The Sporting Sale 2020 | Copley Fine Art Auctions

THE SPORTING SALE 2020 JULY 23

COPLEY FINE ART AUCTIONS, LLC

THE SPORTING SALE SCHEDULE OF EVENTS

AUCTION: THURSDAY, JULY 23, 10:00AM Live-streamed from Hingham, Massachusetts.

Due to COVID-19 restrictions, there will be no in-person bidding during the auction.

AUCTION PREVIEW By appointment in our gallery or contact us to find out if we will be traveling in your area. Our specialists will make every effort to accommodate in-person previews while traveling in June and July. Our specialists are also offering personalized video previews, call our office to schedule an appointment.

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

Colin McNair Decoy Specialist colin@copleyart.com

Leah Tharpe Fine Art Specialist leah@copleyart.com

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

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

Please review the Terms and Conditions of Sale on page 140 and Important Notices on page 6 of this catalog.

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

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Front Cover: Lots 193, 172, 169, 191, 171, 157, 227, 158 Inside Front Cover: Lot 39 Back Cover: Lots 17 detail, 12 detail Inside Back Cover: Lots 169, 170 Left Schedule of Events: Lot 21 Left Table of Contents: Lot 202 Right Important Notices: Lot 43 Left Properties Page: Lots 169, 170

Catalog by: Stephen B. O’Brien Jr. Cinnie O’Brien Colin McNair Leah Tharpe Chelsie Olney Eileen Steward, Photography & Design

Printed in the USA

© 2020 Copley Fine Art Auctions, LLC. All rights reserved.

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TABLE OF CONTENTS

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Schedule of Events

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Important Notices

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Properties From

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Session I: Paintings, Works on Paper, and Bronzes

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Session II: Decoys and Folk Art

138

Index of Artists and Makers

140

Terms and Conditions of Sale

141

Buyer Pre-Registration Form

142

Absentee/Telephone Bid Form

143

Authorized Shipping Release Form

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THE SPORTING SALE IMPORTANT NOTICES

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

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

9 Additional images For lots with multiple items and only one shown, please visit copleyart.com for additional images.

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

11 Condition description of wear or gunning wear

3 Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for our Winter Sale 2021. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com.

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

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

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

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

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

8 Flat art dimensions Please be aware that all flat art dimensions are approximate and are rounded to the nearest quarter inch.

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

Clear coats such as varnish, shellac, and oil may not be listed. Repairs and restorations may include new material.

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

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

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

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

15 Auction day contact information On site: 617.536.0030 info@copleyart.com

Auctioneer Peter J. Coccoluto MA License #2428

THE SPORTING SALE JULY 23 | LIVE-STREAMED | HINGHAM, MA

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Properties From Thomas M. Evans Jr. Collection Thomas K. Figge Collection Theodore S. Harmon Collection Estate of Alfred F. King III Dr. Morton D. Kramer Collection Grant Nelson Collection Eddie Woodin Collection Ronald S. Swanson Collection A New England Institution A descendent of Henry Booth Private Collection, California Private Collection, Cape Cod Private Collection, Connecticut Private Collection, Long Island Private Collection, Maine Private Collection, Maryland Private Collections, Massachusetts Private Collection, Michigan Private Collection, Midwest Private Collection, Nantucket Private Collections, New Hampshire Private Collection, New York Private Collection, North Carolina Private Collection, North Dakota Private Collection, Ohio Private Collection, South Carolina Private Southern Collection

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THE SPORTING SALE 2020 SESSION I PAINTINGS, WORKS ON PAPER, AND BRONZES 10:00 AM

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DAVID ALLEN B. 1960

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1 David Allen (b. 1960)

Deer Head #1, 2020 signed “David Edward Allen May 2020� on back oil and acrylic on birch panel, 40 by 60 in.

David Allen is a representational artist working on the southern coast of Maine. Originally from Ohio, he studied fine art in New York City at The Cooper Union, where he graduated in 1987. He has made Maine his home and creative inspiration since 1990. $4,000 - $6,000

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CARL RUNGIUS 1869-1959

2 Carl Rungius (1869-1959)

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Lord of the Canyon, 1925 signed “C. Rungius” lower right etching and drypoint, 6 1/4 by 8 1/2 in. $1,200 - $1,800

3 Carl Rungius (1869-1959) Alarmed, 1925 signed “C. Rungius” lower right etching, 6 1/4 by 8 1/4 in. edition of 100

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PROVENANCE: Estate of Alfred F. King III

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4 Carl Rungius (1869-1959)

The Challenge, 1925 signed “C. Rungius” lower right etching with drypoint, 6 1/4 by 8 1/2 in. edition of 100 PROVENANCE: Estate of Alfred F. King III

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CARL RUNGIUS 1869-1959

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5 Carl Rungius (1869-1959) Scanning the Horizon signed “C. Rungius” lower right etching, 8 1/4 by 6 in.

7 Carl Rungius (1869-1959)

Osborne’s Caribou, 1925 signed “C. Rungius” lower right etching and drypoint, 6 1⁄8 by 8 1/4 in. edition of 100

PROVENANCE: Estate of Alfred F. King III

$1,200 - $1,800

6 Carl Rungius (1869-1959) Browsing, 1938 signed “C. Rungius” lower right etching and drypoint, 8 by 10 in. $1,200 - $1,800

8 Carl Rungius (1869-1959) The Stranger, 1926 signed “C. Rungius” lower right etching, 7 1/2 by 10 7⁄8 in. edition of 75 $1,200 - $1,800

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GEORGE BROWNE 1918-1958

9 George Browne (1918-1958) Goldeneye Pitching In estate stamped on back oil on canvas, 16 by 20 in.

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Struck down at the age of forty in a tragic shooting accident, George Browne is known to have completed only a few hundred finished works in his lifetime. The thoughtful rendering of his sporting and wildlife scenes suggests a man full of talent and promise. Due to his untimely death, Browne left behind a limited and highly coveted body of work. Following in the footsteps of artists/sportsmen like Frank W. Benson (1862-1951), Carl Clemens Moritz Rungius (1869-1959), and Aiden Lassell Ripley (1896-1969), George Browne painted the waterfowl and upland game birds that he also hunted. $2,000 - $3,000

10 George Browne (1918-1958)

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Big Horn Ram estate stamped on back oil on canvas, 7 1/2 by 7 1/2 in. $2,000 - $3,000

11 George Browne (1918-1958) Rocky Mountains estate stamped on back oil on canvas, 12 by 16 in. $600 - $900

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THOMAS AQUINAS DALY

B. 1937

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12 Thomas Aquinas Daly (b. 1937) Electric Mountain signed “tAdaly” lower left oil on board, 20 by 30 in. signed and titled on back

Tom Daly writes, “I believe that I only painted three images of elk and all were in oil and created around the same time. To the best of my recollection, this is the largest picture I have ever painted. I also think it’s one of my best. (At least it’s a personal favorite!)”

The artist continues, “Electric Mountain is in the Gunnison National Forest in Colorado. I went there to bow hunt elk for a few years in early 1990s. The sunlit land mass at the top of the image is actually Electric Mountain.” $8,000 - $12,000

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LUKE FRAZIER B. 1970

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13 Luke Frazier (b. 1970) Wrecking Ball, 2019 signed “lfrazier” lower right oil on board, 11 3/4 by 18 in.

Luke Frazier is one of the West’s top wildlife artists. Born and raised in the mountains of northern Utah, Frazier spent much of his youth hunting and fishing. His early forays into nature inspired a passion for the outdoors.

As a child, Frazier spent countless hours sketching and sculpting wildlife, demonstrating not only a passionate interest, but also an instinctive ability. Later, he received his formal art training at Utah State University, where

14 Luke Frazier (b. 1970) Forest Grouse, 2020 signed “l.frazier” lower left oil on board, 16 by 20 in. $4,000 - $5,000

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he earned a bachelor of fine arts degree in painting and a master of fine arts degree in illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work. $3,500 - $4,500

15 David Lazarus (b. 1952) Mallards signed “D. Lazarus” lower right oil on canvas, 20 by 24 in.

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David Lazarus, born in London, has spent the majority of his life as a resident of Nantucket Island where he is known as a scrimshander, printmaker, and painter.

His paintings hang in numerous private collections in both America and Europe.

Not wanting to be limited by any particular style, he is adept in both traditional and non-representational oils and watercolors.

Despite a movement towards abstraction, he maintains a more formal approach to printmaking and sporting art. $2,500 - $3,500

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16 Gordon Allen (b. 1953) Off the Wall, 2020 signed “G. Allen” lower right oil on paper, 18 by 29 in. $2,000 - $4,000

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17 Aiden Lassell Ripley (1896-1969)

A Pair of Pheasants, 1948 signed and dated “A. Lassell Ripley © 1948” lower right watercolor on paper, 21 by 29 in.

The Sporting Gallery and Bookshop, NY label on back

Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician.

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

Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors “en plein air” in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Following a successful one-man show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects.

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Along with his contemporary, Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art.

In this work, the bright pheasant pair feel almost life-size as they flush above the corn stalks. Employing a strategy he more often used with grouse and woodcock, this is one of the most vibrant and boldly painted pheasant paintings by Ripley.

PROVENANCE: Gifted to Henry Booth, circa 1950 Private Collection, by descent in the family LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson Wildfeuer, The Art of Aiden Lassell Ripley, Boston, MA, 2000, p. 103, related painting illustrated.

$14,000 - $18,000

AIDEN LASSELL RIPLEY

1896-1969

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AIDEN LASSELL RIPLEY 1896-1969

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18 Aiden Lassell Ripley (1896-1969)

Pheasants Near the Old Farm signed “A. Lassell Ripley ©” lower left watercolor, 19 by 28 3/4 in.

The Sportsman’s Gallery, New York label on back

This rendering perfectly captures the pursuit of pheasant hunting on a crisp fall day. The hunters are poised at the ready as the two springers watch; their adept work likely to be rewarded.

PROVENANCE: Private

$12,000 - $18,000

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Collection, Massachusetts

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19 Eric Sloane (1905-1985) Pintails in Flight signed “Sloane” lower right oil on board, 17 1/2 by 23 1/4 in.

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PROVENANCE: Private Collection, Massachusetts

$2,000 - $3,000

20 Dave Hodges (b. 1949)

On Point, 2005 signed and dated “Hodges © 2005” and numbered “4/30” on base bronze, 9 by 16 1/2 by 4 1/2 in. edition 4 of 30

After graduating with a bachelor of science degree from Montana State University in Bozeman, Hodges began his professional career as a bronze sculptor in 1982. Since then, he has created sculptures of a variety of subjects in a wide array of sizes, from miniatures to monuments, and authored Book of Bronze: Creating Sculptures from Clay to Bronze.

In 2002 Dave created an ornament for the White House Christmas tree. His Texas Longhorn steer, “Fancy Footwork,” is on permanent display at the Ronald Reagan

Presidential Library and Museum in Simi Valley, California. In 2013 he created a monumental panther for the University of Pittsburgh’s Bradford campus. His work has received awards at shows throughout the West, and his commissioned pieces are on display in Montana and across the country. $700 - $900 21

FRANCIS LEE JAQUES 1887-1969

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21 Francis Lee Jaques (1887-1969) Inland Waterway Scene, c. 1949 signed “FL Jaques” lower left oil on canvas, 28 by 21 in.

This work was painted for Alexander Sprunt Jr.’s South Carolina Bird Life, first published by the University of South Carolina in 1949 and was accompanied by the following caption: “Extreme right flying bird: Double-crested Cormorant. Flying birds at left: Brown Pelicans. Birds in water, left to right: Red-breasted Merganser (male), Red-breasted Merganser (female), Hooded Merganser (female), and Hooded Merganser (male).”

Few bird illustrators went to the lengths that Jaques did to capture birds in their natural environment. His ability to instill a feeling of atmosphere was second to none, and these two oils reveal his mastery.

PROVENANCE: Private

LITERATURE: Alexander Sprunt Jr. and E. Burnham Chamberlain, South Carolina Bird Life, Columbia, SC, 1949, pl. I, p. 10, illustrated.

$10,000 - $15,000 22

Collection, South Carolina

FRANCIS LEE JAQUES

1887-1969

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22 Francis Lee Jaques (1887-1969)

Tidal Creek Scene, c. 1949 signed “FL Jaques” lower right oil on canvas, 28 by 21 in.

Like the previous lot, this work was painted for Alexander Sprunt Jr.’s South Carolina Bird Life, first published by the University of South Carolina in 1949 and was accompanied by the following caption: “Flying: Wood Ibises. Alighting on piling: Osprey. Left center: Pied-billed Grebe. Right center: upper, Common Loon (winter plumage); lower, Common Loon (breeding plumage). Bottom, left to right: Lesser Scaup (female), Lesser Scaup (male), Greater Scaup (male), Horned Grebe (breeding plumage), and Horned Grebe (winter plumage).” Scaup are also known as Bluebills.

PROVENANCE: Private

Collection, South Carolina

LITERATURE: Alexander Sprunt Jr. and E. Burnham Chamberlain, South Carolina Bird Life, Columbia, SC, 1949, pl. VIII, p. 138, illustrated.

$10,000 - $15,000

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JOHN SWAN B. 1948

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23 John Swan (b. 1948)

Rangley Lupin, 1992 signed and dated “John Swan 92” lower right watercolor, 16 1/2 by 28 1/2 in.

24 John Swan (b. 1948)

Salmon Fishing signed “John Swan” lower right watercolor, 15 3/4 by 29 1/4 in. inscribed lower left $2,000 - $4,000

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ROLAND CLARK 1874-1957

25 Roland Clark (1874-1957)

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Black Ducks signed “Roland Clark” lower left oil on canvas, 20 by 14 in. titled on label on back

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.

PROVENANCE: Private Collection, New Hampshire

$6,000 - $9,000

26 Roland Clark (1874-1957) Bobwhite Quail Pair signed “Roland Clark” lower right oil on celluloid, 3 by 4 in.

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$800 - $1,200

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27 Owen J. Gromme (1896-1991)

Rising Black Ducks, 1962 signed and dated “O.J. Gromme 62” lower left oil on canvas, 18 by 24 in.

Owen Gromme was born in Wisconsin in 1896 and spent much of his childhood hunting in the wetlands and forests near his home. Gromme made his career as the curator of birds and mammals at the Milwaukee Public Museum, staying in this position for over four decades. In this capacity, he traveled across the United States and to Africa documenting the wildlife he encountered. Although he was a high school dropout, by the time of his death in 1991 Owen Gromme had received five honorary doctorates. He also wrote and illustrated Birds of Wisconsin. Known for his conservation ethos, Gromme’s paintings reflect his love of the outdoors. $6,000 - $8,000 28

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28 David A. Maass (b. 1929) Mallards in the Wind signed “Maass” lower left oil on board, 10 by 14 in.

PROVENANCE: Estate of Alfred F. King III

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DAVID A. HAGERBAUMER

1921-2014

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29 David A. Hagerbaumer (1921-2014)

30 David A. Hagerbaumer (1921-2014)

Quail, 1967 signed and dated “David Hagerbaumer 1967” lower left

$400 - $600

Two Watercolors each 8 by 10 in.

Pheasant, 1967 signed and dated “David Hagerbaumer 1967” lower right PROVENANCE: Estate of Alfred F. King III

Ruffed Grouse, 1959 signed and dated “David Hagerbaumer 1959” lower left watercolor, 8 by 10 in.

31 David A. Hagerbaumer (1921-2014)

Mallard Pair, 1959 signed and dated “David Hagerbaumer 1959” lower right watercolor, 8 by 10 in. $400 - $600

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RICHARD LABARRE GOODWIN 1840-1910

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32 Richard LaBarre Goodwin (1840-1910) Hanging Quail Pair signed “R. LaB. Goodwin” lower right oil on canvas, 20 by 16 in.

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

Goodwin began painting these trompe l’oeil still lifes during the 1880s, when he spent a decade traveling through rural Western New York State. In 1890 Goodwin moved to Washington D.C. While there he found patronage from California senators Leland Stanford (founder of Stanford University) and George Hearst (millionaire investor who founded the Hearst publishing empire with his son William Randolph Hearst). After D.C., Goodwin went to Chicago for the 1893 World’s Fair and stayed for the next seven years. In 1900 he moved West, spending the remainder of his life in California and the Pacific Northwest.

PROVENANCE: Private Collection, Massachusetts

$2,000 - $4,000

33 Richard LaBarre Goodwin (18401910)

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Hanging Grouse signed “R. LaB. Goodwin” lower right oil on canvas, 27 by 22 in. $2,000 - $4,000

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34 Richard LaBarre Goodwin (1840-1910) Hanging Snipe signed “R. LaBarre Goodwin” lower right oil on canvas, 20 by 16 in. $2,000 - $4,000

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35 A. Platte Little (1862-1929)

Hanging Quail, 1897 signed and dated “A. Platte Little 1897” lower right oil on canvas, 17 by 12 in.

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36 Harry A. Driscole (1861-1923) Smallmouth Bass signed “HA Driscole” lower left oil on canvas, 20 by 14 in.

Harry A. Driscole was a renowned “piscatorial” artist who lived in Peekskill, New York. A 1910 biography on the artist in Field and Stream notes, “He paints nothing else but fish and loves to pose them in the act of being captured in their native haunts.” $800 - $1,200

37 David George Steell (British, 1856-1930)

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Tiny of Skipton, 1927 signed and dated “D.G. Steell 1927” lower left oil on board, 15 by 18 in.

Doig, Wilson, & Wheatley, Edinburgh label on back William Secord Gallery label on back

38 Howard Hill (attr.)

Two Setters oil on canvas, 14 1/4 by 22 in.

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$800 - $1,200

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39 Ogden M. Pleissner (1905-1983)

Quail Hunting, 1940 signed “Ogden M. Pleissner” lower right watercolor, 15 by 29 in. inscribed “To W. Howard Cox, With best wishes” lower right

Ogden Minton Pleissner was born in Brooklyn, New York, and studied figure painting and portraiture with Frank DuMond and Frederick J. Boston at the Art Students League of New York. Despite growing up in the city, Pleissner was attracted to the outdoors and, as a teen, he visited dude ranches in Wyoming, where he sketched from life. Pleissner wanted to be classified primarily as a landscape painter, who also loved to hunt and fish. His subjects range from the landscapes of Europe to salmon fishing in Quebec, and his style is informed by the classical traditions. His work is in more than thirty public collections, including the Metropolitan Museum of Art. By the 1930s and 40s, Pleissner was one of the most sought-after painters of Southern hunt scenes. Business executives and community leaders, like W. Howard Cox, traveled to plantations during the dreary northern winters to hunt wild turkey and bobwhite quail and then commissioned artists, like Pleissner and Ripley, to paint themselves and family members while hunting.

Cox rose through the ranks to head the Union Central Life Insurance Company, which, during his 55-year career, became one of the largest life insurance companies in the country. In addition to his abundant cultural and philanthropic efforts in Ohio, Cox was an economic advisor to seven U.S. presidents as a charter member of the U.S. Department of Commerce’s Business Advisory Council.

A consummate sportsman, Cox was a member of Augusta National Golf Club in Augusta, Georgia, the Rolling Rock Club in Ligonier, Pennsylvania, and numerous other groups and clubs. In 1918 he was written up in The American Angler after a Cincinnati field day: “In the shooting events held on Saturday, our worthy president, W. Howard Cox, demonstrated his admirable qualities...as he was head and shoulders above the thirty-seven other contestants...he totaled nineteen points including first prize in the rifle contest, first prize in the pistol contest, first prize in rapid-fire revolver contest, and third prize in trap shooting...thereby winning the field championship prize...”

His obituary notes, “His ability to concentrate his full

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attention to any problem was an important factor in his successes -- from 16-yard clay targets to the intricacies of a multi-million dollar financial statement...[He] was unbeatable with flyrod, shotgun, rifle -- or in the art of being a gentleman -- and a scholar.” Additionally, Cox “fished with some of the world’s expert anglers. Ted Williams, then at the height of his baseball career, once said that Cox wore him to a frazzle every time they waded the bonefish flats of Florida Bay,” according to the obituary. Cox died in 1980 at the age of 96.

His family recalls, “Cox had a close group of men friends, all of whom were business leaders who liked to hunt, shoot, fly fish, and play golf. His friends would gather from time to time to golf at Augusta National, or to hunt quail at Pine Knoll Plantation in Albany, GA.” The golfer Bobby Jones was part of this group, and, indeed, was a great friend of Cox. “Jones was not only one of the finest golfers in the world, he was an all-around sportsman who liked to hunt wild turkeys and bobwhite quail,” according to Augusta Magazine.

In Quail Hunting, Pleissner has included all the characteristics of a good Southern hunting scene. The action has a backdrop of tall pine trees and the distant cabin, moss-draped oaks, and fields add a stirring beauty to the setting. The moment is immediate as the dogs point a covey of quail. The handlers, with their horses, stand at attention. Outfitted in sporting coats and hats, the hunters, with W. Howard Cox on the left swing on the birds hoping for a successful outcome.

PROVENANCE: W. Howard Cox Collection, acquired as a gift in the 1940s Private Collection, Ohio, by descent in the family LITERATURE: Peggy Lane, “W.H Cox, 96, Businessman and Sportsman,” Cincinnati Enquirer, February 1981.

Dave Roberts, “W. Howard Cox excelled in many diverse fields,” Cincinnati Post, February 1981.

W.C. Green, “The Cincinnati Tournament,” The American Angler, Vol. 3, No. 3, July 1918, p. 164.

“Golfing Great Bobby Jones, All-Around Outdoor Sportsman,” Augusta Magazine, August/September 2019.

$40,000 - $60,000

OGDEN M. PLEISSNER

1905-1983

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World-renowned golfer Bobby Jones and Dwight Ellis take a break from quail hunting at Pine Knoll Plantation, 1941.

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LANFORD MONROE 1950-2000

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40 Lanford Monroe (1950-2000)

The Fisherman, 1982 signed and dated “Lanford Monroe 1982” lower left oil on masonite, 23 by 35 in.

Lanford Monroe was a noted wildlife and landscape painter who journeyed throughout the country painting in watercolor and oil. She is known for her depictions of atmospheric and ethereal landscape settings. Monroe’s work can be found in the permanent collections of the Denver Art Museum, the Massachusetts Audubon Society, and other museums and private collections. In addition, the National Museum of Wildlife Art in Jackson Hole, Wyoming, runs the Lanford Monroe Memorial Artist-in-Residence Program in her memory. This work depicts a river otter with its successful catch.

$8,000 - $12,000

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LANFORD MONROE

1950-2000

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41 Lanford Monroe (1950-2000) Lincoln County, 1994 signed “Lanford Monroe” lower right oil on board, 18 by 24 in. titled, dated, and inscribed on back Sportsman’s Edge Ltd. label on back

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PROVENANCE: Estate of Alfred F. King III

42 Lanford Monroe (1950-2000) Morning on the Montana Plains, 1984 signed “Lanford Monroe” on base bronze, 8 by 12 by 6 in. with some damage to horse’s legs

PROVENANCE: Estate of Alfred F. King III

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EWOUD DE GROOT B. 1969

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43 Ewoud de Groot (Dutch, b. 1969) Golden Plover, 2020 signed “Ewoud� lower right oil on linen, 31 by 31 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

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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. $7,000 - $10,000

44 Bob Kuhn (1920-2007)

44

Red Fox signed “Kuhn” lower left conte crayon on paper, 12 3/4 by 15 in.

Sportsman’s Edge, Ltd. label on back PROVENANCE: Estate of Alfred F. King III

45 Francis Lee Jaques (1887-1969)

Pintails signed “Francis Lee Jaques” lower center scratchboard, 6 by 13 1/2 in.

45

This is believed to be the artist’s design for his personal letterhead. $300 - $500

46 Manfred Schatz (1925-2004)

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Mallard in Flight signed “M. Schatz” lower left charcoal on paper, 14 1/2 by 20 1/2 in.

PROVENANCE: Estate of Alfred F. King III

47 Robert K. Abbett (1926-2015)

Ruffed Grouse, 1989 signed and dated “Bob Abbett Aug. 1989” lower center pencil drawing on tracing paper, 9 1/2 by 13 in. inscribed “Fred, remember this one?” lower center Sportsman’s Edge, Ltd. label on back

47

PROVENANCE: Estate of Alfred F. King III

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48

49

48 Jim Morgan (b. 1947)

49 Dave Chapple (b. 1947)

$2,000 - $4,000

PROVENANCE: Private Collection, California

Geese Over Fields signed “Jim Morgan” lower right oil on canvas, 20 by 35 in.

36

Winter Creek signed “David Chapple” lower right oil on linen, 18 by 24 in.

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51

50 Arthur M. Cook (b. 1931)

Geese Pitching In signed “Art Cook” lower right watercolor, 21 by 28 1/2 in.

Sportsman’s Edge, Ltd. label on back PROVENANCE: Estate of Alfred F. King III

51 Sally Martyn Lacy (20th century) Brittany Spaniels signed “Sally Martyn Lacy” lower left oil on canvas, 12 by 16 in.

Sally Martyn Lacy was a Wellesley alumna, class of 1950.

She lived in Fitzwilliam, New Hampshire, and Jericho, Vermont, and was known for dog paintings and for running sheep and herding dogs at her family farm.

PROVENANCE: Estate

of Alfred F. King III

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53 Bruce S. Madlem (1926-1983)

53

Kudu, 1976 inscribed on base “Bruce Madlem © 1976 7/50” bronze, 14 1/2 by 12 1/2 by 4 in. edition 7 of 50

Bruce Madlem was a big-game taxidermist and artist in Claverack, New York. He worked in the studio of Louis Paul Jonas, creating naturalistic dioramas for museums across the country.

PROVENANCE: Estate of Alfred F. King III

54 Kent Ullberg (b. 1945) Cheetah Portrait bronze, 10 1/2 by 8 by 10 1/2 in. edition of 7

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The artist notes that this is an early work, done when he had just returned from Africa. A native of Sweden, Kent Ullberg is recognized as one of the world’s foremost wildlife sculptors. He studied at the Swedish University College of Art in Stockholm and worked at museums in Europe, Africa, and Denver, Colorado.

After living in Botswana for seven years, he has made his home in Texas and Colorado. Ullberg is a member of numerous art organizations and has been honored with many prestigious awards.

In 1990 his peers elected him a full Academician. A selection of his memberships includes the National Sculpture Society, the American Society of Marine Art, and the Allied Artists of America.

PROVENANCE:

55

Estate of Alfred F. King III

55 Tom Sander (b. 1938)

Big Horns signed “T. Sander” in base bronze, 12 by 18 by 8 1/2 in. inscribed “7/35 and Powell Foundry” in base edition 7 of 35 PROVENANCE: Estate of Alfred F. King III

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BRUCE LATTIG

B. 1933

56 Bruce Lattig (b. 1933)

Zebras signed “Bruce Lattig” lower right watercolor, 21 1/2 by 29 in.

Sportsman’s Edge, Ltd. label on back

56

PROVENANCE: Estate of Alfred F. King III

57 Bruce Lattig (b. 1933)

57

Giraffes signed “Bruce Lattig” lower right watercolor on paper, 21 by 28 3/4 in.

PROVENANCE: Estate of Alfred F. King III

58 Bruce Lattig (b. 1933)

Kudu signed “Bruce Lattig” lower right watercolor, 21 by 29 in. titled on back PROVENANCE: Estate

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of Alfred F. King III

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CHET RENESON B. 1934

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59 Chet Reneson (b. 1934)

Poling In signed “Reneson” lower right acrylic on board, 21 by 34 3/4 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

40

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, Shadows on the Flats and The Watercolors of Chet Reneson.

While Reneson is known primarily for his watercolors, he has produced several dozen acrylics in his lifetime, including these large-scale works. $5,000 - $7,000

CHET RENESON

B. 1934

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61

60 Chet Reneson (b. 1934)

61 Chet Reneson (b. 1934)

$5,000 - $7,000

$5,000 - $7,000

The Runaway signed “Reneson” lower left acrylic on board, 21 by 34 3/4 in.

Quail Hunt signed “Reneson” lower left acrylic on board, 21 by 35 in.

41

62 Chet Reneson (b. 1934)

62

Woodcock, 1968 signed “Reneson” lower right scratchboard, 6 by 10 1/4 in.

PROVENANCE: Estate of Alfred F. King III

63 Chet Reneson (b. 1934)

Bahamas Goats, 1977 signed and dated “Reneson 77” lower left watercolor, 13 3/4 by 20 in.

63

PROVENANCE: Estate of Alfred F. King III

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64 Donald L. Malick (1929-1986)

Great Horned Owl with Grouse (Study), 1972 signed, dated, and inscribed “Donald L. Malick Kittredge Colorado Nov 2nd 1972” lower right mixed media drawing, 21 1/4 by 13 1/4 in. $200 - $400

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65 Arthur M. Cook (b. 1931)

Wintertime-Pheasants signed “Art Cook” lower left watercolor, 21 by 28 in. titled on back Sportsman’s Edge Ltd. label on back PROVENANCE: Estate of Alfred F. King III

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THOMAS AQUINAS DALY

B. 1937

66 Thomas Aquinas Daly (b. 1937)

Wiscoy Valley signed “tA daly” lower left watercolor, 9 1/2 by 13 1/2 in.

66

$2,000 - $3,000

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67 Thomas Aquinas Daly (b. 1937) Bank Willows and Riffle signed “tA daly” lower left watercolor, 10 1/2 by 15 1/4 in.

43

68

68 Al Barker (b. 1941)

69

Steady, 2020 signed “Al Barker” lower left oil on masonite, 5 by 8 in. $300 - $500

69 Al Barker (b. 1941)

Decoy Line signed “Al Barker” lower right oil on masonite, 5 by 8 in.

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$300 - $500

70 Al Barker (b. 1941)

Salmon Fishing signed “Al Barker” lower right oil on masonite, 12 by 24 in. $900 - $1,100

71

71 Lee LeBlanc (1913-1988) Pintails signed “LeBlanc ©” lower right oil on board, 20 1/4 by 32 in.

LeBlanc was born in 1913 in Missouri. He studied at the Chouinard Art School in Los Angeles and the Pennsylvania Academy of Fine Arts. After graduating, LeBlanc worked at Disney Studios and later held positions at other major studios, including Fox and MGM. After his

44

retirement, LeBlanc began designing duck stamp prints, and in 1973 he won the Federal Duck Stamp Competition.

PROVENANCE: Eddie Woodin Collection

$2,500 - $3,500

ARCHIBALD THORBURN 1860-1935

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73

74

75

72 Archibald Thorburn (1860-1935)

Osprey signed “A.T.” lower left watercolor, 9 by 6 5⁄8 in.

The Tryon Gallery Ltd., London label on back PROVENANCE: Lord Lilford Collection

Private Collection, acquired from the Tryon Gallery, London, 1984 Eddie Woodin Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2010, lot 56 LITERATURE: Thomas Littleton Powys, Lord Lilford, Coloured

Figures of the Birds of the British Islands, Vol. 1, London, 18851897, p. 11, pl. 8, illustrated. $3,000 - $4,000

73 Archibald Thorburn (1860-1935)

Kittiwake signed “A.Thorburn” lower left watercolor, 9 by 7 in.

The Tryon Gallery Ltd., London label on back PROVENANCE: Lord Lilford Collection

Private Collection, acquired from the Tryon Gallery, London, 1986 Eddie Woodin Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2010, lot 60 LITERATURE: Thomas Littleton Powys, Lord Lilford, Coloured

Figures of the Birds of the British Islands, Vol. 6, London, 18851897, p. 63, pl. 29, illustrated. $3,000 - $4,000

74 Archibald Thorburn (1860-1935) Ross’s Gull signed “A. Thorburn” lower right watercolor, 6 1/2 by 9 1/4 in.

PROVENANCE: Lord Lilford Collection Private Collection, acquired from the Tryon Gallery, London, 1984 Eddie Woodin Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2010, lot 53 LITERATURE: Thomas Littleton Powys, Lord Lilford, Coloured Figures of the Birds of the British Islands, Vol. 6, London, 18851897, p. 33, pl. 15, illustrated.

$3,000 - $4,000

75 Archibald Thorburn (1860-1935) Bonaparte’s Gull signed “A. Thorburn” lower right watercolor, 6 1/2 by 9 1/4 in.

PROVENANCE: Lord Lilford Collection Private Collection, acquired from the Tryon Gallery, London, 1984 Eddie Woodin Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2010, lot 58 LITERATURE: Thomas Littleton Powys, Lord Lilford, Coloured Figures of the Birds of the British Islands, Vol. 6, London, 18851897, p. 35, pl. 17, illustrated.

$3,000 - $4,000

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76

76 Charles Frederick Tunnicliffe (1901-1979)

77

Widgeon signed “C.F. Tunnicliffe” lower right watercolor, 15 by 22 1/2 in.

The Tryon Gallery Ltd., London label on back Cyngor Celfyddydau Cymru Welsh Arts Council Exhibition label on back

The inside dust jacket of Tunnicliffe’s Shorelands Winter Diary reads: “Charles Tunnicliffe is widely recognized as one of the finest natural history artists of this century.

[He] was born in 1901 in Langley, Cheshire. His youth was spent on a small farm in Macclesfield. A scholarship to the Royal College of Art took him to London where he studied etching and engraving in addition to the general art training. By the mid-1920s he was producing beautiful etchings of rural scenes. Tunnicliffe went on to illustrate with wood engravings the novels of Henry Williamson, including Tarka the Otter.

“In the 1930s he took up bird study, becoming an ardent birdwatcher. In 1947 he moved from Manchester to Malltraeth on the Cefni estuary in Anglesey, off the coast of Wales. Apart from a long and successful career as a book illustrator, Charles Tunnicliffe achieved great popularity as a watercolourist, exhibiting annually for many years at the R.A. summer shows. He died at Shorelands in February 1979.”

PROVENANCE: Eddie Woodin Collection

$2,000 - $4,000

77 Francis Lee Jaques (1887-1969) Ruddy Duck, 1949 watercolor, 12 1/2 by 8 1/2 in.

From Game Bird Families, a series of works by Jaques that were published as collectible postcards, originated by Betty Carnes. Ruddy Duck appeared twice, on the cover of the box and as a card.

PROVENANCE: Eddie Woodin Collection

$3,000 - $5,000

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78

80

79

78 Louis Agassiz Fuertes (1874-1927)

Meadowlark, 1903 watercolor, 11 by 7 1/2 in. signed, dated, and inscribed “L.A.F. For Miss Louise MaillardMay 21, 1903” lower center PROVENANCE: Milton S. Ray Collection Eddie Woodin Collection

$2,000 - $4,000

79 Louis Agassiz Fuertes (1874-1927) Chickadees signed “Louis Agassiz Fuertes.” lower left watercolor, 8 by 5 1/4 in. framed with a print of the original

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

Along with Frank W. Benson, Fuertes provided illustrations for John C. Phillips’ A Natural History of the Ducks, published from 1922-1926. He also painted stunning bird portraits for Edward Howe Forbush’s Birds of Massachusetts and Other New England States, published between 1925-1929. His works can be found in the Cornell University collection and Chicago’s Field Museum, among others, and he has two species of birds named after him: Icterus fuertesi and Hapalopsittaca fuertesi.

PROVENANCE: Eddie Woodin Collection

$1,800 - $2,400

80 Basil Ede (b. 1931)

Cardinal on Dogwood, 1979 signed and dated “© Basil Ede 1979” lower left watercolor, 24 1/2 by 18 1/2 in. inscribed “Cardinal - Richmondena cardinalis” lower left Kennedy Galleries, Inc., New York label on back PROVENANCE: Eddie Woodin Collection

$1,000 - $1,500

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81 Walter A. Weber (1906-1979)

81

Quail signed “Walter A. Weber” lower left watercolor, 10 by 13 1/2 in.

PROVENANCE: Eddie Woodin Collection

82 Harry Curieux Adamson (1916-2012) Acorn Woodpeckers signed “Harry Curieux Adamson” lower left oil on canvas, 15 3/4 by 13 1/2 in.

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Harry Adamson was one of the premier waterfowl painters of the last fifty years. Born in Seattle in 1916, he studied under Paul J. Fair, who is best known for his wildlife photography. Adamson began painting after serving in World War II, selling a painting to the president of Mexico within the first decade of his career. His success continued and he was given the honor of being the first California Waterfowl Association Artist of the Year, as well as the 1979 Ducks Unlimited Artist of the Year. His works have been included in shows at the Smithsonian American Art Museum, the British Museum, and the Carnegie Museum of Natural History. Admired by his fellow artists, Adamson had a knack for capturing birds in their natural habitats.

PROVENANCE: Eddie Woodin Collection

$3,000 - $5,000

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83 Lynn Bogue Hunt (1878-1960)

Wood Duck Sketch signed “Lynn Bogue Hunt Rough” lower left watercolor, 5 3/4 by 7 3/4 in.

PROVENANCE: Eddie Woodin Collection

$600 - $900

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84

86

85

84 Robert Verity Clem (1933-2010)

Falcon with Pheasant, 1950 signed and dated “Robert Verity Clem 1950” lower left watercolor, 9 1/4 by 12 1/2 in.

Robert Verity Clem was a New England artist based in Chatham, Massachusetts. He was self-taught, though heavily influenced by the work of Louis Agassiz Fuertes (1874-1927). He published his definitive work, The Shorebirds of North America, in 1967. He is known for the exactitude of his detail and the sparseness of his pallet.

Clem was a trustee of the Chatham Conservation Foundation and had multiple shows at the Mass Audubon Visual Arts Center in Canton, Massachusetts. He died in 2010. Amy Montague of Mass Audubon notes, “If there were a pantheon of bird artists, Robert Verity Clem would be there.” She continues, “He is almost universally acknowledged as ranking among the greatest artists to focus on birds.”

PROVENANCE: Eddie Woodin Collection

85 Robert Verity Clem (1933-2010)

Canvasback, 1950 signed and dated “Robert Verity Clem 1950” lower right watercolor, 12 by 9 1/4 in.

PROVENANCE: Eddie Woodin Collection

86 Roger Tory Peterson (1908-1996)

Eiders gouache, watercolor, pencil, and ink on paper board cut-outs, 13 1/2 by 8 1/2 in. top to bottom: Eider, King Eider, Steller’s Eider, and Spectacled Eider.

PROVENANCE: Eddie Woodin Collection LITERATURE: Roger T. Peterson, Birds of Great Britain and Europe, Boston, MA, 1993, pl. 15, illustrated.

$1,000 - $3,000 49

87

89.1

87 Arthur Burdett Frost (1851-1928)

A Strategic Movement, 1897 signed “A.B. Frost” lower right pen and ink, 14 1/2 by 13 in. inscribed on mat: “Guide: “Hi, there’s the bear; where are you goin’?” Sportsman: “I’m going round the other side of the mountain to head him off!!”

LITERATURE: Harper’s Weekly, February 19, 1987, vol. XLI, p.

168, illustrated.

$1,500 - $2,500

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89.2

88 Edmund H. Osthaus (1858-1928)

Two Setters, 1914 pencil, 4 3/4 by 3 1/2 in. signed and inscribed “Very sincerely yours Edmund Osthaus, Greensboro, N.C., Jan. 26th, 1914” $300 - $500

89 Two Early English Setter Photographs

One with presentation plaque that reads: “Humdinger Bolton presented to Arthur Fels by Cumberland County Fish & Game Association.”

15 1/2 by 19 1/2 in.

English Setter, 15 by 20 in.

50

FRANK W. BENSON 1862-1951

90

90 Frank W. Benson (1862-1951)

Marsh Gunner, 1918 signed “Frank W. Benson.” lower left etching, 10 3/4 by 8 7⁄8 in.

Paff #149, edition 63 of 150 $2,000 - $4,000

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91 Frank W. Benson (1862-1951) The Moose Caller, 1915 signed “Frank W. Benson.” lower left etching, 11 3/4 by 9 3/4 in.

Paff #65, edition 28 of 50 $800 - $1,200

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92 Frank W. Benson (1862-1951)

Two Etchings (one shown) each signed “Frank W. Benson” lower left Canoeman, 1919 etching, 7 7⁄8 by 6 in.

Paff #161, edition of 150 Cloudy Dawn, 1922 etching, 9 7⁄8 by 11 7⁄8 in.

Paff #215, edition of 150 PROVENANCE: Estate of Alfred F. King III

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FRANK W. BENSON 1862-1951

94.2

93

94.1

95.1

93 Frank W. Benson (1862-1951) Casting for Salmon, 1929 signed “Frank W. Benson” lower left etching, 7 3/4 by 9 3/4 in.

Paff #288, edition of 150 $1,500 - $2,500

95.2

Study of Geese, 1917 drypoint, 3 7⁄8 by 5 7⁄8 in.

Paff #117, edition of 57 Pair of Ducks, 1916 etching, 5 by 4 in.

Paff #102, edition of 275

96 Frank W. Benson (1862-1951) 94 Frank W. Benson (1862-1951)

Two Drypoints each signed “Frank W. Benson.” lower left Over Currituck Marshes, 1926 drypoint, 6 3/4 by 9 3/4 in.

Paff #259, edition of 150 Pair of Yellowlegs, 1916 drypoint, 3 by 4 in.

Paff #101, edition 38 of 80 second published state PROVENANCE: Estate of Alfred F. King III

95 Frank W. Benson (1862-1951) Three Etchings (two shown)

On Set Wings, Frontispiece for Volume III, 1923 etching, 4 1/2 by 5 7⁄8 in.

Paff #223, edition of 535

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Two Etchings each signed “Frank W. Benson.” lower left Plodding Home, 1924 etching, 2 7⁄8 by 2 in.

Paff #234, edition of 150 The Procession, 1929 etching, 6 by 11 3/4 in.

Paff #286 (A-3) PROVENANCE: Estate of Alfred F. King III

97 Frank W. Benson (1862-1951)

Two Prints each signed “Frank W. Benson.” lower left Study of Turnstones, 1928 drypoint, 4 7⁄8 by 5 7⁄8 in.

Paff #282

FRANK W. BENSON 1862-1951

97.1

96.2 94

96.1

97.2

99.1

98.2

98.1

99.2

Casting for Salmon, 1929 etching, 7 3/4 by 10 in.

Paff #288, edition of 150

99 Frank W. Benson (1862-1951)

PROVENANCE: Estate of Alfred F. King III

Yellowlegs No. 2, 1919 drypoint, 8 by 10 in.

Paff #162, edition of 150

98 Frank W. Benson (1862-1951)

Two Prints each signed “Frank W. Benson.” lower left

Two Etchings each signed “Frank W. Benson.” lower left

Greater Yellowlegs, 1930 etching and drypoint, 8 7⁄8 by 13 3/4 in.

Paff #297, edition of 26

The Start, 1922 etching, 4 7⁄8 by 3 3/4 in.

Paff #211, edition of 150

PROVENANCE: Estate of Alfred F. King III

Geese Drifting Down, 1929 etching, 8 3/4 by 13 3/4 in.

Paff #287, edition of 150 PROVENANCE: Estate of Alfred F. King III

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100

102.1

101

102.2

100 Richard E. Bishop (1887-1975)

Federal Duck Stamp Design, 1936 signed “Richard E. Bishop” lower right drypoint, 5 by 8 in. titled lower left edition of 1845 with Federal Duck Stamp PROVENANCE: Estate of Alfred F. King III

101 Francis Lee Jaques (1887-1969)

Four Duck Stamp Prints, 1940 (one shown) each signed “F.L. Jaques” lower right three inscribed “Federal Duck Stamp Design 1940” lower left includes one copy of stamp 10 by 12 1/4 in.

11 by 16 in.

10 3/4 by 15 3/4 in.

10 3/4 by 16 in.

PROVENANCE: Estate of Alfred F. King III

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102.3

102 Roland Clark (1874-1957)

Five Drypoints (three shown) each signed “Roland Clark” lower right Four Canvasbacks drypoint, 4 1/4 by 5 3⁄8 in. inscribed “Trial Proof” lower left Young Ducks drypoint, 6 3/4 by 5 3/4 in. edition of 75 The Feeding Ground, 1936 drypoint, 8 3/4 by 11 1/2 in. edition of 60 Call of the North drypoint, 14 1/2 by 12 in.

The ‘Raider’ drypoint, 6 1/4 by 9 1/2 in.

PROVENANCE: Estate of Alfred F. King III

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103

105

103 Percival Rosseau (1859-1937)

Two Setters on Point, 1933 signed and dated “Rosseau 1933” lower left in plate etching, 8 3/4 by 11 3/4 in.

PROVENANCE:

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105 Marguerite Kirmse (1885-1954) Heavy Going signed “Marguerite Kirmse” lower right etching, 6 1/4 by 9 in. titled lower left

Estate of Alfred F. King III

106 Marguerite Kirmse (1885-1954) 104 Marguerite Kirmse (1885-1954) Setter on Point signed “Marguerite Kirmse” lower right etching, 8 3/4 by 11 3/4 in.

Heavy Going signed “Marguerite Kirmse” lower right etching, 6 1/4 by 9 in. titled lower left

In this edition of Heavy Going, Kirmse has darkened the underside of the dog and raised the angle of the tail, among other small adjustments.

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107.1

107.2

108

110

107 Aiden Lassell Ripley (1896-1969) Three Etchings (two shown) each signed “A. Lassell Ripley” lower right each titled lower left Woodcock Shooting drypoint, 10 by 14 in.

After Grouse, 1945 drypoint, 9 by 14 in.

Hunting for Pheasants etching, 8 7⁄8 by 13 3/4 in. $1,000 - $2,000

108 Aiden Lassell Ripley (1896-1969) Two Grouse Prints (one shown)

Two Grouse etching, 11 1/4 by 9 3/4 in. signed “A. Lassell Ripley” lower right titled lower left Flying Grouse, 1936 drypoint, 6 3/4 by 8 3/4 in.

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109

111

signed and dated “A.L. Ripley 1936” lower right titled lower left

110 William J. Schaldach (1896-1982)

PROVENANCE: Estate of Alfred F. King III

American Game Birds - Woodcock, 1931 print, 11 1/4 by 8 in. signed “Wm J Schaldach” lower left published by the Derrydale Press

109 Four Etchings (one shown) Aiden Lassell Ripley (1896-1969) Grouse and Vines etching, 6 1/2 by 8 1/4 in. signed “A. Lassell Ripley” lower right Reinhold H. Palenske (1884-1954) Pheasants and Mallards each 3 3/4 by 3 in. each signed “R.H. Palenske” lower right each titled lower left Roland Clark (1874-1957) Wigeon or Bald Pate etching, 9 3/4 by 7 3/4 in. signed “Roland Clark” lower right

Three Prints (one shown)

The Hot Corner, 1939 drypoint, 11 7⁄8 by 8 7⁄8 in. signed and inscribed “W Schaldach imp. Ed. 75” lower right inscribed lower left A Covey of Quail signed “W. J. Schaldach” lower right drypoint, 11 3/4 by 8 3/4 in.

PROVENANCE: Estate of Alfred F. King III

111 Richard E. Bishop (1887-1975)

From a Battery, 1926 signed and dated “R.E. Bishop 1926” lower right etching, 7 by 11 1/2 in. titled lower left

112

113

114

115.1

116

115.2

112 Aiden Lassell Ripley (1896-1969)

115 Richard E. Bishop (1887-1975)

Nor’easter, 1940 etching and drypoint, 10 1/4 by 9 in. inscribed lower center edition of 100

PROVENANCE: Estate of Alfred F. King III

Young Gobbler, c. 1940 etching, 10 1/4 by 9 in.

PROVENANCE: Estate of Alfred F. King III

113 Walter E. Bohl (1907-1990)

Woodduck, 1941 etching, 10 1/4 by 9 in.

116 Roland Green (1896-1972)

Duck Hunter with Dog drawing, 15 by 10 in.

Likely an illustration for a book.

Labrador Retriever - Major VI signed “Walter E. Bohl” lower right drypoint, 10 by 8 in. titled and numbered lower left edition 26 of 100

PROVENANCE: Estate of Alfred F. King III

114 Hans Kleiber (1887-1967) Drake and Lilies signed “Hans Kleiber” lower right etching, 8 3/4 by 6 1/4 in. titled lower left

Six Prints (two shown) each signed “Richard E Bishop” lower right each titled lower left

Greenheads etching, 10 1/4 by 13 1/2 in.

Circling In, 1951 etching, 13 by 10 in. edition of 100

Woodcock signed “Roland Green” lower right etching, 11 by 8 in. numbered lower left edition 40 of 55

PROVENANCE: Estate of Alfred F. King III

Bog Sprites, 1931 drypoint, 7 3/4 by 12 1⁄8in. inscribed lower center edition of 65

PROVENANCE: Estate of Alfred F. King III

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117.1

117 Four Prints

117.2

Alexander A. Blum (1888-1969) Two etchings, c. 1935 each signed “A.A. Blum” lower right each titled lower left Curiosity Shop 14 1⁄8 by 10 in.

Tim the Blacksmith 10 1⁄8 by 13 1⁄8 in.

117.3

Joe Jones (1909-1963) Missouri Wheat Farmers, 1938 lithograph, 9 7⁄8 by 8 in. signed “Joe Jones” lower right

117.4

Eugene Higgins (1874-1958) Pioneers Resting, 1938 etching, 5 3/4 by 7 7⁄8 in. signed “Eugene Higgins” lower right edition of 149 PROVENANCE: Estate

118 Ric Eland (b. 1948)

Dolphins, 1992 signed and dated “Ric Eland 1992” bronze, 16 1/2 by 13 1/2 by 3 in. stamped “AT and 1/20” on bottom near base edition 1 of 20

Ric Eland, originally from Wisconsin, moved to Maine in 1985, where he pursued sculpture with a dedication to wildlife and conservation. He is active with the Black Bear Conservancy of New Hampshire, the National Wildlife Federation, and the Audubon Society, among other organizations. Eland writes, “I can’t save all of the animals, but I like to feel I’m doing my part to educate people, showing them the beauty of the creatures.”

LITERATURE: Barbara Backer, “Ric Eland’s Curving Lines Flow Into Each Other,” InformArt, November/December 1994, pp.

60-61.

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118

of Alfred F. King III

119

120

121

122

119 Three Deluxe Derrydale Ed. of Roland Clark Books Roland Clark, Gunner’s Dawn, The Derrydale Press, NY, 1938. A Deluxe Edition, leather-bound volume with gilt lettering, numbered 6/50. Signed by the author.

Roland Clark, Roland Clark’s Etchings, The Derrydale Press, NY, 1938. A Deluxe Edition, leather-bound volume with gilt lettering, numbered 25/50. Signed by the author.

Roland Clark, Stray Shots, The Derrydale Press, NY, 1931.

A Deluxe Edition, leather-bound volume with gilt lettering, numbered 27/35. Signed by the author.

As found.

Dr. John Charles Phillips, of Boston and Beverly, was a renowned author, a doctor, a decorated World War I veteran, a conservationist, and an explorer who is credited with identifying many species previously unknown to science. In addition, he was one of decoy carver A. Elmer Crowell’s most important patrons.

Phillips’ waterfowl opus, A Natural History of the Ducks, is an exhaustive, unsurpassed study based on his world travels. Phillips would publish over two hundred books and articles in his lifetime on a wide variety of subjects. $300 - $600

$8,000 - $12,000

121 A Field Guide to the Birds 120 Four Volumes of John C. Phillips’ A Natural History of Ducks John Charles Phillips (1876-1938), A Natural History of the Ducks, Vols. I, II, III, and IV, The Riverside Press, Cambridge, MA, 1922. First edition. Illustrated by Frank W. Benson (1862–1951), Allan Brooks (1869–1946), Louis Agassiz Fuertes (1874–1927), and other renowned artists of the day. The set includes over 70 full-color plates, 100 black-and-white plates, and more than 100 maps.

Roger Tory Peterson, A Field Guide to the Birds, Houghton Mifflin Company, Boston, 1980. A rare limited-edition book in a slipcase, numbered 37/99. Signed by the author.

As found.

122 The Classic Decoy Series Milton C. Weiler and Ed Zern, The Classic Decoy Series, Winchester Press, New York, 1969.

As found.

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THE SPORTING SALE 2020 SESSION II DECOYS AND FOLK ART

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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123 Rig of Six Shorebirds Mark S. McNair (b. 1950) Craddockville, VA, c. 2010 largest is 12 in. long

A cohesive rig of six shorebirds with raised wings featuring incised primaries (except the killdeer). Species include black-belled plover, golden plover, ruddy turnstone, killdeer, dowitcher, and a running lesser yellowlegs. Each is signed by the maker on the underside with an incised “McNAIR.� Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

124 Ruddy Duck

124

Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 13 in. long A Dudley-style ruddy duck decoy signed by the maker with his incised “McNair.” The underside also bears an “L D” marking. Original paint with gunning wear.

PROVENANCE: Dr. Morton D. Kramer Collection

125 Upper-Bay-Style Teal

125

Mark S. McNair (b. 1950) Craddockville, VA, c. 1985 11 1/2 in. long

A blue-winged teal with an incised “MSM” signature in the the underside. In original paint with light wear.

PROVENANCE: Dr. Morton D. Kramer Collection

126 American Merganser

126

Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 21 in. long

A hollow merganser with incised raised wings, an inletted head, and carved bill detail.

Signed with incised “McNAIR.” Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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129

128

130

127 Golden Plover with Dovetailed Head

129 Eskimo Curlew

A hollow golden plover with a split tail and a dovetailed head.

The bottom bears an incised “McNair.” Original condition.

An Eskimo curlew with a bone bill, raised wings, a slightly turned head, and the maker’s incised signature and Kramer Collection stamp on the underside. Original paint with minimal wear.

Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 12 in. long

PROVENANCE: Dr. Morton D. Kramer Collection

128 Dowitcher

Mark S. McNair (b. 1950) Craddockville, VA, c. 2010 12 in. long A long-billed dowitcher shorebird decoy with incised wing tips and the maker’s incised signature on the underside.

Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

Mark S. McNair (b. 1950) Craddockville, VA, c. 1995 13 in. long

PROVENANCE: Dr. Morton D. Kramer Collection

130 Golden Plover

Mark S. McNair (b. 1950) Craddockville, VA, c. 2010 10 in. long A golden plover with a pronounced “beetle head” and glass eyes. This decoy bears the maker’s incised signature on the underside. Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

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OLIVER “TUTS” LAWSON B. 1938 | CRISFIELD, MD

131 Presentation Pintail Pair

131

Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 1984 17 in. long

A turned-head pintail pair signed, dated 1984, and inscribed “For Morty, December 13, 1984, Many, Many, Many More!” by the carver on the underside. The carved “L” on the underside is amongst the deepest seen on any Lawson carving. Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

132 Decorative Wren Pair

Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 1977 14 in. tall by 16 in. long

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Oliver Lawson discusses his breakthrough in carving creativity in his chapter entitled “Lessons from Lem” in The Story of Lem Ward: “Lem also taught me the importance of creativeness. Anatomical duplication does not make an artist. Creativeness is a special ability — a spirit, a feeling. It is undefinable, but recognizable. Lem was a creator, and originator. He had visions of wildfowl such as few others ever had, and he used his craftsmanship to turn them into art for the rest of the world to enjoy. And he encouraged others to be creative.

When I first began to visit his shop, he advised me, ‘Don’t copy my work. Do what you want to do, develop your own style.’ I kept what he said in my heart, but I did not really understand it until years later, when I was trying to imply action with my carvings. I could find no precedent to help me, but with Lem’s advice on my mind, I wrestled with the problem until I came up with my own answer — and I carved a hovering hummingbird feeding on a trumpet vine blossom. This was the first work in what is now a separate class of wildfowl art, habitat sculpture. Only after this experience could I really understand what Lem had been urging me to do.”

This depiction of two wrens interacting in their natural environment showcases Lawson’s imaginative capabilities. The work is mounted in two pieces that rest upon a decorative wood base. Signed and dated 1977 by the maker. Original paint with damage to flower.

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PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1977 LITERATURE: Glenn Lawson and Ida Ward Linton, The Story of Lem Ward, Exton, PA 1984, p. 51.

OLIVER “TUTS” LAWSON

B. 1938 | CRISFIELD, MD

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135

134

136

133 Five Miniature Waterfowl

135 Two Miniature Duck Pairs

The mallard pair is signed and dated 1967. The goldeneye drake is signed and dated 2000. The red-breasted merganser drake is signed and dated 2006. The pintail drake, made of balsa wood, is signed, bears The Duck House white-paper label, and is dated 1965. Original paint with minor wear.

A miniature wood duck pair and a miniature black duck pair, all four are signed “Oliver Lawson” on the bases and bear decoy weights and lines. Original paint with minimal wear.

Oliver “Tuts” Lawson (b. 1938) Crisfield, MD pintail is 10 in. long

PROVENANCE: Dr. Morton D. Kramer Collection

134 Six Miniature Waterfowl Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, c. 1960 largest is 8 1/2 in. long

The three mallards are signed, bear The Duck House white-paper labels, and two are dated 1958. The pair of redheads is signed, dated 1958, and bears The Duck House white-paper label. The sixth is a turned-head wigeon hen which is signed and dated 1961. Original paint with wear.

Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, c. 1975 8 1/2 in. long

PROVENANCE: Dr. Morton D. Kramer Collection

136 Five Miniature Waterfowl Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 1969 goose is 9 in. long

This grouping consists of five miniature carvings, including a pair of wood ducks, a pair of wigeon, and one preening Canada goose. The carvings are all signed on the underside and the wigeon pair is dated 1969. Original paint with light wear.

PROVENANCE: Dr. Morton D. Kramer Collection

PROVENANCE: Dr. Morton D. Kramer Collection

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THE WARD BROTHERS 1896-1984 AND 1895-1976 | CRISFIELD, MD

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137 Pinch-Breast Redhead Drake

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1932 15 in. long An exceedingly rare pinch-breast redhead. The underside is signed by Lem, dated 1932, bears the inscription “Repainted by Lem Ward,” and displays the Kramer ink stamp twice along with the incised Kramer “MK” brand. Second coat of Lem Ward paint, 1972.

PROVENANCE: Dan Marshall Collection Dr. Morton D. Kramer Collection, acquired from the above, 1967

$5,000 - $8,000

138

138 Cedar Black Duck

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1930 18 in. long The Ward Brothers’ Decoys authors Gard and McGrath discussing this exact decoy state, “The paint is in excellent condition and shows some legitimate wear. There is a rich patina that makes the bird very attractive.”

The underside of this decoy displays both of the brothers’ signatures, the inked inscription “1930 Ward Bros. Crisfield, MD,” a Richardson Collection ink stamp, and two inked stamps and the “MK” brand designating the Kramer Collection. A mix of original and working paint with gunning wear.

PROVENANCE: Robert H. Richardson Collection Dr. Morton D. Kramer Collection LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 77, 64, exact decoy illustrated.

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THE WARD BROTHERS 1896-1984 AND 1895-1976 | CRISFIELD, MD

39 Knot-Head Canvasback

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1929 17 1/2 in. long

139

A rare and early canvasback model named for its distinctive crown of the head carving. In restored condition with several cracks in the head.

PROVENANCE: Dr. Morton D. Kramer Collection

140 Canada Goose

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1954 23 in. long

140

A turned-head Canada goose. The underside is signed by both Steve and Lem, dated 1954, struck on the underside with the Ward Brothers’ ink stamp twice, and also retains the Kramer Collection brand and ink stamp. Original paint with professional touch-up mostly to sides, several age lines in body, and a crack in the neck.

PROVENANCE: Dr. Morton D. Kramer Collection

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THE WARD BROTHERS 1896-1984 AND 1895-1976 | CRISFIELD, MD

141 Pintail Drake

141

The Ward Brothers Lemuel T. (1896-1984) and Stephen (18951976) Crisfield, MD, 1971 16 in. long A turned-head pintail bearing Lem’s and Steve’s signatures, the Kramer “MK” brand, and “1971.”

Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

142 Bluebill Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1966 14 in. long

142

A life-size pair of bluebill carvings with slightly turned heads. The bottoms of both carvings bear the inked inscription “Shooting Stool Made by ‘Steve’ Painted by ‘Lem’ Ward Bro. - 1966 - Dr. Kramer” and an incised “MK” brand for the Kramer Collection. Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

143

143 Canvasback Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (18951976) Crisfield, MD, c. 1950 16 1/2 in. long A pair of balsa-bodied canvasback decoys with turned heads and weighted keels. Both bear the “MK” Kramer Collection brand on the underside. Original paint with gunning wear, working repaint by Severn Hall mostly to sides and back of hen and lower sides and bottom of drake, and two cracks in the drake’s head.

PROVENANCE: Dr. Morton D. Kramer Collection

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144

146

145

147

144 Yellowlegs

146 Sandpiper

Parker’s shorebirds are notably rare. This well-documented example displays split wingtips and the inked stamp of the Dr. Jack Conover Collection on the underside. In working repaint with even gunning wear and some flaking.

These small gunning decoys have captured the imaginations of collectors for almost a century. This plump Long Island peep displays Verity’s signature carved eyes and deeply carved heart shaped wings. In original paint with even gunning wear. The bill is an old working replacement.

Lloyd Parker (1859-1921) Parkertown, NJ, c. 1890 11 in. long

PROVENANCE: Dr. Jack Conover Collection Dr. Morton D. Kramer Collection LITERATURE: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 169, pl. 404, exact decoy illustrated.

Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 79, pl. LI and p.100, pl. 102, exact decoy illustrated twice.

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, 1974, Session V & VI, lot 565, rigmate illustrated.

145 Black-Bellied Plover

John McAnney (1866-1949) New Gretna, NJ, c. 1910 11 in. long A plump full-sized plover decoy with pronounced head carving. Original paint with gunning wear. The lower portion of the bill is replaced.

Obediah Verity (1813-1901) Seaford, NY, c. 1880 8 in. long

PROVENANCE: Dr. Morton D. Kramer Collection

147 Yellowlegs

John Dilley Quogue, Long Island, NY, c. 1890 11 1/2 in. long This split-tail carving features the intricate feathering for which Dilley is known. The underside bears the Kramer Collection ink stamp. Original paint with light gunning wear, a chip to tail, some touch-up to head, and a replaced bill.

PROVENANCE: Dr. Morton D. Kramer Collection LITERATURE: Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 7.

PROVENANCE: Dr. Morton D. Kramer Collection

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148

149

148 Thorne Rig Feeding Peep

Edwin Thorne (1861-1935) Rig Jamaica Bay, Long Island, NY, c. 1900 7 3/4 in. long This decoy descended through the Thorne family to the past executive director of Ducks Unlimited William Thorne in 1950.

This running sandpiper reveals lively paint with black and burnt umber brush strokes crossing to create the illusion of textured feathering. Excellent original paint with minimal gunning wear.

PROVENANCE: Edwin Thorne Rig William Thorne Collection Collectable Old Decoys Dr. Morton D. Kramer Collection LITERATURE: Decoys Unlimited Auctions, Rare and Important

Decoys, Related Artifacts & Americana, July 22 & 23, 2001, lot 107A and color spread, exact decoy illustrated.

149 Golden Plover

Capt. William J. Wyre Nantucket, MA, c. 1880 11 1/2 in. long Original paint with gunning wear and a replaced bill and tail section.

PROVENANCE: Hank and Judy Norman Collection Dr. Morton D. Kramer Collection LITERATURE: Carl F. Luckey and Russell E. Lewis, Collecting Antique Bird Decoys and Duck Calls, Iola, WI, 2003, p. 49, exact bird illustrated.

150

151

150 Running Yellowlegs Massachusetts, c. 1910 11 1/2 in. long

The July 1975 Bourne auction catalog indicates that this decoy was found in Beverly Farms, Massachusetts. The delicate ticked feathering along the breast and sides closely resembles the work of David Goodspeed (1862-1943) from Duxbury, Massachusetts. This yellowlegs was carved in a full running position. Dr. George Ross Starr Jr. discusses the “forward look” of David Goodspeed’s birds in his Decoys of the Atlantic Flyway. The underside bears the O’Brien Collection ink stamp. In strong original paint with even gunning wear, including flaking around the stick hole.

PROVENANCE: Donal C. O’Brien Jr. Collection Dr. Morton D. Kramer Collection, acquired in 2018 LITERATURE: Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 80, exact decoy illustrated twice.

George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 173, fig. 86, related carving with stippling illustrated.

Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, July 22-23, 1975, lot 913, exact bird illustrated.

151 Semi-Palmated Plover

Davison B. Hawthorne (1924-2018) Seaford, DE, 1971 6 1/2 in. long A running semi-palmated plover with carved-wing feather detail mounted on a wooden base. Signed and dated “1971” in ink on the bottom of the base. In original condition with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

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152

155

153

154

152 Desk-Top Snow Goose Head Lemuel T. Ward (1896-1984) Crisfield, MD, 1971 5 in. tall

A finely carved five-inch-tall, life-size goose head, signed and inscribed “Merry Xmas to Morty + Carol - 1971 - Lem” on the bottom by the maker. In original unpainted condition.

PROVENANCE: Dr. Morton D. Kramer Collection

153 Goose Bookends and Head

The Ward Brothers Lemuel T. (1896-1984) and Stephen (18951976) Crisfield, MD, c. 1975 largest is 9 1/2 in. tall Two pairs of goose bookends and a goose head.

One pair bears the Ward Brothers’ ink stamp and Steve’s signature on the undersides of both.

156

The other, taller pair is unsigned. The goose head bears the white-paint inscription “Lem Ward 76” on the base of the neck. In original condition with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

154 Shooting Box Duxbury, MA, 1911 7 by 14 by 10 in.

A shooting box, with tongue-and-groove joinery and two leather handles, containing a DuPont gun powder tin and other shot-reloading implements. Etched on the side are the words “Mr. E. S. Cushing So. Duxbury, MA, Sept. 12, 1911.” As found.

PROVENANCE: Dr. Morton D. Kramer Collection

155 Goose-Head Bookends

The Ward Brothers Lemuel T. (1896-1984) and Stephen (18951976) Crisfield, MD, 1965 5 1/2 in. long A pair of five-and-one-half-inch-tall, life-size goose-head bookends. One is inscribed “Made

by Ward Bros. Crisfield, MD, 1965.” In original condition.

PROVENANCE: Dr. Morton D. Kramer Collection

156 Box of Gunpowder Company Pins largest pin is 1 1/4 in. in diameter As found.

PROVENANCE: Dr. Morton D. Kramer Collection

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

157 Important Calling Yellowlegs A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 11 in. long

This exceptional and rare decorative stands among the finest yellowlegs that Crowell ever created. Carved with a rarely seen open wooden bill and dropped wings, the slightly upswept tail and dropped primaries mirror the horizontal V-shape of the bill, providing the carving with a perfect balance. The top edges of the wings are raised over the body, creating a carved V over the back. The bold body includes slight shoulder separation. A strong S-curve defines the drawn-back posture of the calling head.

Crowell applied his finest wet-on-wet paint with great detail to represent the species’ and plumage, including special treatment to the auriculars under the eyes. With particularly long legs and bill, this example represents the greater (winter) yellowlegs. The base is the maker’s very best carved clamshell and its underside bears an early and crisp oval brand.

Crowell made a closely related calling yellowlegs hunting decoy for his patron Harry V. Long in 1910. He subsequently

Mr. and Mrs. Harry V. Long with a closely related decorative Crowell open-bill calling yellowlegs on the mantle, c. 1925.

72

carved a decorative for Long in the same posture. This carving, out of the Evans Collection, is based on the very same decorative pattern and was likely made at the same time for a friend of Long’s. These two distinct carvings mark the nexus of Crowell’s transition from the marsh to the mantle. Original paint with minimal wear, a reset neck, some restoration to the bill, and touch-up to thigh putty.

PROVENANCE: Carolyn Rowland Collection Thomas M. Evans Jr. Collection

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 125, exact decorative 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 decoy illustrated. $60,000 - $90,000

157

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

159

162

161

158 160

163

158 Miniature Bobwhite Quail

160 Miniature Bluebird

162 Miniature Brown Thrasher

A well-carved miniature standing bobwhite quail with the maker’s rectangular stamp on the underside of the chip-carved base. Though nearly devoid of wild quail today, during Crowell’s lifetime coveys populated Cape Cod and were a popular game bird. Original paint with very minor rub to crest.

A very early and exquisite bluebird, amongst the earliest we have seen of this species. Original paint with minimal wear, pre-stamp.

A miniature standing thrasher with the maker’s rectangular stamp on the underside. Original paint with minimal wear.

PROVENANCE: Private Collection, Maryland

PROVENANCE: Private Collection, Maryland

$400 - $600

$400 - $600

161 Miniature Golden-Winged Warbler

163 Miniature Oven Bird

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

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

A miniature standing warbler with the maker’s rectangular stamp on the underside. Original paint with minimal wear, minor possible blunting or minute chip to the very tip of bill.

A miniature oven bird with well-executed paint and the maker’s rectangular stamp on the underside. Original paint with minimal wear.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 3 1/2 in. long

PROVENANCE: Private Collection, Maryland

$1,000 - $1,500

159 Miniature Towhee

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 1/2 in. long A miniature standing towhee with the maker’s rectangular stamp on the underside. Original paint with minimal wear.

PROVENANCE: Private Collection, Maryland

$400 - $600

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

PROVENANCE: Private Collection, Maryland

$400 - $600

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

PROVENANCE: Private Collection, Maryland

$400 - $600

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

164

166

168

165

167

164 Miniature Hooded Merganser Drake

166 Miniature Long-Tailed Duck

168 Miniature Goldeneye Drake

An early miniature standing hooded merganser with a faint maker’s ink stamp on the underside.

Original paint with minimal wear.

A well-executed early carving. Original paint, pre-stamp.

An early miniature goldeneye drake with a faint maker’s ink stamp on the underside. Original paint with minimal wear.

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

PROVENANCE: Private Collection, Maryland

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

PROVENANCE: Private Collection, Maryland

$800 - $1,200

$800 - $1,200

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 4 1/2 in. long

PROVENANCE: Private Collection, Maryland

$800 - $1,200

167 Miniature American Merganser 165 Miniature Green-Winged Teal Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 4 in. long

A miniature green-winged teal with the maker’s rectangular stamp on the underside. Original paint with minimal wear.

PROVENANCE: Private Collection, Maryland

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

A miniature standing merganser with the maker’s rectangular stamp on the underside.

Original paint with minimal wear.

PROVENANCE: Private Collection, Maryland

$800 - $1,200

$800 - $1,200

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MELVIN GARDNER LAWRENCE 1880-1930 | REVERE, MA

A pair of museum-quality shorebird decoys in dynamic poses and soft winter plumage. Indeed, these decoys have resided in the Museum of American Bird Art over the last decade. While on loan they were showcased in the hallmark exhibition Massachusetts Masterpieces: The Decoy As Art, curated by Gwladys “Gigi” Hopkins.

The exhibition included pinnacle geese by Capt. Charles Osgood (1820-1886), Charles Safford (1877-1957), and the unknown dovetail-maker, wood ducks from the Tyzzer Rig and Joseph Lincoln (1859-1938), and other important species by A. Elmer Crowell (1862-1952), Lothrop Holmes (1824-1899), and Fred Nichols (18541924), among others. Two years later, this sleeping plover was selected for the front dust-jacket cover of the highly curated and researched Massachusetts Masterpieces book.

“The painting technique on the two plovers is unique,” Hopkins observes. “The soft, white feathering on each bird’s back was not done by laying white spots on gray.

Instead, it involved subtracting the gray to expose white beneath, using a solvent-damp brush. This results in a pleasing unity of color above and below.

“The other striking feature is seen in the sleeper’s pose. A snoozing bird inspires total confidence in any overflying flock because it promises all is safe. Only an artist who’d spent hours observing the wild birds would understand this and use it to full advantage.”

The design and execution of this pair demonstrates the highly accomplished craftsmanship of the maker, whose work was even attributed to A. Elmer Crowell by Quintina Colio and other early authorities. Unlike Crowell, who contributed extensively to the portfolio of American birds, Melvin Gardner Lawrence’s carving legacy consists of only a single rig of shorebird decoys that was likely no more than one dozen birds. This is believed to be the finest offering of this maker’s work to ever come to market.

Mackey Jr., Hyannis, MA, July 18, 1973, lot 380, rigmate illustrated.

Ted Harmon, “Snipe Hunt: Identifying the Shorebirds of Melvin Gardner Lawrence,” Decoy Magazine, Lewes, DE, May/June 1997, pp. 44-45, rigmates illustrated.

EXHIBITED: Canton, MA, Massachusetts Masterpieces: The

Decoy as Art, The Museum of American Bird Art, May 5– September 15, 2013. $30,000 - $50,000

170 Running Black-Bellied Plover

Melvin Gardner Lawrence (1880-1930) Revere, MA, c. 1900 11 1/2 in. long

Excellent original paint with minimal gunning wear.

PROVENANCE: John S. du Mont Collection Thomas K. Figge Collection LITERATURE: Gwladys Hopkins, Massachusetts Masterpieces: The Decoy as Art, Lincoln, MA, 2016, pl. 22 exact decoy illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 50, rigmate illustrated and attributed to Crowell.

Richard A. Bourne Co. Inc., Collection of the late William J. Mackey, Jr., Hyannis, MA, July 18, 1973, lot 380, rigmate illustrated.

Ted Harmon, “Snipe Hunt: Identifying the Shorebirds of Melvin Gardner Lawrence,” Decoy Magazine, Lewes, DE, May/June 1997, pp. 44-45, rigmates illustrated.

EXHIBITED: Canton, MA, Massachusetts Masterpieces: The

Decoy as Art, The Museum of American Bird Art, May 5 – September 15, 2013. $20,000 - $30,000

169 Sleeping Black-Bellied Plover

Melvin Gardner Lawrence (1880-1930) Revere, MA, c. 1900 9 in. long

Excellent original paint with minimal gunning wear.

PROVENANCE: John S. du Mont Collection Thomas K. Figge Collection LITERATURE: Gwladys Hopkins, Massachusetts Masterpieces: The Decoy as Art, Lincoln, MA, 2016, pl. 22 and front cover, exact decoy illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 50, rigmate illustrated and attributed to Crowell.

Richard A. Bourne Co. Inc., Collection of the late William J.

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Massachusetts Masterpieces front dust-jacket cover featuring this exact sleeping plover.

MELVIN GARDNER LAWRENCE

1880-1930 | REVERE, MA

169

170

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

171 Outstanding Willet

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 13 in. long An exemplary full-bodied willet with a split tail and glass eyes. The carving is branded “P.W.W.” twice for Parker Williams “Buck” Whittemore (1872-1959). Whittemore is featured in Elmer Crowell: Father of American Bird Carving as one of the carver’s important early benefactors. He was a Harvard graduate, class of 1895, where he captained the baseball team. A manufacturer of railroad cars, Whittemore lived in West Gloucester and Boston’s Back Bay. He also had an estate in Wareham, Massachusetts, and hunted on Cape Cod.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 140-141, rigmate illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1990, p. 153, similar 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.

Known for their bold forms and exceptional stippled-paint patterns, Crowell took tremendous care in carving these early shorebird rigs for his affluent patrons. The basis of the pattern, especially the drawn-back head, is comparable to Crowell’s calling yellowlegs. The brief period during which he carved these life-like working decoys was just prior to the passing of the Migratory Bird Treaty Act of 1918.

$25,000 - $35,000

A “Nelson” stamp, denoting the Grant Nelson Collection, is displayed on the underside along with an early collector’s sticker with number “1” designation. This sticker likely indicates the number one shorebird from the collection of Winsor White. White was an early collector from Duxbury, Massachusetts, who put together one of the great early decoy collections back in the 1950s and influenced Dr. George Ross Starr, also from Duxbury. White had exceptional taste, owning not one, but two Lothrop Holmes mergansers.

Excellent original paint with minor gunning wear, some minor touch-up to the original bill, and two tiny flakes on right side.

PROVENANCE: Parker W. “Buck” Whittemore Rig Grant Nelson Collection

A related Crowell yellowlegs with carved wing tips.

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WHITTEMORE RIG WILLET

171

79

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

172 The Starr Lincoln American Merganser Drake Joseph W. Lincoln (1859-1938) Accord, MA, c. 1890 19 in. long

The clean form of Lincoln’s merganser patterns combined with his simple, elegant paint application place this species, along with his long-tail ducks, among the most sought-after of the maker’s carvings. The maker’s American merganser drakes in original condition are nearly impossible to find, making this stellar swimming example all the more noteworthy.

The underside is marked with the “A. B. F.” brand and both Starr Collection ink stamps. Strong original paint with even gunning wear and an original check through underside.

Lincoln posing with a prized merganser decoy.

PROVENANCE: Capt. Arthur B. Fuller Rig, acquired directly from

the artist Dr. George Ross Starr Jr. Collection, acquired from the above Private Collection, Virginia Thomas M. Evans Jr. Collection

LITERATURE: George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, p. 153, pl. 18, exact decoy Illustrated.

Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, pp. 11 and 13 exact decoy and rigmate illustrated.

Midwest Decoy Collectors Association, Fifth Annual Exhibition of Classic Antique Waterfowl Decoys, Oakbrook, Il, 1983, p. 29, exact decoy illustrated.

EXHIBITED: Oakbrook, Illinois, Fifth Annual Exhibition of Classic

The Starr Lincoln American Merganser Drake in Lincoln’s Accord, MA, workshop, c. 1970.

Other noteworthy American mergansers, the Sorenson-Figge American Merganser Pair by Charles Schoenheider (1854-1924).

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Antique Waterfowl Decoys, Midwest Decoy Collectors Association, April 28-30, 1983. $50,000 - $70,000

THE STARR LINCOLN AMERICAN MERGANSER DRAKE

172

“The pair of mergansers ... look almost severely modern. They came to me from Captain Arthur Fuller of Padanaram, Massachusetts, who bought them directly from Lincoln many years ago. He claims they would outpull any other shelldrake decoys he ever saw.”

— Dr. George Ross Starr Jr., Decoys of the Atlantic Flyway, 1974, discussing lot 172 and its mate.

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JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

173

175

174

173 Exceedingly Rare Willet Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 12 1/2 in. long

This grand willet showcases the maker’s well-executed split-tail carving and features highly unusual droppedthigh carving. This decoy is almost two inches longer than the maker’s typical yellowlegs (see lot 199). The bird is finished with maker’s signature stippled feathering. This decoy, along with lot 174, represents an exciting find within the field, as two of the only examples of this species by this maker to ever come to market.

Original paint with light gunning wear.

PROVENANCE: Private Collection, New Hampshire, acquired by descent in the family, circa 1960

for Lincoln, this decoy measures almost two inches longer than his yellowlegs, which are typically around ten-and-onehalf-inches long. Strong original paint with minor even gunning wear, including a reset neck and bill and a grey paint drip on the left side.

PROVENANCE: Private Collection, New Hampshire, acquired by descent in the family, circa 1960 LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 87, related yellowlegs illustrated.

$2,000 - $4,000

LITERATURE: William J. Mackey Jr., American Bird Decoys, New

York, NY, 1965, p. 87, related yellowlegs illustrated. $4,500 - $6,500

174 Exceedingly Rare Willet Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 12 1/2 in. long

A Lincoln willet showcasing the maker’s wellexecuted split-tail and wing carving. It also features a sharp chine along its back and dropped-thigh carving, exceedingly rare for the maker. A highly unusual species 82

175 Rare Dropped-Thigh Black-Bellied Plover Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 11 in. long

Original paint with gunning wear, some touch-up to shot on left shoulder, and a replaced bill.

PROVENANCE: Cap Vinal Collection Private Collection, Massachusetts

$2,500 - $3,500

LOTHROP TURNER HOLMES

1824-1899 | KINGSTON, MA

176

176 Exceptional Scoter

Lothrop Turner Holmes (1824-1899) Kingston, MA, c. 1860 20 1/2 in. long

This coot’s body is constructed with canvas, fastened by copper tacks stretched over bent wooden slats. Gigi Hopkins, in Massachusetts Masterpieces, credits Holmes with likely innovating the canvas decoy design: “The carver also made undeniably cute, framed, canvascovered oldsquaw — and if he was making these between the ages of 25 to 30, it dates them to the 1850s, making it fairly clear that Holmes invented this lightweight form.” This scoter is an excellent example of Holmes’ canvas decoy design and, with its superb condition, is perhaps his best of the species to ever come on the market. The underside is finished with Holmes’ distinct copper and leather rigging. Original paint with gunning wear and some touch-up.

PROVENANCE: Private Collection, Massachusetts LITERATURE: Gwladys Hopkins, Massachusetts Masterpieces: The Decoy as Art, Lincoln, MA, 2016, p. 102.

Copley Fine Art Auctions, LCC, The Sporting Sale 2011, Plymouth, MA, 2011, lots 518-519, related long-tailed ducks illustrated.

$18,000 - $24,000

83

CHARLES E. “SHANG” WHEELER 1872-1949 | STRATFORD, CT

176a Rare Surf Scoter

Charles E. “Shang” Wheeler (1872-1949) Stratford, CT, c. 1935 14 in. long

A hollow, turned-head decoy with elaborate carving that handsomely captures the species. This sterling example represents Wheeler at his finest.

the life he had built for himself around Stratford. He had many good friends; his work kept him outdoors; and each year he had time for hunting and fishing trips.”

Scoter decoys by any maker are quite rare with the vast majority stemming from Maine, Massachusetts, and Connecticut.

In 1923 Wheeler arrived on the competition carving scene with a bang. Public concern over the popular and devastating practice of dusking (hunting after dark) had started to take shape. Led by conservationists, including early historian, author, and collector Joel Barber, along with Paul Bigelow and John Boyle, the group started the Anti-Duskers Society. The Anti-Duskers sponsored one of the first decoy shows in North America on August 23rd at the public library in Bellport, Long Island. A carving competition held at the event was aimed at hunters in attendance to further advance the concept of shooting over decoys. The inaugural event attracted amateur and professional carvers from near and far; however, it was Wheeler who took home top amateur honors with his dynamic turned-head mallard drake. Joel Barber gave the winning decoy the highest praise possible, lauding that it represented “the highest development yet reached in the American art of decoy carving.” As stated by Merkt, “Wheeler carted off first prize at Bellport because he had introduced a new style to decoy painting.”

Outstanding original paint with minimal wear.

Charles Edward Wheeler is widely recognized as the most famous bird carver from Connecticut. While his predecessors, Albert Laing (1811-1886) and Benjamin Holmes (1843-1912), made many gunning decoys of exceptional quality, it was Wheeler who took the art form to the next level, producing everything from sandhill cranes to sailfish. Shang, as everyone called him, was an enigmatic figure: oysterman, politician, boxer, cartoonist, public speaker, conservationist, and world-renowned decoy carver.

Author Dixon Merkt comments on Wheeler’s life: “Wheeler’s concern with the conservation of nature eventually led him into politics. Over the years he had come to know and admire Teddy Roosevelt, and as a politician he adopted Roosevelt’s brand of progressive Republicanism. Himself a skilled ornithologist, former cowboy, and avid sportsman, Roosevelt had made conservation one cornerstone of his political platform. Wheeler followed in his footsteps. During several terms in the Connecticut General Assembly, he led the campaign to pass anti-pollution and wildlife conservation legislation.

PROVENANCE: Private Collection, New York LITERATURE: Dixon MacD. Merkt, Shang. A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, pp. 174-175, scoter decoys illustrated.

$25,000 - $35,000

“...[Wheeler’s] ties to Roosevelt and later to Herbert Hoover might have lead him to high government office, if that had been his goal. But Wheeler was satisfied with

Joseph Lincoln, Hingham, Massachusetts, White-Wing Scoter.

84

Augustus Wilson, South Portland, Maine, Surf Scoter.

176a

“There must be a very real difference in the eye of an approaching duck between a flock of nondescript, long-necked, poorly made and painted blocks that jump and pitch, roll and toss in a tideway or a bit of ruffled water, that look scared and actually do scare a wild bird, and a setting of well shaped, properly painted, steady riding, gentle posed decoys that really impress a bunch of birds with the quiet and safety of the situation.”

— Charles E. “Shang” Wheeler, Duck Shooting Along the Atlantic Tidewater, 1947

85

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

177

177 Rare Canvas Long-Tailed Drake Joseph W. Lincoln (1859-1938) Accord, MA, c. 1918 17 in. long

Only a handful Lincoln long-tailed ducks are believed to have survived. Lincoln was a distinguished canvas decoy maker, and examples can be seen on both the front and back covers of Cap Vinal’s monograph on the maker. The back cover features a 1918 photograph of a newly-made canvas sea duck rig, which likely includes this decoy.

Original paint with even gunning wear and remnants of a white wash.

PROVENANCE: Cap Vinal Collection Private Collection, Cape Cod, acquired from the above LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, back cover and p. 18, rig illustrated.

Gene Kangas, “Canvas Decoys of Massachusetts: A regional emergence of uniquely designed lures” Decoy Magazine, Nov/Dec 2013, p. 26, exact decoy illustrated two times.

$10,000 - $14,000

86

Lincoln canvas long-tail and scoter decoys out to dry, c. 1918.

CAPT. MERRITT P. PINKHAM 1861-1947 | SEGUIN ISLAND, ME

178

178 Rockefeller Eider Pair

Capt. Merritt P. Pinkham (1861-1947) Seguin Island, ME, c. 1900 23 in. long

A pair of oversize Down East sea duck decoys with black glass eyes and inletted heads. The underside of the drake bears the inked inscription “Northern Eider by Captain Pinkham Seguin Island, ME.” Merritt Pinkham was the lighthouse keeper on Seguin Island in Maine, the state’s second oldest lighthouse.

He was on duty during the Great Storm of 1898 when a schooner shipwrecked on the island. According to Dr. George Ross Starr Jr. of Duxbury, MA, Pinkham salvaged the boat’s pine spars and carved this eider rig out of the wood.

PROVENANCE: Dr. George Ross Starr Jr. Collection Donal C. O’Brien Jr. Collection Peggy and David Rockefeller Collection Private Collection, North Carolina LITERATURE: Christie’s, The Collection of Peggy and David Rockefeller, New York, NY, May 10, 2018, lot 1039, exact pair illustrated.

George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974.

$10,000 - $15,000

The underside of the hen bears David Rockefeller’s collection identification number DR54.3264.2 and drake has DR54.3263.1. Original paint with gunning wear, including a few tight cracks in each bird and old stabilizing nails under the drake’s bill.

87

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

178a

178a Exceptional Brant

Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890 16 1/2 in. long

A well-sculpted, hollow decoy by New Jersey’s most famous maker. The classic shape of Harry V. Shourds’ brant epitomizes the New Jersey decoy aeshtetic.

Connoisseurs of Shourds look for birds with bold form and the best “racing stripes;” this bird from the esteemed Campbell Collection delivers on both fronts. The underside is marked with Campbell’s “DSC” collection stamp. With its full body, crisp side stripes, and strong condition, this is among the best of the maker’s brant ever to come to market. Original paint with light gunning wear.

88

PROVENANCE: Dave Campbell Collection Private Collection, Long Island, acquired from the estate of the above LITERATURE: Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, pp. 99-100, similar decoys illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, pp. 36-37, related examples illustrated.

$20,000 - $30,000

G. BERT GRAVES

1880-1956 | PEORIA, IL

178b

178b Pintail Pair

G. Bert Graves (1880-1956) and Catherine Elliston (1849-1953) Peoria, IL, c. 1925 17 1/2 in. long

Displaying Catherine Elliston’s exceptional and elaborate paint on very strong Graves carvings, these are among the maker’s finest works.

G. Bert Graves built the Graves Decoy Company out of the workshop behind his home. Upon the death of Robert Elliston (1847-1925), Graves purchased the old master’s entire business including wood, patterns, tools, and rig commissions. He also astutely hired the widowed Catherine Elliston to continue painting decoys for his company. Each has a “B. GRAVES. DECOY. CO” lead weight on the underside.

This pair is from the collection of decoy pioneer Gene Konopasek. As one of the earliest source collectors in the midwest, he actively acquired decoys directly from

hunting clubs along the Illinois River and had access to some of the area’s greatest birds. Konopasek was also a past president of the Midwest Decoy Collectors Association.

Excellent original paint with light gunning wear.

PROVENANCE: Gene Konopasek Collection

Private Collection, New York

LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 105, related pair illustrated.

Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 97 and 103, related decoys illustrated.

$15,000 - $25,000

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179 Black Duck

179

Charles Hart (1862-1960) Gloucester, MA, c. 1920 17 1/2 in. long

Often overshadowed by Elmer Crowell and Joseph Lincoln, Hart ranks among Massachusetts’ most important makers, and this black duck is one of the carver’s finer efforts. The bold bird displays carved detail and highly defined raised wings and primaries. The body was hollowed out to one-half-inch thickness and no bottom board was applied, leaving it open. This unusual construction was designed to create a suction on calm gunning waters. Original paint with even gunning wear and age lines.

PROVENANCE: Donald M. Greenwood Collection Private Collection, Midwest LITERATURE: George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 178, fig.

88, related examples illustrated.

180

$3,000 - $4,000

180 Canvas Scoter

Capt. Clarence I. Bailey (1882-1952) Kingston, MA, c. 1910 25 1/2 in. long

An oversized decoy created with stretched canvas over a wooden-slat frame. This type of sea duck block was also made by Kingston makers Lothrop Holmes (1824-1899) and Clinton Keith (1887-1975). As found.

PROVENANCE: Private Collection, Massachusetts

181

181 Swimming Merganser Cape Cod, MA, c. 1880 17 1/4 in. long

A racy merganser with expressive swimming form. In working repaint, head is a replacement.

LITERATURE: Guyette and Deeter, Inc., North American Decoys at Auction, Portsmouth, NH, July 23 & 24, 2019, lot 43, exact decoy illustrated.

Gary Guyette and Frank Schmidt, Inc., Important Waterfowl Decoys & Bird Carvings at Auction, April 22 & 23, 1993, St. Charles, IL, lot 119, exact decoy illustrated.

St. Paul, Minnesota, American Bird Decoys Selected from the Collection of William J. Mackey Jr., St. Paul Art Center Exhibition Catalog, September 28– November 12, 1967, lot 142, closely related example illustrated.

$2,500 - $3,500

90

182 Pair of Black-Bellied Plover Nantucket, c. 1890 11 in. long

182

A pair of Nantucket black-bellied plover with square “beetlehead” shape and plump bellies exhibiting the carver’s anatomical knowledge.

Original paint, one decoy bears subtle split-tail carving and a crack to baleen bill. The other bird has some flaking and discoloration to breast where it sat on a wet surface.

LITERATURE: Richard A. Bourne Co., Inc., Rare Amer-

ican Decoys and Bird Carvings, Hyannis, MA, July 22-23, 1975, lot 85, rigmate illustrated.

George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, p. 58 and 65, rigmate illustrated. $2,000 - $3,000

183 Golden Plover

183

Nantucket, MA, c. 1890 10 in. long

An alert shorebird decoy with a split-tail carving and painted eyes from this storied island, renowned for its 19th-century plover migrations. The underside bears the inked “ Hillman Collection” stamp. Original paint with some gunning wear, bill is an early gunning replacement with some early touch-up.

PROVENANCE: John Hillman Collection Private Collection, Nantucket LITERATURE: Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, West Farmington, ME, 1996, lot 169, exact decoy illustrated.

184

$1,000 - $1,500

184 Pigeon Decoy England, 1900 15 in. long

A very fine carving of a wood pigeon, also known in South East England as the “culver.” In addition to a cast-metal head, the innovative decoy has a patent number tag N9193738 on its underside. It features precise incised carving along the wings and the extended paddle tail.

Very good original paint with even gunning wear.

PROVENANCE: Private Collection, Massachusetts

91

185

185 Running Yellowlegs c. 1890 12 in. long

This early Atlantic Coast gunning decoy shows approximately thirty shot holes attesting to its baptism in the field by fire.

Appears to be original paint with even gunning wear. $1,000 - $1,500

186 Running Black-Bellied Plover

North Shore, MA or New Hampshire, c. 1900 11 in. long

186

Carved and painted in the same fashion as George Boyd’s plover, this example has a much longer and thinner neck than the typical Boyd plover and may, in fact, be an early example by the maker. There is a small “JF” stamp denoting the French Collection on the underside next to the stick hole. In original paint with a very minor chip to the tail.

PROVENANCE: Joe French Collection Dr. Morton D. Kramer Collection, acquired from RJG Antiques Private Collection, Midwest

$800 - $1,200

187 Hollow Black-Bellied Plover 187

Massachusetts, c. 1880 12 in. long

A rare hollow plover decoy by an unknown and ingenious maker. A related solid-bodied model by this maker is pictured in Mackey’s American Decoys with mechanical flapping wings. Original paint with gunning wear, a replaced bill, and some rust coloration on right side.

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 72, related flapping decoy illustrated.

$1,500 - $2,000

92

188 Nantucket Plover Pair Nantucket, c. 1870 9 1/2 in. long

188

A refined matched pair of early Nantucket golden plover decoys. Both birds show the painted white hood stripes on their heads and golden yellow stippling on their backs, indicating this uncommon species. Finding matched pairs in this condition from this early gunning oasis is quite rare. In excellent original paint with minor even gunning wear. Both birds appear to retain their original oak bills.

PROVENANCE: Private Collection, Massachusetts

189 “Banana Bird” Yellowlegs Cape Cod, MA, c. 1890 10 in. long

189

A lesser yellowlegs decoy with a graceful elongated form by an unknown Cape Cod carver. This carving was one of ten decoy lots in the Howard and Catherine Feldman Collection sold at Sotheby’s October 9, 1998, auction.

The underside bears the Nelson Collection ink stamp.

Strong original paint with even gunning wear and a small chip to the top of tail.

PROVENANCE: John H. Hillman Collection Howard and Catherine Feldman Collection Grant Nelson Collection

190

Literature: Richard A. Bourne Co., Inc., Rare American Decoys, Bird Carvings & Related Materials, Hyannis, MA, July 11 & 12, 1978, lot 485, exact decoy illustrated.

Joe Engers, “Sieger canvasback gets record price at Sotheby’s fall Americana auction,” Decoy Magazine, November/ December 1998, p. 32, exact decoy illustrated. $3,000 - $5,000

190 Eskimo Curlew Pair Massachusetts, c. 1850 13 in. long

Bearing traits seen in the earliest Massachusetts South Shore carvings, both decoys reveal refined split-tail carving, graceful neck transitions, and the tack eyes that would later be adopted by Joseph Lincoln (1859-1938).

These decoys were possibly made by the same hand as the early hollow running curlew from the Grant Nelson Collection, illustrated in Decoys: North America’s One Hundred Greatest. Both display the Nelson Collection ink stamp on the underside. Both birds are in original paint.

The runner has even gunning wear and partial loss to bill tip. The upright bird has gunning repair to the neck and a replaced bill.

PROVENANCE: Grant Nelson Collection LITERATURE: Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, p. 82, possible rigmate illustrated.

Jackson Parker, “Unknown Curlew Causes Excitement at Massachusetts Americana Auction,” Decoy Magazine, November/December 1997, pp. 3 and 34, possible rigmate illustrated.

$4,500 - $6,500

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CHARLES F. COFFIN 1835-1919 | NANTUCKET, MA

191 The O’Brien-Nelson Hollow Nantucket Curlew Charles F. Coffin (1835-1919) Nantucket, MA, c. 1870 15 1/2 in. long

A stately and very early three-piece curlew decoy with intricate stippled paint, Coffin’s skills are on full display with the decoy hollowed paper thin. This carving is by the same hand as the curlew from the Donal C. O’Brien Jr. Collection featured in Johnsgard’s The Bird Decoy: An American Art Form on page 157. The decoys by Coffin, as well as those attributed to Franklin Folger Jr. (18421918), are considered to be the best to have come from the whaling seaport of Nantucket. This iconic curlew form relates closely to the plump curlew weathervane held in the Museum of American Folk Art. Rather ironically, the shape of the body of the bird itself looks like the island.

PROVENANCE: Nantucket Hunting Rig Stephen B. O’Brien Sr. Collection, acquired from the family of the above, circa 1970 Grant Nelson Collection LITERATURE: Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 157, pl. 179, rigmate illustrated.

$125,000 - $175,000

Very few, if any, Coffin curlews are held outside of the O’Brien family, making this a rare opportunity to own one of the island’s masterworks. Fine original paint with even gunning wear and a replaced bill.

Map of Nantucket by Fred H. Gardner, 1933.

94

THE O’BRIEN-NELSON HOLLOW NANTUCKET CURLEW

191

95

COBB ISLAND, VA

192

192 Rare Running Plover Cobb Island, VA, c. 1870 11 in. long

Nathan Cobb Sr. sailed his family south from Cape Cod to the Eastern Shore of Virginia where they settled around 1837. The family brought with them Massachusetts carving concepts, including the refined split-tail carving style adopted by Lothrop Holmes, A. Elmer Crowell, and Joseph Lincoln. Over time, the Cobbs evolved this style into their own. A well-balanced decoy, this plover exhibits pleasing proportions with full cheeks and a plump body that resolves with a precise Cobb Island wing carving and tail cut.

Birds from this important Cobb rig were first discovered

by William J. Mackey Jr., from whose collection this decoy hails. Later, they were brought to the broader public’s attention when Henry A. Fleckenstein Jr. featured related examples in his Shore Bird Decoys book.

This plover, with its crisp clean lines and original bill, hits the highest level of craftsmanship seen in the decoys that survived the remote island’s storm-wrecked history.

The underside bears both the “Mackey Collection” and “NELSON” collection stamps and an incised “J J.” In early gunning paint with minor darkening to spots of flaking.

96

PROVENANCE: William J. Mackey Jr. Collection Robert Gresham Collection Grant Nelson Collection LITERATURE: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 130, back dust-jacket cover, related example illustrated.

Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 166-167, related example illustrated.

Dr. Lloyd Newberry, “The Saga of Cobb Island,” Sporting Classics, Spring/Summer 2018, pp. 140-145, related example illustrated.

Robert H. Richardson, ed., Chesapeake Bay Decoys, Burtonsville, MD, 1991, p. 184, related decoy illustrated.

$5,000 - $8,000

JOHN DAWSON

1889-1959 | DUCK ISLAND, NJ

193

97

JOHN DAWSON

1889-1959 | DUCK ISLAND, NJ

193 Exceptional Merganser Hen John Dawson (1889-1959) Duck Island, NJ, c. 1915 18 in. long

William J. Mackey’s writing reveals that he was particularly fond of this Delaware River maker. The author points out that “Dawson brought several talents into play in constructing remarkably original decoys” and that he “made decoys that collectors will prize for generations to come.” Regarding his rigmates to this decoy Mackey notes that the maker “...lavished unusual care on this swift, handsome pair.” Fittingly, the second edition of Mackey’s American Bird Decoys features his pair front and center on its dust jacket, along with the famous Crowell “Dust Jacket” Plover trio.

A pinnacle working merganser hen by the maker displaying three-piece laminated construction. The small number of birds from this famous rig all feature hollow bodies and precise execution, and are among the sleekest carvings by any maker. The form of the hens from this rig are particularly distinguished by their long and upswept crests. True to Mackey’s prophecy, rigmates have been prized by a number of the nation’s top decoy

and Americana collectors, including John Delph, Paul Tudor Jones II, Dr. James McCleery, Thomas K. Figge, and Dr. Peter Muller. This outstanding example ranks among the carver’s very best work. Excellent original paint with minimal wear.

PROVENANCE: Private Collection LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, color pl. V, rigmate illustrated.

William J. Mackey Jr., American Bird Decoys, 2nd ed., New York, NY, 1987, dust jacket and color pl. V, rigmate illustrated.

Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 69, rigmate illustrated.

Gary Guyette and Frank Schmidt, Inc., Important Waterfowl Decoys & Bird Carvings at Auction, July 23 & 24, 1993, Ogunquit, ME, front cover and p. 39, lot 178, exact decoy illustrated.

$65,000 - $85,000

Dust-jacket cover of 1987 edition of American Bird Decoys, with rigmates illustrated.

98

193

99

194

196

195

197

194 Rare Red Knot

196 Black-Bellied Plover

This robin snipe displays Horn’s pronounced cheek and tail carving. Only a handful of this maker’s ruddy turnstones, willet, and red knots have ever surfaced.

This sterling example is one of the best to ever come to market, along with one other closely related red knot with both Hillman and McCleery provenance. Original paint.

A New Jersey plover with the maker’s very best stippled paint.

Original paint with gunning wear, including shot on right side.

John Horn New Gretna, NJ, c. 1890 10 in. long

PROVENANCE: Dr. S. Lloyd Newberry Collection Private Collection, Midwest

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. 220, lot 601, rigmate illustrated.

LITERATURE: Joe Engers, The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 116, similar decoys illustrated.

Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p.

62, similar example illustrated.

Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 59, similar example illustrated.

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

67, similar decoys illustrated.

$2,500 - $3,500

$2,500 - $3,000

195 Exceedingly Rare Black-Bellied Plover

197 Running Peep

A stylish plover with clean lines and a high head. Excellent original paint with minimal wear.

A plump Verity peep decoy with S-curve wings, the carving showcases the maker’s tight stippling on the bird’s head and back. Mix of original and working paint with even gunning wear.

PROVENANCE: Private Southern Collection

Capt. Jonas Sprague Beach Haven, NJ, c. 1900 9 1/2 in. long

PROVENANCE: Richard Mueller Collection L. H. LaMotte Collection Private Collection, by descent from the above Private Collection LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 169, pl. 359, related example illustrated.

$1,400 - $1,800 100

Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890 8 3/4 in. long

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 7 in. long

PROVENANCE: Private Collection, Long Island LITERATURE: Gene and Linda Kangas and Donald Kirson, ed., Bonfire of Swans, Concord, OH, 2012, p. 50, exact decoy illustrated.

$3,000 - $5,000

198 Early Golden Plover

W. S. Morton (1809-1871) Rig Quincy and Nantucket, MA, c. 1865 9 1/2 in. long

198

The decoys carved by Morton are readily identifiable with their distinct forms, most noticeably their sharp chines along their lower wing edges and the two holes for wire legs on their undersides. This plover displays intricate “golden” feathering along its back. Original paint with even gunning wear, including a blunted bill tip.

PROVENANCE: Private Collection, Massachusetts LITERATURE: John and Shirley Delph, New England Decoys, Exton, PA, 1980, p. 86, related decoy illustrated.

199 Yellowlegs

199

Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 10 3/4 in. long

A split-tailed shorebird decoy with stippled paint, fine proportions, and a spoke-shaved finish. In original paint with minimal wear, including a flake or chip to the top of head. $1,500 - $2,500

200 Black-Bellied Plover

Lothrop Turner Holmes (1824-1899) Kingston, MA, 1865 10 1/2 in. long

200

Holmes carved few decoys, thus making the offering of this gunned-over example a rare opportunity to own one of the world’s most heralded maker’s works. In mix of original and repaint.

PROVENANCE: Private Collection, Midwest

101

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

201

201 Bluebill

A. Elmer Crowell (1862-1952) East Harwich, MA, 1935 12 1/2 in. long A well-executed bluebill carving that was employed as a doorstop. Few of these examples have survived in such good condition as most saw wear from door movement on one side. The bottom of these carvings were fitted with heavy circular lead weights as seen on the bottom of this example. The underside also features two of the maker’s rectangular stamps. Very good original paint with minimal wear and one small spot of paint on the lower left side and age line in side of neck.

PROVENANCE: Private Collection, Midwest

$3,500 - $4,500

102

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

202

202 Alighting Tern

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 19 1/2 in. wingspan An exceedingly rare and possibly unique, life-size tern with extended wings measuring nineteen-and-one-half inches from wing tip to wing tip.

Crowell, like many people today, had an affinity for these expert hovering fishermen, creating this wooden homage to their beauty. It was his interpretive ability to capture the likeness of birds and waterfowl that defined him as one of America’s greatest carvers.

Crowell used this expansive carving as an elaborate canvas to showcase his unmatched painting abilities. The artist used all four surfaces of the broad wings to display his exceptional wet-on-wet feather blending. The forked tail is finished with incised feather carving. The underside of the base bears the maker’s rectangular stamp.

with all sorts of mythical looking birds, whittled out and suspended from the ceiling so that they revolved solemnly around if you blew a puff of smoke their way.” While Crowell’s flying terns, as discussed by his patron Dr. Phillips, are rare, even less common is this model, which is mounted on a base. Indeed, we are honored to introduce this decorative as the first of its kind to enter the modern marketplace. Excellent original paint with minimal wear, one side of tail is reset with touch-up and the other side of the tail is restored.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 38, flying example illustrated, pp. 198-199, terns on bases illustrated.

John C. Phillips, A Sportman’s Scrapbook, Boston, MA, 1928, p. 33.

$15,000 - $20,000 In A Sportsman’s Scrapbook, Dr. John C. Phillips talks about Crowell’s creations: “Elmer used to decorate Wenham Camp

103

203

205

204

206

203 Skyward-Gazing Golden Plover Long Island, NY, c. 1880 12 in. long

A fine example of shorebird decoy sculpture by an unknown, but imaginative maker. Original paint with heavy even gunning wear and a replaced bill.

204 Yellowlegs Trio

Long Island, NY, c. 1880 12 1/2 in. long

These carvings were displayed at the exhibition of Mackey’s decoys at the IBM Gallery of Arts and Sciences in 1966. The undersides of all three bear the Mackey Collection ink stamp. Original paint with heavy even gunning wear.

PROVENANCE: William J. Mackey Jr. Collection Private Collection LITERATURE: Quintina Colio, American Decoys, Ephrata, PA, 1972, front matter, exact decoys illustrated.

Hal Sorenson, ed., “IBM Exhibits Mackey Decoys,” Decoy Collector’s Guide, 1966-1967, pp. 47-51.

EXHIBITED: Manhattan, New York, The Decoy Maker’s Craft,

IBM Gallery of Arts and Sciences,” August 29–October 1, 1966.

St. Paul, Minnesota, American Bird Decoys Selected from the Collection of William J. Mackey Jr., St. Paul Art Center, September 28–December 31, 1967.

205 Early Yellowlegs

Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1900 11 in. long 104

This Hudson yellowlegs carving was displayed at the exhibition of William J. Mackey Jr.’s decoys at the IBM Gallery of Arts and Sciences in 1966. The underside bears Mackey’s inked collection stamp. Original paint with gunning wear.

PROVENANCE: William J. Mackey Jr. Collection Private Collection LITERATURE: Quintina Colio, American Decoys, Ephrata, PA, 1972, front matter, exact decoy illustrated.

Hal Sorenson, ed., “IBM Exhibits Mackey Decoys,” Decoy Collector’s Guide, 1966-1967, pp. 47-51.

Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, p. 140, related example illustrated.

EXHIBITED: Manhattan, New York, The Decoy Maker’s Craft,

IBM Gallery of Arts and Sciences,” August 29–October 1, 1966.

St. Paul, Minnesota, American Bird Decoys Selected from the Collection of William J. Mackey Jr., St. Paul Art Center, September 28–December 31, 1967. $2,500 - $3,500

206 Pegged-Head Shorebird North Carolina, c. 1915 10 in. long

A folky example of an early Southern carving. This decoy was made with a removable head for easy transport.

Excellent original paint with even gunning wear.

LITERATURE: Kroghie Andersen and Phillip Harvey, Shorebird Decoys of North Carolina, Charlotte, NC, 2015, cover, related examples illustrated.

BURR FAMILY

SOUTH SHORE, MA

207

208

207 Early Burr Yellowlegs Pair

208 Early Burr Yellowlegs

This pair of Burr family yellowlegs from Hingham, Massachusetts, appears to be the earliest work, or even predates the work, of the region’s famous shorebird decoy maker, Elisha Burr (1839-1909). The thin necks, lifted wings, dropped tail, and stylized paint are the telltale Burr traits seen in this matched pair. The folky pair was created out of four pieces of wood. Each display unusually fashioned iron bills wrapped with marlin.

Original paint with even gunning wear, including some flaking at the lamination seams. Both bills have touch-up at face insertion; one has been reset.

Original paint with gunning wear, missing tail, chips to wingtips, touch-up to face, and a replaced bill.

Burr Family South Shore, MA, c. 1880 13 in. long

Burr Family South Shore, MA, c. 1880 12 1/2 in. long

PROVENANCE: Eddie Woodin Collection LITERATURE: George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 33, fig. 7, rigmate illustrated.

$1,000 - $1,500

LITERATURE: George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 33, fig. 7, rigmate illustrated.

$6,000 - $9,000

105

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

209

211

210

213

212

209 Miniature Upland Plover

211 Miniature Ruddy Duck

This early rendering is painted with the maker’s white paint under the base where it is identified by species and signed by Crowell. Very good original paint, possible restoration to bill.

This finely carved and painted bird retains the maker’s rectangle stamp on the underside of the base.

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

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

212 Miniature Merganser Hen 210 Miniature Killdeer

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 3/4 in. long

This early rendering is painted with the maker’s white paint under the base where it is identified by species and signed by Crowell. Very good original paint, possible restoration to bill.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 4 1/2 in. long

The bird retains the maker’s rectangle stamp on the underside of base. Original paint, with a chip to bill tip.

213 Miniature Teal

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 4 in. long

This green-wing teal drake retains the maker’s rectangle stamp on the underside of base. Good original condition.

106

STEVE WEAVER B. 1950 | SANDWICH, MA

215.2

215.1

216.1

216.2

214.3

214.1

214.2

214 Three Miniatures

216.3

217

Steve Weaver (b. 1950) Sandwich, MA, 2000 heron is 3 1/4 in. tall

A miniature great blue heron, spotted sandpiper, and oven bird, each identified and signed by the maker on the bottom of each base. Original condition.

215 Two Miniatures

Steve Weaver (b. 1950) Sandwich, MA, 2000 egret is 6 in. tall

Miniature black-necked stilt and great egret, each identified and signed by the maker on the underside of each base. Original condition.

217 Miniature Great Blue Heron 216 Three Miniatures Steve Weaver (b. 1950) Sandwich, MA, 1996 curlew is 4 1/2 in. long

Two miniature curlews and a yellowlegs carved in the Crowell style. Each is signed by the maker on the underside of the base. Original paint; the running curlew is missing part of its bill.

Steve Weaver (b. 1950) Sandwich, MA, 2007 base is 11 in. long

Titled “Stalking the Backwater� and signed and dated by the artist on the underside of the base, this well-executed carving shows a great blue heron fishing. Weaver has artistically carved a single feather upon the water.

As found.

107

218

219

221

220

222

218 Miniature Black Duck

220 Miniature Holmes-Style Mergansers

A black duck displaying finely-painted feather detail, glass eyes, and raised wing tips. The carving is signed by the maker on the underside of the right webbed foot.

Original paint with minimal wear.

Original condition.

Wendell Gilley (1904-1983) Southwest Harbor, ME, c. 1950 8 in. long

219 Three Miniatures 1950-2009 wren is 3 1/2 in. long

A miniature goldfinch carved by Robert Morse, a miniature swan signed and dated by Steve Weaver, and a miniature wood duck carved in the 1950s by an unknown maker. The goldfinch and swan are in good condition; the wood duck has flaking to head.

Steve Weaver (b. 1950) Sandwich, MA, 2000 drake is 4 in. long

221 Three Songbirds Ellen Nelson Chatham, NH, 1990 nuthatch is 4 in. tall

A wren, a chickadee, and a nuthatch, each signed by the maker on the bases. As found.

222 Two Songbirds

Peter Pelzer Sandwich, MA, 1960 chickadee is 3 3/4 in. tall

A chickadee and a house wren by this famed Cape Cod carver. Both birds are in good condition.

108

223

225

224

226

223 Bluebill Pair

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 14 in. long

A standard-grade glass-eye Mason pair with strong paint and slightly uplifted heads. In original paint with light gunning wear.

PROVENANCE: Private Collection, Michigan

PROVENANCE: Private Collection, New York Private Collection, Midwest LITERATURE: Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys, Spanish Fork, UT, Spring/Summer 1982, p. 38, rigmate illustrated.

Jeff Waingrow, “The American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr.,” The Clarion: America’s Folk Art Magazine, Fall 1981, p. 32, rigmate illustrated.

$1,500 - $2,000

224 Black Duck

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

A challenge-grade decoy with strong swirl paint.

Original paint with touch-up to fill in check along lower left side, neck seam, edge of tail, and back.

225 Blue-Winged Teal

Judge Glenn J. Cameron (1882-1958) Chillicothe, IL, c. 1910 12 in. long

The underside of this hollow decoy bears the “G.J.C” brand. Original paint with gunning wear, an age line in neck, and some flaking.

226 Canvasback

G. Bert Graves (1880-1956) Peoria, IL, c. 1902 17 in. long

A classic Graves gunning decoy with strong swirl paint. In Graves paint with even gunning wear, touch-up to reset neck.

PROVENANCE: Private Collection, Midwest LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 122, related decoys illustrated.

$1,500 - $2,500

109

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

227 Exemplary G. K. Schmidt Rig Mallard Drake Mason Decoy Factory (1896-1924) Detroit, MI, c. 1900 17 1/4 in. long

An exceedingly rare and important hollow mallard in unused condition. According to decoy historian and author Donna Tonelli, there are only a dozen of these Schmidt rig mallards known to exist. With beautifully swirled paint, “ribbon candy” speculums, snakey neck form, and impeccable provenance, this decoy ranks among the finest known Mason mallards. Marked with both the large and small “G. K. SCHMIDT” brands on the bottom.

The legendary Schmidt rig was commissioned by George K. Schmidt (1869-1939), the president of the Prudential State Savings Bank in Chicago. From approximately 1930 to 1970, this rig was essentially held in a time capsule residing in the basement of a bank. Outstanding original paint with minimal wear from handling.

PROVENANCE: G. K. Schmidt Rig Thomas M. Evans Jr. Collection LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 23, rigmate illustrated.

Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 41, rigmate illustrated.

Sotheby’s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 179, lot 440, similar decoy illustrated.

Copley Fine Art Auctions, The Winter Sale 2012, Boston, MA, January, 2012, lot 26, rigmates illustrated.

$15,000 - $20,000

227

110

G. K. SCHMIDT RIG MALLARD DRAKE

227

111

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

228

228 Outstanding Mallard Pair

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

A pinnacle pair of snakey-head mallards showcasing the very best paint by this legendary decoy manufacturer.

Deaccessioned by one of the world’s top Mason collectors, this marks a great opportunity to own a perfectly matched pair. Decoys from the Evans Collection are synonymous with “the best of the best” and this pair is no exception. Outstanding original paint with very minimal gunning wear. The hen’s bill is original with a slight chip on underside where it was successfully reglued without any touch-up, one very small spot of touch-up to left side of hen’s neck.

PROVENANCE: Thomas M. Evans Jr. Collection

$10,000 - $15,000

112

FRANK W. BUCHNER

1871-1947 | ERIE, PA

229

229 Broadbill Pair

Frank W. Buchner (1871-1947) Erie, PA, c. 1910 14 1/2 in. long

High-head bluebill decoys with elaborate carving ornamentation on their surfaces. Buchner created on of the most unique decoy interpretations seen in the field. They exhibit fat cheeks, paddle tails, and wide bodies, with the drake measuring almost eight inches across. Both birds feature the “soaring bird” patterns on their backs, which collectors of these imaginative decoys look for. The

undersides bear the rig identification tags of the maker’s nephew, J. F. Buchner. Original paint with some fill and touch-up, a crack in the hen’s neck.

PROVENANCE: J. F. Buchner Rig Private Collection, Midwest

$10,000 - $14,000

229

113

230

232

231

233

230 Pintail Pair

232 Dove

The pair is stamped, signed, and dated by the maker on the underside of each carving. In excellent original paint with minimal wear.

A graceful life-size dove perched on a wooden base.

Original paint with minimal wear.

Hector “Heck” Whittington (1907-1981) Oglesby, IL, 1972 19 in. long

PROVENANCE: Private Collection, Michigan

231 Green-Winged Teal Hen Robert G. Kerr (b. 1935) Smiths Falls, Ontario, c. 1960 11 in. long

A competition-grade decoy exhibiting some of the best carving and painting of the era. Original paint with minimal wear.

PROVENANCE: Private

Collection, Michigan

LITERATURE: Hal Sorenson, “National Decoy Contest,” Decoy Collector’s Guide, Burlington, Iowa, April-June 1963, p. 6, related bluebill illustrated.

114

Harold Haertel (1904-1995) Dundee, IL, c. 1960 11 in. long

PROVENANCE: Private

Collection, Michigan

233 Dropped-Wing Woodcock Lloyd Johnson (1910-1965) Bay Head, NJ, 1960 7 1/2 in. long

A life-size decorative by this early collector and accomplished carver. Signed and dated by the maker on the underside of the base. Original paint with touch-up to some craquelure, a filled tail chip, and some chipping to toes. $1,200 - $1,800

234 Swan

Currituck Sound, NC, c. 1920 29 1/2 in. long

234

An early and graceful swan decoy with a high head and a long body. In old repaint with gunning wear. The body and head appear to be by the same maker, but are a recent marriage.

PROVENANCE: Private

Collection, Connecticut

235 Merganser Drake

Ira D. Hudson (1873-1949) Chincoteague, VA, 1920 15 1/2 in. long

235

An early gunning decoy by one of Virginia’s top makers. Mostly original paint with working touchup, gunning repair to left side, and chips and rubs to bill, crest, and tail.

PROVENANCE: Private Collection, New Hampshire

$1,500 - $2,500

236 Dove

Southern, c. 1900 9 in. long

236

A plump bird in a content pose with nicely raised wing carving. Original paint with gunning wear.

115

THE WARD BROTHERS 1896-1984 AND 1895-1976 | CRISFIELD, MD

237

237 Outstanding Black Duck

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1942 17 in. long

One of their finest forms, Gard and McGrath describe a closely related model in their Ward Brothers book as a “1942 Classic Black Duck” with “exquisite feather painting.” This turned-head balsa decoy exhibits Lem’s masterful brushwork at its best. Original paint with gunning wear, rubs to tail, and a ding to right breast.

LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 7579, pl. 68, related decoy illustrated.

$10,000 - $14,000

116

THE WARD BROTHERS 1896-1984 AND 1895-1976 | CRISFIELD, MD

238

238 Classic 1936 Canvasback Hen

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1936 15 3/4 in. long

A classic 1936 model, this fine hen displays a high head with a pronounced crown true to the species. The underside bears the “MADE BY L. T. WARD & BRO. CRISFIELD, MD” ink stamp under the pad weight and is signed and dated “L.T. Ward-Bro-1936- Lem Ward- Steve Ward.” This example has a turned head and excellent bill carving. Of the highly coveted 1936 model canvasbacks the Wards produced, it is rare to find a hen with its original bill and tail. Original paint with even gunning wear, a chip to the lower right edge of tail, and the neck is slightly lifted on right side.

PROVENANCE: Private Collection, New York Private Collection, Midwest LITERATURE: Ronald J. Gard and Brian J. McGrath, Ward Brothers’ Decoys: A Collector’s Guide, Wolf City, TX, 1989, p.

18, pl. 15, similar decoys illustrated.

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

$10,000 - $15,000

117

THE WARD BROTHERS 1896-1984 AND 1895-1976 | CRISFIELD, MD

239

239 Rigmate Pintail Pair

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

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

PROVENANCE: Bud Ward Collection Private Collection, New York Private Collection

118

LITERATURE: Richard W. Oliver Auction Gallery, Rare and Important American Bird Decoys, July 2–3, 1988, lot 454, exact pair illustrated.

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

$12,000 - $16,000

240

242

241

243

240 Hollow Black Duck

Nathan Rowley Horner (1882-1942) West Creek, NJ, c. 1920 15 1/2 in. long

A classic hollow New Jersey decoy by one of the region’s top makers. Original paint with gunning wear. The head has been professionally reset with touch-up.

PROVENANCE: Dr. Morton D. Kramer Collection LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 107, related example illustrated.

242 Cast Iron Canvasback Wing Duck Pair Charlestown, MD, c. 1880 15 in. long

As found.

243 Cast Iron Canvasback Wing Duck Pair Charlestown, MD, c. 1880 15 in. long

As found.

241 Bluebill

Robert “Bob” McGaw (1879-1958) Havre de Grace, MD, c. 1940 13 1/2 in. long

A bluebill displaying a “R McGAW” brand on the underside. Original paint with minor gunning wear and an original imperfection to left side.

PROVENANCE: Dr. Morton D. Kramer Collection

119

244 Rocking-Head Bufflehead Drake

244

Roland Clark (1874-1957) New York, NY, c. 1920 12 in. long

A rare, if not unique, rocking-head bufflehead by this famed sporting artist and author. A sticker on the bottom indicates that Clark was issued a patent (# 113171958) for his design.

This is the finest Clark decoy we have handled.

A related black duck is in the collection of the Shelburne Museum in Vermont. In addition to the bobbing action of the head, the bird is distinct with its vertical lamination construction with cork outer edges to make the decoy lighter.

Branded “R.C.” on the underside. Included with the bird is John Ordeman’s monograph on the maker. Original paint with light gunning wear and a small chip to underside of the bill. $800 - $1,200

245

245 Black Duck

Charles R. Welles (1895-1979) Stratford, CT, 1940 17 1/2 in. long

A hollow decoy with a pinched breast and slightly turned head. Branded “CRW” on the bottom board. In Welles gunning paint with even gunning wear.

PROVENANCE: Charles

246

R. Wells Rig

246 Black Duck

Willard C. Baldwin (1890-1979) Stratford, CT, c. 1915 16 1/2 in. long

A hollow, snuggle-head black duck by this early Connecticut maker who was a hunting companion of Shang Wheeler’s.

Original paint with repair to bill chip. $1,200 - $1,800

120

CHARLES E. “SHANG” WHEELER 1872-1949 | STRATFORD, CT

247

247 Canada Goose

Charles E. “Shang” Wheeler (1872-1949) Stratford, CT, c. 1930 26 1/2 in. long

A rare “working” cork-bodied goose decoy by the famed Stratford maker. Shang used pine for the head and bottom board. Of a rigmate, Shang scholar Dixon MacD. Merkt writes, “This goose, once actively gunned over, is another example of Wheeler’s ability to transform a utilitarian cork decoy into pleasing sculpture.” Only a few working goose decoys by Wheeler have ever been found.

Original paint with gunning wear and flaking to cork.

PROVENANCE: Theodore S. Harmon Collection LITERATURE: Decoy Magazine, May/June 1995, p. 35, exact decoy illustrated.

Dixon MacD. Merkt, Shang: A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, p. 54, rigmate illustrated.

$5,000 - $8,000

121

248

248 Green-Winged Teal Pair Cameron T. McIntyre (b. 1968) New Church, VA, 1996 drake is 11 1/2 in. long

An early matched pair by the maker, McIntyre’s carving abilities and and mastery of paint are on full display with this exquisite duo. Very good original condition. $3,000 - $5,000

249 Stick-up Mallard Drake Reggie Birch (b. 1953) Chincoteague, VA, 2015 mallard is 15 1/2 in. long

A well-crafted hollow carving made in the style of a Charles Hart decoy, the bird is designed to flap its wings and turn its head when a wire attached to its back is pulled.

The underside of the base is signed and dated and the the underside of the bird has the maker’s incised “R Birch” signature. Good original paint, the wings and head are a tad stiff when the wire is pulled.

122

249

MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

250

251

250 Eider with Mussel Mark S. McNair (b. 1950) Craddockville, VA, 2020 19 1/4 in. long

A grand eider drake dining on a mussel with an uplifted head. The hollow body is finished with delicate raised wing carving. This decoy exemplifies the maker’s high standards of sculptural form as well as his meticulous application of paint. Original paint with minimal wear.

251 Wood Duck Hen

Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 14 1/2 in. long

A Hudson-style carving with the maker’s incised “McNAIR” on the underside. Original paint with darkening where paint has flaked to wood.

LITERATURE: Zac Zetterburg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 109.

$3,000 - $4,000 123

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

252

254

253

255

252 Godwit

254 Running Red Knot

A godwit displaying raised wings. This bird bears the maker’s incised signature on the underside. Original paint with minimal wear.

A robin snipe with pronounced raised wings and the maker’s incised “McNair” signature on the underside.

Original paint with minor wear.

PROVENANCE: Dr.

PROVENANCE: Dr. Morton D. Kramer Collection

Mark S. McNair (b. 1950) Craddockville, VA, c. 1985 14 in. long

Morton D. Kramer Collection

253 Summer Yellowlegs Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 13 in. long

A summer yellowlegs with raised wings, stippled paint detail, and an incised signature by the maker on the underside. Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

124

Mark S. McNair (b. 1950) Craddockville, VA, c. 1985 9 1/2 in. long

255 Yellowlegs

Mark S. McNair (b. 1950) Craddockville, VA, c. 2005 15 in. long

A long yellowlegs displaying the maker’s incised “McNAIR” signature on the underside. Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection

256

258

257

259

256 Feeding Dowitcher

258 Tern

A dowitcher shorebird decoy with incised and dropped wings and the maker’s incised signature on the underside.

Original paint with minimal wear.

A graceful tern carving with a bone bill and the maker’s incised signature on the underside. Original paint with minor wear.

PROVENANCE: Dr. Morton D. Kramer Collection

PROVENANCE: Dr. Morton D. Kramer Collection

257 Feeding Ruddy Turnstone and Peep

259 Pintail Drake

Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 10 1/2 in. long

Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 8 in. long

Two Verity-style shorebirds. Each is signed by the maker on the underside with an incised “McNAIR.” Original paint with minor wear.

PROVENANCE: Dr. Morton D. Kramer Collection

Mark S. McNair (b. 1950) Craddockville, VA, c. 1990 11 1/2 in. long

Ian T. McNair (b. 1981) Belle Haven, VA, 2020 19 in. long

A sprig-tail drake with a slightly turned head and an inlaid hardwood tail. The decoy is signed by the maker with an incised “I McNAIR” on the underside. Original paint with minimal wear. $500 - $700

125

MARTIN HANSON B. 1965 | PRIOR LAKE, MN

260 Black-Bellied Plover Martin Hanson (b. 1965) Prior Lake, MN, c. 2018 9 1/2 in. long

260

A Crowell-dust-jacket-style plover with the maker’s incised “MH” signature. Original paint with minimal wear.

261 Golden Plover

261

Martin Hanson (b. 1965) Prior Lake, MN, c. 2018 10 1/2 in. long

A Crowell-dust-jacket-style plover with the maker’s incised “MH” signature. Original paint with minimal wear.

262 Canvasback Pair

262

Martin Hanson (b. 1965) Prior Lake, MN, 1992 drake is 16 in. long

A matching pair with special remarques by the maker painted on the keels of each. Fine original paint.

PROVENANCE: Private Collection, North Dakota

$800 - $1,200

126

JIM SCHMIEDLIN

1945-2015 | BRADFORD WOODS, PA

263

264

263 Exemplary Redhead

264 Exceptional Green-Winged Teal

A turned-head hunting decoy with a weighted keel. The carver’s “Jim Schmiedlin, Bradfordwoods, PA. Reward For Return” painted patch and “JAS” brand are displayed on the underside, along with pencilled hunting notes.

Original paint with minimal wear.

This unrigged teal decoy is branded, signed, and dated by the maker on the underside. Original paint with minimal wear.

Jim Schmiedlin (1945-2015) Bradford Woods, PA, 2003 14 1/2 in. long

Jim Schmiedlin (1945-2015) Bradford Woods, PA, 1992 14 in. long

PROVENANCE: Private Collection, Michigan

$2,000 - $3,000

127

JOHN MCLOUGHLIN 1911-1985 | BORDENTOWN, NJ

265 High-Head Wood Duck

265

John McLoughlin (1911-1985) Bordentown, NJ, 1964 13 1/2 in. long

One of the rarest and finest McLoughlin carvings to come to market in some time. This expressive wood duck features a high head and an upswept tail. The underside of the hollow body is signed and dated 1964. Original paint with minimal wear and very minor touch-up to a small spot on left side.

PROVENANCE: Private Collection, New York

$3,000 - $5,000

266

266 Preening Mallard Drake John McLoughlin (1911-1985) Bordentown, NJ, 1954 15 1/2 in. long

A hollow preening mallard signed and dated 1954. Original paint with minimal wear.

PROVENANCE: Private Collection, New York

$2,000 - $3,000

267

267 High-Head Mallard

John McLoughlin (1911-1985) Bordentown, NJ, 1957 17 1/2 in. long

A hollow mallard with a high and turned head, signed and dated 1957. Original paint with minimal wear.

PROVENANCE: Private Collection, New York

$1,500 - $2,500

128

268

269

268 Pintail Pair

Howard Davis Berkeley, CA, c. 1920 drake is 15 in. long

A well-documented pair by this elusive maker who was a fireman by trade. Few of his early style decoys have ever surfaced. Original paint with even gunning wear and an age line at the hen’s neck seam.

269 Calling Bluebill

Robert J. Billings (1936-2009) Minocqua, WI, c. 1980

A hollow, open-billed calling bluebill drake displaying incised wing and tail carving. In original paint with minimal wear.

PROVENANCE: Private Collection, North Dakota LITERATURE: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Portland, OR, 1989, p.

218, exact decoys illustrated.

$1,500 - $2,000

129

KEITH MUELLER

B. 1956 | KILLINGWORTH, CT

270 Preening Wood Duck

270

Keith Mueller (b. 1956) Killingworth, CT, 2020 12 in. long

By one of the top contemporary makers today, carving in the traditional gunning stool fashion, this is one of the maker’s finest decoys that we have ever handled.

This traditional Stratford School preening decoy displays carved bill detail, comb-feather paint on the sides, and raised wing tips. The underside displays the maker’s “Keith Mueller” signature brand. Original condition. $1,400 - $1,800

271 Sleeping Black Duck

271

Keith Mueller (b. 1956) Killingworth, CT, 2020 16 1/2 in. long

Made for a black duck hunter, one would be hard pressed to find a better gunning stool to seek the wariest of wildfowl. Detail oriented, Mueller has gone so far as to paint feathers across the entirety of the bottom of the decoy. Original paint with minimal wear. $2,000 - $3,000

272 Preening Canada Goose

272

Keith Mueller (b. 1956) Killingworth, CT, 2020 25 in. long

An elegant preening Canada goose with fine paint detail by one of New England’s top contemporary decoy carvers. Though conjuring images of Crowell’s million-dollar goose, Mueller has creatively added elements of Shang Wheeler’s carving style, creating a unique hollow decoy. The underside is marked with the maker’s circular and signature brands. Original paint with minimal wear. $3,000 - $4,000

130

273

273 Heron

David B. Ward (b. 1947) Essex, CT, c. 2000 34 1/2 in. tall

A very rare life-size hollow heron decoy with the maker’s “DBW” stamp. Original paint with minimal wear.

PROVENANCE: Private Collection, Midwest

$1,500 - $2,500

274 Passenger Pigeon Tree

Ken Kirby (b. 1946) Little Egg Harbor, NJ, 2014 tree measures 40 in. tall pigeons measure between 12-15 in. long

274

A very well-conceived display showcasing the maker’s very best work. As found.

PROVENANCE: Eddie Woodin Collection

131

JOHN VULCANI LASALLE, IL

275 Life-Size Woodcock John Vulcani LaSalle, IL, c. 2019 10 in. long

275

A turned-head woodcock with fine carving and paint detail. This carving is initialed with the maker’s stylized “JV” on the underside. In original condition.

276 Life-Size Dove

276

John Vulcani LaSalle, IL, c. 2019 9 1/2 in. long

A turned-head dove with fine carving and paint detail. This carving is initialed “JV” by the maker on the underside. In original condition.

277 Indigo Bunting

277

John Vulcani LaSalle, IL, c. 2019 5 in. long

An indigo bunting with fine carving and paint detail mounted on a knotted wood base. The underside of the base bears the maker’s “JV” signature and species designation. Original paint with minimal wear.

132

278

280

279

281

278 Blue-Winged Teal Hen

280 Black-Bellied Plover

This early competition decoy is signed by the maker on the bottom; it also retains the “1971 U. S. National Decoy Show” label on the underside.

Original paint with minimal wear.

A decorative plover with dropped wings. “Glassford” is written on bottom of base. Original paint with minimal wear.

Jim Foote (1925-2004) Pt. Mouille and Gibraltor, MI, c. 1971 11 in. long

Al Glassford (b. 1927) Scarborough, Ontario, Canada, c. 1960 9 in. long

PROVENANCE: Private Collection, Michigan PROVENANCE: Private Collection, Michigan

281 Shoveler Competition Decoy 279 Three Waterfowl Carvings Robert G. Kerr (b. 1935) Smith Falls, Ontario, Canada mallard is 11 1/2 in. long

Three carvings by the award-winning Canadian maker.

The blue-winged teal hen has a slightly turned head, finely carved raised-wing detail, and a burnt maker signature and 1974 on the underside. The unpainted sleeping teal (not illustrated) bears the maker’s inked signature and 1988 on the underside. The miniature tundra swan features carved bill detail, a slightly turned head, paddle-tail carving, and an inked signature and Sept. 1977 on the underside. Original paint with minor wear.

Henry P. Megargee (1887-1978) Brigantine, NJ, c. 1970 15 in. long

An award-winning shoveler by this longtime New Jersey collector and carver displaying incised carving on bill, primaries, and split tail. The underside bears the initials “HPM” incised twice and the inked inscription “2nd in Class U.S. Nat’l Decoy Show Babylon, L.I. 1972.” Excellent original paint with minor wear.

PROVENANCE: Estate of Alfred F. King III

133

282 Flying Mallard Drake

282

Charles Hart (1862-1960) Gloucester, MA, c. 1930 13 3/4 in. tall by 18 3/4 in. long

A flying mallard carving mounted on a wooden plaque. Original paint with light wear.

PROVENANCE: Private Collection, Midwest

$1,000 - $1,500

283 Outstanding Black Forest Bear c. 1890 17 in. long

283

A turned-head bear with finely carved detail. Original paint with minor chips and rubs. $3,000 - $5,000

284 Hand-Carved Brook Trout Creel

284

15 in. long

A well-executed hand-carved wooden creel with two leaping brook trout and other decorative motifs. Though made of wood, the creel is surprisingly lightweight and fully functional. In good overall condition with minor fishing wear.

PROVENANCE: Private Collection, Maine

134

LAWRENCE C. IRVINE 1918-1998 | WINTHROP, ME

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

285 Rainbow Trout

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1955 20 in. fish, 28 1/2 in. plaque

285

A large rainbow mounted on a faux-birch plaque. This carving represents a hard-to-find species and the maker’s very best work. Signed by Irvine on the back. Original paint with minor wear.

PROVENANCE: Private Collection, Midwest

$1,500 - $2,500

286 Rare Brown Trout

286

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1955 18 1/4 in. fish, 23 3/4 in. plaque

Signed by the maker on the back of the faux-birch board.

Original paint with minimal wear. Possible small chip to roof of the mouth.

PROVENANCE: Private Collection, Midwest

$1,200 - $1,800

135

LAWRENCE C. IRVINE 1918-1998 | WINTHROP, ME

287 Brook Trout

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1978 15 3/4 in. fish, 20 in. plaque

287

Signed by the maker on the back and includes angler’s inscription. Original paint with minimal wear.

PROVENANCE: Private Collection, Midwest

$1,000 - $1,500

288 Land-Locked Salmon

288

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1955 15 in. fish, 19 1/2 in. plaque

Original paint with light wear and minimal touchup to a reset pectoral fin.

PROVENANCE: Private Collection, Midwest

$1,000 - $1,500

289 Large Brook Trout

289

Lawrence C. Irvine (1918-1998) Winthrop, ME, c. 1955 18 in. fish, 29 in. plaque

A very good example by this popular Maine fish carver. Signed by the maker on the back. Original paint with light wear.

PROVENANCE: Private Collection, Midwest

$1,200 - $1,800

136

290

292

291

293

294

290 Brown Trout Model

W. Farren Cambridge, England, c. 1910 plaque is 16 by 33 in. signed “Modelled by W. Farren Cambridge” lower right inscribed on the wood frame “Caught by Captain L. H. Thornton (Late Rifle Brigade) August 27, 1910. Weight 10 Lbs 10 Ozs. Time taken in landing 2 Hours 5 Minutes.”

A plaster relief of a twenty-seven-inch brown trout. According to Swanson, “As an alternative to taxidermy and effigies the British also made plaster of Paris “casts” of fish. A mold was carefully made from the dead fish and then wet plaster was poured into it, forming an exact replica of the fish. When dry, the resulting casting was painted by an artist to replicate the live fish, and then it was mounted on a backboard and framed or put behind glass.” Original paint, as found.

PROVENANCE: Ronald S. Swanson Collection LITERATURE: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, pp. 25-26, p. 26, exact carving illustrated.

291 Brown or Lake Trout Tupper Lake, NY, c. 1920 24 1/4 in. long

A full-bodied carving with metal teeth and fins. Found near Tupper Lake in the middle of the Adirondack Mountains. Swanson writes, “This trout family model is early, perhaps from the 1920s or even earlier, and it’s made like an ice-fishing decoy - full bodied with metal fins - however it is only painted on the left side so it’s defiantly a display piece.” As found.

PROVENANCE: Ronald S. Swanson Collection LITERATURE: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, p. 114, exact carving illustrated.

293 Atlantic Salmon c. 1950 26 1/2 in. long

A carved and painted fish trophy plaque with “Caught by J. A. Campbell” written on the back. Original paint, as found.

PROVENANCE: Ronald S. Swanson Collection LITERATURE: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, p.

114, exact carving illustrated.

294 Payne Trout Rod 292 Brook Trout

Charles E. “Shang” Wheeler (1872-1949) Stratford, CT, 1906 watercolor and ink, 6 by 13 in. signed and dated “Shang ‘06” lower right

This ten-and-one-half-inch brook trout is one of the earliest known examples of Shang’s trophy fish drawings. Slightly faded, paper cut to oval and laid down on mat board, and discoloration along edges.

E. F. Payne Rod Co. (1894-1968) Highland Mills, NY, 1920 7 ft., 8 in.

A very lightweight trout rod with “SOLD BY, ABERCROMBIE & FITCH CO., NEW YORK.” and “PAYNE, REG. U.S. PAT. OFF.” engraved on reel seat. As found, approximately 2 3/4 in. missing from one tip.

PROVENANCE: Private Collection, New York Private Collection, Massachusetts

PROVENANCE: Ronald S. Swanson Collection LITERATURE: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, p. 97, illustrated.

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INDEX

BY LOT

138

Abbett, Robert K.: 47

Green, Roland: 116

Megargee, Henry P.: 281

Adamson, Harry Curieux: 82

Gromme, Owen J.: 27

Monroe, Lanford: 40-42

Allen, David: 1

Haertel, Harold: 232

Morgan, Jim: 48

Allen, Gordon: 16

Hagerbaumer, David A.: 29-31

Morton Rig, W. S.: 198

Bailey, Capt. Clarence I.: 180

Hanson, Martin: 260-262

Mueller, Keith: 270-272

Baldwin, Willard C.: 246

Hart, Charles: 179, 282

Nelson, Ellen: 221

Barker, Al: 68-70

Hawthorne, Davison B.: 151

Osthaus, Edmund H.: 88

Benson, Frank W.: 90-99

Higgins, Eugene: 117

Palenske, Reinhold H.: 109

Billings, Robert J.: 269

Hill, Howard (attr.): 38

Parker, Lloyd: 144

Birch, Reggie: 249

Hodges, Dave: 20

Pelzer, Peter: 222

Bishop, Richard E.: 100, 111, 115

Holmes, Lothrop Turner: 176, 200

Peterson, Roger Tory: 86, 121

Blum, Alexander A.: 117

Horn, John: 194

Phillips, John C.: 120

Bohl, Walter E.: 113

Horner, Nathan Rowley: 240

Pinkham, Capt. Merritt P.: 178

Browne, George: 9-11

Hudson, Ira D.: 205, 235

Pleissner, Ogden M.: 39

Buchner, Frank W.: 229

Hunt, Lynn Bogue: 83

Reneson, Chet: 59-63

Burr Family: 207, 208

Irvine, Lawrence C.: 285-289

Ripley, Aiden Lassell: 17, 18, 107-109, 112

Cameron, Judge Glenn J.: 225

Jaques, Francis Lee: 21, 22, 45, 76, 101

Rosseau, Percival: 103

Chapple, Dave: 49

Johnson, Lloyd: 233

Rungius, Carl: 2-8

Clark, Roland: 25, 26, 102, 109, 119, 244

Jones, Joe: 117

Sander, Tom: 55

Classic Decoy Series: 122

Kerr, Robert G.: 231, 279

Schaldach, William J.: 110

Clem, Robert Verity: 84, 85

Kirby, Ken: 274

Schatz, Manfred: 46

Coffin, Charles F.: 191

Kirmse, Marguerite: 104-106

Schmiedlin, Jim: 263, 264

Cook, Arthur M.: 50, 65

Kleiber, Hans: 114

Shourds, Harry V.: 178a, 196

Crowell, A. Elmer: 157-168, 171, 201, 202,

Kuhn, Bob: 44

Sloane, Eric: 19

209-213

Lacy, Sally Martyn: 51

Sprague, Capt. Jonas: 195

Daly, Thomas Aquinas: 12, 66, 67

Lattig, Bruce: 56-58

Steell, David George: 37

Davis, Howard: 268

Lawrence, Melvin Gardner: 169, 170

Swan, John: 23, 24

Dawson, John: 193

Lawson, Oliver “Tuts”: 131-136

Thorburn, Archibald: 72-75

de Groot, Ewoud: 43

Lazarus, David: 15

Thorne Rig, Edwin: 148

Dilley, John: 147

LeBlanc, Lee: 71

Tunnicliffe, Charles Frederick: 77

Driscole, Harry A.: 36

Lincoln, Joseph W.: 172-175, 177, 199

Ullberg, Kent: 54

E. F. Payne Rod Co.: 294

Little, A. Platte: 35

Verity, Obediah: 146, 197

Ede, Basil: 80

Maass, David A.: 28

Vulcani, John: 275-277

Eland, Ric: 118

Madlem, Bruce S.: 53

Ward Brothers: 137-143, 153, 155, 237-239

Farren, W.: 290

Malick, Donald L.: 64

Ward, David B.: 273

Foote, Jim: 278

Mason Decoy Factory: 223, 224, 227, 228

Weaver, Steve: 214-217, 220

Frazier, Luke: 13, 14

Matteson, Bruce: 52

Weber, Walter A.: 81

Frost, Arthur Burdett: 87

McAnney, John: 145

Welles, Charles R.: 245

Fuertes, Louis Agassiz: 78, 79

McGaw, Robert “Bob”: 241

Wheeler, Charles E. “Shang”: 176a, 247, 292

Gilley, Wendell: 218

McIntyre, Cameron T.: 248

Whittington, Hector “Heck”: 230

Glassford, Al: 280

McLoughlin, John: 265-267

Wyre, Capt. William J.: 149

Goodwin, Richard LaBarre: 32-34

McNair, Ian T.: 259

Graves, G. Bert: 178b, 226

McNair, Mark S.: 123-130, 250-258

COPLEY 2020 ILLUMINATING THE LEGACIES OF COLLECTORS

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139

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OUT-OF-STATE DELIVERY AND AUTHORIZED SHIPPING RELEASE FORM I tem(s) will not be released without a signed authorization form from the invoiced buyer. You may include this form with your payment or fax it to 617.266.4896. Payments of cash, check, or bank transfer must be posted to your account before property is released.

If Copley Fine Art Auctions, LLC (Copley) is required to deliver the items to a purchaser outside of Massachusetts the sale is exempt from Massachusetts Sales Tax under MGLA 64H ยง6(b) .

1

Copley is obligated to deliver the items out of the Commonwealth of Massachusetts.

2

Copley is obligated to deliver the items to an interstate carrier as noted below.

3

Title will pass upon delivery to the out of state destination.

4 Please be aware that packing and the payment for shipping is the responsibility of the successful Buyer. Upon making the item(s) available for shipping to the Buyer or its Agent, Buyer shall be responsible for the care and packaging of the item(s). The Buyer shall bear the risk of loss from and after Copley making available such item(s) to the interstate carrier, including the insurance of the item(s) against all risks of loss including without limitation, fire, theft or any other damage to the item(s).

5

Shipping can take up to four weeks and is processed in order in which payment is received.

6 At your option, you may contact one of the interstate carriers listed below, or one of your choosing to arrange for shipping.

Carriers pick up frequently at our offices.

SHIPPING OPTIONS:

The UPS Store #4423 A.J. Yanakakis, Wakefield, MA 781.224.2500 or store4423@theupsstore.com

Boston Pack and Ship* 781.849.8696 or 1.800.400.7204 or info@bostonpackandship.com

Scott Cousins/North South Art Transfer Hand delivery service 978.491.9353 or scottcousins22@aol.com

Print name:

The UPS Store #2631 Bryan Cook, Kingston, MA 781.585.0602 or store2631@theupsstore.com

U.S. Art* 781.986.6500 or 1.800.872.7826 *Specializing in high-value art, large works, and specialty items Place and Manner of Delivery:

(as invoiced)

To an Interstate Common Carrier for delivery out of state:

Shipping Address:

I authorize:

to pick up my items(s) (Please specify Name of Common Carrier)

Sale Date:

Lot #s :

Phone: Email: Signature: (required)

Internal use only Received by: Signature:

Print Name:

Date:

143

is pleased to announce the publication of

ELMER CROWELL Father of American Bird Carving

featuring

Masterworks from The Thomas M. Evans Jr. Collection

by Stephen B. O’Brien Jr. and Chelsie W. Olney

“A masterful presentation befitting America’s finest bird carver...”

–Joe Engers, editor, Decoy Magazine

Over 300 pages and 420 color illustrations. $100.

To order your copy of this definitive book, please visit copleyart.com or call the gallery at 617.536.0536.

144

O. Pleissner |

WR

$345,000

J. Lincoln |

WR

$360,000

A.E. Crowell | $661,250

selling the world’s finest DECOYS AND SPORTING ART

E. Osthaus |

Dovetailed Goose |

WR

WR

$235,750

J. Graham |

$810,000

WR

$216,000

C. Rungius | $460,000

WR

145 Denotes world record for the artist

146

147

148