoy Magazine. This bird can also be seen in Charlie’s hands in its unpainted state in the Perdew book. Original paint with minimal wear.
Provenance: Joseph French Collection
Walter White Collection Masterworks of the Illinois River Collection
Literature: Ann Tandy Lacy, Perdew: An Illinois River Tradition, Muncie, IN, 1993, p. 243, exact decoy show held by maker in bare wood.
$2,000 - $4,000
410 Mallard Drake
Charles H. Perdew (1874-1963) and Edna Perdew (1882-1974)
Henry, IL, c. 1915 16 ½ in. long
A fine early example featuring the maker’s deep three-piece-body construction and scratch-comb feather detail. Branded “FJ” on the underside. In excellent working paint by Edna Perdew with gunning wear, including flaking mostly on head and lower sides.
$1,500 - $2,500
411 Pintail Pair
Bert Graves (1880-1956) Peoria, IL, c. 1930 18 in. long
The drake has a “CJC” brand for the rig of Chester J. Cashwell. The hen has a “JP” brand. Both have Graves embossed weights. Drake is in original paint with moderate gunning wear and one-and-one-quarter-inch tail chip restoration. Hen is in original paint with reset tail chip, tight neck crack, and some paint strengthening mostly to feathering and bill.
Provenance: Trenton Spolar M.D. Collection
$2,500 - $4,500
412 Mallard Pair
Bert Graves (1880-1956) Peoria, IL, c. 1920 17 in. long
Catherine Elliston’s original paint is featured on this “white-side” pair. The drake has fine comb feather paint detail. The undersides have their weight and a “P” brand. Original paint with even gunning wear and craquelure. Hen has a old touch-up to reset neck crack.
Provenance: Puckaway Club Trenton Spolar M.D. Collection
$2,000 - $4,000
413 Canvasback Hen
Bert Graves (1880-1956) Peoria, IL, c. 1930 17 in. long
A rare hen with well-executed blended paint from the head to the tail. Original paint with even gunning wear.
Provenance: Trenton Spolar M.D. Collection
$3,500 - $5,500
CHARLES H. PERDEW
414 Mallard Drake
Charles H. Perdew (1874-1963)
Henry, IL, c. 1940 15 ½ in. long
This mallard drake displays fine paint by Edna Perdew (1882-1974). The underside retains a “Henry...Perdew... Ill.” lead-strip weight. Original paint with light gunning wear. Minimal touch-up to reset crack through neck.
Provenance: Trenton Spolar M.D. Collection
$1,800 - $2,400
415 Mallard Hen
Charles H. Perdew (1874-1963) and Edna Perdew (1882-1974)
Henry, IL, c. 1930 16 ½ in. long
A classic hen featuring extra fancy paint by Edna Perdew and bright amber eyes. The underside has a Perdew weight. Original paint with gunning wear, including dings to right side and some flaking mostly to head.
Provenance: Trenton Spolar M.D. Collection
$1,200 - $1,800
416 Pintail
Charles H. Perdew (1874-1963) and Edna Perdew (1882-1974)
Henry, IL, c. 1920
A pintail drake with Charlie’s best form and exceptional feather painting by Edna. The underside has a Perdew weight with a rare integrated anchor tie loop. Mostly original paint with moderate gunning wear, including some flaking, mostly to breast. Old overpaint has successfully been removed from head and speculums. Area under weight appears to have been flattened. Neck seam has been reset.
Provenance: Alan Haid Collection
Trenton Spolar M.D. Collection, acquired from the above
$1,800 - $2,400
Hanson shows his deft brushwork on this elaborate and notoriously challenging plumage. The undersides of the hollow bodies are signed with his ink stamp. Original paint with light wear.
$2,500 - $3,500
Chest
Rig
27 ½ by 13 by 14 in.
Green-Winged
A painted box holding a rig of twelve hollow green-winged teal by Woodson Roddy. The custom chest has teal-head handles and painted embellishments inside and out. Very good original condition with minimal wear.
$1,000 - $1,500
418
with
of Twelve
Teal Woodson Roddy Clinton, MO, 1987
417 Gadwall Pair Marty Hanson (b. 1965) Prior Lake, MN 15 ½ in. long
signed and dated by the maker on the top of
420 Special Flying Mallard Pair
Mike Borrett (b. 1960) Madison, WI, 2012 drake is 17 in. long, 18 in. wingspan
This carved pair is more dynamic and refined than the maker’s typical flyers. A collector’s note states that these mallards were special for Ducks Unlimited. Signed and dated by the maker on the top of the right wing. Original paint with light wear and hen has one small toe chip.
Provenance: Estate of William S. Sachse
$1,500 - $2,500
421
Flying Canvasback Pair
Mike Borrett (b. 1960) Madison, WI, 2004 19 in. long, 19 ½ in. wingspan
A carved pair, signed and dated by the maker on the top of the wings. Original paint with light wear.
Provenance: Estate of William S. Sachse
$1,500 - $2,500
JIM SCHMIEDLIN
422 Schmiedlin Collection Gadwall Jim Schmiedlin (1945-2015) Bradford Woods, PA, c. 2006 17 in. long
A Pittsburgh native, Jim proudly served in the US Navy from 1965 to 1971. He began carving in his spare time while employed at Pittsburgh Brewing (Iron City Beer), where he worked for forty years. Today, Schmiedlin’s work is among the most sought after of any decoy maker who carved in the last half century.
This decoy features a highly articulated and slightly turned head. The underside bears the rare Schmiedlin Collection ink stamp, “JAS” brand, “Return for Reward,” the date, and usage details including a showing at the “Chicago decoy show.” Excellent original paint with gunning wear.
Provenance: Schmiedlin Rig and Collection Private Collection
$4,000 - $6,000
Tullytown, PA, c. 1980
19 in. long
A rare decoy with crossed wing tips and a metal curl feather from the maker’s own rig. The underside has several of White’s personal rig markings, including a remarked painted bobwhite quail, the quail weight, a personal copper rig tag, and a painted rig marking. Original paint with gunning wear.
Provenance: Bob White Rig
$5,000 - $7,000
Tullytown, PA, c. 1985
18 in. long
One of six made for the carver’s own personal hunting rig. This decoy retains the maker’s bobwhite-quail lead weight and copper name plate. Original paint with light gunning wear and a red paint smudge on lower left side.
Provenance: Bob White Rig Private Collection, New Jersey
$1,500 - $2,500
423 White-Rig Oversize Mallard
Robert “Bob” White (b. 1939)
Collection
424 White-Rig American Merganser
Robert “Bob” White (b. 1939)
ROBERT "BOB" WHITE
425 White-Rig Green-Winged Teal
Robert “Bob” White (b. 1939)
Tullytown, PA, c. 1985
12 ½ in. long
A special decoy from the maker’s personal gunning rig. It has a rare triangular weight with an incised “R. WHITE DECOY.” Original paint with light gunning wear, including scuffs to bill and tail tips.
Provenance: Bob White Rig Private Collection, acquired from the maker
$1,500 - $2,500
426 Resting Black Duck
Robert “Bob” White (b. 1939)
Tullytown, PA, 2005 16 ½ in. long
A snuggle-head black duck with raised, incised wing tips and finely painted tail and head detail by this Delaware River living legend. The underside is signed, dated, and bears a signature bobwhite-quail weight. Original paint, reset bill with touch-up.
Provenance: Richard and Lynn Gove Collection Private Collection, New Jersey
$700 - $1,000
427 Sleeping Gadwall Pair
Robert “Bob” White (b. 1939)
Tullytown, PA, 1993 14 ½ in. long
Each hollow body is signed, dated, and bears the maker’s bobwhite-quail weight. Original paint with light gunning wear.
$1,200 - $1,800
428 Pintail Pair
George Strunk (b. 1958)
Glendora, NJ 19 ½ in. long
Both are signed “G. Strunk” and have the maker’s and a collector’s name stamped in the lead weights. Original paint with light wear.
Provenance: R. Kobli Collection Private Collection
$800 - $1,200
429 Oversize High-Head Black Duck
George Strunk (b. 1958)
Seaville, NJ 21 in. long
A hollow high-head decoy with detailed paint and wing tip carving. The bottom is signed by the maker. Excellent original paint with minimal wear.
$500 - $800
430 Snuggle-Head Mallard Pair
George Strunk (b. 1958)
Seaville, NJ, 2005 16 in. long
A special elaborate pair of hollow snuggle-head mallards. Their undersides are signed and dated. Excellent original paint with light wear.
$800 - $1,200
431
6
A miniature decoy with the maker’s initials stamped in the weight. Original paint with minimal wear.
$300 - $500
432 Blue-Winged Teal Pair
John “Jack” Wood Hamilton, NJ, 2009
12 in. long
A pair of hollow life-size teal with carved raised primaries and tail feather detail. Both birds are signed and dated on their undersides. Original paint with minimal wear.
$400 - $600
433 Red-Breasted Nuthatch
6
Bears a stamped “Strunk” and an inked signature. Original paint with minimal wear.
$200 - $300
434 Miniature Great Blue Heron
5 ½ in. tall
Signed by the artist on the underside of the base. Original paint with minimal wear.
$300 - $500
Miniature Black Duck
George Strunk (b. 1958) Seaville, NJ
in. long
George Strunk (b. 1958) Glendora, NJ
in. long
George Strunk (b. 1958) Seaville, NJ
435 Brant
John McLaughlin (1911-1985)
Bordentown, NJ, 1958 17 ½ in. long
The underside of the hollow body is signed, dated, and bears a plaque with the maker’s name. Original paint with even gunning wear.
Provenance: Dave Campbell Collection
$600 - $900
436 Canvasback Pair
Davison Hawthorne (1924-2018)
Seaford, DE 14 ½ in. long
A working decoy pair, the drake bears a “DWH” brand on underside and the hen is inscribed “Davison Hawthorne” on underside. Original paint with even gunning wear, hen has a dark smudge by her right speculum.
$700 - $1,000
437 Mallard Drake
Harry V. Shourds (1861-1920)
Tuckerton, NJ, c. 1900 16 ¾ in. long
Mallards are a rarely carved species for Shourds and many of the Atlantic Flyway’s early decoy makers. Repaint with moderate wear.
Provenance: The Gary and Niki Giberson Collection
$800 - $1,200
438 Swimming Brant
Hurley Conklin (1913-1991) Manahawkin, NJ, c. 1950 19 ½ in. long
This swimming brant bears a “H. Conklin” brand on the underside as well as Campbell’s “DSC” stamp. Original paint with gunning wear. Hairline crack on top of tail.
Provenance: Dave Campbell Collection
$400 - $600
439 Red-Breasted Merganser
William “Bill” Joeckel (1921-2010)
Islip Terrace, NY, 1971 17 in. long
Not only a renowned decoy carver and collector, Bill was a WWII and Korean War US Army veteran, a commercial waterman, a hunter, a fisherman, and a trainer of retriever field trial champions. The underside of the detailed body is signed, dated, and inscribed by the maker. Original paint with light wear and a tight crack by neck seam.
$800 - $1,200
OLIVER "TUTS" LAWSON
Signed and dated on undersides. Original paint with light wear.
Provenance: Private Estate, New York
$300 - $500
441
Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 1982 drake is 10 ¾ in. long
Signed and dated on undersides. Original paint with light wear.
Provenance: Private Estate, New York
$300 - $500
Signed and dated on the undersides of their balsa bodies. Original paint with light wear.
Provenance: Private Estate, New York
$300 - $500
443
Oliver “Tuts” Lawson (b. 1938)
MD, 1984 8 ¾ in.
Signed and dated on undersides. Original paint with light wear. Drake has reset bill.
Provenance: Private Estate, New York
$300 - $500
440 Miniature Mallard Pair
Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 1980 8 ¼ in. long
Miniature Pintail Pair
442 Miniature Wigeon Pair
Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 2011 each 8 ½ in. long
Miniature Shoveler Pair
Crisfield,
444 Wood Duck
Roger C. Mitchell (b. 1944) Kingston, MA 15 in. long
A hollow decorative with inlaid wing tips and an old label from the Plymouth Outdoor Art Show. Original paint with minimal wear and a tight hairline crack in left side of tail. As found.
$400 - $600
445 Tucked-Head Black Duck
Marty Collins (b. 1960) East Wareham, MA 14 in. long
A well-conceived black duck with a tucked and turned head and elaborate tail and wing-tip carving. Signed with the maker’s brand on the underside. Original paint with light wear and some spotting to paint surface.
Provenance: Robert Sampson Collection
$300 - $500
446 Crowell-Style Red-Breasted Merganser Drake
Byron E. Bruffee (1942-2013)
Middleboro, MA, c. 2005 18 in. long
Modeled after Harry V. Long’s iconic tucked-head merganser, this is a fine representation of Bruffee’s abilities.
Signed with a large B carved in the underside. Original paint with minimal wear.
$800 - $1,200
447 Merganser Pair and Painting
Keith Mueller (b. 1956) Killingworth, CT 18 in. long
A red-breasted merganser pair with a preening drake. Accompanying the decoys is an original painting by the artist depicting this exact merganser drake. Original paint with minimal wear.
Painting signed “Keith Mueller” lower right acrylic on paper, 9 ½ by 17 ½ in.
$800 - $1,200
447.2
448 Miniature Bobwhite Quail Pair
Allen J. King (1878-1963)
North Scituate, RI, c. 1940
2 in. tall
An excellent miniature decorative quail pair with the maker’s signature on the side of the base. Original paint with light wear.
Literature: Joseph H. Ellis, Birds in Wood and Paint, Lebanon, NH, 2009, p. 108, fig. 11.7, related carving illustrated.
$2,000 - $3,000
449 Miniature Red-Winged Blackbird
A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1915
3 ¼ in. long
A miniature red-winged blackbird with the maker’s blue-paper label and his inked species identification on the underside. Original paint with minimal wear.
$800 - $1,200
450 Rare Miniature Black Duck
Charles E. “Shang” Wheeler (1872-1949)
Stratford, CT, c. 1935
6 ½ in. long
The rarity of this miniature cannot be overstated. While Wheeler made many decorative carvings in his lifetime, his stand-alone miniatures are virtually non-existent. There is only one other waterfowl miniature, which is set against a painted grass backdrop, pictured in the Shang book.
This six-and-one-half-inch-long black duck was likely made for a carving competition. It displays a slightly turned head, glass eyes, scratch-painted head detail, and grooved wing
definition. An inscription on the bottom of the carving reads “Made by Shang Wheeler, Black Duck, Babylon, NY, 1935” in faint pencil. Babylon was the annual site of the National Decoy Show starting in 1923. Wheeler took home top honors at that first show and was often in attendance in the 1930s and 40s. Original paint with light wear and minor touch-up along neck seat and to underside of bill tip.
Provenance: Private Collection, Florida
Literature: Decoys Unlimited Auctions, Our Sale of Rare and Important Decoys, Related Artifacts & Americana, July 18, 1999, lot 151E, exact decoy illustrated.
$4,500 - $6,500
451 Miniature Ruddy Turnstone
Levi W. Witham (1853-1939) Lynn, MA, c.1900 1 ½ in. tall
This lot represents the important rediscovery of this talented North Shore carver. Other miniatures by Witham had been attributed to the younger Tom Wilson (18631940) of nearby Ipswich, Massachusetts. This attribution was based on the striking resemblance between the two men’s distinct shorebird patterns. It was an early Sotheby Parke Bernet catalog that revealed Witham as the maker of these distinct minis. The underside has a French Collection “JF” stamp. Original paint with light wear.
Provenance: Joseph B. French Collection Private Collection, Florida
Literature: Sotheby Parke Bernet Inc., Auction of Americana, New York, NY, November 6, 7, & 8, 1975, Witham’s carvings identified and illustrated.
$600 - $900
452 Miniature Canada Goose Trio
Mark Holland and Cindy Lewis Brewster, MA, 1981 20 in. long, 10 in. tall
A trio of refined miniature Canada geese on a driftwood base. The base is signed and dated by the artists. Original paint with very light wear, including a hairline seam showing on left side of lead bird’s neck.
$1,000 - $1,500
453 Miniature Bufflehead Pair
Robert Seabrook (b. 1951) Absecon, NJ 5 ½ in. long
These hollow miniature decoys are inscribed “Seabrook” on the undersides. Original paint with minimal wear.
$200 - $300
454 Miniature Pintail Drake and Mallard Pair New Jersey, c. 1930 largest is 3 in. long
A trio of well-executed New Jersey miniatures showing elements of John Updike. The hen has some faint identification information on the underside. Original paint with wear. Mallard drake has neck crack and some wear to wood. Pintail has loose copper sprig.
Provenance: Private Collection, New Jersey
$600 - $900
455 Miniature Wood Duck Pair 10 in. long, 6 ¼ in. tall
The pair is mounted on its original base. Closely resembling, and possibly, a decorative by James Lapham. Original paint with light wear.
$200 - $400
456 Kingfisher with Perch
Robert Warfield (1910-1990)
Jaffrey, NH
14 in. tall, 7 in. long
A standing kingfisher with a perch clutched in its beak. This work bears the makers’ signatures on the underside along with “# 10/25,” and a collection stamp. The side of the branch base is signed “Warfield.” Original paint with loss to fish tail, and seam showing at left thigh, and tight crack in tail feather. As found.
$800 - $1,200
A sophisticated decorative animated pair of woodcock in flight mounted on a circular beveled base. The base is signed and dated on the underside. Tad lived on the Eastern Shore of Virginia and developed a dedicated following of
collectors at a young age, making his works very rare on the secondary market. Original paint with light wear. Lower bird has one broken feather on right wing. As found.
Provenance: Private Estate, New York
$1,200 - $1,800
457 Flying Woodcock Pair
Tad Beach (1956-2015)
Eastville, VA, 1990
20 in. tall, 18 in. long
458 Pintail Pair
Charles “Duke” Grobaker Easton, MD, 1975 drake is 17 ½ in. long
A pair of hollow pintails with raised tails, turned heads, and the maker’s signature and dates on the undersides of both driftwood bases. Original paint with light wear. As found.
Provenance: Private Estate, New York
$800 - $1,200
459
459 Canada Goose
Ben A. Heinemann (b. 1954) Durham, NC, 1988 24 in. long
A decorative raised-wing, turned-head Canada goose signed and dated by the maker on the underside of the hollow body. Original paint with light wear, minimal chipping to tail edge, and a minute age line in breast. As found.
Provenance: Private Estate, New York
$500 - $700
461 Green Heron
Bernard N. Burns
Easton, MD, 1987
driftwood is 15 ½ in. wide
A stalking green heron with raised wing tips mounted on a piece of driftwood resting on a beveled rectangular base. The underside bears the maker’s signature and species identification. Original paint with light wear. As found.
Provenance: Private Estate, New York
$300 - $500
460 Standing Wood Duck
Larry Tawes Sr. (1936-2022) Salisbury, MD, 1985
12 in. tall, 16 ½ in. wide
A life-size decorative with such precise feather detail that they shift colors when the viewing angle changes. Signed, dated, and inscribed on underside of the base. Original paint with minimal wear. As found.
Provenance: Private Estate, New York
$500 - $800
462 Red Fox
James E. “Jim” Hazeley Lancaster, PA, 1986
8 in. tall, 18 in. long
A dynamic fox walking on a snowy terrain. Mounted on a beveled edge wooden base which has been signed and dated on the underside. Original paint with light wear and a darkened chip to left ear. As found.
Provenance: Private Estate, New York, acquired from the artist
$500 - $700
461
463 Life-Size Flying Green-Winged Teal Pair
Ma Hai Feng (b. 1945) Hong Kong, 1987
30 in. tall, 30 in. wide
Ma Hai Feng’s family of artists reached back over 900 years. The artist was recognized and trained by the Chinese government as a child prodigy. At age fourteen, he was marked by his teachers to become a head of one of the four art schools in the country. After fleeing mainland China and setting up an art school in Hong Kong, the artist traveled to the United States. He entered his pieces in the Bird Carving World Championships and won many awards in the professional class in the 1980s. He also won the Ward
Foundation’s “Best in World” award in 1985. The Smithsonian held a one-man exhibition of his work that same year and he has been collected by Prince Philip, Caroline Kennedy, and the Leigh Yawkey Woodson Museum. This animated work depicts two teal in flight and is signed and dated on the top of the base. Original paint with light wear. As found.
Provenance: Private Estate, New York
$1,000 - $2,000
465 Two Blue Jay
Ernie F. Muehlmett (1927-2016)
Salisbury, MD, 1973
11 in. tall, 11 ½ in. long
464 Chickadee on Holly Branch
Oliver “Tuts” Lawson (b. 1938)
Crisfield, MD, c. 1980
8 ½ in. tall
A life-size decorative signed on the top of the branch. Original paint with minimal wear. As found.
Provenance: Private Estate, New York
$600 - $900
An animated pair of jays with an adult looking down at a hungry fledgling. Each have raised wings and the maker’s signature and date on the underside of the base. Original paint with some age lines under the paint. As found.
Provenance: Private Estate, New York
$650 - $850
465 466
466 Tufted Titmouse Pair and Butterfly
Ernie F. Muehlmett (1927-2016)
Salisbury, MA, 1977
11 in. tall, 7 in. long
A pair of songbirds perched on a gnarled wooden base with a butterfly. Original paint with age lines under paint, flaking to bent legs, and loss to butterfly wing. As found.
Provenance: Private Estate, New York
$600 - $900
467 Tucked-Head Pintail Pair
William “Billy” Ellis (1865-1963) Whitby, Ontario, Canada, c. 1930 17 in. long
A rigmate pair with matching Grimm-rig copper tags. Each exhibits the maker’s highly distinctive deep tuckedhead construction. Original paint with light gunning wear.
$800 - $1,200
468 Blue-Winged Teal Pair
William “Billy” Ellis (1865-1963) Whitby, Ontario, Canada, c. 1930 13 ½ in. long
Original paint with minor wear.
$800 - $1,200
469 Mallard Pair
Ken Anger (1904-1983) Dunnville, Ontario, Canada, c. 1940 16 ¼ in. long
Original paint with even gunning wear.
Provenance: Trenton Spolar M.D. Collection
$800 - $1,200
470 Mallard Pair
L. Torry Ward (1926-1990) Portage la Prarie, Manitoba, Canada 16 in. long
This hollow pair exhibits Warin’s low-head style. The bottom boards have painted initials “H. M.” and “J. B. W.” on the drake and hen, respectively. Original paint with light wear.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$500 - $800
471 Redhead
Thomas Chambers (1860-1948)
Wallaceburg, Ontario, Canada, c. 1900 16 in. long
The bottom board of this hollow decoy has a “J. T. McMILLAN” brand. This decoy saw action at the St. Clair Flats Shooting Club, where McMillan was a member from 1913-1946. Original paint even gunning wear, appealing craquelure, and a tight original neck crack.
Provenance: J. T. McMillan Rig Trenton Spolar M.D. Collection
$800 - $1,200
472 Canvasback
Thomas Chambers (1860-1948) Wallaceburg, Ontario, Canada, c. 1900 15 ½ in. long
A hollow decoy with a “F.T.M.” brand, which has been attributed to club members F. T. McMillan and F. T. Murphy. Original paint with heavy gunning wear, including a neck crack.
Provenance: Trenton Spolar M.D. Collection
$800 - $1,200
473 Redhead Drake
Frederick George Mummery (b. 1861) Hamilton, Ontario, c. 1890 14 in. long
Bears a “FGM” brand and three “M” stamps on the underside of the bottom board for the maker’s rig. As a blacksmith and tool maker, Mummery likely made his own brand. Old paint with heavy gunning wear.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$600 - $900
474
High-Head Black Duck
Robert G. Kerr (b. 1935)
Smith Falls, Ontario, Canada, 1958 17 ½ in. long
A black duck displaying carved bill detail, raised wings, and a signature by the maker on the bottom. Original paint with light wear and a reset crack in bill.
$800 - $1,200
475 Swimming Merganser Hen
Martha’s Vineyard, c. 1900 18 ¼ in. long
A sleek long-bodied merganser with sharp speculums. Mostly original paint with heavy gunning wear, old replaced head with crack in bill, and some brown repaint towards the front.
$300 - $500
476 Preening Scoter
Augustus “Gus” Aaron Wilson (1864-1950)
South Portland, ME, c. 1900 16 ½ in. long
Known for creating decoys with dynamic forms, this preening scoter bears the maker’s signature inletted-head construction. Old working paint with heavy gunning wear and a replaced head.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$600 - $900
477 Eider Drake
Harold Burke (1888-1970)
Drumhead, Nova Scotia, c. 1910 16 ½ in. long
Harold Burke was raised in the Drumhead Lighthouse as the son of its keeper. He went on to be a keep himself for a time and is best known for his turtle-back eider decoys. Old working repaint and some touch-up with even gunning wear.
$200 - $400
478 Black Duck
Joseph W. Lincoln (1859-1938)
Accord, MA, c. 1910 17 in. long
A bold Lincoln form, the topside has an incised “HYNC.” The underside bears a white Starr fan stamp. Mostly original paint with heavy gunning wear. Crack through underside and dings to left side.
Provenance: Dr. George Ross Starr Jr. Collection Private Collection
$400 - $600
479 Turned Head Eider
Cundys Harbor, ME 17 in. long
This carving bears a turned and inletted head and the Starr Collection wood duck ink stamp on the underside. Old paint with heavy gunning wear and a crack in the back. Lower bill chip restored.
Provenance: Dr. George Ross Starr Collection The George Secor Decoy Collection to Benefit Delta Waterfowl
$300 - $600
480 Cork Black Duck
Charles “Shang” Wheeler (1872-1949)
Stratford, CT, c. 1930 19 in. long
A very fine cork decoy in a rare swimming head position. Mix of old paint with gunning wear and restored paint mostly to head and tail.
$800 - $1,200
481 Premier-Grade Pintail Pair
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910
18 in. long
A hollow pair of Mason’s best decoy model. Original paint with gunning wear and areas of touch-up, hen has one-third bill tip restoration and factory rough patch in back. Drake has a tight neck crack and fill to crack along underside.
Provenance: Trenton Spolar M.D. Collection
$2,000 - $4,000
482 Premier-Grade Black Duck
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1900
17 ¼ in. long
This carving showcases a “snakey head,” upswept tail, and strong swirls in the paint. The underside has a painted “23” and small stamp that appears to be “P.B.W.” Original paint with light gunning wear. Touch-up to very tip and left corner of tail and at neck seam.
Provenance: Trenton Spolar M.D. Collection
$1,800 - $2,400
483 Yellowlegs
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910
12 ½ in. long
A tack-eyed example with fine paint detail. Original paint with moderate wear, a few dings and knot, and slight grain lift above bill.
$1,000 - $1,500
484 Rare Early Brant
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1900
19 ½ in. long
This early example with a pronounced crown and shoulder carving was recognized by early Mason specialist Dr. James McCleery for its rare and distinct form and fine swirl paint. Original paint with moderate gunning wear, two old stabilizing nails in neck. Some paint wear including crown, bill, and neck seam.
Literature: Russ J. Goldberger and Alan Haid, Mason Decoys: Updated Edition, Lewes, DE, 2014, p. 82, related example illustrated.
$1,000 - $2,000
485 Brant
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910 20 ½ in. long
This example shows Mason’s classic brant form and tight swirled and stippled paint. Original paint with moderate gunning wear, some touch-up and repaint mostly to head and restored neck, and tight age lines in back. Dings to top of head and chip to base of neck.
Provenance: Trenton Spolar M.D. Collection
$1,000 - $2,000
486 Premier-Grade Broadbill Pair
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910 14 in. long
A stylish pair of greater scaup with distinctive broad-bill carving. Each retains a Ward Museum tag on the underside. Original paint with even gunning wear and a few age lines. Hen has roughness to bill edges and drake has factory blemish on breast.
Exhibited: Ward Museum, Salisbury, Maryland.
$1,000 - $2,000
487 Rare Hollow Challenge-Grade Mallard
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910 16 ¼ in. long
While most challenge-grade decoys are solid, this special order is hollow. Original paint with moderate gunning wear, including some shot the right side. Minor touch-up to neck seam and tail edge.
Provenance: Trenton Spolar M.D. Collection
$1,000 - $1,500
488 Standard-Grade Goldeneye Pair
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1910 14 in. long
A rare glass-eyed pair of decoys with strong paint. Original paint with even gunning wear. Drake has touch-up to neck putty and some working wash to wear on breast and spot of touch-up on right shoulder. Hen has some stabilizing neck putty.
$1,000 - $2,000
489 Premier-Grade Mallard Hen
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1900 17 in. long
A stylish hen with a hollow body and upswept tail. Original paint with gunning wear, restored paint to much of right side, and a tail chip restoration.
Provenance: Trenton Spolar M.D. Collection
$800 - $1,200
490 High-Head Altman Rig Canvasback
Peoria, IL, c. 1900 16 in. long
The Altman rig is known for holding some of the best Illinois River canvasback forms. It was relocated to Portland, Oregon, in 1904. This high-head example has exceptional head carving and was made with a neck section between the head and the hollow body. The weight has an impressed “AA” marking. Old working paint with moderate gunning wear, including some flaking around upper neck seam.
Provenance: Altman Rig
Trenton Spolar M.D. Collection
$300 - $500
491 Coot
Illinois River Valley, c. 1910 11 ¾ in. long
This highly refined hollow marsh hen is among the Illinois River’s most sophisticated examples of the species and it is among the best crafted coot from any region. It shows the long sleek lines of Charles Schoenheider. The underside has a “DG” brand. Working paint with light gunning wear, shattered bill is stabilized with a nail, and head swivels.
Provenance: Masterworks of the Illinois River Collection
$400 - $600
492 Canvasback Drake
Christopher C. Smith (1861-1938)
Algonac, MI, c. 1910 17 in. long
A hollow decoy with a turned head and a “CC” brand. Old paint with heavy gunning wear.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$500 - $700
493 Canvasback Drake
Benjamin Schmidt (1884-1968)
Centerline, MI, c. 1947 16 ½ in. long
The underside retains a weighted keel and a collector’s note. Original paint with light wear.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$200 - $400
494 Rare Sleeping Canvasback Pair
William “Billy” T. Enright (1913-1979)
Toledo, OH, c. 1940 13 ½ in. long
This pair represents two of only six of these decoys known. They were made for the St. Anne’s Club and have ”St. Anne’s” stamps and specially carved keels with a taper for easy handling. Hen appear to be in mostly original paint with some working grey, and drake is in old gunning paint. Both have moderate gunning wear, including some age lines.
Provenance: Alan Haid Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$1,500 - $2,500
495 High-Head Canvasback Drake
Mason Decoy Factory (1896-1924)
Detroit, MI, c. 1920 17 in. long
A premier-grade “Seneca Lake” model with a “AOG” brand and a Wisconsin identification tag on the underside. Original paint with gunning wear, some darkening to wear on crown, and fill to crack along underside.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl, acquired from RJG Antiques
$500 - $1,000
496 Black Duck
C. William Chrysler (1870-1940)
Belleville, Ontario, Canada, c. 1910 18 in. long
A light hollow body with a slightly turned and forward-reaching head position. Original paint with gunning wear, working touch-up to tail chip, and professional restoration to face and bill.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$300 - $500
497 Blue-Winged Teal
George “Chic” Poyton (1895-1972) Hamilton, Ontario, Canada, c. 1930 13 ½ in. long
A rare hollow decoy with raised wings and large blue wing patches. Stenciled “F B-L J” on bottom board. Old working paint with moderate gunning wear, including filler loss at left body seam.
Provenance: Paul Brisco Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$500 - $700
498 Swimming Bluebill Pair
Robert “Bob” May (1873-1950)
Smith Falls, Ontario, Canada, c. 1920 14 ¼ in. long
A hollow raised-wing pair with inlaid bottom boards. In working repaint with gunning wear.
Provenance: Paul Brisco Collection
The George Secor Decoy Collection to Benefit Delta Waterfowl
$300 - $500
499 Bluebill Hen
Robert “Bob” May (1873-1950)
Smith Falls, Ontario, Canada, c. 1920 13 in. long
Original paint with light wear.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$200 - $400
500 Bluebill Hen
Orel LeBoeuf (1886-1968)
St. Anicet, Quebec, Canada, c. 1930 14 in. long
A Quebec decoy displaying carved wing and feather detail with a square weight stamped “DL.” Mix of original and old paint with heavy gunning wear. Age lines with stabilizing nails and fill to head and lower right side.
Provenance: The George Secor Decoy Collection to Benefit Delta Waterfowl
$300 - $500
501 Blue-Winged Teal
Clovis Vizier Sr. (1875-1975) Galliano, LA 10 in. long
A balsa-bodied example with incised detail. Original paint with even wear.
$300 - $500
Alford, Oscar: 401
Allen, Douglas: 279
Anger, Ken: 358, 469
Balciar, Gerald: 301
Beach, Tad: 457
Becker, JoAnne: 262, 263
Benson, Frank W.: 320-323, 325, 342, 343
Bergman, Charles: 209-214
Bibber, Orlando “Os”: 382
Birch, Reggie: 189, 192
Bishop, Richard E.: 328-341
Black, Allen: 385
Black, Charles: 370
Blackstone, Jess: 203, 205
Bliss, Roswell: 253
Blum, Roger: 299
Bogdan, Stan: 150, 152, 155
Borrett, Mike: 419-421
Boyd, George: 96
Brackett, Walter M.: 164
Bruffee, Byron: 446
Buckner, Derek: 300
Burke, Harold: 477
Burns, Bernard N.: 461
Burr, Elisha: 95
Bussey, George G.: 254
Cargile, Lloyd: 201
Catton, Henry “Hank”: 348
Chambers, Thomas: 356, 471, 472
Chesser, Grayson: 197
Chrysler, C. William: 496
Clark, James Lippitt: 287
Clark, Roland H.: 292, 327
Clem, Robert Verity: 311-313
Collins, Marty: 445
Conklin, Hurley: 438
Cooper, Melissa J.: 303
Corbin, Peter: 103
Coxe, Joe A.: 121
Crowell, A. Elmer: 77-84, 383, 384, 387, 389, 449
Dalton, Thomas: 355
Daly, Thomas Aquinas: 198
Darling, Jay Norwood “Ding”: 326 de Groot, Ewoud: 110, 111
Holland, Mark and Cindy: 452 Holmes, Lothrop Turner: 94
Hotze, Hiram “Hy”: 224, 225
Humphrey, William: 352
Hunt, Lynn Bogue: 324
Janson, “Fresh Air Dick”: 231
Jarvis, Roland: 361
Joeckel, William: 439
Johnson, J. Taylor: 366
Jones Rig, Dr. C. Lombard: 100
Jones, Burl: 286
Jones, Daniel B.: 364
Kerr, Robert G.: 474
King, Allen J.: 448
King, Joe: 368
Knap, Joseph Day: 66, 67 Koehler, Henry: 307
Koelpin, William J.: 289
Koerner, William H.D.: 276 Kuhn, Bob: 277
Lane, Stephen: 407
Lapham, James: 204
Lawson, Oliver “Tuts”: 440-443, 464
LeBoeuf, Orel: 500
Leeds, Daniel: 54, 55
Lincoln, Joseph W.: 99, 388, 390, 478
Lodge, George Edward: 298
Maass, David: 57-59
Madara, Clark: 226, 369
Mason Decoy Factory: 232-235, 481-489, 495
Matia, Walter: 60-63
May, Robert “Bob”: 498, 499
McAnney, John: 52, 367
McIntyre, Cameron T.: 190, 194-196
McLaughlin, John: 435
McNair, Mark S.: 34-50, 181-188
Mitchell, Roger C.: 444
Morgan, Jim: 270-272
Morris Boat Works: 351
Muehlmett, Ernie: 465, 466
Mueller, Keith: 447
Mummery, Frederick George: 473
Nichol, David K.: 360
Osthaus, Edmund Henry: 69, 71, 72
Perdew, Charles: 215-219, 398, 408-410, 414-416
Peterson, Oscar W.: 245-247
Peterson, Pete: 193
Peterson, Roger Tory: 314-319
Pleissner, Ogden M.: 73
Plimpton, William E.: 163
Poyton, George “Chic”: 497
Predmore, Cooper: 376
Rataczak, Jim: 107
Reece, Maynard F.: 64
Reels: 120-122, 150-162
Reeves, John: 350
Reeves, Phineas: 349
Renardson, Robert: 354
Reneson, Chet: 293-295
Ripley, Aiden Lassell: 1-33, 264-268, 344
Robinson, James: 308
Roddy, Woodson: 418
Rods: 143-149
Rosetta: 285
Rosseau, Percival: 70, 76, 290
Ruggles, Henry: 402, 403
Rungius, Carl: 275
Ruppel, Walter J.: 227-230
Sander, Sherry Salari: 273
Sandham, Henry “Hy”: 109
Schaldach, William J.: 108
Schmidt, Benjamin: 493
Schmiedlin, Jim: 422
Tawes Sr., Larry: 460
Taylor, William Redd: 278
Tycoon Tackle: 149
Tyler, Lloyd: 119
Updike, John: 53
Valdez, Vince: 302, 304
Van Der Hem, Pieter: 288
Verity, Obediah: 240
Vizier Sr., Clovis: 501
Walker, Charles: 405
Wallace, Dr. Gilbert E.: 56
Ward Brothers: 112, 114-118, 393-395
Ward, L. Torry: 470
Warfield, Robert: 456
Warin, George: 353
Watson, Milt: 396
Weaver, Steve: 85-91
Weiler, Milton C.: 281, 282
Wheeler, Charles “Shang”: 480
White, Robert “Bob”: 423-427
Wilson, Augustus “Gus” Aaron: 476
Schoenheider Sr., Charles S.: 206-208
Scott, Peter Markham: 283
Scott, Sandy: 284
Seabrook, Robert: 453
Seaman, Otis: 373
Shourds, Harry V.: 243, 244, 437
Shourds, Harry: 244
Shourds, Harry: 437
Shourds, John P.: 377
Smith, Brett James: 269
Smith, Cassius: 381
Smith, Christopher C.: 492
Smith, Will: 359
Southard, William H.: 242
Sprague, Chris T.: 378
Sterling, Lloyd Aaron: 113
Strater & Sohier: 248-251
Strunk, George: 428-431, 433, 434
Susinno, Mark: 280
Sutton, Sean: 191
Wood, John “Jack”: 432
Woodcock, Hartwell Leon: 345
Zane, Arthur: 120
ESTATE AND COLLECTION SERVICES
Copley offers a comprehensive program for both auction and private sales. Our team of professionals has over 130 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.
THE DU PONT CROWELL WOODCOCK
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:
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 | 20 Winter Street, 2nd Floor | Pembroke, Massachusetts 02359
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 Winter Sale 2025. 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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To be sure that bids will be accepted and delivery of lots not delayed, bidders who do not have an account with Copley Fine Art Auctions, LLC are requested to supply a bank reference prior to bidding.
I authorize you to contact the references below to provide you with any information in their possession including any business or credit experience with me, and I further agree to accept the cost of any charges such references may incur providing such information.
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AUCTION REFERENCES
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ABSENTEE/TELEPHONE BID FORM
please check one of the following: COPLEY FINE ART AUCTIONS | 20 Winter Street, 2nd Floor | Pembroke, Massachusetts 02359 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | copleyart.com
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.
OUT-OF-STATE DELIVERY AND AUTHORIZED SHIPPING RELEASE FORM
Shipping may be arranged with the shipping company of your choice. Below is a list of shippers that we frequently work with. Please email them directly if you would like a quote. Once you have decided on a shipper, please return this form with your payment or email to info@copleyart.com. If you need help filling out this form, we are happy to assist.
The UPS Store #4423
Wakefield, MA
781.224.2500 or store4423@theupsstore.com
The UPS Store #2631 Kingston, MA
781.585.0602 or upskingston2631@gmail.com
Boston Pack and Ship
781.849.8696 or 1.800.400.7204 info@bostonpackandship.com
Print Name:
Shipping Address:
Parcel Room - Only one pick-up 10 days after the auction Epping, NH
603.608.9511 or auctions@parcelroom.com
Scott Cousins/North South Art Transfer Hand-delivery service
978.491.9353 or scottcousins22@aol.com
U.S. Art - Specializing in high-value art, large works, and specialty items
781.986.6500 or 1.800.872.7826
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Sale Date:
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If Copley Fine Art Auctions, LLC is required to deliver the items to a purchaser outside of Massachusetts or to an interstate carrier for delivery to the out-of-state destination, the sale is exempt from Massachusetts Sales Tax under MGL 64H §6(b).
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THE TOP CHOICE FOR DISCERNING DECOY COLLECTORS
With the best decoy guarantee in the field, 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
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United by salmon and guided by science, our vision is to have abundant, self sustaining, resilient wild Atlantic salmon populations throughout their range.
Join the Atlantic Salmon Federation and together we can shape a bright future for us all!
For more information, visit us online at www.asf.ca/membership or contact Cindy at cbartlett@asf.ca
1-800-565-5666
To receive a complimentary issue of our award winning Atlantic Salmon Journal email Cindy at cbartlett@asf.ca
