The Sporting Sale 2019 | Copley Fine Art Auctions by Copley Fine Art Auctions

THE SPORTING SALE 2019 July 25 | Hotel 1620 180 Water Street | Plymouth, MA

THE SPORTING SALE SCHEDULE OF EVENTS

Auction to be held at Hotel 1620 | 180 Water Street | Plymouth, Massachusetts Wednesday, July 24 Dealer Exhibition 4:00PM - 7:00PM Auction Preview 5:00PM - 7:00PM Thursday, July 25 Dealer Exhibition 8:30AM - 4:00PM Auction Preview 8:30AM - 10:00AM Auction 10:00AM

SPECIALISTS Stephen B. Oâ&#x20AC;&#x2122;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 forms found in the back of this catalog. All bids must be received at least twenty-four hours before the start of the sale.

ONLINE BIDDING Live online bidding through Copley Live and Bidsquare

Please review the Terms and Conditions of Sale on page 312 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 3

Front Cover: Lot 96, 230, 275, 275a-c, 277, 353 Inside Front Cover: 275a-c Back Cover: Detail of lot 3 Inside Back Cover: Lot 94, 95, 205, 207, 208, 211, 328, 376 Left Schedule of Events: Lot 4 Left Table of Contents: Detail of lot 14 Right Important Notices: Lot 96 Left Properties Page: Detail of Lot 9

Catalog by: Stephen B. O’Brien, Jr. Cinnie O’Brien Colin McNair Leah Tharpe Chelsie Olney Amy Lunderville, photography Eileen Steward, design Isabel Berger, intern

Printed in the USA

TABLE OF CONTENTS

Schedule of Events

Important Notices

Properties From

Sessions I: Paintings, Works on Paper, and Bronzes

Session II: Decoys and Folk Art

310

Index of Artists and Makers

312

Terms and Conditions of Sale

313

Buyer Pre-Registration Form

314

Absentee/Telephone Bid Form

315

Authorized Shipping Release Form

THE SPORTING SALE IMPORTANT NOTICES 1

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

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

9 Additional images 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 2020. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com. 4 Pre-registration Although you may register at the time of sale, we strongly encourage pre-registration to save you time at check-in. PreRegistration forms are available online, as well as in 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.

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 at the sale must do so on the day of the sale. Buyers wishing to pick up items after the auction at our office may do so only by appointment starting five days after the sale. 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 On site: 617.536.0030 info@copleyart.coom

Auctioneer Peter J. Coccoluto MA License #2428

THE SPORTING SALE July 25 | 10AM Hotel 1620, 180 Water Street, Plymouth, MA

Properties from Jim Bell Collection Jim and Diane Cook Collection Dr. John Dinan Collection David Fannon Collection Alan and Elaine Haid Collection Loy Harrell Collection Ted and Judy Harmon Collection Rusty and Diana Johnson Collection Donald Kirson Collection Dr. Morton D. Kramer Collection Richard LaFountain Collection Doug and Ellen Miller Collection Grant Nelson Collection Dr. S. Lloyd Newberry Collection Henry H. Stansbury Collection Herb Wetanson Collection Roger Young Collection A descendent of Frank W. Benson A descendent of Capt. George W. Combs Sr. A descendent of Harry V. Long A descendent of Henry M. Reed A descendent of Milton C. Weiler Private Collection, California Private Collection, Cape Cod Private Collection, Connecticut Private Collection, Florida Private Collection, Illinois Private Collection, Iowa Private Collection, Long Island Private Collection, Maine Private Collection, Massachusetts Private Collection, South Shore, Massachusetts Private Collection, Midwest Private Collection, New Hampshire Private Collection, New Jersey Private Collection, New York Private Collection, North Dakota Private Collection, Ohio Private Collection, Pennsylvania Private Collection, Rhode Island Private Collection, St. Louis Private Collection, Tennessee Private Collection, Utah 9

THE SPORTING SALE 2019 SESSION I PAINTINGS, WORKS ON PAPER, AND BRONZES JULY 25 | 10AM

WALTER T. MATIA

B. 1953

1 Walter T. Matia (b. 1953) A Sure Thing signed “Matia” on side of base bronze, 11 1/4 by 17 1/2 by 7 in. edition 1 of 24

As Tom Davis writes in Sporting Classics, Walter Matia “paid his dues, assembled a remarkable body of work, and established himself as a wildlife and sporting sculptor of uncommon perception, imagination and reach.” PROVENANCE: Private Collection,

Florida LITERATURE: Tom Davis, “Artist’s Hands, Hunter’s Heart,” Sporting Classics, March/April 2008, pp. 107-111.

$2,000 - $3,000

2 Walter T. Matia (b. 1953)

Canine Bookends, 1995 each signed “Matia” on side of base each bronze, 7 by 4 3/4 by 4 1/2 in. editions 49 and 50 of 100 PROVENANCE: Private Collection, Florida

$600 - $900

3 Arthur Burdett Frost (1851-1928)

Fall Woodcock Shooting, 1885 signed “A. B. Frost” lower right watercolor and gouache, 13 1/2 by 2 1/2 in. titled on a plaque attached to back of frame

Henry M. Reed, author of the original A. B. Frost Book, became interested in Frost in the 1960s when, as a sportsman, he went looking for prints to decorate his office. Reed was initially attracted to the artist’s hunting and fishing scenes. When Reed, who was from New Jersey, learned A. B. Frost was a New Jersey artist, he became even more intrigued. A Newark Evening News article on famous New Jersey artists left Reed wondering why Frost was not included, so he went down to the newspaper’s office and pitched an article on the artist, which was immediately accepted. This started a lifetime of research into Frost and extensive correspondence with his living grandchildren. Reed met the custodian of the estate, Mr. McDonald, and bought some paintings from him. As McDonald was aging, he later asked Reed to become custodian himself. Reed’s family recalls letters and phone calls coming in to the house all the time, requesting authentication and buying and selling works. Over time, Reed was recognized as the leading authority on A. B. Frost. At one point, he owned all twelve original paintings for the famous Shooting Pictures portfolio. He authored The A. B. Frost Book in 1967 and updated it in 1993. His involvement in the art world expanded, and he was on the Board of Trustees of the Montclair Art Museum and on committees for the Whitney Museum and Bucknell University Art Gallery (his alma mater). Reed acquired this painting, Fall Woodcock Shooting, from the Dorrance sale in 1989. He writes: “The late John T. Dorrance, Jr. had been the Chairman of the Campbell Soup Company and Chairman of the Board of Trustees of The Philadelphia Museum of Art...Included in the Dorrance collection were thirteen of the finest A. B. Frost sporting works ever to come to the market. This was an event and opportunity which would probably never present itself again. For the first time, four of the original twelve watercolors from The Shooting Pictures portfolio would be sold, as well as some of the most beloved and famous of all Frost’s work, including Ordered Off, Gun Shy, and The Conciliator. Collectors had always known that the original works from which the famous prints were made must be somewhere. To come upon them ‘face to face’ for the first time was an exhilarating experience.” Reed landed Fall Woodcock Shooting for the top price of the Dorrance sale for a Frost: a strong $85,250, which remained the record for a Frost painting from 1989 until 2015, when Quail - A Covey Rise sold for $180,000. He recalls, “It was

indeed a landmark sale. With competition from sporting artists such as Rosseau, Osthaus, and Pleissner, and in the company of Renoir and Monet, A. B. Frost emerged as the star of this day.” Of the thousands of works that Frost is known to have produced, Fall Woodcock Shooting, with its excellent composition and superb condition, ranks right at the top. The work reveals Frost as one of the greatest illustrators of his generation. The hunter is perfectly positioned as the setters come across the woodcock by a brook, a Frost masterwork in every sense. Reed’s enthusiasm for Frost’s paintings is clear: “Every scene portrayed is one that each of us who has hunted with dog and gun has experienced - the setter staunchly on point, the gun ready, thumb on the safety, and heart pounding as we await the explosive fluttering of wings as the bird flushes...all of these are situations which the artist handles with such realism and familiarity that the viewer is placed squarely in the center of the adventure...The pointing dogs are magnificent - sneaky, noses moist and low, and their weightless balance, with forefoot raised, is perfection. The landscape backgrounds for the shooting pictures signify autumn, with grey morning mist behind the birches, the fallen leaves wet with morning dew...” This painting, as the star of the Dorrance sale, was one of Reed’s prized possessions PROVENANCE: John T. Dorrance, Jr. Collection Henry M. Reed Collection, acquired Sotheby’s, October 1989 Private Collection, New Jersey, by direct descent in the family from the above LITERATURE: Henry M. Reed, The A.B. Frost Book, Charleston, SC, 1993, pp. 83-106, 148-154, dust jacket. Henry M. Reed, The A.B. Frost Book, Rutland, VT, 1967, illustrated. Sotheby’s New York, The Collection of John T. Dorrance, Jr. Catalog, October 18 & 19, 1989, lot 70, illustrated.

$70,000 - $90,000

ARTHUR BURDETT FROST 1851-1928

4 Arthur Burdett Frost (1851-1928)

Grouse Shooting, c. 1895 signed "A. B. Frost." lower left watercolor and gouache, 17 1⁄4 by 25 3⁄4 in.

A. B. Frost was born in Philadelphia in 1851, and spent his most prolific years in New Jersey. Considered one of the great illustrators of the “Golden Age of American Illustration,” he illustrated more than ninety books and produced thousands of illustrations for Harper’s Weekly, Scribner’s, and Life magazines. Frost was an ardent sportsman who spent his summers and autumns fishing, rowing, and hunting ducks and snipe. He completed hundreds of watercolors and oils of the New Jersey seaside and is best known for his hunting and shooting prints, which capture the drama of sport in realistic, detailed settings. Frost lived at his estate, Moneysunk, in Convent Station, New Jersey. Of this painting, Reed writes, "Our grouse shooting scene is particularly noteworthy. The setting is deep in a forest interior, the ground totally covered with new fallen leaves, boulders and a few dead limbs protruding from the forest floor. The hunter, in the midst of a stand of beeches and hardwood trees, is taking aim at a grouse. His weight is forward on his left foot, his slouch hat, wrinkled canvas jacket, and leather boots are meticulous, down to the

metal buckle. The English setter is sublime, still holding his three-legged point, tail straight and extended - a masterful drawing, all done in tones of black, white and sepia." Reed continues, "A sportsman himself, Frost was able to vividly portray the feelings and experience of hunting in his imagery. The appeal of Frost’s shooting pictures lies in the fact that the viewer can relate to the subject and the situation depicted." For this work, since the family had an English setter, Reed was particularly taken with the authenticity of the dog’s pose. PROVENANCE: Henry M. Reed Collection, acquired from Montagu Hankin, Summit, New Jersey, c. 1963

Private Collection, New Jersey, by direct descent in the family from the above LITERATURE: Henry M. Reed, The A. B. Frost Book, Charleston, SC, 1993, pp. 83-85, illustrated.

Peggy Robbins, "The Sportsman's Artist," South Carolina Wildlife, January/February 1978, p. 10-11, illustrated. $25,000 - $35,000

ARTHUR BURDETT FROST 1851-1928

5 Arthur Burdett Frost (1851-1928) Returning Home, 1903 signed in pencil "A. B. Frost" lower left watercolor, 12 1â &#x201E;2 by 8 1â &#x201E;2 in.

Also titled End of the Day's Shooting, this work appeared in color in a 1903 portfolio of Frost's work published by Scribner's which also included Good Luck, Bad Luck, Gun Shy, and Ordered Off. Scribner's also published the images in the October 1903 issue of the magazine. Reed writes, "In 1903, Scribner's produced another set of A. B. Frost shooting pictures, entitled The Day's Shooting. This portfolio consists of six chromolithographs, attractively packaged in a colorful flat box, imprinted with the title and a scene of the hunter and his dog starting out eagerly for 'The Day's Shooting.' On the bottom of the box the hunter and his dog are shown again, trudging homeward after a hard day's hunt...In The Day's Shooting portfolio, Frost displayed his sense of humor and his "human" qualities as an artist. The situations are familiar to all hunters. Success and failure received equal billing. Over the years I have seen three of the six prints in their original watercolor state..."

PROVENANCE: Private Collection, Florida Henry M. Reed Collection Private Collection, New Jersey, by direct descent in the family from the above LITERATURE: A. B. Frost, "The Day's Shooting," Scribner's Magazine, October 1903, p. 408, illustrated.

Judith Garnett Taylor, The Best of A. B. Frost, Morristown, NJ, 1994, no. 92. Henry M. Reed, The A. B. Frost Book, Charelston, SC, 1993, pp. 93, 100, illustrated. Morristown, New Jersey, The Best of A. B. Frost, Illustrator and Artist (1851-1928), The Morris Museum, August 27-December 31, 1994, no. 94.

EXHIBITED:

$6,000 - $9,000

ARTHUR BURDETT FROST 1851-1928

6 Arthur Burdett Frost (1851-1928) Sawney with his Long Rifle, c. 1895 signed “A. B. Frost” lower right watercolor and gouache, 12 by 7 in.

Will Ryan, an outdoorsman and writer and editor for Gray’s Sporting Journal, selected the story “Sawney’s Deer Lick” for inclusion in his 2013 history of hunting and fishing in America. Written by Charles D. Lanier and illustrated by Frost for Scribner’s in 1895, the story follows a narrator and his guide. Ryan prefaces, “If the story of the most dangerous big game is about leaving home, the story about the most treasured big game, the white-tailed deer, is about finding it…The remote woods of the northern Midwest, Maine, the central Adirondacks, western Pennsylvania, and West Virginia were the only regions in the country capable of hosting a deer season in the late nineteenth and early twentieth centuries. Not surprisingly, most of the white-tailed deer stories from the 1890s came from those regions. City hunters relied on guides or locals with inside information to assist them in the hunting, as is the case in Sawney’s Deer Lick.”

his father’s effort at healing through love of the land. By seventeen, Charles was a skilled outdoorsman. After college he moved to New York, where he worked on Wall Street and at the American Review of Reviews and also wrote stories for Scribner’s.”

Ryan continues, “The narrator and his longtime guide were on one of their Allegheny big game hunts when they stopped for a break. ‘I’ve killed some 37 deer from this spring,’ said Sawney Moore, the lanky mountaineer guide, standing ‘with hands clasped over the muzzle of the old mountain rifle, which was long enough to act as a comfortable support for his chin.’”

Private Collection, New Jersey, by direct descent in the family from the above

“In all likelihood, Scribner’s readers read the stillness and purity of nature and the mountain’s tabernacle woodland with a religious frame of mind. In many ways, this was a story author Lanier was born to tell. He was the eldest son of Sidney Lanier…The younger Lanier spent considerable time in the uplands of the Alleghenies and witnessed

This work, depicting an eccentric and accomplished mountain guide at one with his surroundings, conjures a specific moment in the history of hunting in America. PROVENANCE: Henry M. Reed Collection, acquired from Russell Button Gallery, Chicago

LITERATURE: Charles D. Lanier, “Sawney’s Deer Lick,” Scribner’s Magazine, Jan 1895, p. 100, illustrated.

Will Ryan, Gray’s Sporting Journal’s Noble Birds and Wily Trout: Creating America’s Hunting and Fishing Traditions, Guildford, CT, 2013, pp. 133-136. EXHIBITED: Montclair, New Jersey, The World of A. B. Frost: His

Family and their Circle, Montclair Art Museum, April 24-June 19, 1983. $5,000 - $7,000

ALEXANDER POPE JR. 1849-1924

7 Alexander Pope Jr. (1849-1924)

Woodcock and Upland Plover, 1875 signed, dated, and titled “A. Pope Jr. Boston Oct. 1875” on back polychromed wood carving, 16 by 10 in

Alexander Pope, Jr. was born in Boston, Massachusetts, and began his art career as a young boy carving animals from the spare wood of his father’s lumber business. Although Pope had some formal instruction under Boston painter and sculptor Walter Rimmer, he was, for the most part, self-taught. An avid outdoorsman, Pope belonged to the Laurel Brook Club, a fly fishing and shooting club in Uxbridge, Massachusetts. A member from 1902 to 1908, he served on its Executive Committee with Aiden Lassell Ripley

(1896-1969). He was passionate about fishing and hunting and chose these subjects for his paintings and sculptures. PROVENANCE: Private Collection, Utah LITERATURE: “Alexander

Pope, Jr.: One of America’s Most Unrecognized Artist and Sculptors,” Decoy Magazine, July/ August 1999, pp. 40-43. Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, July 22-23, 1975, lot 404, exact carving illustrated. $10,000 - $15,000

EDMUND H. OSTHAUS 1858-1928

8 Edmund H. Osthaus (1858-1928) Covey of Quail signed “Edmund Osthaus” lower left oil on canvas, 24 by 36 in.

Toledo historian and author Jack Paquette writes, “As Edmund [Osthaus] became more prosperous, his lifestyle evolved into one that permitted him to enjoy all of his favorite pursuits simultaneously. Like a migrating waterfowl winging its way south for the winter, Edmund followed the field trials from Canada to Florida, judging dogs in some of the trials or merely painting his favorites in others, all the while hunting the local birds over his own dogs. At the conclusion of these journeys, he would spend time at his lodge in Marianna, Florida, hunting quail and, as always, painting dogs.” Indeed, Osthaus died in January 1928 at his quail hunting property in Jackson County, Florida. Among Osthaus’ body of work, quail appear primarily as the quarry for his pointers. This rare depiction of a brood of quail recalls A. F. Tait’s famous The Cares of a Family and is the result of a lifetime spent in the field. In it, the lively birds feed, peck, and interact with one another in a painterly depiction of their natural habitat that Osthaus knew well. This painting comes from the collection of John E. Veneklasen, a 1938 graduate of the University of Michigan from Grand Rapids, Michigan. He was a partner in the

brokerage firm, W. C. Roney & Co., that had a seat on the New York Stock Exchange. According to his family, “He had many English setter hunting dogs over the years, hunting dogs who were also family pets. He hunted quail, woodcock, and ducks; he also was an avid fly fisherman.” Veneklasen competed in field trials and shared a cabin on the Little Manistee River in northern Michigan with family. He also enjoyed many trips to Alaska and Lake Superior as well as to other places around the world. He instilled a deep appreciation of nature in his children and grandchildren. “This painting hung over the living room fireplace mantel for many years, and was beloved by our family,” his daughter recalls. PROVENANCE:

John E. Veneklasen Collection, Grand Rapids,

Michigan Private Collection, by descent in the family LITERATURE: Jack K. Paquette, “Painting was his life’s work, but dogs were his passion” in Small Town Girl, Toledo, OH, 2013, pp. 123-129.

$25,000 - $35,000

9 Edmund H. Osthaus (1858-1928) On Point, Up Hill signed “Edmund Osthaus” lower right oil on canvas, 24 by 36 in.

Edmund Henry Osthaus was born in Hildesheim, Germany, in 1858, the son of a prosperous farmer who subsequently emigrated to Toledo, Ohio. Osthaus studied at the Royal Academy of the Arts in Dusseldorf from 1874 to 1882 with Andreas Muller, Peter Jansen, Eduard von Gebhardt, Ernst Deger, and wildlife and landscape painter Christian Kroner. In 1883, after studying painting for six years, Edmund Osthaus became an instructor at the Toledo Academy of Fine Arts. He served as the director from 1886 to 1893, refining his painting technique and pursuing his passions: hunting and fishing. In 1893 Osthaus dedicated his full attention to painting, shooting, and field trials. He was a charter member of the National Field Trial Association established in Newton, North Carolina, in 1895. “Edmund Osthaus followed field trials from the fall prairie chicken trials in Canada to the important quail trials in the South in mid-winter, judging, sketching, and sometimes entering his dogs. He was a handsome, powerfully built man,” and his artistic talent combined with his love of dogs enabled him to capture the

essence of the focused working dog while depicting them in precise anatomical detail. “Any painter who paints for shooting men had better be a shooting man himself, for no one is more jealously critical of detail than the man who knows guns and dogs and game... Edmund Osthaus, who trained and shot over his own setters and pointers, transformed oil paint into dog flesh quivering under the stress of a point.” This painting, depicting three hunting dogs who have found their quarry, is among Osthaus’ finest work. The exquisite detail in the faces of the dogs and the quality of the balanced, painterly landscape in the background yields two paintings in one: a landscape and a stunning sporting dog painting, with all the hallmarks of Edmund Osthaus at his best. PROVENANCE: Collection of Jim and Diane Cook LITERATURE: Kay and George Evans, “Dogs that Live Forever,” Field & Stream, Vol. LXXV, No. 2, June 1970, pp. 234-240.

$30,000 - $50,000

EDMUND H. OSTHAUS 1858-1928

OGDEN M. PLEISSNER 1905-1983

10 Ogden M. Pleissner (1905-1983) Duck Hunting signed “Pleissner” lower right watercolor, 18 by 24 in.

This classic Pleissner duck hunting scene, complete with retriever and decoys, hung in the office of a prominent corporate and scientific leader for many years. He was a passionate sportsman who owned a property devoted to native quail hunting near Albany, Georgia, an area known worldwide for quail. He also had a duck hunting property in Missouri. As Peter Bergh writes, “Great sporting artists are great artists who know the habits of wild creatures and have committed to memory every detail of habitat. These are men who have experienced the thrill of an Atlantic salmon or a large trout taking a well-presented fly, the explosion of a bursting covey of quail, sunrise on a duck marsh, running the rapids in a canoe, sleeping under the stars, and in many other ways truly lived in nature. Partly because special

experience is behind all true sporting art, it is in a class by itself, and has had very few masters...One can always sense, in Pleissner’s sporting pictures, that he is painting the things he likes to look at in the places he likes to be… .” This atmospheric work, depicting a duo of hunters, reflects the history of hunting in America and its ties to industry and businessmen who sought relaxation and escape in nature. PROVENANCE: Private Collection, St. Louis, Missouri

Private Collection, California, by descent LITERATURE: Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 73.

$20,000 - $40,000

OGDEN M. PLEISSNER

1905-1983

11 Ogden M. Pleissner (1905-1983) Fishing on the Battenkill signed “Pleissner” lower left watercolor, 14 by 20 1⁄2 in.

Ogden Minton Pleissner was born in Brooklyn, New York, and studied figure painting and portraiture with Frank DuMond and Frederick J. Boston at the Art Students League of New York. Despite growing up in the city, Pleissner was attracted to the outdoors and as a teen he visited dude ranches in Wyoming, where he sketched from life. In later years, Pleissner and his first wife, Mary, were regular guests at the CM Ranch in Dubois, Wyoming. Pleissner wanted to be classified primarily as a landscape painter, who also loved to hunt and fish. During World War II, Pleissner painted for the United States Air Force and Life magazine. During his years in the service, he primarily completed watercolors as the portability and immediacy of that medium accommodated working in the field.

collections, including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Philadelphia Museum of Art, the Brooklyn Museum, the Minneapolis Institute of Arts, and hangs in the offices of the Pentagon, West Point, and the Air Force Academy. Pleissner’s subjects range from the landscapes of Europe to salmon fishing in Quebec and his style is informed by the classical traditions. He is quoted as saying, “A fine painting is not just the subject...It is the feeling conveyed of form, bulk, space, dimensionality, and sensitivity. The mood of the picture, that is most important.” PROVENANCE: Private Collection, Vermont

$20,000 - $30,000

Pleissner’s work is included in more than thirty public

12 Ogden M. Pleissner (1905-1983) Two Watercolors

Quail Hunting in Georgia signed "Pleissner" lower right 6 1/2 by 8 3/4 in. Salmon Fishing on the Restigouche signed "Pleissner" lower left 6 3/4 by 10 1/4 in.

Ralph P. Terrill was the founder of Crossroads of Sport, Inc., the noted sporting art gallery in New York. Prior to forming the gallery, Terrill worked in the book and art department at Abercrombie & Fitch, where he helped popularize the Federal Duck Stamp program by working with Richard Bishop to sell collectible prints of his 1936 design, framed along with the stamp. Terrill was from Lima, New York, and attended Yale University, 1916-1920. He died at age 70 in 1967. Terrill worked closely and personally with Ogden Pleissner through his gallery, handling many of the artist's paintings

over the years. These two watercolors were gifted to Terrill's son, Ralph D., upon his marriage to Ester in 1946. PROVENANCE: Ester and Ralph D. Terrill Collection, received as a wedding gift from Ralph P. Terrill, his father, in 1946

Peter Bergh, purchased from the Ester Terrill Collection, 1999 Private Collection, Vermont $12,000 - $16,000

OGDEN M. PLEISSNER

1905-1983

12.1

12.2

JOHN SWAN B. 1948

13 John Swan (b. 1948)

Three Mile Rapids - Merrimac River, 1992 signed “John Swan” lower right oil on board, 23 by 35 1⁄2 in.

John Swan was born and raised in Maine and studied at the University of New Hampshire. In the 1980s, Swan was painting local rural landscapes until he completed a flyfishing painting that appeared on the cover of “Gray’s Sporting Journal.” This early success with a sporting scene ensured that hunting and fishing subjects would be an integral part of Swan’s work in the years to come. Considered one of America’s foremost sporting and wildlife artists, Swan is equally adept in watercolor and oils. His paintings bring to life fishing and hunting trips to places as far afield as the bonefishing mecca of the Bahamas and Canada’s Gaspe Peninsula. “I paint wherever I can fish,” he admits. The result is a body of spectacularly immediate works set in the world’s premier sporting destinations. Based on firsthand experience, and often “en plein air,” Swan’s paintings are imbued with freshness: the energy

of a tarpon struggling against the line or the quietude of a hunter’s early dawn preparations. Among his distinctions are one-man shows at the American Museum of Fly Fishing, the King Gallery, and the Stephen O’Brien Jr. Fine Arts Gallery. His awards include being named Artist of the Year three times by the Atlantic Salmon Federation, the Ducks Unlimited International Artist of the Year in 1987, and the Bonefish & Tarpon Trust Artist of the Year in 2017. He has illustrated numerous books, including Joseph Bates’ classic Atlantic Salmon Fishing and Thomas McGuanes’s anthology Live Water. $5,000 -$7,000

AIDEN LASSELL RIPLEY

1896-1969

14 Aiden Lassell Ripley (1896-1969) Grouse on a Winter Morning, 1940 signed “A. Lassell Ripley ©” lower left watercolor, 19 by 28 1⁄2 in. titled on four gallery labels 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 mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country’s top artists, including Philip Leslie Hale (18651934) and Frank W. Benson (1862-1951). Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors “en plein air” in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Following a successful one-man

show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects. Along with his contemporary Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art. This bright and vivid watercolor, depicting the artist’s favorite bird, shows Ripley’s full brilliance. PROVENANCE: Collection of Jim and Diane Cook EXHIBITED: Boston, Massachusetts, 125th Anniversary Exhibition,

Copley Society of Art, February 26-March 20, 2004.

$25,000 - $35,000

FRANK W. BENSON 1862-1951

15 Frank W. Benson (1862-1951) Three Geese, 1931 signed “Frank W. Benson” lower left lithograph, 9 1⁄2 by 13 in. Paff #VII, edition of less than 50

This was Benson’s final lithograph. $3,500 - $4,500

16 Frank W. Benson (1862-1951)

Duck Blind, 1925 signed “Frank W. Benson.” lower left etching, 7 7⁄8 by 10 7⁄8 in. Paff #245, edition of 150 PROVENANCE:

Private Collection, New

Jersey $2,000 - $3,000

FRANK W. BENSON 1862-1951

17 Frank W. Benson (1862-1951)

Canada Geese, 1904 inscribed, initialed, and dated “To H.J.- F.W.B. -1904-” lower right ink wash, 12 by 18 in. Goodspeed’s Book Shop, Inc., Boston label on back

A superb early work by the artist showing Benson’s powers of observation and mastery of depicting water and reflections. $5,000 - $8,000

HARRY CURIEUX ADAMSON 1916-2012

18 Harry Curieux Adamson (1916-2012) Autumn Along the Oxbow-Mallards, 1969 signed "Harry Curieux Adamson" lower left oil on board, 26 by 40 in.

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. He 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. His thoroughly detailed landscapes are the perfect backdrop for his accurately painted waterfowl.

Autumn Along the Oxbow-Mallards stands as one of the artist's masterworks with confident brushwork and strong colors. PROVENANCE: Private Southern Collection

Collection of Jim and Diane Cook, acquired from Copley Fine Art Auctions, The Sporting Sale, July 22-23, 2010, lot 128 LITERATURE: Diane K. Inman, From Marsh to Mountain: The Art of Harry Curieux Adamson, San Francisco, CA, 1999, pp. 96-97, illustrated.

$20,000 - $30,000

HARRY CURIEUX ADAMSON 1916-2012

19 Harry Curieux Adamson (1916-2012) Afternoon in Butte Sink, Spring signed "Harry Curieux Adamson-" lower left oil on canvas, 18 by 28 in. PROVENANCE: Private Collection, Utah

$9,000 - $12,000

ROLAND CLARK 1874-1957

20 Roland Clark (1874-1957)

Winter Marsh – Canvasback, c. 1938 signed “Roland Clark” lower left oil on canvas, 24 by 20 in

This painting was made into a print published in 1938 by the Derrydale Press (see lot 88). Roland Clark was known as a premier waterfowl painter. He 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 32

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, Pennsylvania

$10,000 - $15,000

GEORGE BROWNE 1918-1958

21 George Browne (1918-1958) Redhead, Drake signed "George Browne" lower left oil on canvas, 25 by 30 in.

Struck down at the age of forty in a tragic shooting accident, George Browne is known to have completed only a few hundred finished works in his lifetime. The thoughtful rendering of his sporting and wildlife scenes suggests a man full of talent and promise. Due to his untimely death, Browne left behind a limited and highly coveted body of work. Following in the footsteps of artists/sportsmen like Frank W. Benson (1862-1951), Carl Clemens Moritz Rungius

(1869-1959), and Aiden Lassell Ripley (1896-1969), George Browne painted the waterfowl and upland game birds that he also hunted. Browne is known for his deft handling of paint and his incredible attention to detail. $3,000 - $5,000

ERIC SLOANE 1905-1985

22 Eric Sloane (1905-1985)

Shoreline signed “-Sloane” lower right oil on board, 17 1⁄2 by 24 in. titled lower left and signed on back

Eric Sloane was born in New York City in 1905. At an early age, he had an interest in art. After being taught lettering by his neighbor and typeface creator Frederic Goudy, Sloane began painting identification numbers on airplanes out of the factory of Bill Lear, who invented the Learjet. After a few years crossing the country as an itinerant sign painter, the artist began his career in earnest in 1934 with a newspaper ad which read: “Eric Sloane – whose service is now available for oil paintings of your plane or murals of aviation themes invites inquiry concerning art work... Estimates or ideas as sketches without charge.” He soon sold a cloudscape to Amelia Earhart, and would go on to paint an enormous mural of clouds at the Smithsonian’s National Air and Space Museum in Washington, D.C.

While studying clouds for his paintings, Sloane became an amateur authority on meteorology and published several books on the subject. Sloane later shifted his interest to Americana and the landscapes of the Northeast. He was fascinated with antique wooden tools, and became known for painting red barns, stone walls, and covered bridges. PROVENANCE: Private Collection, Utah

$6,000 - $9,000

23 Percival Rosseau (1859-1937)

Irish Setter, 1932 signed and dated “Rosseau 1932” lower right charcoal, 26 by 38 in.

24.1

PROVENANCE: Private Collection, Connecticut

$4,000 -$6,000

24 Peter Corbin (b. 1945)

Two Duck Hunting Drawings one signed “Peter Corbin” lower left, the other signed lower right each graphite, 8 by 11 1/2 in.

One depicting Bud Ward and the other Ron Bauer. $600 - $900 24.2

CHET RENESON B. 1934

25 Chet Reneson (b. 1934)

Casting At Shadows signed “Reneson” lower left acrylic on board, 20 1⁄2 by 34 1⁄2 in.

Chet Reneson graduated from the University of Hartford, Connecticut, in 1960. Reneson’s art teacher, Henrik Mayer, emphasized the importance of simplicity and taught the values of light, dark, and strong. This laid the foundation for Reneson’s unmistakable style. For the past fifty years, Reneson’s painting has remained true to his early mentor’s teaching, encompassing many subjects, including wildlife, duck hunting, upland bird shooting, big game fishing, fly fishing, and Bahamian scenes. Reneson’s work has graced the covers of Sporting Classics, Gray’s Sporting Journal, and Sports Afield, among others. He is a past member of the Connecticut Watercolor Association and the Old Lyme Art Association. He was the Ducks Unlimited Artist of the Year in 1982, the Atlantic Salmon Federation Artist of the Year in 1982 and 2001, and the Bonefish & Tarpon Trust Artist of the Year in 2018. There are two books

published on Reneson’s work, Shadow on the Flats and The Watercolors of Chet Reneson. While Reneson is known primarily for his watercolors, he has produced several dozen acrylics in his lifetime, including this large-scale work. $5,000 - $7,000

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

$5,000 - $7,000

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

$5,000 - $7,000

CHET RENESON

B. 1934

28 Walter T. Matia (b. 1953)

Great Horned Owl, 1986 signed and dated "W.T. Matia © '86" bronze, 27 1⁄2 by 16 1⁄2 by 10 in. edition 3 of 10 planned, only 3 or 4 cast

The artist recalls that this bronze was "a very early piece, perhaps in the first ten that I cast...done at Virginia Art Castings." PROVENANCE: Private Collection, Florida

$2,000 - $3,000

29 Walter T. Matia (b. 1953) Cocksure signed "Matia" on side of base bronze, 14 by 12 by 5 in. edition 29 of 36

PROVENANCE: Private Collection, Florida

$400 - $600

30 Jim Foote (1925-2004) Woodcock in Leaves signed "Jim Foote" on base bronze, 7 by 10 by 6 1⁄2 in. edition 5 of 15

$800 - $1,200

LYNN BOGUE HUNT 1878-1960

31 Lynn Bogue Hunt (1878-1960) Flushed, 1928 signed “Lynn Bogue Hunt” lower right oil on canvas, 32 by 28 in.

Lynn Bogue Hunt was born in rural Honeoye Falls, New York, into a family that ran a small sawmill operation. He grew up with modest means, but spent hours outside exploring the natural surroundings in the woods near his home. He often collected birds and practiced taxidermy, a hobby that led to his accurate portrayal of his wildlife subjects. Hunt contributed illustrations to his own articles as well as cover illustrations to magazines, such as Field & Stream, Sports Afield, and Free Press. During his lifetime, Hunt painted for private collectors and companies, such as DuPont, illustrated over forty books, and produced roughly two hundred and fifty magazine covers. Though he spent

much of his life far from nature in New York City, Hunt had a strong foundation as a knowledgeable outdoorsman, bird hunter, and fisherman, enabling him to accurately capture the essence of the outdoors. With its large scale and vibrant colors, this painting conveys the palpable anticipation of the flush. The work served as the cover of Field & Stream magazine’s August 1928 issue. PROVENANCE: Collection of Jim and Diane Cook LITERATURE: Field & Stream, August 1928, illustrated on cover.

$8,000 - $10,000

32 Dave Hodges (b. 1949) Peck O' Pipers, 2000 signed "Hodges" on base bronze, 8 by 9 by 4 1⁄2 in. edition 7 of 30

Dave Hodges became interested in artwork at a very young age. After graduating with a BS degree from Montana State University in Bozeman, he began his professional career as a bronze sculptor in 1982. Since then, Hodges has created sculptures in a wide array of subjects and sizes, from miniatures to monuments, and authored Book of Bronze: Creating Sculptures from Clay to Bronze. 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. $600 - $800

33 Richard Chashoudian (1931-2012)

Gordon Retriever, 1988 signed and numbered “#1 Ric Chashoudian” on base bronze, 10 1⁄2 by 16 3⁄4 by 9 in. inscribed “CH. BRAWRIDGE TNT OF KRIS” on base

Ric Chashoudian was a larger-than-life figure in the dog world. Born in California, Chashoudian was drawn to dog shows as a boy. He had a long and storied career as a breeder, handler, and judge, and also served in the Army for two years during the Korean War. Fernandez notes in an article about Chashoudian, “In the late ‘70s Ric’s combined skills as a trimmer, breeder, and judge set the stage for his next career as a sculptor. He did countless bronzes on commission that are now in private art collections all over the world. A few of his notable works included a life-size bronze of Barney for the Presidential Pet museum. He also sculpted The Katrina Survivors, a life-size cat and dog perched on a barn door, now displayed at the New Orleans City Hall.” The Gordon setter depicted in this bronze is Ch. Brawridge TNT of Kris, who was the top Gordon setter for 1988, 1989, and 1990, and the number-one Sporting Dog in 1988. TNT was owned by Charles Mann and R. L. Christianson. PROVENANCE: Private Collection, Iowa LITERATURE: Nona Kilgore Bauer, Gordon Setter, Freehold, NJ, 2005, p. 23.

Amy Fernandez, “Remembering One of the Great Dog Men of our Time: Ric Chashoudian,” Canine Chronicle, January 1, 2012, accessed from http://caninechronicle.com/?p=2225 $400 - $600

EWOUD DE GROOT B. 1969

34 Ewoud de Groot (b. 1969)

Resting Teal, 2018 signed and dated "Ewoud" lower right oil on linen, 34 2â &#x201E;5 by 34 2â &#x201E;5 in.

Ewoud de Groot lives and works in Egmond aan Zee, a coastal village in the Northern Netherlands. After receiving a degree in illustration and painting from the Minerva Academy of Art, he began illustrating nature books for a period before pursuing painting full-time in 1999. Today, de Groot is recognized as a rising star in wildlife painting, bringing a truly unique perspective to the genre. His work strives to find both a balance and a tension between the

representational and the abstract, the traditional and the contemporary. For de Groot, painting wildlife is not an exercise in rendering all the exact details. Instead, his work is an ongoing experiment of composition, color, and technique, concerned with conveying a sense of mood and atmosphere found in the natural world. $8,000 - $12,000

LYNN BOGUE HUNT 1878-1960

35 Lynn Bogue Hunt (1878-1960) Striped Bass Fishing signed “Lynn Bogue Hunt” lower left oil on canvas, 22 by 16 in.

Author Jim Casada notes, Lynn Bogue Hunt’s “devotion to hunting and fishing meant that the settings and situations he painted were credible, and unlike the case with some wildlife artists, one almost never encounters a scene painted by Hunt which seems contrived or artificial. Not only did he know his animals, but he understood the wider ramifications of sport as well…Hunt was, in short, an all-around sportsman. No matter what the press of work, he always found time to fish or be afield. He did this partly from a sense of pure pleasure, but he also maintained that sporting activity kept his paintings and illustrations fresh and his artist’s eye true.” Hunt depicted striped bass fishing several times over the course of his career, and drew particular note for a 1936 depiction of Otto Scheer’s famous boat, the precursor of the Boston Whaler. That piece, a Field & Stream cover, depicted striped bass fishing at Montauk Point and was accompanied by a story about striper fishing also by Hunt. As an active sportsman, Hunt accurately portrays the details and spirit of his different pursuits such as striped bass and muskellunge fishing. PROVENANCE: Private Collection, Tennessee LITERATURE: Jim Casada, An Artist’s Game Bag: Lynn Bogue Hunt, Camden, SC, 1993, introduction. Nick Karas, The Complete Book of Striped Bass Fishing, New York, 2016.

$6,000 - $9,000

LYNN BOGUE HUNT 1878-1960

36 Lynn Bogue Hunt (1878-1960) Muskie Fishing signed “Lynn Bogue Hunt” lower right oil on canvas, 30 by 23 in.

Casada continues, “Identifying all of Hunt’s magazine covers would be a research undertaking of considerable magnitude. Among the popular periodicals which used his work regularly were the Saturday Evening Post, Collier’s, Outer’s Recreation, and Outing. But it was his relationship with Field & Stream, spanning parts of five decades, that would become one of the most meaningful and enduring associations in the annals of outdoor literature.” This work, depicting musky fishing, was likely created for a magazine cover. PROVENANCE: Private Collection, Illinois LITERATURE: Jim Casada, An Artist’s Game Bag: Lynn Bogue Hunt, Camden, SC, 1993, introduction.

$8,000 - $12,000

37 Luke Frazier (b. 1970) The Art of Angling, 2008 signed "l. frazier" lower right oil on board, 14 by 20 in.

$3,000 - $5,000 38

38 Brett James Smith (b. 1958) Duck Pond at Dawn signed "Brett J. Smith" lower left oil on linen, 16 by 20 in. $4,000 - $6,000 44

BRETT JAMES SMITH

B. 1958

39 Brett James Smith (b. 1958)

40 Brett James Smith (b. 1958)

PROVENANCE: Private Collection, Utah

$4,000 - $6,000

Salmon Fishing signed "Brett Smith Â©" lower left watercolor, 21 1/2 by 29 in.

Fishing Bridge signed "Brett J. Smith" lower right watercolor, 20 by 28 in.

41 Eric Sloane (1905-1985)

Hyde Park Bridge, VT signed “Sloane” lower right oil on masonite, 18 by 24 in. incised “Hyde Park Bridge, VT” in paint lower left PROVENANCE: Private Collection, Virginia

Private Collection, Wisconsin, acquired from Copley Fine Art Auctions, The Sporting Sale 2015, lot 373 $4,000 - $6,000

42 Arthur Shilstone (b. 1922)

Afternoon on the Miramichi signed “Arthur Shilstone” lower right watercolor, 17 by 21 1/2 in.

$1,500 - $2,500

ROBERT FARRINGTON ELWELL 1874-1962

43 Robert Farrington Elwell (1874-1962) Where Experience Counts signed "R. Farrington Elwell" lower left oil on canvas, 15 by 31 1/2 in. titled "Where Experience Counts - May" on stretcher and on label on back

Robert Farrington Elwell was born in Boston in 1874 to a stone mason. He studied to be a civil engineer and pursued art on the side. While sketching Buffalo Bill Cody's Wild West Show for The Boston Globe in 1892, he caught the cowboy showman's attention. William F. Cody invited Elwell out West, where he went in 1896 and ultimately became Cody's ranch manager and close friend. A 1925 Boston Globe article notes, "In [Elwell's] pictures and writings he lives over again much of the life he lived with Buffalo Bill in the Wild West show, on the ranches, on the prairies, foothills and mountain trails. And you feel the thrill of his enthusiasm for the great outdoors in all the pictures."

The artist's work can be found in the Whitney Western Art Museum at the Buffalo Bill Center of the West in Cody, Wyoming. He died in Phoenix, Arizona, in 1962. PROVENANCE: Private Collection, Iowa LITERATURE: A. J. Philpott, "Wild West lives once more in pictures that Elwell paints," Boston Sunday Globe, April 5, 1925.

$5,000 - $8,000

44 Chet Reneson (b. 1934) Bluebills signed â&#x20AC;&#x153;Renesonâ&#x20AC;? lower left watercolor, 17 1/2 by 28 in. $2,000 - $3,000

45 Michael Ringer (20th-21st century) Market Hunter signed "Michael Ringer" on base bronze, 25 by 12 by 18 in. edition 11 of 100

$1,500 - $2,500

46 Frank Vining Smith (1879-1967) Startled Ducks signed “Frank Vining Smith” lower right oil on board, 17 by 24 in.

Born and raised in South Abington, Massachusetts, Frank Vining Smith grew up sailing and loved other New England outdoor pursuits as well. After graduating from high school, Smith attended the Boston School of the Museum of Fine Arts, where he studied under such notable artists as American Impressionist Frank W. Benson (1862-1951), Phillip L. Hale (1865-1931), and Edmund C. Tarbell (1862-1938). After graduating he worked as an illustrator for several newspapers in New York City and Boston, in addition to painting covers for national publications such as National Sportsman.

47 Basil Ede (b. 1931)

Pintail signed “Basil Ede” lower left watercolor and gouache, 9 3/4 by 15 1/2 in.

$800 - $1,200

48 Maud Earl (1864-1943)

Pintails signed “Maud Earl” lower left watercolor and gouache, 24 by 16 1/2 in.

$300 - $500

After working as a staff artist for the Boston Herald for nearly fifteen years, Smith quit his post to focus on his painting career. He was ultimately rewarded with several one-man shows across the United States and a painting career spanning four decades. PROVENANCE: Private Collection, New Hampshire

$600 - $900

49 Gary Moss (b. 1946)

50 Richard Plasschaert (b. 1941)

$2,000 - $4,000

PROVENANCE: Collection of Jim and Diane Cook

Mallards, 1979 signed and dated "Gary W. Moss 79 ©" lower right oil on canvas, 24 by 36 in.

Fox and Pheasants signed “Plasschaert” lower left oil on board, 24 by 36 in.

$1,500 - $2,000

ROGER CRUWYS B. 1938

51 Roger Cruwys (b. 1938)

53 Roger Cruwys (b. 1938)

55 Roger Cruwys (b. 1938)

$400 - $600

52 Roger Cruwys (b. 1938)

54 Roger Cruwys (b. 1938)

56 Roger Cruwys (b. 1938)

Brittany Spaniel signed “Cruwys” lower center oil on masonite, 12 by 10 in.

German Short Haired Pointer signed “Cruwys” lower center oil on board, 12 by 10 in.

$400 - $600

Golden Retriever signed “Cruwys” lower center oil on masonite, 12 by 10 in.

Setter or Springer Spaniel signed “Cruwys” lower center oil on board, 12 by 10 in.

$400 - $600

Chesapeake Bay Retriever signed “Cruwys” lower center oil on masonite, 12 by 9 3/4 in.

Weimaraner

signed “Cruwys” lower center oil on masonite, 12 by 10 in.

$400 - $600

CHARLES M. RELYEA 1863-1932

57 Charles Mark Relyea (1863-1932) Good Boy signed “R” lower left oil on canvas, 30 by 24 in.

Charles Mark Relyea maintained his painting studio in New Rochelle, New York. He provided illustrations for dozens of book titles throughout the early 1900s, much like fellow illustrator and wildlife artist Charles Livingston Bull (1874-1932). Relyea also painted many covers for St. Nicholas, a magazine for children founded in 1873 which created the Agassiz Association to promote nature and conservation among its young readers. Good Boy and The Hunter’s Dream bear labels from the Ketterlinus Lithographic Manufacturing Company, a noted Philadelphia printing firm that ran into the 1970s. $3,000 - $5,000

58 Charles M. Relyea (1863-1932)

The Hunter’s Dream signed “Relyea” lower left oil on canvas, 30 by 24 in. Ketterlinus Lithographic Manufacturing Company label on back

$3,000 - $5,000

WILLIAM J. KOELPIN SR. 1938-1996

59 William J. Koelpin Sr. (1938-1996)

Screech Owl with Mouse, 1974 signed and numbered “Wm J. Koelpin” on trunk patinated bronze, 14 by 9 by 6 in. edition 10 of 25

William Koelpin was an avid hunter and fisherman from Wisconsin. He went on to become a celebrated sporting artist who excelled in a number of mediums, including bronze, paint, and wood. Throughout his career, he displayed his passion for the outdoors through his accurate and detailed works. His first sold-out exhibit was at the Midwest Decoy Collectors’ annual show in the mid-1970s. Koelpin enjoyed many honors in his time, including the “Best in World” award from the Ward Museum in Salisbury, Maryland, and he was also named “One of America’s Premier Artists” by the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin. $1,200 - $1,500

60 William J. Koelpin Sr. (1938-1996)

Whimbrels with Fiddler Crab, 1974 signed and numbered “Wm. J. Koelpin” on base patinated bronze, 13 by 15 by 18 in. edition 13 of 25 (planned 45)

$3,000 - $4,000

61 William J. Koelpin Sr. (1938-1996)

Pair of Green Herons, 1974 signed and numbered “Wm. J. Koelpin” on trunk patinated bronze, 25 1/2 by 13 by 10 in. edition 13 of 25 (planned 45)

$1,000 - $2,000 53

62 Victor A. Hartkopf (1909-1982) Setter and Pheasants signed “Victor A. Hartkopf” lower right oil on canvas, 28 by 24 in.

Provenance: Private Collection, Connecticut $400 - $600

63 Harry Brown Baker (1868-1941) Five Works (one shown)

Gallop Entrance gouache on board, 22 by 15 in. Saloon Scene ink wash on board, 20 by 15 in. Top Saddle gouache on paper, 11 by 13 1/2 in. Native American Sketch charcoal, 9 by 12 in. Hoof ‘n Hat gouache on paper, 9 by 12 in.

$500 - $800

64 Terry Lee (b. 1948)

Bear signed “Terry Lee” lower right oil on canvasboard, 8 1/2 by 11 1/4 in.

$600 - $900

65 Manner of John Sargent Noble (18481896) Hunter with Musket and Hounds oil on canvas, 47 by 33 in.

$1,000 - $2,000

FRANK W. BENSON 1862-1951

66 Frank W. Benson (1862-1951) Three Prints (one shown) each signed "Frank W. Benson." lower left Sunset at Long Point, 1933 etching, 10 by 7 7⁄8 in. Paff #333, edition of 150 Pair of Pintails, 1930 drypoint, 8 by 10 in. Paff #294, edition of 150 Pintails Passing, 1930 drypoint, 15 by 9 7⁄8 in. Paff #300, edition of 150

67 Frank W. Benson (1862-1951) Two Gunners, 1930 signed "Frank W. Benson." lower left etching, 6 7⁄8 by 11 3⁄4 in. Paff #290, edition of 150

PROVENANCE: Private Collection of Frank W.

Benson

PROVENANCE: Private Collection, New Jersey

By descent in the family to his great grandson

$1,000 - $1,500

$500 - $800

68 Frank W. Benson (1862-1951)

69 Frank W. Benson (1862-1951)

Three Prints (one shown) each signed "Frank W. Benson." lower left

Lone Pintail, 1930 drypoint, 4 1/2 by 6 in. PROVENANCE: Private Collection of Frank W. Paff #303, edition of 150 Benson Chickadee, 1930 drypoint, 5 7⁄8 by 3 7⁄8 in. By descent in the family to his great Paff #296, edition of 150 grandson

$600 - $900

etching and drypoint, 3 by 4 in. Paff #308, edition of 150

Two Black Ducks, 1930 signed "Frank W. Benson." lower left drypoint, 15 by 12 in. Paff #295, edition of 150

PROVENANCE: Private Collection, New Jersey

$800 - $1,200

Flying Bufflehead, 1930

70 Frank W. Benson (1862-1951)

Yellowlegs No. 4, 1928 signed "Frank W. Benson." lower left drypoint on copper, 7 7⁄8 by 9 7⁄8 in. Paff #284, edition of likely 150

PROVENANCE: Private Collection of Frank W. Benson

By descent in the family to his great grandson $500 - $800

71 Frank W. Benson (1862-1951)

Deer Hunter, 1924 signed "Frank W. Benson." lower left etching, 7 7⁄8 by 10 7⁄8 in. Paff #229, edition of 150

PROVENANCE Private Collection, New Jersey

$1,000 - $2,000

72 Frank W. Benson (1862-1951) The Punter, 1927 signed "Frank W. Benson." lower left etching, 7 7/8 by 11 7/8 in. Paff #273, edition of 150

PROVENANCE: Private Collection, New Jersey

$600 - $900

FRANK W. BENSON 1862-1951

73 Frank W. Benson (1862-1951) Heron Fishing, 1919 signed “Frank W. Benson.” lower left drypoint, 3 1/2 by 5 1/2 in. Paff #164, edition of 150

PROVENANCE: Private Collection of Frank W. Benson

By descent in the family to his great grandson $400 - $600

74 Frank W. Benson (1862-1951) Blackbirds and Rushes, 1920 signed “Frank W. Benson.” lower left drypoint, 9 3/4 by 13 7⁄8 in. Paff #170, edition of 150

PROVENANCE: Private Collection of Frank W. Benson

By descent in the family to his great grandson

$1,500 - $2,500

75 Frank W. Benson (1862-1951) After Sunset, 1917 signed “Frank W. Benson.” lower left etching, 6 by 8 in. numbered “34” in pencil lower right Paff #113, edition of 152

PROVENANCE: Private Collection, New Jersey

$300 - $500

76 Frank W. Benson (1862-1951) Running the Rapids, 1927 signed “Frank W. Benson.” lower left etching, 5 7⁄8 by 7 3/4 in. Paff #269, edition of 150

PROVENANCE: Private Collection of Frank W. Benson

By descent in the family to his great grandson

$1,000 - $1,500

77 Frank W. Benson (1862-1951) Riverman, 1920 signed “Frank W. Benson.” lower left etching, 6 by 4 in. Paff #195, edition of 150

PROVENANCE: Private Collection of Frank W. Benson

By descent in the family to his great grandson $1,000 - $2,000

FRANK W. BENSON 1862-1951

78 Frank W. Benson (1862-1951)

Baldpates, 1924 signed “Frank W. Benson.” lower left drypoint, 7 7⁄8 by 9 7⁄8 in. Paff #235, edition of 150

$400 - $600

79 Frank W. Benson (1862-1951)

Three Prints (one shown) each signed “Frank W. Benson.” lower left Black Ducks, 1913 drypoint, 7 1/4 by 6 in. Paff #21, early state before the edition of 35

Black Ducks is Benson’s first plate in pure drypoint. On Set Wings, Frontispiece for Volume Three of the Catalogue, 1923 etching, 4 1/2 by 5 7⁄8 in. inscribed “to Norm 1960” lower center Paff #223, edition of 535 High-flying Ducks, 1917

etching, 8 by 6 in. numbered “107” lower right Paff #128, edition 107 of 150

“To Nora 1938” lower left etching, 8 7⁄8 by 14 in. Paff #287, edition of 150

PROVENANCE: Private Collection of Frank

Essex Marshes, 1930 signed “Frank W. Benson.” lower left etching, 7 by 11 3/4 in. Paff #291, edition of 150

W. Benson By descent in the family to his great grandson $500 - $900

80 Frank W. Benson (1862-1951) Cloudy Dawn, 1922 signed “Frank W Benson.” lower left etching, 9 7⁄8 by 11 7⁄8 in. Paff #215, edition of 150

$200 - $300

81 Four Wildlife Prints

Frank W. Benson (1862-1951) Geese Drifting Down, 1929 signed “Frank W. Benson.” and dedicated

Wide Marshes, 1920 signed “Frank W. Benson.” and dedicated “To Eleanor” lower left etching, 6 7⁄8 by 10 7⁄8 in. Paff #173, edition of 150 Alexander Stern (1904-1994) Rising Mallard signed “Alex Stern” lower right and titled lower left offset print, 13 3⁄8 by 9 1⁄8 in. PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

82 Ogden M. Pleissner (1905-1983)

Hillside Orchard - Grouse Shooting, 1975 signed "Ogden M Pleissner" lower right color print, 16 1/4 by 25 1/2 in. published and copyrighted by the Crossroads of Sport in an edition of 275

$200 - $400

83 Aiden Lassell Ripley (1896-1969) A Turkey Drive, 1966 signed "A. Lassell Ripley" lower right color print, 16 1/2 by 27 in. embossed lower left

$200 - $300

inscribed "Ernest Schiebert" lower left 17 3/4 by 23 1/2 in. edition of 125, published by the Henryville Conservation Club, Inc. in 1973

Two Prints (one shown) each signed "Edwin Megargee" lower right

This print depicts Ned and Bob, two setters seen in Perfection and owned by industrialist and sportsman Samuel G. Allen. Ned, a black and white setter, was featured in a 1920 Country Life article about shooting bobwhite quail in North Carolina by James Boyd.

Honors Even 16 by 19 in. edition 173 of 250, published and copyrighted in 1943 by Frank J. Lowe, New York

LITERATURE: James Boyd, â&#x20AC;&#x153;Bird-Shooting With A Camera,â&#x20AC;? Country Life, Vol. XXXVIII, No. 5, September 1920.

85 S. Edwin Megargee, Jr. (1883-1958)

Bracemates 17 by 20 in. edition 221 of 250, published and copyrighted in 1944 by Frank J. Lowe, New York

84 Milton C. Weiler (1910-1974)

Two Color Prints (one shown) each signed "MC. Weiler" lower right Atlantic Salmon Fishing on the Matapedia 9 by 25 in. edition 315 of 375, published by artist in 1972 Upper Twin Pool, Henryville

Ackermann & Son, Inc., New York, New York

86 Percival Rosseau (1859-1937)

Ned and Bob - Setters, 1925 signed "Percival Rosseau" lower right chromolithograph, 13 1/2 by 21 3/4 in. remarked lower left published and copyrighted in 1925 by Arthur

$300 - $500

87 Joseph Day Knap (1875-1962)

Federal Duck Stamp and Print, 1937-1941 signed "J.D. Knap" lower right print, 6 1/4 by 9 in. titled "Federal Duck Stamp" and dated "1937" lower left published and copyrighted by The Sporting Art Gallery in 1941 in an edition of 260 framed with 1937-38 Federal Duck Stamp

88 Roland Clark (1874-1957)

Two Derrydale Press Prints, 1938 (one shown) each signed “Roland Clark” in pencil lower right hand colored aquatints, 19 3/4 by 15 1/4 in. published and copyrighted in 1938 by The Derrydale Press, New York Winter Marsh - Canvasback edition #82 of 250 Dawn - American Wigeon edition #22 of 250

89 Richard E. Bishop (1887-1975) Map of the Diving Ducks Eiders and Mergansers of North America, 1937 color print, 31 by 27 in. edition 617 of 1000

$200 - $400

90 Roland Clark (1874-1957)

Two Prints (one shown) each signed “Roland Clark” lower right color aquatints Pintails Coming In, 1942 17 1/4 by 20 in. edition #168 of 250, published by Frank J. Lowe, New York Down Wind - Pintail Drake, 1937 19 by 15 in. edition #15 of 250, published and copyrighted by The Derrydale Press, New York

$250 - $500

91 Richard E. Bishop (1887-1975)

Map of the Surface Feeding Ducks Swans and Geese of North America, 1934 color print, 32 by 28 in. edition 617 of 2000 $200 - $400

92 Roland Clark (1874-1957)

Red Heads, 1927 signed “Roland Clark” lower right drypoint, 15 by 12 in. Spady #86, edition of 85 From a sketch at Shinnecock Bay, NY.

$200 - $300

93 after William H. Machen (1832-1911)

Woodcock signed in print “Machen” lower left canvas print, 17 3/4 by 15 in. stamped “Published by Robert Newell & Co. Buffalo, N.Y.” lower right

THE SPORTING SALE 2019 SESSION II DECOYS AND FOLK ART FEATURING

THE DR. MORTON D. KRAMER COLLECTION, SESSION I AND

THE HARMON “DUST JACKET” PLOVER TRIO

Dr. Morton D. Kramer (1926-2018)

Dr. Morton D. Kramer, known to his friends as Mort, was the quintessential self-made man. He was born in the city of Baltimore in 1926 and helped to support his family by working as a delivery boy at a local drugstore when he was thirteen years old. Four years later, young Mort enlisted in the Coast Guard and served his country during World War II. He paid for his college tuition by driving a cab. Through hard work and dedication, Mort would eventually become a physician and then the chief of neurology at St. Agnes Hospital in Baltimore, Maryland. Mort’s steadfast determination and passion for helping others not only propelled his medical career, but would also help to spur the careers of several Chesapeake Bay decoy carvers whom he admired and befriended.

Kramer holding a newly acquired prize with the Wards in front of their Crisfield workshop c. 1965.

he threw a hunting jacket and pants over a suit and tie.” But it was not all about the hunt. As he acquired an appreciation for the birds, Kramer recounts, “sometimes I would just put the gun aside and watch them fly.” Because of his interest in hunting, he started collecting Winchester shotguns, which ultimately led him to attend gun shows. He was attending a gun show in the early 1960s with his good friend, decoy and gun collector Norris Pratt, when he became fascinated by a Ward decoy. Mr. Pratt told Mort that if he wanted to find out more about Ward decoys, he should go directly to the source. At Pratt’s urging, he traveled to Crisfield, MaryCoast Guardsman Kramer c. 1943, shortly after enlisting at age 17.

Mort never encountered a decoy or a gun as a child, but when hospital colleagues invited him to go hunting after work, he was intrigued. He soon became an avid waterfowler. One article reports, “At times, he was so excited,

land to make the acquaintance of a pair of barbers/decoy makers. The ensuing meeting marked the beginning of an important lifelong friendship between Mort and the Ward Brothers, Stephen Wesley Ward (1895-1976) and Lemuel Travis Ward Jr. (1896-1984). Thoroughly impressed with Steve’s hand carving and with Lem’s brushwork, the Ward Brothers’ decoys and decorative

Kramer holding court in his grand decoy room.

carvings began to migrate north from the Eastern Shore workshop to Mort’s home in Baltimore. Over the course of his lifetime, Kramer would collect and curate over one hundred Ward carvings, including some of the brothers’ most important works (see lots 94, 95, 96, and 103). Mort would also go on to assemble a collection of some of the Ward Brothers’ protégé Oliver “Tuts” Lawson’s best carvings (see lots 110, 111, 115, 120, and 121). Dr. Kramer and his wife, Carol Sue, acquired many of these carvings from the Ward Brothers themselves, resulting in countless visits to Crisfield and volumes of written correspondence, all of which strengthened the ties between them (see lot 438). As a testament to the depth of their friendship, the Ward Brothers attended the 1968 wedding of Mort and Carol Sue. The two families shared holidays together, and the Kramer children, Rachel and Andrew, referred to the Ward brothers as Uncle Lem and Uncle Steve. In addition,

Carol Sue, Andrew and Rachel Kramer c. 1976 with Uncle Lem.

Mort helped with the management of many of Lem’s medical issues. In an article profiling Dr. Kramer, he comments on the motivation behind his decoy collecting, “I just enjoy it.

There is a story behind every bird.” The Starr Turned-Head Mallard (lot 101) that Mort acquired perfectly illustrates the allure of decoy collecting. Highly collectible for its unusual form and fine condition, the bird came alive for Kramer with Starr’s telling of the story behind it, chronicled in Decoys of the Atlantic Flyway: “Seems that one day Steve was ordered by the domestic powers that be to go downtown and get a new topcoat. Quite naturally he decided to go by the shore road, which meant crossing the creek at the foot of their road. Just as he started across the creek, a mallard, who was asleep under the bank, felt the alarm. But instead of straightening his head and neck up all the way, as is usual, he just lazily lifted his head from his back and turned it toward Steve. For a good long second they stared at each other. Then they took off in opposite

Legendary New Jersey collector John Hillman (left) meeting with Kramer in Seagirt, NJ, c. 1989.

Oliver Lawson, Charlie Joiner, and Mark McNair, among others. Discussing his flock of waterfowl carvings, he once explained, “Most of the decoys I have are by people I know.” Dr. Kramer later excelled at acquiring pinnacle shorebird decoys, Mason Factory decoys, and early Upper Bay decoys, though he would never meet their carvers. In these instances, he placed significant emphasis on the provenance of his acquisitions. Dr. Kramer, along with Dr. James McCleery and other physicians, was an early proponent in the use of x-ray images and kept detailed records and condition reports.

The Starr Turned-Head Mallard Drake (lot 101) that Steve Ward captured in wood for all-time following his encounter with a startled sleeping green-head.

directions—the mallard out to open water and Steve straight back to the shop to whittle the lazy mallard before he forgot it.” Although Mort collected many things, including cast-iron

His passion for collecting, along with his enthusiasm for local carvers, waterfowling, and the birds themselves, led Kramer to become one of the most important decoy collectors of his generation. To wit, the Waterfowl Festival’s 1984 annual book reports, “Part of his collection was exhibited for the first time at the first Maryland

mechanical banks, antique slot machines, and antique maritime paraphernalia, his true passion was in decoy collecting. Throughout his collecting of early decoys, Kramer placed an emphasis on provenance and published works, acquiring birds from virtually all of the great early collectors, including Earnest, Headley, Mackey, Starr, Hillman, McCleery, Purnell, and O’Brien, among others. Mort’s initial encounter with the Ward brothers proved to be the catalyst for a decoy-collecting passion that spanned sixty years. Because of his friendship with the Wards, Mort later fostered close relationships with some of the Chesapeake Bay region’s best makers, including

Early collector and author Somers G. Headley and Kramer discuss the finer points of a Ward canvasback, c. 1988.

show held in Chestertown in 1963.” Through his ongoing

For almost sixty years, the Kramers made their

efforts, Kramer continually shined a spotlight on the

collection available to a broad audience. During that

early Upper Bay makers, the Wards, Lawson, Joiner, and

period, many prominent collectors made a pilgrimage to

McNair, which, in turn, helped to elevate these artists’

Mort’s great decoy room, which held over 500 gunning

work.

decoys, decoratives, punt guns, and related hunting memorabilia. Always the consummate host, Mort rev-

Mort was well known not only for his quality decoy

eled in answering questions and passionately describing

collection, but also for his generosity and foresight.

the history of his decoys for novice and veteran

Kramer, like many collectors, saw himself as a steward of

collectors alike. And for those who were unable to make

the objects he loved and respected. Ida Ward and Glenn

it to his home, Kramer would set up annually at the

Lawson’s book, The Story of Lem Ward, features a chapter,

Waterfowl Festival in Easton, Maryland, and the Havre

titled “An Era Saved,” dedicated to the Kramer-Ward

de Grace Decoy & Wildlife Art Festival in Havre de

relationship. The authors write: “The Wards were aware

Grace, Maryland, where his decoy and artifact exhibits

of the Kramers’ growing collection and contributed their

presented important historical narratives of Eastern

old tools and patterns…to be stored and saved from de-

Shore carvers. Dr. Kramer exhibited at the Waterfowl

struction...Today, thanks to the loving care and dedicated

Festival for over forty years, since its inception in 1971.

efforts of Morton and Carol Kramer, we can trace the development of American wildfowl art—as it occurred at

Throughout their lives, the Kramers were steadfast in do-

the Ward Brothers’ shop.” Mort was also a supporter of

nating and loaning carvings and other historical material

Ducks Unlimited, the National Wildlife Federation,

to institutions including, but not limited to, the Havre de

Maryland Wildlife Federation, and the Audubon Society.

Grace Decoy Museum and the Ward Museum of Wildfowl Art in Salisbury, Maryland. Today, Mort’s children,

Kramer regularly aided authors and curators in their

Rachel and Andrew, continue in that tradition, donating

research and allowed his collection to be featured in

important works and material to Ducks Unlimited, the

books and exhibits on the Wards and other local carvers.

Ward Museum, and the Havre de Grace Decoy Museum.

Kramer supported artists Paul W. Shertz and Jack R. Schroeder who created several famous prints of Ward

Through his stewardship, Mort Kramer preserved a vital

Brothers working decoys. One print, The Decoys of Lem

part of Chesapeake Bay carving history. Generations

and Steve Ward by Paul W. Shertz, has been widely

of future decoy collectors and enthusiasts will be the

circulated since its publication in 1978 (see lots 94, 95,

beneficiaries of Kramer’s keen eye and foresight. The

103, and 428).

sale of the objects in this catalog gives collectors the opportunity to share in and become a part of the great Kramer legacy. Bibliography Engers, Joe. “Collector Profile: Mort Kramer.” Decoy Magazine, May/June 2006. Engers, Joe. “Mort Kramer: A lifetime of collecting enjoyment.” Decoy Magazine, January/February 2019. Jacques, Kelly. “Dr. Morton Kramer, neurologist and collector of waterfowl art, passes away at 91.” The Baltimore Sun, December 17, 2018. Lawson, Glenn. The Story of Lem Ward. West Chester, PA: Schiffer Publishing Ltd., 1984. Pitrof, Larry. “Alumnus Profile: Morton D. Kramer, ‘55.” The University of Maryland Medicine Bulletin, Winter 2009. Starr Jr., George Ross. Decoys of the Atlantic Flyway. New York, NY: Winchester

The Decoys of Lem and Steve Ward, print by Lem Ward and Paul Shertz, 1978.

Press, 1974. Waterfowl Festival, November 9, 10, and 11, 1984. Easton, MD: Fishergate Publishing Company, Inc., 1984. 65

The Ward Brothers - Lem and Steve by Mort and Carol Kramer, January 1988

Our relationship with Lem and Steve Ward began about

other tools were a pocket knife and sandpaper. For most

thirty years ago (approximately 1960) when old Ward

of the working decoys, Steve did the carving and Lem

decoys in original paint were $20 to $25 and new min-

did the painting. He wrote many poems, some of which

iatures were $20 a pair. The Wards became extended

were printed in the Morning Sun in Baltimore and others

family and, after our first meeting, we began visiting

which he kept on cardboard or odd scraps of paper.

at least once a month. As with family, we shared good

Although a year older than his brother, Steve never

times (birthdays, Lem’s grandson Warde’s high school

seemed to mind that all the attention went to Lem; he

graduation, the annual crab derby, arrowhead hunting

was content to be the Bro. of L. T. Ward & Bro.

with Steve on Watts Island) and bad times (the death of Lem’s wife, Thelma, in 1966 and Lem’s medical prob-

Lem Ward was a born artist. There was greater detail

lems, including bouts of psoriasis). One of our fondest

in his decoy painting than in any other of the decoys

memories is the time Lem and Steve came to Baltimore

produced in this period. He was the first to put “life” into

for our wedding in 1968, a truly rare occurrence for the

his birds, which had turned heads and unusual poses. It

Wards to put on button-down shirts and ties and cross

has been said about his decoys that “Their eyes seem to

the bay bridge.

follow you as you move.” He himself was an innovator in the creation of decorative works. He was one of the first

When our children were old enough, we took them for

to carve preening birds, birds with outstretched wings,

visits with the Wards, year after year, and they began to

and was at the forefront of carving birds on legs with

think of Christmas as being with Uncle Lem, Uncle Steve,

feet, often standing on oak burls. We often heard him

and Aunt Ida (Thelma and Lem’s daughter). The children

say that he did not believe in wood burning or setting

took their annual photograph with Aunt Ida near her

in of feathers, even in decorative carvings. He loved to

Christmas tree and certainly their most vivid recollec-

experiment with shape and with color, and for a time

tions of the holiday center around the Ward family. At

used acrylics, to compare them with oils, but soon went

each visit, Thelma, and later Ida, prepared sumptuous

back to using only oils. Always the artist, his recreation

feasts: soft crabs, crab loaf, fried oysters, com pudding,

was painting canvases with oils, often using scenes of

plate cake, and fresh greens, some of which came from

marshes near his home.

Steve’s garden. Mort acted as the family doctor for all the Wards, and when specialized medical care was required, we saw to it that appropriate referrals were made and brought the folks from “down neck” to our Baltimore hospitals. We stay in touch with Ida, and although the visits are less frequent, we value our friendship with her. Steve Ward was the philosopher of the two: a decoy maker, a poet, and a practical man. He began with a block carved with the handsaw. His most important tool was a Plumb hatchet with a short handle. His only Canada Geese Alighting, 1964, oil on canvas, 18 by 21 in., by Lem Ward (lot 102).

Soft Crab Time In Crisfield By: Steve Ward (c. 1948)

It’s soft crab time in Crisfield, Although it was their friendship we most treasured, we love the decoys we collected and we are happy to help by exhibiting their prized pieces since they never saved

You can hear the hammers ring; They are fitting up the skipjacks

or collected their own work. Some of our Ward Brothers

It’s the first sure sign of spring.

carvings were on exhibit at the first Chestertown show

Bottoms dripping red with copper,

in 1965, the first Salisbury show in 1968, and in more recent years, as part of the artifacts section in the display at the Waterfowl Festival in Easton. We were always flattered when authors used the Wards from our collection

Sides all white and washboards drab; Sails of pearly white are streaming, For it’s time for Crisfield crabs.

in their books and talked to us about our experiences

You can hear the hoops go ringing

with the Ward family. It was a pleasure to work with

For they go up mighty fast;

Byron Cheever, Glenn Lawson, Bob Ridges, and Ron Gard in the preparation of their books about the decoys of the Wards.

You can hear the halyards singing In the wind beside the mast. You can hear the crab gulls chatter,

We are honored to continue to promote the Ward Brothers’ name at the Havre de Grace Museum. It is gratifying that the Havre de Grace Museum has seen fit to recognize Lem and Steve Ward as the great innovators and patriarchs of decoy development that they truly were.

As they circle, dip and scream; For it’s soft crab time in Crisfield, Soft crabs from the Crisfield streams. There goes Duffy in the “Hattie,”

We will always be grateful for having known the Wards,

Fred Tawes in the “Nancy B;”

who led us into the world of carvers and decoys, and we

And a thousand other sailboats,

feel privileged to have the opportunity to talk about them and to exhibit their works.

To the windward and the lee. Steered by hands as strong as rawhide, Hardened by the wind and the brine; To find men today just like them, It would take a long, long time. Yes, it’s soft crab time in Crisfield, And it brings a world of dreams; To go skimming o’er the water, On a June night’s moonlit stream. It is springtime in the woodsland, When all nature seems in rhyms;

Lem discussing the Shertz print.

It is summer in the meadows, But in Crisfield -- soft crab time.

Letter from Paul Shertz to Kramer discussing Lots 94, 95, 102 and 428. 68

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

94 Classic 1936 Canvasback Hen

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1936 16 1/2 in. long

The Ward 1936 canvasback has been heralded as an American bird decoy classic. Of the hundreds that the Wards produced for gunning rigs, it is very difficult to find one in exceptional original paint with its original bill and tail intact. The full body, refined head carving, sterling condition, and provenance of this example place it among the very best Ward canvasbacks to ever be offered for sale. The underside bears both of the Ward brothers’ signatures, Lem’s inked inscription “1936 L. T. Ward – Bros Crisfield, MD. This decoy is on the Shertz print. Lem Ward,” and Kramer’s “MK” brand. Excellent original paint with minimal gunning wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Copley Fine Art Auctions, “The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II,” July 27, 2017, p. 112, lot 40, related decoy illustrated. Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 49, exact decoy illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 76-77, related decoy illustrated. Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 157, exact decoy illustrated. Lemuel T. Ward Jr. and Paul Shertz, The Decoys of Lem and Steve Ward, printed by Phototype Engraving, Philadelphia, PA, 1978, exact decoy illustrated.

$30,000 - $50,000

CLASSIC 1936 CANVASBACKS

95 Classic 1936 Canvasback Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1936 16 in. long

A famous and exceptional sculpture, the Kramer canvasback drake received national acclaim along with the hen (lot 94) as it was chosen for the 1978 Paul Shertz print that depicted “the 11 favorite working decoys of Lem and Steve Ward.” The underside displays both of the Ward brothers’ signatures, the inked inscription “1936 L. T. Ward - Bro. This decoy is on the Shertz print,” the Ward brothers’ ink stamp, the “MK” brand designating the Kramer Collection, and the William H. Purnell Jr. Collection “P” brand. This decoy is a rigmate to the previous lot. Original paint with minimal gunning wear and some working Ward touch-up.

PROVENANCE: William H. Purnell Jr. Collection Dr. Morton D. Kramer Collection LITERATURE: Copley Fine Art Auctions, “The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II,” July 27, 2017, p. 113, lot 42, exact decoy illustrated. Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 49, exact decoy illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 76-77, related decoy illustrated. Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 157, exact decoy illustrated. Lemuel T. Ward Jr. and Paul Shertz, The Decoys of Lem and Steve Ward, printed by Phototype Engraving, Philadelphia, PA, 1978, exact decoy illustrated.

$20,000 - $30,000

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

96 The Earnest-Purnell Humpback Pintail Drake THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1925 17 1/4 in. long

The Ward brothers were among very few carvers who derived commercial success from both hunters and collectors during their lifetimes. In the 1920s, they quickly found local notoriety with carvings such as this pintail. By the 1930s, they were shipping birds to Chicago and California. “The famous decoy contest in 1948,” writes Quintina Colio on the heritage of decoys, “was held in the Grand Central Palace, New York City, sponsored by Schaefer Brewing Company and the winner was the Ward Brothers, from Crisfield, Maryland. Renowned judges included Wm J. Mackey, Jr., Lynn Bogue Hunt and Dr. Edgar Burke.” At the Mackey auctions in the 1970s, a related humpback drake was described as “one of the top birds in the Mackey Collection,” and sold accordingly. The Ward humpback pintail has been an icon of American bird decoys and folk art for decades with the few remaining examples in original paint seen in the nation’s top museums, collections, and publications. Ward authorities Gard and McGrath note that “the pintail

Kramer holding Lot 96.

was Lem’s favorite bird and he shows this preference in the painting of his pintails.” This partiality was supported by their early experiences with the species. In Colio’s American Decoys, Southern historian and collector, and friend of the Wards, William H. Purnell Jr. recounted that in their early days “the Wards were avid duck hunters, gunning the Cedar Island Marsh in Somerset County, Maryland. Steve recalls that they would pole out to their duck blind, shoot all day then they would pole back… a journey of four miles. He said that when he and Lem would approach the sand bar the pintails and the baldpates would jump up and would resemble a cloud of smoke… they enjoyed some of the best shooting on the Chesapeake Bay.” With these experiences, it is not a surprise that many of the brothers’ best early carvings were of pintails and wigeon. Discussing a closely related rigmate, authors Gard and McGrath write, “This decoy is the epitome of the Wards’ Hump Back design, with the head set back and almost touching the back of the bird. The body is rotund but elongated, with a magnificent accent of an exaggerated upward sweeping tail. This bird is an example of the Wards’ design capability in its folkiest period. The paint is original which is extremely unusual for a Ward Hump Back decoy. The presentation of the paint itself is a marvelous combination of stippling, scratch painting, and blending that gives this working bird a feathery appearance. The condition of the paint is excellent considering the age and use of the bird. As might be expected with an early hunting decoy, the tip of the tail is chipped....This decoy is extremely desirable.” A related humpback pintail resides in the Museum of American Folk Art and has also been exhibited at the Metropolitan Museum of Art. That decoy was illustrated in Waingrow’s American Wildfowl Decoys, in which the author writes, “Today, collectors find virtually any carving by the Ward brothers desirable, but none more so than the glorious working decoy of a pintail drake pictured. It shows them at their very best.”

THE EARNEST-PURNELL HUMPBACK PINTAIL DRAKE

“Stephen W. Ward (1895-1976) and his brother Lemuel Travis Ward (1896-1984) of Crisfield, Maryland would eventually go on to become the most prominent Chesapeake Bay carvers of the twentieth century and among the greatest and most influential bird carvers of all time. The brothers worked closely together throughout their lives…Lem, a natural lefty who was born with a deformed left hand, taught himself to paint with his good hand, while Steve exhibited strong carving skills early on, creating dynamic forms for Lem to paint. Surviving Ward decoys from the late 1910s and early 1920s have dramatically humped backs, extended tails, and angled head positions unlike anything that had preceded them. The brothers made decoys only for their own use until their father’s untimely death, when they began to sell their work to local hunters to help support their families.” - Robert Shaw, Bird Decoys of North America: Nature, History, and Art

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

The underside bears Lem’s signature and his later inked inscription “L. T. Ward - Bro. Crisfield, Md. 1930.” Though inscribed 1930 on the bottom, this model is widely accepted as circa 1925. Branded “MK” designating the Kramer Collection and “P” for the William H. Purnell Jr. Collection. This decoy displays all of the features that collectors of early Ward decoys and folk art look for; to wit, it has EarnestPurnell-Kramer provenance. This content resting decoy was made as some of the earliest Ward decoys without eyes. The body has a high humped back and upturned sprig tail. Original paint on a Ward decoy of this age is exceedingly rare. Lem’s original paint here shows a stylish design with scratched detail and an appealing surface. The provenance, form, condition, rarity, and species of this decoy place it as one of the best Ward decoys known to exist. This marks the first time in over forty years that this important decoy has been offered for sale. Strong original paint with even gunning wear, minor old touch-up to some flaking, and partial restoration to tail. PROVENANCE: Adele Earnest Collection William H. Purnell Jr. Collection, acquired from the above Dr. Morton D. Kramer Collection, acquired from the above in 1978

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 30, exact decoy illustrated. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 57, 51, and back dust-jacket cover, related example illustrated. Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1985, pp. 28-29, related drake illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 2-3, related pintail and widgeon illustrated. Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey, Hyannis, MA, Sessions V and VI, July 1974, lot 583, related decoy illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 205 and back dust jacket, related wigeon illustrated. Stacy C. Hollander, American Anthem: Masterworks from the American Folk Art Museum, New York, NY, 2001, p. 366, related example illustrated. Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 8-9, related pair illustrated. Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 157, exact decoy illustrated.

$70,000 - $100,000

THE EARNEST-PURNELL HUMPBACK PINTAIL DRAKE

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

97 Pintail Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1936 16 3/4 in. long

This classic ‘36 pintail drake has a slightly turned head and bears the Kramer Collection incised brand and a “L. T. Ward Bros 1936” inscription on the underside. The bird was owned and gunned over by the Ward brothers’ relative Leonard Ward. The underside is also marked “WO1,” indicating it was the first old Ward decoy that Kramer acquired for his collection. Kramer acquired it twenty-eight years after it was made, alerted to it by Ward protégé Oliver “Tuts” Lawson whom Kramer had recently befriended. Original paint with even gunning wear.

PROVENANCE: Leonard Ward Rig Oliver “Tuts” Lawson Collection, acquired from the above circa 1940 Dr. Morton D. Kramer Collection, acquired from the above in 1964 LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, pp. 42-43, exact decoy illustrated. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 63-64, related decoys illustrated.

$5,000 - $8,000

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

98.1

98 Mallard Drake and Print

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1945 16 1/2 in. long

A superb turned-head gunning decoy, this mallard drake is featured on Jack R. Schroeder’s 1981 Ward Bros. Series print, a framed copy of which is included with this lot. The print features a poem titled “Time To Quit” written by Lem Ward. The print is signed by both Lem and Schroeder. The balsa mallard’s underside bears the date “1945,” the signature of Lem Ward, and Schroeder’s signature and inscription “Model for Plate IV of my Ward Bros. Series Paintings.”

98.2

The blended coloring on the back and speculums of this bird is noteworthy. Excellent original paint with even gunning wear and slight blunt to right edge of tail. PROVENANCE Dr. Morton D. Kramer Collection, acquired in Easton, Maryland in 1980 from a gentleman collector from Ocean City, Maryland LITERATURE: Bob Ridges, Decoy Ducks, New York, NY, 1988, pp. 33 and 157, exact decoy illustrated. Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, pp. 23 and 117, exact decoy illustrated.

$2,000 - $4,000

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

99 Important 1936 Broadbill Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1936 15 1/4 in. long

When Dr. Kramer purchased this bird, green felt covered its underside. Because of its near pristine condition, he considered that the bird may be too good to be true, so he brought it to Steve Ward. The carver of the decoy then removed the felt to reveal a Ward marking on the underside. This exceptional 1936 broadbill drake is in pristine condition and appears to have gone straight to the mantle. The full body echoes the earlier humpback design and has a fine paddle tail. The back and side are finished with Lem’s best stippled paint technique. The alert head is turned to the left and features a wide flared bill. The underside is signed, dated, and inscribed “Dr. Kramer Collection” by Lem Ward. It also bears the Kramer “MK” brand. This decoy stands as one of the best Ward scaup and this marks the first time it has been for sale in over forty years. Near-mint original paint.

PROVENANCE:

Dr. Morton D. Kramer Collection, acquired in

1976 LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 27, exact decoy illustrated. Eugene V. Connett, ed., Duck Shooting Along the Atlantic Tidewater, New York, NY, 1947, p. 129, related decoy illustrated. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Wolfe City, TX, 1989, pl. 38, p. 46, related example illustrated.

$8,000 - $12,000

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

100

100 Humpback Goldeneye Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 16 in. long

An alert swimming whistler with a turned head, high back, and beaver tail, this important balsa decoy hails from two of the top Ward collectors of all time. One of the Ward’s best designed decoys of the 1940’s, it is featured in Lawson’s The Story of Lem Ward as told by Lem’s daughter, Ida Ward Linton. The boldly conceived body is finished with Lem’s best paint, displaying fine feather work and strong stippling. Inscribed, dated, and signed on the bottom. The underside also bears William H. Purnell Jr.’s “WHP Jr” brand and the “MK” brand designating the Morton D. Kramer Collection. Purnell acquired this decoy, and just one like it, after receiving a lead from his friend Lem Ward. Excellent original paint with minimal wear, a seam line at neck, and touch-up to a minute tail chip. PROVENANCE: William H. Purnell Jr. Collection Dr. Morton D. Kramer Collection, acquired from the above in 1981

Kramer with lot 100, c. 1981. LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 23, exact decoy illustrated.Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 33, exact decoy illustrated.

$6,500 - $8,500

THE STARR “LAZY” MALLARD 101 The Starr Turned-Head Mallard Drake THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 14 3/4 in. long

Dr. Kramer acquired this dramatic carving from the Dr. George Ross Starr Jr. Collection. Starr featured this decoy in his book, Decoys of the Atlantic Flyway, where he discusses “two of the most friendly and wonderful fellows I’ve ever known...” Regarding this exact mallard, he recorded the following: “The position of the Drake’s head is quite unusual and it is best explained by the story that came along with the decoy. Seems that one day Steve was ordered by the domestic powers that be to go downtown and get a new topcoat. Quite naturally he decided to go by the shore road, which meant crossing the creek at the foot of their Road. Just as he started across the creek, a mallard who was asleep under the bank felt the alarm. But instead of straightening his head and neck up all the way, as is usual, he just lazily lifted his head from his back and turned it toward Steve. For a good long second they stared at each other. Then they took off in opposite directions - the mallard out to open water and Steve straight back to the shop to whittle the lazy mallard before he forgot it.” “The famous decoy contest in 1948,” writes Quintina Colio on the heritage of decoys, “was held in the Grand Central Palace, New York City, sponsored by Schaefer Brewing Company and the winner was the Ward Brothers, from Crisfield, Maryland. Renowned judges included Wm J. Mackey Jr., Lynn Bogue Hunt and Dr. Edgar Burke.” Joel

Barber was also a judge. The Wards’ winning decoy was a very closely related balsa-bodied sleeping mallard drake (fig.1) illustrated in Gard and McGrath’s book. The underside is marked with the Starr Collection fan ink stamp and the Kramer Collection “MK” brand. Original paint with light gunning wear. PROVENANCE: Dr. George Ross Starr Jr. Collection Dr. Morton D. Kramer Collection, acquired in 1983 LITERATURE: George Ross Starr, Jr., M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, pl. 37 and p. 265, exact decoy illustrated and discussed. Quintina Colio, American Decoys, Ephrata, PA, 1972, front pages. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 84, pl. 77, related sleeper illustrated. Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 33, exact decoy illustrated. Willis Henry Auctions, Inc., Decoy Auction from the collection of Dr. George Ross Starr Jr., August 27 & 28, 1983, Duxbury, MA, 1983, lot 126, exact pair illustrated.

$6,000 - $9,000

Fig. 1 Polaroid of the 1948 champion rigmate.

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

101

“...the man of the hour was Lem Ward who won hands down. The decoy that was entered and won first prize was a sleeping drake mallard. To the best of my knowledge it is now in the notable collection of Somers Headly of Wilmington, Delaware. Most will agree it is about as fine as an item as a collection can have.” - William J. Mackey Jr., US National Show Flyer 1972

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

Of the numerous goose patterns produced by the Ward brothers, the Bishops Head Gun Club model is the most popular. This swimming goose shows articulated bill and full cheek carving with a graceful profile that finishes with a pronounced paddle tail. This exact decoy is prominently featured front and center in the famous 1978 Shertz print, titled The Decoys of Lem and Steve Ward, which showcased the brothers’ “11 favorite working decoys.” The underside bears the date “1941,” the signature of Lem Ward, the inscription “This goose is on Shertz’s Print,” and the “MK” brand designating the Kramer Collection.

102

102 Lemuel T. Ward (1896-1984)

Canada Geese Alighting, 1964 signed and dated “LT Ward -64-” lower left oil on canvas, 18 by 24 in.

Lem was not only a talented painter of floating sculpture and decorative bird carvings, but also worked throughout his lifetime on works on canvas. This well-rendered oil of Canada geese is representative of one of his best works. PROVENANCE:

Dr. Morton D. Kramer Collection

$3,000 - $5,000

103 Bishops Head Canada Goose

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1941 27 1/4 in. long

A classic and distinct goose decoy made for the Bishops Head Gun Club. This group of decoys was the result of the owner of the club, Colonel Albanus Phillips (1871-1949), and the Ward brothers sitting down and designing wooden replacements for his live goose decoys. This product of their collaboration exhibits additional carved bill detail and a longreaching neck, portraying a goose swimming. The Wards appear to have maintained a relationship with the club, providing additional decoys and maintenance to the rig over time. A related decoy is featured in the “Hundred Greatest” book.

This exact decoy is also illustrated in Gard and McGrath’s Ward monograph where they describe its “long notch or groove behind the head similar to the fathead design.” They continue to point out “the bird has extraordinary detail carving on the head.” and that “the goose is painted beautifully.” Indeed, Lem applied excellent feathering and fine wing-tip detail. The paint is among the finest seen on any of the Bishops Head geese. Finding a Bishops Head goose is a true rarity for both the collector of Wards and collectors of all regions. This marks the first time this decoy has been offered for sale in over forty years. In strong original paint with even gunning wear, working touch-up to bill tip chips, faint white paint spatter on back, and an age line at neck seam. PROVENANCE:

Dr. Morton D. Kramer Collection, acquired in

1976 LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 108112, pl. 101, exact decoy illustrated. Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 104, exact decoy illustrated. Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 174-175, related example illustrated. Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 157, exact decoy illustrated. Lemuel T. Ward Jr. and Paul Shertz, The Decoys of Lem and Steve Ward, printed by Phototype Engraving, Philadelphia, PA, 1978, exact decoy illustrated.

$14,000 - $18,000

BISHOPS HEAD GOOSE

103

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

Lem after a successful goose and duck hunt c. 1960.

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

104 Canvasback Drake

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1930 16 in. long

From a rig of eighteen boldly carved canvasbacks that were hunted on the Pokomoke River. Original paint with even gunning wear and some flaking, mostly along grain lines. PROVENANCE:

Dr. Morton D. Kramer

Collection LITERATURE: Ronald J. Gard and Brian J. McGrath, Ward Brothers’ Decoys: A Collector’s Guide, Wolf City, TX, 1989, p. 17, rigmate illustrated.

$2,200 - $2,800 104

105 Paddle-Tail Goldeneye Hen

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (18951976) CRISFIELD, MD, 1948 13 1/2 in. long

This goldeneye hen displays excellent bill and head carving with a crisp extended paddle tail, and Lem’s best feather paint. The underside of the balsa body displays the “MK” brand designating the Kramer Collection. Excellent original paint with minor even gunning wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired in 1990

$3,000 - $4,000 105

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

106 Rare Hollow Surf Scoter

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1970 14 1/2 in. long

The underside of this hollow decoy displays the inked inscription “Surf Scoter by Steve Ward Painted by Lem Ward, WARD BRO. CRISFIELD, MD. -1970- For Dr. Morton Kramer Collection,” and the “MK” brand designating the Kramer Collection. Excellent original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the Wards in 1970 LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 60, exactdecoy illustrated. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pl. 48, related decoy illustrated.

106

$2,000 - $3,000

107 Hollow Turned Head Brant

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN W. (18951976) CRISFIELD, MD, 1965 17 in. long

Brant carvings by the Wards are exceptionally rare. This hollow bird has nicely-incised wing declination that resolves under the tail. The underside bears the inscription “Made for Dr. Kramer Collection L. T. Ward Bro. Crisfield MD 1965” and the Kramer Collection “MK” brand. Original paint with minimal wear, including minor white spatter on rear of back. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the Wards in 1965 LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 7, brant head pattern illustrated.

107

$3,000 - $5,000

LEMUEL T. WARD 1896-1984 | CRISFIELD, MD

107.1

107 Lemuel T. Ward (1896-1984) Two Bird Paintings

Cardinal Pair, 1968 signed and dated “Lemuel T. Ward -1968-” lower right oil on canvas board, 11 1/2 by 8 1/2 in. Herring Gulls, 1975 signed and dated “Lem Ward -75-” lower right inscribed “Herring Gulls by ‘LEM’ Morty Carol Kramer with love” on back oil on canvas, 10 by 8 in. Provenance: Dr. Morton D. Kramer Collection $2,000 - $3,000

107.2

Oliver “Tuts” Lawson (b. 1938)

Oliver “Tuts” Lawson was a protégé of the Ward brothers

began to conscientiously place his birds in the setting

and many view him as Crisfield’s greatest living carver.

appropriate for the species carved. Branches, flowers,

Born in 1938 in Crisfield on the Eastern Shore of Mary-

pinecones, leaves, and insects are just a few of the

land, he has lived there his whole life. As a child, he ex-

objects that adorn the bases of his carvings. Lem Ward

plored the marshes near his home, finding decoys to sell

once advised young Lawson, “Don’t copy my work.

and familiarizing himself with different bird species, their

Do what you want to do, develop your own style.” The

behavior, and anatomy. Through his mother’s acquain-

protégé took those words from his mentor to heart; a

tance with Lem Ward’s wife, Thelma, Lawson began his

dynamic black duck pitching in (lot 109) and an open-

training with Lem and his brother, Steve, in 1948. Tuts

winged mourning dove perched on a branch (lot 120)

honed his carving and painting skills through years of

illustrate Lawson’s truly unique vision

being in their workshop, which was a mere mile away from Tuts’ home. Many of Maryland’s finest decoys were

Sources

produced in this workshop. In The Story of Lem Ward,

Dorsey, John. “A Bird from Lawson’s Hands Is Worth a

Lawson writes about an important lesson he learned:

Lot.” Sun Magazine, January 25, 1981.

“[Lem] stressed to me that without craftsmanship, any

Lawson, Glenn. The Story of Lem Ward. West Chester,

artist has a very limited means of expression.”

PA: Schiffer Publishing Ltd., 1984.

Over the years, through exposure to several key patrons, Lawson’s creations began to draw a loyal following and, consequently, higher prices. At the Wards’ workshop, Lawson met collectors such as Somers Headley, Dr. George Starr, Jr., Bill Mackey, and Dr. Morton D. “Mort” Kramer. The patronage of Elizabeth Hall and Kitty Cummings of the Duck House in Rumbley, Maryland, also helped enable Lawson to begin carving full-time. Additionally, Lawson once explained, “He [Alonzo Decker of Black & Decker] was the best sales man I ever had.” The tool magnate decorated his hunting lodge with Lawson carvings and promoted his birds to his friends. Exhibiting at the 1964 Chestertown Decoy Show also opened up a large potential market for his work. Lawson’s wooden creations progressed from working decoys to decorative works of art. In a 1981 article, the carver explains the evolution of his output: “Mrs. Decker sent me flowers and things and that encouraged me to put the birds in their own environment.” The carver Lawson at his workbench c. 1975.

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

109

109 Outstanding Flying Black Duck OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1966 18 in. long

This wood carved life-size black duck captured on the wing is exceptional for its exactness of both anatomy and paint detail. It stands as one of the best Lawson carvings to ever come to market. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from Lawson in 1966

$4,000 - $6,000

OLIVER “TUTS” LAWSON

B. 1938 | CRISFIELD, MD

110

111

110 Wood Duck Pair

111 Outstanding Hooded Merganser Pair

A refined pair of turned-head wood ducks that documents a passing of the torch among Crisfield’s most important carvers. These nexus Lawson carvings reveal that by the early 1970s Oliver “Tuts” Lawson was more than capable of surpassing the decorative works created by his famous mentors and at times he was referred to as “the third Ward brother.” With their crossed-raised wing tips, feather carving, and exceptional paint, this pair ranks not only as two of Lawson’s best works, but two of the best “summer duck” carvings to ever come out of Crisfield, Maryland.

A refined pair of turned-head hooded mergansers with crossed-raised wing tips, some feather carving, and excellent paint. Each is signed, inscribed “Made for Morty Kramer,” and dated by the maker on the bottom. The hen has a hollowed body with a removable rectangular box, which Lawson also signed, inscribed, and dated.

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1971 14 1/2 in. long

Both are signed and dated on the underside. Near-mint original paint. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the artist in 1971

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1967 14 1/4 in. long

Lawson grew up under the wings and tutelage of the famous Ward brothers and he will forever be linked with producing some of the finest decoys to come out of Maryland. Nearmint original paint. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the artist in 1967

$4,000 - $6,000

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

112 Forty-Three Miniature Flying Waterfowl OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, C. 1980 frame is 25 by 19 1/4 in.

This grouping consists of twenty elegantly carved and painted miniature pairs of flying ducks, one goose, one brant, and one swan. The set is attractively mounted on canvas with a painted sky. Each bird measures 2 1/4 to 2 3/4 inches long. Near mint original paint. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the artist in 1966

$1,000 - $2,000

112

113 Bird-Head Tie Tacks

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1970-1971 board is 7 in. wide and 11 in. long

A set of twenty-six hand-carved and painted tie tacks. In original condition with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1970-1971

$400 - $600 113

114 Chickadee

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1968 6 in. tall

A chickadee perched on a mounted pine cone base. The underside of the base is signed, dated 1968, and written “To our dear friends, Morty and Carol, on Christmas 1968 with best wishes Tuts.” Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist as a Christmas gift in 1968

$400 - $600

114

OLIVER “TUTS” LAWSON

B. 1938 | CRISFIELD, MD

115

115 Long-Tailed Duck Pair

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1966 18 in. long

An outstanding hollow pair displaying carved feather detail and excellent paint. These are among the finest of the species ever produced in the region. Both birds are inked “Old Squaw by Oliver Lawson -1966 -” on the underside. Original paint with minimal wear and a tight age line on hen’s back.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1966

$4,000- $6,000

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

116

118

117

119

116 Miniature Bufflehead Pair

118 Miniature Geese

The #1 miniature bufflehead pair casting created in 1973, signed “Oliver Lawson 1/100” on the base. Original paint with minimal wear.

The #1 miniature Canada goose pair casting created in 1973, signed “Oliver Lawson 1/100” on the base. Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1973

117 Miniature Pintail Pair

119 Standing One-Third-Size Goose Pair

An excellent pair signed and dated 1969 by the carver on the underside. The drake has an extra-long inlaid tail. The tremendous paint vermiculation on the drake is amongst the finest seen on any pintail carving. Original paint with minimal wear.

A pair of decorative geese mounted on separate bases. Each has crossed and raised wing tips and exceptional blended paint. Signed and dated on the underside of each base with additional signatures under each tail. Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1969

PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1970

$800 - $1,200

$1,000 - $1,500

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, C. 1973 3 1/4 in. tall

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1969 9 3/4 in. long

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1973 4 3/4 in. tall

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1970 10 1/2 in. long by 10 in. tall

OLIVER “TUTS” LAWSON

B. 1938 | CRISFIELD, MD

120 Mourning Dove

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1966 12 in. tall

A mourning dove, with a slightly turned head and incised wing and tail carving, perched on a branch mounted on a wooden base. The maker carved his name and “1966” into the base of the branch. This work features a fine combination of carved and painted detail. The long thin tail was finished with a delicate inlay. Original paint with minimal wear and reset bill. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1966

$1,200 - $1,800

121 Decorative Black Duck

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1983

A competition-grade decorative black duck with extensive carved feather detail. Near-mint original paint. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1983

$1,200 - $1,800 120

121

Charles W. “Speed” Joiner Jr. (1921-2015)

Born in 1921 in Chestertown, Maryland, Charles W. “Speed” Joiner Jr. began carving as a teenager. He benefited from learning under the wing of accomplished regional carver R. Madison Mitchell (1901-1993). In his late twenties, Joiner met Steve (1895-1976) and Lem (1896-1984) Ward, whom he credits with influencing his carving and in particular his painting style.

World War II took Joiner to the South Pacific where he was stationed with the Navy Seebees. After his years of service, “Speed” returned to his home waters of Maryland to work at the local electric company, hunt, and carve. Joiner’s working decoys, with rounded bottoms, were well-suited for the choppy conditions of his home waters on the Upper Chesapeake Bay. In addition to carving life-size, half-size, decoratives, and miniatures Joiner loved aircrafts and in

1998 he built a 1/10 scale B-17 bomber, ready to fly with a radio-controlled motor. He donated it to the Massey Air Museum in Massey, Maryland.

In addition to being a decoy carver, Joiner was a kind and generous man, typified by one of his favorite expressions, “You can’t go through life with a catcher’s mitt on both hands.” To wit, up until he passed away at age ninety-three, Joiner was an active member of the Havre De Grace Decoy Museum, where he was once a charter member.

Sources Carroll Jr., James W. “In Memorium: Speed Joiner.” The Canvasback, Summer 2015.

122

CHARLIE “SPEED” JOINER 1921-2015 |

CHESTERTOWN,

122 Swan

CHARLIE “SPEED” JOINER (B. 1921-2015) CHESTERTOWN, MD, 1990 31 in. long

A traditional Upper Bay decoy by this famous carver who apprenticed under R. Madison Mitchell (1903-1993). Two of his decoys are in the Boston Museum of Fine Arts collection. Joiner initially employed a Havre de Grace carving style similar to the Holly family; however, his elaborate and stylized paint as seen here is reminiscent of the Ward Brothers. Signed “Charlie Joiner” and dated 1990 on the underside. Original paint with minimal wear. PROVENANCE: Dr.

Morton D. Kramer

Collection

123

123 Wood Duck Pair

CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD, 1985 13 1/2 in. long

Signed and dated 1985. Original paint with minimal wear. PROVENANCE: Dr.

Morton D. Kramer

Collection

124 Ring-Necked Pair

CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD, 1997 13 in. long

A pair of ring-necked ducks with original keel and rigging, signed on the underside by the maker and dated 1997. Original paint with minimal wear. PROVENANCE:

124

Dr. Morton D. Kramer

Collection

125 Brant and Preening Canvasback CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD 13 in. and 18 in. long

Both carvings are signed by the maker. The brant is dated 1984 and the canvasback is circa 1974. Original paint with minimal wear and very faint paint spatter on canvasback. PROVENANCE:

Dr. Morton D. Kramer

Collection

125

CHARLIE “SPEED” JOINER 1921-2015 |

CHESTERTOWN,

126 High-Head and Low-Head Canvasback Pairs CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD 16 in. long

Both are signed; the low-heads are dated 1974 and the high-heads are dated 2000. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection

126

127 Pintail and Black Duck Pairs CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD pintail is 18 in. long; rest are 15 in.

Both pairs are signed. The pintail drake is dated 1969 and both black ducks are dated 1997. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection

127

128 Redhead and Bluebill Pairs CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD, 1973 14 ½ in. long

Original paint with minimal wear. PROVENANCE:

Collection

128

Dr. Morton D. Kramer

CHARLIE “SPEED” JOINER 1921-2015 |

CHESTERTOWN,

129 Blue-Winged Teal and Mallard Pairs

CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD 11 in. and 16 in. long

The blue-winged teal pair is signed and dated 1995. The mallard pair is signed and dated 1969. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection

129

130 Merganser and Goldeneye Pairs CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD 16 in. long

Both pairs are signed; the mergansers are dated 1996 and the goldeneyes are dated 1992. Original paint with minimal wear. PROVENANCE: Dr.

Morton D. Kramer

Collection

130

131 Two Pairs of Teal

CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD 11 in. long

The cinnamon teal pair is signed and dated 2007. The green-wing teal pair is signed and they are dated circa 1980. Original paint with minimal wear. PROVENANCE: Dr.

Morton D. Kramer

Collection

131

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

132

“It was in Easton, Maryland. 1976. I can still remember exactly where I was standing, trying to summon up the courage to introduce myself to Dr. Kramer. Fortunately for me, he took the initiative, put out his hand, and introduced himself. “Hi. I’m Mort Kramer.” Perhaps it was his physician’s nature to reach out to someone like me who looked as if they could use a little help. That was the beginning of a lifelong friendship. “Right there and then, it began with an affirmation and a conveyance of confidence to continue with my carving Mort went on to introduce me to many in the old-time collecting community, providing me with a lot of credibility at a very important time. Visiting the Kramer’s home gave me the opportunity to see decades of collecting prowess. Something that I see as part of his connoisseurship, that’s largely out of reach to us today, was that he was a friend to many of the old makers, people who were born in the 1800s! He had their birds and their stories. “What fun to be at his house, to climb the library ladder and take down a fabulous Upper Bay decoy. Then up again to fetch Ward pintails and lay them out on the floor. Next delving into a box of Steve Ward decoy heads, all at different stages of development. Hearing Mort relate the stories of how all this came to be. I was very fortunate to have had him as a mentor, a patron, a doctor, and especially as a friend.” -

Mark McNair

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

132 Eider with Mussel MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1990 18 in. long

A large hollow eider decoy with an uplifted head and a mussel in its mouth. Carved eye and bill detail with an inletted head. The body and head are held in with oak pegs. Rigged with a keystone weight and copper ring. Incised “M. S. McNAIR” and “January 14, 1990.” Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist

$2,500 - $3,500

133 Outstanding Pintail Pair MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1983 drake is 19 1/2 in. long

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A hollow pintail pair exhibiting exceptional paint and dynamic form. This pair represents one of the maker’s finest pintail pairs with long thin necks snuggled into their backs. The drake features a long inlaid oak tail. Each is incised “M. S. McNair.” and “The Kramer Collection” on their underside. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1983

$3,000 - $5,000

134 Early Mallard Drake MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1980 16 1/2 in. long

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This hollow turned-head mallard drake displays a knife finish and is incised “McNair.” Excellent original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist

Literature: Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 84, exact decoy illustrated. $1,500 - $2,500

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

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135 Early Wigeon Drake MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1979 14 1/4 in. long

An early hollow wigeon drake exhibiting fine paint. The underside is incised “McNAIR.” Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1979

$1,500 - $2,500

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136 Green-Winged Teal

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1980 12. in. long

A hollow teal carved in the style of John Blair Sr. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection $800 - $1,000

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137 Early Canada Goose MARK S. MCNAIR (B. 1950) OLD LYME, CT, 1973 25 in. long

A hollow Canada goose in a hissing pose, and the first goose ever made by McNair. The following inscription is painted on the underside: “This is my first goose decoy, & one of the earliest made at the studio in Old Lyme, 1973. It’s been in our family until it came to you this December 1, 1984.” The bird also bears and early incised “MSM” and a later incised “M. S. McNAIR.” Original paint with minimal wear. Provenance: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1984 $800 - $1,200 100

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

138 Dowitcher Pair

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1982 11 1/2 in. long

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A dowitcher pair with raised wings and dropped wing tips. The maker’s incised “McNAIR” signature is on the underside of each bird. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1984

$1,500 - $2,000

139 Lesser Yellowlegs Pair MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 2013 10 in. long

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A pair of refined yellowlegs with carved primaries, raised wings, and the maker’s incised signature on the underside. Original paint with minimal wear. Provenance: Dr. Morton D. Kramer Collection, acquired directly from the artist in 2013 $1,500 - $2,000

140 Godwit Pair

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1985 14 in. long

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A rare godwit pair displaying raised wings and dynamic poses. These birds bear the maker’s incised signature on the undersides. Original paint with minimal wear. Provenance: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1985 $1,500 - $2,000

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MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

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141 Reaching Curlew

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2010 22 in. long

Measuring nearly two-feet from tip to tail, this contemporary update on the Phillips’rig curlew pays homage to one of the great 19th century decoy forms. Signed with an incised “McNair” on the underside. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist

$800 - $1,000

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142 Early Sandpiper

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1975 5 1/4 in. long

A very small peep decoy with raised wings and an incised “M.” Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection $400 - $600

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143 Black-Bellied Plover

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1980 12 in. long

A hollow black-bellied plover with a stickhole inlay, raised wings, and the maker’s incised signature on the underside. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection $800 - $1,000

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MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

144 Tern Pair

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1985 16 in. long

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A pair of stylized tern carvings with applied sides and the maker’s incised signature on the underside of each bird. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection LITERATURE: Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 157, exact decoy illustrated.

$1,200 - $1,800

145 Eskimo Curlew Pair MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 2006 13 in. long

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A pair of Eskimo curlew with bone bills, raised wings, and the maker’s incised signature on the underside of each bird. One carving has a dramatically turned head. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection $1,500 - $2,000

146 Two Virginia Shorebirds MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 10 in. long

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An Eastern-Shore-of-Virginia shorebird pair with raised wings and split primaries. 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

$800 - $1,200

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MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

147 Dovetailed Red-Breasted Merganser MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1987 14 1/2 in. long

A hollow merganser with a removable dovetailed head and horsehair crest. The body has raised wings and pegged construction. Signed with incised “M. S. McNAIR.” The inside of the dovetail joint is incised “1987.” Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1987 LITERATURE: Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 82, exact decoy illustrated.

$2,000 - $3,000 147

148 Wading Yellowlegs

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2015 12 1/2 in. long

A yellowlegs with wire legs and a wooden base displaying carved wing tips and raised wings. The maker’s incised signature is on the underside of the bird. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist

$800 - $1,000

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149 Wading Sterling-Style Yellowlegs MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1990 12 1/2 in. long

A wading yellowlegs in the style of the Noah Sterling yellowlegs out of the Grant Nelson Collection. Displays an incised “McNAIR” on the underside. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist in 1990

$800 - $1,000

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THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

150 Ruffed Grouse Pen Holder

LEMUEL T. WARD (1896-1984) CRISFIELD, MD, 1967 5 in. tall

A carved five-inch-tall, life-size, grouse head pen holder, signed and dated “Lem Ward 1967” on the bottom by the maker. In original condition. PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys, Wolfe City, TX, 1989, p. 119, exact piece illustrated.

$3,500 - $4,500

151 Canvasback Bookends

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1928 7 1/4 in. tall

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Two bookends fitted with canvasback heads made by the Ward brothers. The undersides of both bear the Ward brothers’ inked stamp and the inscription “Made by Steve Ward Painted by Lem Ward - 1928 -.” These are among the earliest and finest Ward bookends known. Original paint with minor wear; each has a hairline neck crack. PROVENANCE: Dr.

Morton D. Kramer Collection

$600 - $900

152 Black Duck and Mallard Bookends

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 6 1/2 in. tall

A mallard hen and black duck presentation bookend set, each bears a paper label on its backside which reads “Presented by Cedarhurst Gun Club Sunday May 30, 1948 Made by L. T. Ward & Bro. Won by........................” Original paint with light wear and some crazing.

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PROVENANCE: Cedarhurst Gun Club Dr. Morton D. Kramer Collection LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pl. 113, p. 127, similar examples illustrated.

$600 - $900

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153 Mallard Bookends

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1935 6 3/4 in. tall

A rare Crowell mallard pair bookend set. Each has the inked inscription “A. E. Crowell & Son East Harwich Cape Cod. Mass.” on the sides. Each bookend is mounted on a wooden base. Original paint with minimal wear and a tight age line in the drake’s neck. PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900

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154 Mallard Bookends

CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1945 7 in. tall base

A dynamic set of mallard bookends by this famed Illinois River carver. The mallards have slightly turned heads. Original paint with minor wear. PROVENANCE: Dr.

Morton D. Kramer Collection, acquired in

1989 $600 - $900

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155 Black Duck and Mallard Bookends KEN ANGER (1904-1983) DUNNVILLE, ONTARIO, CANADA, C. 1950 6 1/2 in. tall

Each bookend is mounted on a beveled wooden base. In original paint with light wear. PROVENANCE: Dr.

1982 $400 - $600

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106

Morton D. Kramer Collection, acquired in

156 Mallard and Bluebill Bookends A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1935 10 in. long

A rare set of Crowell bookends, each has rasping on the back of the head and carved tail feathers. Both halves are mounted on wooden bases with the maker’s rectangular stamp. Original paint with minor wear; the bluebill’s head is slightly loose. PROVENANCE: Dr. Morton D. Kramer Collection Richard A. Bourne Co., Inc., Rare American Bird Decoys, Bird Carvings, and Related Materials, Hyannis, MA, 1972, lot 144, exact bookends illustrated.

$1,400 - $1,800 156

157 Bookends and Desk Box

WILDFOWLER DECOYS (1939-1957) OLD SAYBROOK, CT, C. 1945 12 1/2 in. long

A pair of mallard bookends and a mallard drake desk box. Original paint with minor wear including a hairline crack in hen’s neck. PROVENANCE:

Dr. Morton D. Kramer Collection

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158 Open-Billed Mallard Bookends

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1950 6 1/2 in. tall

Each bookend base features a well-executed flying mallard painting by Lem, signed “L. T. Ward.” Original condition with minimal wear. PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900

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160

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159 Miniature Merganser Drake

161 Miniature Black Duck

A miniature red-breasted merganser decoy with a pad weight. Original paint with some flaking to crest and tail, and a replaced bill.

A miniature black duck signed by the maker on the underside of the base. Original paint with minimal wear and a reset bill.

PROVENANCE: Dr.

PROVENANCE:

DOUG JESTER (1876-1961) CHINCOTEAGUE, VA 7 in. long

Morton D. Kramer Collection, acquired in

WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, C. 1950 3 1/4 in. long

Dr. Morton D. Kramer Collection

1992 $300 - $500

160 Miniature Canada Goose GEORGE H. BOYD (1873-1941) SEABROOK, NH, C. 1935 4 1/2 in. long

A miniature Canada goose with a very high head. Original paint with minor wear, including a faint age line along back. PROVENANCE:

Dr. Morton D. Kramer Collection, acquired in

1991 $600 - $900

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162 Miniature Standing Mallard HUDSON FAMILY CHINCOTEAGUE, VA, C. 1940 6 3/4 in. long

A standing mallard with metal feet mounded on a beveled wooden base. Original paint with wear, including flakes to tail. PROVENANCE:

Dr. Morton D. Kramer Collection

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163 Nine Miniature Waterfowl Carvings CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD goose is 10 in. long

Mallard, wood duck, wigeon, and green-winged teal pairs, and a Canada goose. All are dated 1978 except the mallards which are 1969. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer Collection

164 Miniature Mallard Drake and Pintail Pair 5 in. long

A very fine mallard drake by Russ E. Burr (1887-1955) circa 1950, with his “Russ E. Burr Hingham, Mass.” ink stamp on the underside of the base. A pintail pair by Brig. Gen. Chester B. deGavre (1908-1993), Onancock, VA, circa 1960, with a painted inscription “Pintails by deGavre” on the underside. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer Collection

165 Three Miniature Mallard Pairs 8 in. and 9 in. long

Three pairs of turned-head mallards. One pair is inscribed “Gray Mallard Drake/Hen Ward Bros. Crisfield, MD Dr. Darner” on the bottom. Another pair by Tuts Lawson bears the Duck House of Rumbley, MD, paper label. The third pair, with carved raised primaries, is signed “Charlie Joiner” and dated 1961 on the bottom. Original paint with minor wear. Joiner drake has touch-up to blunted wing tips. PROVENANCE: Dr.

Morton D. Kramer Collection

$500 - $800

166 Six Upper Bay Paperweights Six metal paperweights including a six-inch-long canvasback, a four-inch-long swan, a four-inch-long canvasback, a three-inch-long bluebill, and a two-inch-long canvasback pair. As found. PROVENANCE: Dr.

Morton D. Kramer Collection

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167 Two Miniature Mallard Pairs 7 in. long

A mallard pair carved by Benjamin Schmidt (1884-1968) of Detroit, MI, signed on the underside. The drake also bears the date “1940.” The other mallard pair, circa 1945, was carved by Ken Anger (1904-1983) of Dunnville, Ontario, Canada. In original paint with minor wear. Schmidt hen has a reset bill.

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168 Two Miniature Pintail Pairs 7 in. long

One pair by Hector “Heck” Whittington (1907-1981) of Oglesby, IL, and one pair by Ken Harris (1905-1981) of Woodville, NY. Each bears the maker’s mark on the underside. Original paint with minimal wear. Harris drake has tiny chip to tail. PROVENANCE:

169

Dr. Morton D. Kramer Collection

169 Miniature Canvasback and Bluebill Pairs J. EVANS MCKINNEY (1913-2000) ELKTOWN, MD 6 1/4 in. long

The pair of canvasback miniatures is signed and dated 1971 on the underside. The miniature bluebill pair is signed and dated 1970 on the underside. In original paint with minimal wear. PROVENANCE:

170

Dr. Morton D. Kramer Collection

170 Three Miniature Canada Geese Brown goose is 10 in. long Two six-inch-long carvings by Walter Ruppel of WI and CA display Abercrombie & Fitch, Co. labels on the bottom. The third Canada goose carving by Dan Brown is signed and dated 1990. Original paint with wear. The Rupples have reset necks and one has a few dings. The Brown goose is in excellent condition. PROVENANCE:

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Dr. Morton D. Kramer Collection

171 Two Miniature Geese

ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1930 6 1/4 in. long

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A pair of miniature geese mounted on separate bases. Original paint, one has a hairline neck crack and the other has considerable touch-up to reset neck. PROVENANCE:

Dr. Morton D. Kramer Collection

172 Miniature Canvasback Pair ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1950 6 in. long

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A pair of miniature canvasbacks mounted on beveled rectangular bases. Original paint with minimal wear. PROVENANCE: Dr.

Morton D. Kramer Collection

173 Miniature Wigeon Pair JOHN GLENN (1876-1954) ROCK HALL, MD, C. 1920 4 IN. LONG

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A pair of miniature wigeon, the male has a slightly turned head. Original paint with minimal wear and minor flaking to hen’s tail. PROVENANCE: Dr.

Morton D. Kramer Collection, acquired in

1994

174 Two Miniature Swans 7 1/4 in. long

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One carving is by R. Madison Mitchell (1901-1993) of Havre de Grace, MD, and dated 1950 on the underside. The other one, by J. Evans McKinney (1913-2000) of Elktown, MD, is dated “1973” and signed by the maker on the underside. Original paint with minimal wear. PROVENANCE: Dr.

Morton D. Kramer Collection

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

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175 Exceptional Black Duck A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930 15 3/4 in. long

Black duck decoys were Crowell’s signature species with hundreds carved in his standard-grade form. His carvedfeather models are far more rare and reside in the country’s top private and museum collections. The Magazine Antiques further cemented the iconic status of Crowell’s black duck when they chose a raised-wing example for their September 1989 cover. The head reveals meticulously blended feather paint and refined carving details. The body displays the maker’s exceptional wet-on-wet dry brush feathering. The feather paint works in concert with the extensive carved feather detail, starting with the coverts and moving down to the wingtips, which are both crossed and raised. The tail also

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showcases the carver’s sharp incising. The underside bears two rectangular Crowell stamps and an inked “A. E. Crowell” signature. Outstanding original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: John and Shirley Delph, New England Decoys, Exton, PA, 1990, pp. 106-150, related decoys illustrated.

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, related decoys illustrated. $14,000 - $18,000

176 Early Golden Plover COFFIN FAMILY NANTUCKET, MA, C. 1870 9 3/4 in. long

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A two-piece golden plover in bright spring plumage with heavy gold stippling. Much of Nantucket’s golden plover hunting was done in the uplands, rather than along the salty shoreline, helping to preserve very old examples such as this one. Original paint with gunning wear and a replaced bill. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from Alan Haid

$2,000 - $3,000

177 Early Golden Plover

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1890 10 in. long

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Joe Lincoln made custom decoys to match those already in a hunter’s rig. This plover is believed to have been a special order for a Nantucket gunning rig. Carved in an upright, alert posture with shoe-button eyes. The decoy was purchased thirty-five years ago from a dealer in Missouri. A closely related pair out of the Grant Nelson Collection sold at Copley’s 2017 Sporting Sale, lot 192. In excellent original paint with minor gunning wear and minimal flaking. PROVENANCE: Private Collection, Missouri Dr. Morton D. Kramer Collection LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 68, closely related example illustrated. Copley Fine Art Auctions, LLC, The Sporting Sale, July 16, 2009, lot 12, exact bird illustrated.

$2,000 - $3,000

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ELISHA BURR

1839-1909 | HINGHAM, MA

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178 The Mackey-O’Brien Burr Feeding Plover ELISHA BURR (1839-1909) HINGHAM, MA, C. 1880 11 in. long

Elisha Burr was a master of capturing the postures of live birds. This decoy shows Burr at his best. His birds were carved in animated poses with complex wing and tail treatments. The deep feeding posture of this decoy is rare for any maker, including Burr. This carving style, coupled with Burr’s lively brush strokes, created decoys that seem alive with movement. For this reason, Adele Earnest chose a rigmate to this decoy when she curated the World’s Fair in 1967. That rigmate now resides in the American Folk Art Museum Collection in New York City. This animated shorebird decoy has small glass eyes set in the concave eye grooves. The plump body is finished with the maker’s best split-wing, detailed primary, and drop-tail carving. Original paint with light gunning wear, including minor losses to wing tips. 114

PROVENANCE: Tony Waring Collection William J. Mackey Jr. Collection, acquired from the above Donal C. O’Brien Jr. Collection Dr. Morton D. Kramer Collection, acquired from the sale of the above LITERATURE: Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II, July 27, 2017, lot 46, exact decoy illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 72, similar example illustrated.

$8,000 - $11,000

179 Hollow Golden Plover CHATHAM, MA, C. 1870 11 in. long

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Though attributed to the work of Lothrop Holmes in Levinson and Headley’s Shorebirds: The Birds, The Hunters, The Decoys, this superb hollow decoy was more likely crafted by a Cape Cod maker whose name we will probably never be known. Regardless of the maker’s name, the skilled hand who created this Massachusetts plover is to be celebrated; his craftsmanship is exceptional. Indeed, the bird has been featured in the two books solely dedicated to the art of the shorebird decoy. The bird was hollowed “paper thin” to make transport of the rig less burdensome for the gunner. The maker’s attention to detail is revealed by the nearly invisible scribe-line seam that remains perfectly intact one hundred and forty years after its creation. The highly adept paint pattern perfectly mirrors that of a real golden plover and speaks to the painter’s knowledge of the species. In early working paint with gunning wear. PROVENANCE: Somers Headley Collection Dr. Morton D. Kramer Collection, acquired from the above in 1995 LITERATURE: John M. Levinson and Somers G. Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centreville, MD, 1991, p. 57, pl. 4-10, exact decoy illustrated. Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 158, related Eskimo curlew illustrated. Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 72, pl. 74, exact decoy illustrated.

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$3,000 - $5,000

180 Important Golden Plover JOSEPH W. LINCOLN (1859-1938) HINGHAM, MA, C. 1880 10 in. long

A highly refined and elegant shorebird carving showing Nantucket influences, likely made as a special order. This elegantly carved and painted “superior grade” Lincoln displays the Massachusetts master’s full carving and painting abilities. Original paint with even gunning wear. PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 68, related example illustrated.

$3,000 - $4,000

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JOHN HORN

C. 1890 | OCEANVILLE, NJ

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181 The Hillman-Horn Turnstone JOHN HORN OCEANVILLE, NJ, C. 1890 9 1/4 in. long

One of approximately seven Horn turnstones in original paint, this is one of the finest examples known. While the rarity of exceptional ruddy turnstones cannot be overstated, Horn decoys have not escaped the purview of the world’s top shorebird collectors, having resided on the shelves of the Noyes, O’Brien, McCleery, Giberson, Headley, and Doherty collections. This Hillman-Kramer decoy displays pronounced cheek carving, a beautifully contoured body, and a delicate thin tail. With impeccable provenance and striking paint, this is not only one of the finest Horn shorebirds to come on the market, but also one of the finer New Jersey ruddy turnstones. A letter from Somers Headley, who as a child knew Horn, written to Carol Kramer adds some color to these great decoys. Headley relays that Horn “robbed picket fences for carving wood, he was shot at tearing apart the fences...After the cedar weathered and cured a couple of years the wood was seasoned and easily carved.” This decoy does not have

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the split-rail scars associated with some Horn decoys as a result of this wood-selection technique. Strong original paint with minimal gunning wear, and a tight age line in top of head. PROVENANCE: John Hillman Collection Grove and Kathy Conrad Collection Dr. Morton D. Kramer Collection LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 175, pl. 388, exact bird illustrated. Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 220, lot 606, related decoy illustrated. John M. Levinson and Somers G. Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centreville, MD, 1991, p. 86, pl. 6-25, related decoy illustrated.

$6,000 - $9,000

182 Ruddy Turnstone

HARRY B. BOISE (1880-1966) ABSECON, NJ, C. 1900 9 3/4 in. long

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A rare and important New Jersey turnstone from the region’s great pioneering collector. The underside of this two-piece turnstone bears the Mackey ink stamp. Original paint with light gunning wear, including a few small chips around a splined bill. PROVENANCE: William J. Mackey Jr. Collection Schiller Martin Collection Dr. Morton D. Kramer Collection LITERATURE: Richard A. Bourne Co. Inc., Very Rare and Important American Bird Decoys From the Collection of the late William J. Mackey Jr. of Belford, New Jersey, Hyannis, MA, 1973, lot 566, exact bird illustrated. John M. Levinson and Somers G. Headley, Shorebirds, Centreville, MD, 1991, p. 90, pl. 6-31, rigmate illustrated.

$3,000 - $5,000

183 Rare Yellowlegs

LLOYD PARKER (1859-1921) PARKERTOWN, NJ, C. 1890 9 1/4 in. long

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A rare shorebird decoy by this famous New Jersey waterfowl maker who produced some of the regions best brant, geese, and merganser decoys. This yellowlegs was in the Gary Giberson Collection and shows the collector’s “G” and “47” written on the underside. Original paint with even gunning wear and some flaking. PROVENANCE: Gary Giberson Collection Dr. Morton D. Kramer Collection

$600 - $900

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JAMES T. HOLLY

1855-1935 | HAVRE DE GRACE, MD

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184 The Hollow Holly Mallard JAMES T. HOLLY (1855-1935) HAVRE DE GRACE, MD, C. 1890 17 1/2 in. long

Regarding this exact decoy, C. John Sullivan, Upper Chesapeake Bay decoy and waterfowling authority, stated the following, “The Holly family is best known as the originator of the Havre de Grace Style of decoy carving. When collectors consider Holly decoys, they focus on the smooth flowing lines of their finely sculpted bodies. Their style is synonymous with the thousands of decoys that come from the Havre de Grace side of the Susquehanna River Flats as they flow into the Chesapeake Bay. “The most prolific and most artistic of the Holly family was James T. Holly (1855-1935). He built sinkboxes and bushwhack boats, painted duck shooting scenes and sailing vessels, and carved most species of waterfowl that frequented the Upper Chesapeake. His decoys exhibit the sleekest and raciest style of any of the carvers from this region.

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“Of the several styles of mallards, this form epitomizes the best of Holly’s creations. It presents itself as one of the very few hollow-carved decoys from Holly’s workshop. The fact that it has retained its original paint adds to the appeal of this extremely rare James Holly creation.” This singular example is believed to be the only hollow Holly mallard to exist. Original paint with gunning wear and a tight neck crack. PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: C. John Sullivan, “The Hollys of Havre de Grace,” Decoy Magazine, Jan/Feb 1992, pp. 8-13. J. Evans McKinney, Decoys of the Susquehanna Flats and Their Makers, Ocean City, MD, 1990, p. 52.

$5,000 - $8,000

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186

185 Blue-Winged Teal

186 Blue-Winged Teal

Wilson was a principal at the Havre de Grace High School, and was not known to have produced many decoys. The rarity of his decoys is demonstrated in the J. Evans McKinney’s book on the Susquehanna Flats. While no Wilson is seen in McKinney’s first edition of his book, this exact decoy was the only Wilson selected to represent the maker in the second edition, where it is illustrated twice. Original and working paint with gunning wear, a few faint age lines in body, and a tight crack through the neck.

This rare and well-documented decoy was found by J. Evans McKinney in 1927 between High Point and Wild Duck Cove. This exact decoy is featured in McKinney’s book on the region, where he records Williams as a carpenter, fisherman, and hunter. The body features a strong chine down the sides, a raised neck shelf, and fine head carving. The bird took home top honors amongst stiff competition as The Best Upper Bay Teal or Ruddy Duck at the 4th Annual Old Decoy Contest at the Havre de Grace Decoy Festival. Original paint with even gunning wear, a ding on rear right edge, and some flaking, mostly on left side.

CHARLES T. WILSON (1848-1921) HAVRE DE GRACE, MD, C. 1876 11 1/4 in. long

PROVENANCE: J. Evans McKinney Collection Dr. Morton D. Kramer Collection LITERATURE: J.

JOHN WESLEY WILLIAMS (1845-1909) PORT DEPOSIT, MD, C. 1880 10 3/4 in. long

PROVENANCE: J. Evans McKinney Collection, acquired in 1927 Dr. Morton D. Kramer Collection

Evans McKinney, Decoys of the Susquehanna Flats and Their Makers, Ocean City, MD, 1990, p. 80 and color portfolio, exact decoy illustrated. C. John Sullivan, “An ode to attics and basements,” Decoys Magazine, Lewes, DE, May/June 2017, pp. 30-33, related decoy illustrated. David S. Webster and William Kehoe, Decoys at Shelburne Museum, Burlington, VT, 1961, p. 30, related decoy illustrated.

LITERATURE: J. Evans McKinney, Decoys of the Susquehanna Flats and Their Makers, Ocean City, MD, 1990, p. 79, exact decoy illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 200, related example illustrated. Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, pp. 84 and 87, related decoy illustrated.

$5,000 - $8,000

EXHIBITED:

Havre de Grace Decoy Museum, Havre de Grace, MD, May-October 2006. $7,000 - $10,000 119

WILLIAM HEVERIN

1860-1951 | CHARLESTOWN, MD

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187 Exceptional Canvasback Pair WILLIAM HEVERIN (1860-1951) CHARLESTOWN, MD, C. 1920 15 1/2 in. long

This pair represents two of the makerâ&#x20AC;&#x2122;s best decoys known to exist. Though made as gunning decoys, they were never rigged, accounting for their sublime condition. Outstanding original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: J. Evans McKinney, Decoys of the Susquehanna Flats and their Makers, Ocean City, MD, 1978, p. 47, related examples illustrated. R. H. Richardson, Chesapeake Bay Decoys, Cambridge, MD, 1991, p. 68, rigmates illustrated.

$2,000 - $3,000

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LEONARD E. PRYOR

1876-1967 | ELKTON, MD

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188 Rare Pintail Drake

LEONARD E. PRYOR (1876-1967) CHESAPEAKE CITY, MD, C. 1930 18 in. long

A rare species for the Upper Bay region exhibiting incised eye and bill detail, and exacting paint. This exemplary Pryor also retains the “L. E. Pryor, Chesapeake City, MD.” stamp on the underside.

LITERATURE: The Potomac Decoy Collectors Association, The Potomac Flyer, Issue # 78, February 2006.

$5,000 - $7,000

A Pryor preening mallard set an Upper Bay decoy auction record in 2006, hammering for $67,100. The decoy came from the Pryor Family and was one of the two top lots in the sale. The February 2006 “Potomac Flyer” publication of the Potomac Decoy Collectors Association lauds, “When you get a well carved decoy, direct from the family, in untouched condition, it does not get any better for collectors - especially those with provenance appreciation.” Excellent original paint with very minimal wear. PROVENANCE: Pryor Family Dr. Morton D. Kramer Collection

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JAMES T. HOLLY

1855-1935 | HAVRE DE GRACE, MD

189 Racy Black Duck

JAMES T. HOLLY (1855-1935) HAVRE DE GRACE, MD, C. 1900 17 in. long

A stylish Upper Chesapeake Bay decoy displaying one of the region’s sleekest forms. Having won numerous competitions, this celebrated decoy has also been featured in two of the region’s most important publications on decoys.. Original paint with minor gunning wear. PROVENANCE:

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Dr. Morton D. Kramer Collection

LITERATURE: Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, May 20 & 21, 1977, lot 319, exact decoy illustrated. Henry A. Fleckenstein Jr., Decoy of the Mid-Atlantic Region, Exton, PA, 1979, p. 87, exact decoy illustrated. R. H. Richardson, Chesapeake Bay Decoys, Cambridge, MD, p. 36, exact decoy illustrated.

$3,000 - $5,000

190 Bluebill Pair

JAMES T. HOLLY (1855-1935) HAVRE DE GRACE, MD, C. 1880 13 in. long

A pair of classic Upper Bay decoys by one of the region’s originating families. The drake is exemplary. Original paint with even gunning wear, an age line down the drake’s underside, some touch-up on back of hen’s neck and right shoulder, and some wear to the wood on the hen. PROVENANCE: Dr.

Morton D. Kramer Collection

LITERATURE: R. H. Richardson, Chesapeake Bay Decoys, Cambridge, MD, 1991, p. 36, rigmate illustrated.

$3,000 - $4,000

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“The Holly family is best known as the originator of the Havre de grace style of decoy carving. Their style of smooth flowing bodies with upswept tails is synonymous with the thousands of decoys that come from the Havre de grace side of the susquehanna river flats as they flow into the cheasapeake bay.” -C. John Sullivan

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194

191 Bluebill

JOHN “DADDY” HOLLY (1818-1892) HAVRE DE GRACE, MD, C. 1860 12 in. long

An early decoy with the “MK” brand on the underside. The small size of this bluebill may have allowed it to be used as a teal, an accompanying photo from J. Evans McKinney bears the inscription “John ‘Daddy’ Holly-Teal A real one” and is signed and dated “3/10/79.”

LITERATURE: Robert H. Richardson, ed., Chesapeake Bay Decoys, Burtonsville, MD, 1991, p. 60, rigmate decoys illustrated.

$500 - $800

193 Canvasback Wooden Wing Duck J. EVANS MCKINNEY (1913-2000) ELKTOWN, MD, 1930 15 in. long

PROVENANCE: Davison Hawthorne Collection Dr. Morton D. Kramer Collection, acquired from the above in 1973

A wing duck displaying the inked inscription “J. Evans McKinney Elktown, Md. 1930” on the underside. Original paint with gunning wear.

$1,000 - $2,000

PROVENANCE: Dr.

192 High-Head Canvasback TAYLOR BOYD (1856-1944) PERRYVILLE, MD, C. 1900 17 in. long

Boyd’s high heads are highly coveted among today’s Upper Chesapeake Bay collectors, and with good reason, the maker created simple but elegant forms that captured the crowned heads of the stately canvasback, often referred to as “The King of Ducks.” Working repaint with gunning wear and a neck crack. PROVENANCE:

Dr. Morton D. Kramer Collection

Morton D. Kramer Collection

$400 - $600

194 Canvasback Drake

AUGUST HEINEFELD (1883-1952) ROCK HALL, MD, C. 1930 15 in. long

Original paint with gunning wear and a working repair to right corner of bill tip. PROVENANCE: J. Evans McKinney Collection Dr. Morton D. Kramer Collection, acquired from the above in 1983

$600 - $900 123

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195 Canvasback Drake

JOHN GRAHAM (1822-1912) CHARLESTOWN, MD, C. 1870 14 Â½ in. long

As found. PROVENANCE:

196 Canvasback Drake

SAM BARNES (1851-1926) HAVRE DE GRACE, MD, C. 1900 15 1/2 in. long

Original paint with gunning wear. Dr. Morton D. Kramer Collection

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, May 21, 1976, lot 31, related example illustrated. R. H. Richardson, Chesapeake Bay Decoys, Cambridge, MD, 1991, p. 55, related example illustrated.

$500 - $800

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197 Canvasback Drake JOHN GLENN (1876-1954) ROCK HALL, MD, C. 1910 15 1/2 in. long

Original paint with even gunning wear. PROVENANCE:

Dr. Morton D. Kramer Collection

198 Iron Wing-Duck Canvasback UPPER BAY, MD 14 in. long

As found. PROVENANCE:

Dr. Morton D. Kramer Collection

200 Wooden Wing Duck Canvasback CAPT. HARVEY BRICE BETTERTON, MD, C. 1900 14 in. long

This wing duck, used for sinkbox shooting, is branded “H. BRICE” on the underside. Original and working paint with gunning wear. PROVENANCE: G. Sinclair Rig Jack Griel, acquired from the above Norris Pratt Collection, acquired from the above Dr. Morton D. Kramer Collection, acquired from the above in 1966

$400 - $600

199 Iron Wing-Duck High-Head Redhead UPPER BAY, MD 14 3/4 in. long

201 Framed Duck Stamps, 1935-1974 22 1/2 by 18 1/2 in.

As found. PROVENANCE: Dr.

Morton D. Kramer Collection

Collection of forty US Dept. of Interior Migratory - Bird Hunting - Stamps mounted and framed under glass with hand-painted mat. Each stamp mounted on a black mount then attached to hand-painted mat. As found. PROVENANCE: Dr.

Morton D. Kramer Collection

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202 Punt Gun BUS EVANS C. 1880 61 in. long

A rare large-bore gun used for market hunting prior to the Migratory Bird Act passed in 1918. Finding these rare hunting artifacts is quite rare as they have been virtually obsolete for one hundred years. As found. PROVENANCE:

Dr. Morton D. Kramer Collection

203 Vintage Muzzle Loader 26 in. long As found.

PROVENANCE:

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Dr. Morton D. Kramer Collection

204 Battery Gun C. 1880 44 in. long

This highly effective harvesting weapon was used to sneak up on flocks of waterfowl and shoot birds on the water. Very few of these multi-barrel battery guns survive today. As found. PROVENANCE:

Dr. Morton D. Kramer Collection

JOHN DILLEY

C. 1890 | LONG ISLAND, NY

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205 Dowitcher in Winter Plumage JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1890 10 in. long

Regarding the rig of six Dilley shorebirds that he first acquired, William J. Mackey Jr. recounts in Classic Shorebird Decoys, “These decoys had real class and were envied by fellow collectors such as Joel Barber and Edgar Burke, who left my house walking on air because I had given them each a snipe.” When referring to Dilley shorebirds in American Bird Decoys, Mackey states, “There is no question that the detailed, stylized painting is unsurpassed. They are beautiful examples from the hand of a fastidious workman.” Starting with clean lines and a solid form, Dilley applied some of the finest representations of plumage ever demonstrated. Using a two-tiered paint technique, he was able to imply detail without carving or painting every feather. This bird exhibits excellent wing detail that subtly resolves under the tail. Original paint with even gunning wear, including minor flaking and a small spot of touch-up on back of head.

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 related example illustrated. Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 95, related example illustrated. Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 60, pl. 41, related example illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 84, related example illustrated.

$14,000 - $18,000

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JOHN DILLEY

C. 1890 | LONG ISLAND, NY

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206 Early Split-Tail Willet

JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1880 11 1/2 in. long

In 1890, Squires, a New York City sportsmen’s supply store on Broadway owned by Henry C. Squires, published an overthe-top catalog featuring several decoy varieties listed for sale. The Squires company stamp found on the underside of some Dilley shorebirds has led decoy scholar Gigi Hopkins to connect some of the dots; nevertheless, the identity of the maker still remains elusive. The Squires catalog describes the Dilley offerings as, “Snipe decoys, hand-made, shaped and painted from life; the finest decoys ever produced; can be furnished only in limited quantities.” Snipe was a catch-all term used by hunters for all shorebirds. It is noteworthy that the $12 per dozen price was 300% higher than other makers’ “Snipe decoys” that Squires offered for sale. Over a century later, top decoy hunters still place a premium on Dilleys, considering his

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decoys to be among “the finest ever produced.” A rare and early willet with split-tail carving, the underside retains the Mort Kramer Collection ink stamp. Original paint with even gunning wear. PROVENANCE: Dr.

Morton D. Kramer Collection

LITERATURE: Henry C. Squires, Descriptive Catalogue and Pricelist of Sportsmen’s Supplies, New York, NY, 1890, p. 52, snipe decoys listed. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 84, related example illustrated.

$10,000 - $15,000

JOHN DILLEY

C. 1890 | LONG ISLAND, NY

207 Rare Golden Plover

JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1890 10 1/4 in. long

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This plump plover’s surface showcases the maker’s superb carving and sublime painting abilities. Strong original paint with light gunning wear, some spot touch-up to head. PROVENANCE: Hollander Collection, sold at Bourne auctions July 1986 Dr. Morton D. Kramer Collection LITERATURE: Richard A. Bourne Co. Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, July 8 & 9, 1986, lot 187, exact bird illustrated Guyette and Schmidt, North American Decoys at Auction, Nov. 8 & 9, 2000, Lot 601, and back cover, exact bird illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 84, related example illustrated.

$6,500 - $8,500

208 Dowitcher in Spring Plumage

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JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1890 10 1/2 in. long

A classic Long Island shorebird decoy in spring plumage by one of the island’s greatest carvers. This bird exhibits excellent wing detail that subtly resolves under the tail. Original paint with even gunning wear and some flaking, mostly to the right wing. PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 84, related example illustrated.

$4,000 - $6,000

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HARRY V. SHOURDS 1861-1920 | TUCKERTOWN, NJ

209 Mackey Robin Snipe

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 8 1/4 in. long

With its nice dry original surface, species rarity, delicate carving, and stellar provenance, this red knot ranks as one of New Jersey’s best small shorebird decoys. The underside retains the Mackey Collection ink stamp, along with an inscription that this decoy sailed to Wachapreague, VA, with Ash Milliner (1875-1952). Milliner was a known market hunter from the Delmarva region. Original paint with minor gunning wear. PROVENANCE: Ash Milliner Rig William J. Mackey Jr. Collection Dr. Morton D. Kramer Collection

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LITERATURE: 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, Session VIII, 1973, lot 537, exact bird illustrated.

$6,000 - $9,000

210 The Headley-Shourds Curlew HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 13 in. long

Harry Vinuckson Shourds is the most well-known decoy maker from New Jersey; he is also one of the earliest. In addition to being one of the few professional carvers of his generation, Shourds hunted ducks for market while his wife used the feathers to make pillows and bedding. A fine Shourds “green rig” shorebird decoy, described as such because of its hue. This curlew displays painted eyes, a splined bill, and exceptional blended feathering. In original paint with gunning wear, a replaced bill, and an age line in neck. PROVENANCE: Somers G. Headley Collection Dr. Morton D. Kramer Collection

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LITERATURE: John M. Levinson and Somers G. Headley, Shorebirds, Centreville, MD, 1991, p. 82, pl. 6-16 exact bird illustrated.

$4,000 - $6,000

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JOHN DILLEY

C. 1890 | LONG ISLAND, NY

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211 Exceptional Calling Golden Plover JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1880 10 1/2 in. long

The uplifted head attitude, split-tail carving, and superb paint application displayed on this gunned-over decoy place it at the very top of known works by the maker. The underside has an early collector’s identification. Additionally, it features the elegant, coveted, but rarely seen “Dilley” script signature on the bottom. When referring to Dilley shorebirds in American Bird Decoys, Mackey states, “There is no question that the detailed, stylized painting is unsurpassed. They are beautiful examples from the hand of a fastidious workman.” Starting with clean lines and a solid form, Dilley applied some of the finest representations of plumage ever demonstrated.

Employing a two-tiered paint technique, he was able to imply detail without carving or painting every feather. Original paint with even gunning wear and old working touchup to original bill. PROVENANCE:

Private Collection, Tennessee

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

$18,000 - $24,000

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OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

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213

212 Running “Red-Backed” Peep

213 Black-Bellied Plover

An excellent Verity peep decoy with S-curve wings, the decoy showcases the maker’s tight stippling on the bird’s head and back. The wings and back also feature red stippling. Original paint with even gunning wear.

This boldly fashioned beetle-head displays carved eyes, raised wings, and Verity’s expertly stippled paint. Original paint with gunning wear, original age line along left side, and gunning touch-up to white.

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 6 3/4 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

$3,000 - $5,000

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 10 3/4 in. long

Richard LaFountain Collection LITERATURE: “The Year in Review 2007,” Decoy Magazine, 2007, p. 15, related example illustrated.

$3,500 - $4,500

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OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

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214 The Purnell- Aitken Running Plover OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 11 1/2 in. long

This gunning decoy hails from two of the top decoy collectors of all time, Russell B. Aitken and William H. Purnell. A racy Seaford decoy with fine “beetle head” form. One of the only other Verity plovers in a running posture resides in a top Washington state collection. This decoy features deeply carved heart-shaped wings incised eyes, and displays the maker’s best feathering. William Purnell recalls acquiring this decoy after seeing it in a shop window in his hometown of Ocean City, Maryland. With it were two Bunn/Bowman shorebirds which he also purchased. Upon inquiry it was relayed to the collector that the birds had come down with Long Islanders to outfit the famous Bob-O-Dell Gun Club located on Chincoteague Bay. Other birds from the rig were discovered and acquired by William Mackey. Original paint with even gunning wear. Possible minor gunning touch-up to black breast.

LITERATURE: Christie’s, The Russell B. Aitken Collection of Waterfowl Decoys, New York, NY, 2003, lot 1313, exact decoy illustrated. E. Jane Townsend, Gunners Paradise: Wildfowling and Decoys on Long Island, Stony Brook, NY, 1979, pp. 115-116, related upright examples illustrated. Dr. Cynthia Byrd, The Decoys of Long Island, Water Mill, NY, 2010, p. 31, top left, exact decoy illustrated.

$18,000 - $24,000

PROVENANCE: Bob-O-Dell Gun Club William H. Purnell Collection Russell B. Aitken Collection Private Collection, Long Island

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215 Rare Golden Plover

WILLIAM CORNELL QUOGUE, LONG ISLAND, C. 1890 9 1/2 in. long

A plump and well-carved decoy with a pronounced “beetle head,” incised eye carving, and nice beveled wing edges. Though decoys by this maker are few and far between, a small number of cork examples have surfaced, one of which is illustrated in The Great Book of Wildfowl Decoys. Excellent original paint with even gunning wear. PROVENANCE:

Private Collection, New York

LITERATURE: Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 104, related cork plover illustrated.

$3,000 - $5,000 215

216 Willet

CHARLES SUMNER BUNN (1865-1952) SHINNECOCK, NY OR WILLIAM “BILL” BOWMAN (1824-1906) OF BANGOR, ME AND LAWRENCE, NY, C. 1900 12 1/2 in. long

Bunn/Bowman willet are far less common than the maker’s dowitchers or yellowlegs. Collectors have come to differentiate the maker’s willet in part by their full size with plump round bellies. This classic Long Island shorebird decoy exhibits the maker’s graceful lines with raised wings and split primaries. The maker’s signature black bead glass eyes are set within recessed eye grooves above the fully rounded cheeks.

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William J. Mackey Jr., one of the most prolific decoy collectors of all time, wrote of the maker of these birds, “Their origin is not definitely known, but the carver created a replica of the live bird as well as any decoy maker of record.” The surface has been take taken down to original paint, gunning wear. PROVENANCE: Richard

LaFountain Collection

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 103, pl. 87, quote. Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 68-69, related decoy illustrated.

$4,000 - $6,000

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217 The Powell Hotel Yellowlegs Trio NELSON VERITY (1854-1947) (ATTR.) SEAFORD, LONG ISLAND, C. 1900 12 in. long

A fine trio of matching hunting decoys, each bears an “RLD” painted on its underside. Nelson Verity guided guests out of the historic Powell Hotel, which was eventually torn down in 1977. All three birds display lively paint patterns and two-piece construction. The trio is notable for its excellent condition. Original paint with even gunning wear.

PROVENANCE: Powell Hotel Rig, Long Island Private Collection LITERATURE: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 70, pl. XLI, related decoy illustrated. Dr. Cynthia Byrd, The Decoys of Long Island, Water Mill, NY, 2010, pp. 43 and 65, exact carvings illustrated twice. Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 168, fig. 190, rigmate illustrated.

$10,000 - $12,000

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218 Raised-Wing Peep LONG ISLAND, NY, C. 1870 6 3/4 in. long

Displaying appealing stippled paint along its back, this charming sandpiper has pronounced raised-wing carving that resolves in a slight curve towards its tail, similar to some Dilleys. In early working paint with gunning wear and a replaced bill. PROVENANCE: Richard LaFountain Collection

$3,000 - $4,000

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219 Cork Peep

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, C. 1880 7 in. long

Original paint with gunning wear and some touch-up to chipped tail. Provenance: Richard LaFountain Collection Literature: Dr. Cynthia Byrd, The Decoys of Long Island, Water Mill, NY, 2010, p. 31, bottom right, exact decoy illustrated. $1,000 - $2,000

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220 Peep

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1870 7 1/4 in. long

This plump little warrior shows excellent form. X-ray reveals that this sandpiper was peppered by shot while being gunned, typical of many Long Island shorebirds. ago. Working repaint with gunning wear. From a Long Island gunning rig that contained peeps, plover, and yellowlegs from several different Verity makers. $1,000 - $1,500

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221 Rare Eskimo Curlew

LAFAYETTE SEABURY (1823-1910) BRIDGEHAMPTON, LONG ISLAND, C. 1875 11 in. long

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Eskimo curlew decoys by known makers are exceptionally rare. One of the earliest documented shorebird decoys by a known maker from any region, this Eskimo curlew is remarkable for its rarity, age, provenance, and condition. According to Long Island decoy authority Tim Sieger, Lafayette and his brother, Ichabod (1821-1907), “were both carpenters and bayman who lived in Bridgehampton, Long Island. They designed and built many structures around their local, town including the Hendrickson (Tiffany) house on Lumber Lane (1863) and the Bridgehampton Academy (1859). They carved shorebird decoys for their own use together until 1873, when Ichabod moved to Connecticut. It was during this time that Lafayette purchased the family farm on Job’s Lane, moved there and ran the Beebee windmill from 1872 to 1880.” Excellent original paint with minimal gunning wear. PROVENANCE: Richard

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LaFountain

Collection LITERATURE: Timothy Sieger, The Decoys of Long Island, Water Mills, NY, 2010, pp. 67 and 78, rigmates illustrated.

$3,000 - $4,000

222 Golden Plover

LAFAYETTE SEABURY (1823-1910) BRIDGEHAMPTON, LONG ISLAND, NY, C. 1875 9 1/2 in long

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This rare golden plover is a rigmate to the previous lot. Excellent original paint with minimal gunning wear. PROVENANCE:

Richard LaFountain

Collection $1,500 - $2,500

223 Golden Plover

LAFAYETTE SEABURY (1823-1910) BRIDGEHAMPTON, LONG ISLAND, NY, C. 1875 11 in. long

Original paint with heavy gunning wear Provenance: Richard LaFountain Collection $400 - $700

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224

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225

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224 Thorne Rig Feeding Peep

225 Running Yellowlegs

This decoy descended through the Thorne family to past executive director of Ducks Unlimited William Thorne in 1950 when he was given three bushel baskets of snipe and waterfowl decoys. William Thorne gave half of the decoys to legendary Long Island shorebird collector Malcolm Fleming. The famous Thorne Rig Sale of approximately 4 dozen shorebirds took place at Decoys Unlimited in 2001.

This Gelston pattern was chosen by the Long Island Decoy Collectors Association as the basis for their logo. The underside bears Joseph Frenchâ&#x20AC;&#x2122;s ink stamp. The tail is finished with a wooden dowel to enhance the carvingâ&#x20AC;&#x2122;s structural integrity. Original paint with even gunning wear, a rub to tail, and small areas of old putty to neck, face, and breast.

EDWIN THORNE (1861-1935) RIG JAMAICA BAY, LONG ISLAND, NY, C. 1900 7 3/4 in. long

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. Edwin Thorne Rig William Thorne Collection Collectable Old Decoys, acquired at the 2001 Thorne Rig Sale Dr. Morton D. Kramer Collection PROVENANCE:

LITERATURE: Decoys Unlimited Auctions, Rare and Important Decoys, Related Artifacts & Americana, July 22 & 23, 2001, lot 107A and color spread, exact decoy illustrated.

$2,000 - $3,000

138

THOMAS H. GELSTON (1850-1924) QUOGUE, LONG ISLAND, NY, C. 1890 10 1/2 in. long

PROVENANCE: John Hillman Collection Joseph B. French Collection Dr. S. Lloyd Newberry Collection LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 99, related example illustrated.

$800 - $1,200

226 Thorne Rig Golden Plover

EDWIN THORNE (1861-1935) RIG JAMAICA BAY, LONG ISLAND, NY, C. 1890 10 1/4 in. long

228

A very plump plover with raised wings and two-piece construction. As found. PROVENANCE: Edwin Thorne Rig William Thorne Collection, Richard LaFountain Collection LITERATURE: Decoys Unlimited Auctions, Rare and Important Decoys, Related Artifacts & Americana, July 22 & 23, 2001, lot 76C and color spread, exact decoy illustrated.

$1,000 - $1,500

227 Cork Dunlin

THOMAS H. GELSTON (1850-1924) QUOGUE, LONG ISLAND, C. 1900 base is 11 in. long

229

A rare species by the maker, this unused decoy was made into a lamp base and was likely sold at a New York sporting goods store such as Abercrombie and Fitch. Original paint with minimal wear. PROVENANCE:

Private Collection, Connecticut

228 Hollow Bluebill Drake CHARLES BIRCH (1867-1956) WILLIS WHARF, VA, C. 1930 15 in. long

Raised on Chincoteague, Birch moved south to Willis Wharf at age thirty-nine. He was a boatbuilder, waterman, and decoy carver. His decoys were very well regarded in their own time and his rigs were hunted over from North Carolina’s Gooseville Gun Club to Illinois’ Georgia Pacific Paper Gun Club, also referred to as the Island 29 Club. Original paint with possible touch-up to reset bill, light gunning wear, and faint white spatter. PROVENANCE: John Hillman Collection Dr. Morton D. Kramer Collection

$800 - $1,200

229 Hollow Swimming Goose

GEORGE WASHINGTON O’NEAL (1869-1949) OCRACOKE ISLAND, NC, C. 1900 27 1/2 in. long

An early Canada goose decoy displaying one of the region’s best forms. The hollow construction of this decoy makes it particularly rare for North Carolina. O’Neal was one of the top makers for the prestigious Gooseville Gun Club, along with Ira Hudson and Charles Birch. The club name and the date “1882” in incised on the bottom. As found. Provenance: Herb Wetanson Collection Literature: Kroghie Andresen, Gunnin’ Birds, Charlotte, NC, 2008, pp. 367-369, related brant illustrated. $3,000 - $5,000 139

JAMES R. BEST

1866-1933 | KITTY HAWK, NC

140

THE BEST SWIMMING SWAN

230

230 The Best Swimming Swan JAMES R. BEST (1866-1933) KITTY HAWK, NC, C. 1910 26 in. long

Concerning an upright Best swan, Kroghie Andresen writes, “The form and shape are unmatched by other North Carolina carvers.” Discussing the straight-head Best swan in the Museum of American Folk Art’s decoy publication, Jeff Waingrow states, “The swan decoy by James R. Best ranks with the finest of this rare type.” This is believed to be the only Best swimming swan known to exist. Working repaint with gunning wear, lower part of bill replaced, old nails securing neck, age lines, and flaking.

PROVENANCE: Davison B. Hawthorne Collection Henry H. Stansbury Collection, acquired from the above LITERATURE: Kroghie Andresen, Gunnin’ Birds, Charlotte, NC, 2008, front and back dust jacket, and p. 300, related straight heads illustrated. Hal Sorenson, Decoy Collector’s Guide, Oct.-Dec. 1964, p. 21, related straight head illustrated. Jeff Waingrow, American Waterfowl Decoys, New York, NY, 1985, pp. 14-15, related straight head illustrated.

$20,000 - $30,000

141

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

231 The McCleery-Hudson Bufflehead Hen IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1935 12 1/4 in. long

Ira Hudson was a true Delmarva resident: born in Maryland, raised in Delaware, and settled on Chincoteague, Virginia. A multi-talented craftsman, Hudson designed and built his own home on the legendary island known for its rich decoycarving heritage. He also designed and built boats, including many scows used for hunting and oyster farming. In 1897, at age twenty-six, Hudson added decoy carving to the several other occupations he would pursue over the years; the 1900 and 1910 census records list Hudson as a “waterman” and “oysterman.” He is now remembered as one of the South’s greatest decoy makers. This gem is held in the highest regard among both collectors of Southern decoys and the rare bufflehead. “The most noted Hudson bufflehead decoy,” writes Henry Stansbury of this exact decoy, “a football body-shaped hen with a slightly swimming attitude and a fluted paddle tail, ex-collection of Dr. James M. McCleery, is arguably the finest example.” In his Hudson monograph, Stansbury goes on to laud it as “one of Hudson’s finest efforts.” This species, often referred to as the “butter-ball,” is likely not named for its flavor, as it is generally regarded as poor table fare, lending to the rarity of the species’ decoys. Furthermore, drakes greatly outnumber hens, adding to the rarity of this decoy. A related drake with similar distinctly refined features can been seen in Milton Weiler’s Classic Decoys series of paintings. Excellent original paint with even gunning wear and a few faint age lines.

142

PROVENANCE: Dr. James M. McCleery Collection Private Collection, Connecticut, acquired at the McCleery Sale LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, p. 81, exact decoy illustrated. Henry A. Fleckenstein Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 39, pl. XV, exact decoy illustrated. Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 83, lot 175, exact decoy illustrated. Milton C. Weiler, The Classic Decoy Series: A Portfolio of Paintings, New York, NY, 1969, pl. 13, related drake illustrated. Linda and Gene Kangas, Decoys, Paducah, KY, 1992, p. 134, pl. 211, exact bird illustrated.

$30,000 - $40,000

THE MCCLEERY-HUDSON BUFFLEHEAD

230

231

143

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

232

232 Classic Merganser Pair IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1935 15 1/2 in. long

A pair of Hudson mergansers with long bodies, fat cheeks, and thin crests and bills. These masterful works of Virginia folk art show the famous maker at the height of his artistry. Each retains an original poured-lead ballast weight with an embossed "I H." The existence of marked Ira Hudson decoy weights is virtually unknown and it is highly likely that this pair emanated from his personal gunning rig. Original and working paint with gunning wear. The drake has a small repair to chip at bottom of crest and a replaced bill. The hen has a crack along the underside.

144

PROVENANCE: Herb

Wetanson Collection

LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, p. 115, very closely related pair illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 161, pl. 134, related examples illustrated.

$12,000 - $18,000

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

233

233 Standing Redhead

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, 1924 16 1/2 in. long with an 18 in. wingspan

An animated Hudson flyer that was used as an outdoor decoration at the Combs home for many years. It was acquired by Capt. Alvin “Jack” Combs (1883-1959) from Ira Hudson in 1924. As found. PROVENANCE: Capt. Alvin Jack Combs Collection, acquired from Ira Hudson in 1924 Private Collection, by descent in the family LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, front and rear dust jacket and pp. 143-145, related examples illustrated.

$3,000 - $5,000 G.W. Combs, Jr. standing in front of lot 233, c. 1950.

145

234

234 Rare and Important Ohio Gadwall OHIO, C. 1870 13 in. long

An early and exceptional Gadwall decoy. Very few decoys of this species exist, enabling this Ohio decoy to transcend the region as a national masterwork. This well-carved hollow bird features a ridge down the top of its tail, elegant fluting under the tail, and subtle shoulder carving behind the head. These telling treatments are the signature traits seen in the exemplary workmanship by Ohio’s unnamed, but premier carver. A drake mallard by the same maker graces the cover of Jeff and Joyce Hays’ volume on the region. The nice dry original paint showcases stippling on the head, feathering on the breast, and a deep rust red on the wings identifying the species. This marks the first time that this top-of-the-line Ohio decoy has ever been offered publicly for sale. Excellent original paint with minimal gunning wear and minor flaking.

146

PROVENANCE: William A. Powell Collection, acquired by descent from his great-great grandfather through the family’s hunting rig Private Collection, Long Island, acquired from the above. LITERATURE: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, 2015, front cover and p. 5, related mallard illustrated.

$14,000 - $18,000

235

235 Green-Winged Teal Pair SPRINGFIELD, OH, C. 1935 14 in. long

This pair of decoys is from the Crackle family rig of Springfield, Ohio. Harry Donovan Crackle (1912-1998) received them from his father’s rig. The drake is in a swimming position and both have thin necks, broad cheeks, and upswept tails. Original paint with gunning wear, chips to hen’s tail, and touch-up to cracks in both necks and along hen’s cheek.

PROVENANCE: Harry Donovan Crackle Rig/Collection, acquired from his father Private Collection

$3,500 - $4,500

147

236 Rare Miniature Black Duck

CHARLES E. “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1935 6 1/2 in. long

236

The rarity of this miniature cannot be overstated. While Wheeler made many decorative carvings in his lifetime, his stand-alone miniatures are virtually non-existent. There is only one other waterfowl miniature, pictured in Dixon Merkt’s comprehensive treatise on the carver. This black duck was likely made for a carving competition. It displays a slightly turned head, glass eyes, scratchpainted head detail, and grooved wing definition. An inscription on the bottom of the carving reads “Made by Shang Wheeler, Black Duck, Babylon, NY, 1935” in faint pencil. Babylon was the annual site of the National Decoy Show starting in 1923. Wheeler took home top honors at that first show. Original paint with touchup along neck seat and very minor touch-up to underside of bill tip. PROVENANCE: Todd Lovell Collection Private Collection

237

LITERATURE: Decoys Unlimited Auctions, Our Sale of Rare and Important Decoys, Related Artifacts & Americana, July 18, 1999, lot 151E, exact decoy illustrated.

$3,000 - $4,000

237 Miniature Mallard Drake IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1930 4 1/2 in. long

A rare and exceptional mini carving with the maker’s signature football-shaped round body and long and thin tail. Hudson was not a prolific maker of miniature decoys. Ever industrious, he produced groups of them over his lunch breaks during a two-year stint working at a boatyard. Stansbury selected this petite carving of a decoy for his monograph on the maker. Original paint with minor wear, including bill tip and tail edge.

238

PROVENANCE: Henry H. Stansbury Collection Lloyd R. Hudson Collection, grandson of the maker Private Collection LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, p. 157, exact bird illustrated.

$2,000 - $3,000

238 Miniature Hissing Canada Goose GEORGE H. BOYD (1873-1941) SEABROOK, NH, C. 1935 5 1/2 in. long

William V. Tripp III, a past owner of this carving, was a Boston-based attorney with a discerning eye who put together one of the greatest miniature bird carving collections ever assembled. Original paint with light wear and minor touch-up at neck seam. PROVENANCE: William V. Tripp III Collection Private Collection

$2,500 - $3,500 148

239 Miniature Merganser

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1920 4 1/4 in. long

239

A racy shelldrake displaying Lincoln’s graceful lines with the head and bill in a slightly uplifted swimming posture. The underside retains a faint “Joe Lincoln, Accord, Massachusetts” maker’s stamp. Original paint with minimal wear. PROVENANCE: Private Collection, Massachusetts, acquired from a Bourne Auction Private Collection LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 72, similar miniature illustrated.

$1,000 - $2,000

240 Miniature Bufflehead

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1920 3 1/4 in. long

240

$1,000 - $2,000

241 Miniature Goldeneye

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1920 3 1/2 in. long

241

The underside retains a “Joe Lincoln, Accord, Massachusetts” maker’s stamp. Original paint with minimal wear. PROVENANCE: Private Collection, Massachusetts, acquired from a Bourne Auction Private Collection LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 72, similar miniature illustrated. Joseph H. Ellis, Birds in Wood and Paint: American Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, p. 80, fig. 7.5, similar miniature illustrated.

$1,000 - $2,000

149

242

243

242 Miniature Canvasback Pair GEORGE H. BOYD (1873-1941) SEABROOK, NH, 1939 4 1/4 in. long

A pair of miniature canvasbacks with long thin bills bearing the maker’s signature and date on the underside. In original paint with minimal wear. PROVENANCE:

Private Collection, Rhode Island

$2,000 - $4,000

243 Miniature Brant

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1912 5 1/2 in. long

244

An early Crowell carving in a reaching position. It is notable as one of the maker’s best mini brant due to its long thin neck, graceful body, and exceptional feather blending. Original paint with bill and tail restoration and some touch-up to sides. PROVENANCE: William V. Tripp III Collection Private Collection

$1,000 - $1,500

244 Miniature Redhead Pair WILLIAM C. GIBIAN (B. 1946) ONANCOCK, VA, 1994 7 in. long

The undersides bear the carver’s sticker, his signature, the date “94,” and the penned inscription “1st and only redhead hen/drake.” In original paint with minimal wear. PROVENANCE:

Private Collection, California

$600 - $900

150

245

247

246

248

245 Rare Miniature Stilt

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1929 4 1/2 in. tall

This carving displays fine painted feather detail. “Stilt” is written in script on the bottom above the maker’s rectangular stamp. This species is seldom seen in New England, lending to its rarity in Crowell’s portfolio. Original paint with minimal wear, including one small paint flake on the bill. PROVENANCE: Jim and Deb Allen Collection Private Collection

$2,000 - $3,000

246 Miniature Wood Duck Pair RUSS E. BURR (1887-1955) HINGHAM, MA, C. 1930 5 1/2 in. tall

A dynamic pair showcasing Burr’s best work. Original paint with minimal wear. PROVENANCE:

Private Collection, Massachusetts

$600 - $900

247 Miniature Long-Billed Curlew MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2015 4 1/2 in. long

A miniature long-billed curlew decoy displaying raised wings, a bone bill, and carved primaries. Signed with incised “McNair” on the underside. Original stand included. Original paint with minimal wear. PROVENANCE: Private Collection, New York, acquired directly from the artist

$600 - $900

248 Miniature Canvasback MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2000 4 in. long

A miniature Dudley-style canvasback decoy, signed by the maker with his inked signature and an incised “M” on the underside. Original paint with minimal wear. PROVENANCE: Private Collection, New York, acquired directly from the artist

$600 - $900

151

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, MA

249

249 Early Curlew

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1980 17 in. long

Feeding curlew with split and raised wing tips and an incised “McNAIR” on the underside. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist LITERATURE: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 107, related example illustrated.

$1,200 - $1,800

250

250 Early Low-Head Brant MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1978 16 in. long

A hollow Brady-Hudson-inspired carving with “McNair” incised on the underside. Original paint with even wear. PROVENANCE: Donald

Kirson Collection

$1,500 - $2,500

251

251 Early Canada Goose MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1978 27 1/2 in. long

A Walter-Brady-inspired carving with a pegged-through bill. The underside bears an incised “M S McNAIR,” a penciled remark “FINCASTLE, VIRGINIA, 1978,” and a “Kirson Collection” paper label. Original paint with even wear, including tight age lines along back. PROVENANCE:

Donald Kirson Collection

$2,500 - $3,500

152

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, MA

252

254

253

255

252 Hooded Merganser

254 Black Duck

Carved in the Cobb Island style with the maker’s incised “McNAIR” signature on the bottom. Original paint with even wear.

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 14 1/2 in. long

PROVENANCE:

Henry H. Stansbury Collection

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 17 in. long

PROVENANCE:

Henry H. Stansbury Collection

$800 - $1,200

253 Bufflehead Drake

255 Redhead Drake

Carved in the Cobb Island style with the maker’s incised “McNAIR” signature on the bottom. Original paint with even wear.

A hollow, Cobb-Island-style decoy with the maker’s incised “McNair” on the underside. Original paint with even wear.

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 14 in. long

PROVENANCE:

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1992 15 in. long

$1,000 - $1,400

Henry H. Stansbury Collection

$800 - $1,200

153

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, MA

256

256 Root-Head Goose

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1980 33 in. long

Measuring thirty-three inches from tip-totip, this hollow Cobb-style goose is among the maker’s most grand. True to the Cobb Island roothead tradition, the reaching head is made from a single twisted branch. Original paint with even wear. PROVENANCE:

Private Collection, California

$2,000 - $3,000

257

257 Preening Mallard Drake MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1985 16 in. long

A rare hollow preening mallard decoy with exceptional paint showcasing fine vermiculation on the sides and back. The underside is inscribed “M S McNair.” Original paint with even wear. PROVENANCE:

Private Collection, St. Louis

$1,800 - $2,400

258

258 Wood Duck Drake

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2000 13 1/2 in. long

A hollow wood duck drake with raised wing tips and a crest that joins into the back. The underside bears the incised “McNair” signature, the Kirson Collection label, and an anchor tether held with a star-head nail. Original paint with minimal wear. PROVENANCE:

Donald Kirson Collection

$2,500 - $3,500

154

MACKEY COBB ISLAND PLOVER

259

259 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 one of 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 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.

“NELSON” collection stamps, and an incised "J J." In early gunning paint with some flaking. PROVENANCE: William J. Mackey Jr. Collection Robert Gresham Collection Grant Nelson Collection

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. LITERATURE:

$7,000 - $10,000

The underside bears both the "Mackey Collection" and

155

NATHAN F. COBB JR. 1825-1905 | COBB ISLAND, VA

260

156

THE BUTLER COBB BLACK DUCK

260

260 Important Black Duck NATHAN F. COBB JR. (1825-1905) COBB ISLAND, VA, C. 1875 15 3/4 in. long

In American Bird Decoys, William J. Mackey Jr. proclaims that “[the Cobbs] were determined to produce the best decoys possible, and their work excellently served the needs of both the nineteenth-century hunter and the modern collector.”

Contributing to this decoy’s rarity, in 1893, low-lying Cobb Island was washed over and largely wrecked by the sea, the first of several catastrophic storms. Original paint with even gunning wear, a dark wash, and a few age lines.

This hollow black duck, with an inletted head, is among of the finest Cobb Island black ducks known, hailing from early Washington, D.C. collector William Butler. It was selected by Fleckenstein for his Southern Decoys of Virginia and the Carolinas book. In addition to Cobb’s standard eye-groove carving and classic tail cut, this model features a bold well-proportioned body and a pronounced breast.

PROVENANCE: William Butler Collection Private Collection

The pride the maker took in creating this particular bird is noted on its underside where it is signed by Nathan Cobb Jr. with a crisp and deeply incised serifed “N.” It is rare that decoy carvers are regarded for their signatures; however, in his passionate account of the Cobbs, Mackey notes that “the skill and artistry with which the initials are carved indicate the dedication and talent that Nathan Cobb lavished on his work.” Collectors today continue to covet the mark; indeed, the quintessential maker’s mark on this important decoy is also illustrated in Fleckenstein’s Southern Decoys book.

LITERATURE: Henry A. Fleckenstein Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 197, exact decoy illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 152. Dr. Lloyd Newberry, “The Saga of Cobb Island,” Sporting Classics, Spring/Summer 2018, pp. 140-145.

$15,000 - $20,000

157

261

263

262

264

261 Bluebill

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1935 13 1/2 in. long

A full-bodied bluebill bearing the “MK” brand designating the Kramer Collection. As found. PROVENANCE:

Dr. Morton D. Kramer Collection

262 Running Dowitcher IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1900 11 in. long

A dowitcher with a “P” brand indicating the Purnell Collection and a “W” incised on its underside. Original paint with white wash on underside, gunning wear, and a replaced bill with old filler on head and tail chips. William H. Purnell Jr. Collection Private Collection PROVENANCE:

$600 - $900

263 O’Brien-McCleery Red Knot EASTERN SHORE, VA, C. 1900 8 1/2 in. long

An alert robin snipe with a thin dropped tail. Stamped “McCLEERY” and “DCOBJR” on the underside. Original paint with light gunning wear. PROVENANCE: Dr. James M. McCleery Collection Donal C. O’Brien Jr. Collection Dr. Morton D. Kramer Collection LITERATURE: Copley Fine Art Auction, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions III, July, 2018, lot 80, exact decoy illustrated.

$2,000 - $3,000

264 Black Duck Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1930 16 1/2 in. long

A full-bodied black duck that features carved bill detail and tack eyes. The body shows tight scratch-feather paint with the body tapering down to Hudson’s signature fluted tail. Mostly original paint, with significant restoration to sides. $1,000 - $1,400

158

265

266

265 Black Duck

ELKANAH B. COBB (1852-1943) COBB ISLAND, VA, C. 1880 16 in. long

This hollow decoy displays a crisp incised serifed “E” on the underside, designating it as part of Elkanah B. Cobb’s (1852-1943) gunning rig. Elkanah was Nathan Cobb Jr.’s son and a famed island guide. Like other Northampton County decoys, such as some exceptional Brady geese, this black duck features the excellent scratch paint of Ira Hudson. In Hudson repaint with heavy gunning wear, some flaking, and old putty and touch-up to reset neck. PROVENANCE: Elkanah Cobb Gunning Rig Dr. Morton D. Kramer Collection, acquired in 1978

266 Running Red Knot COBB ISLAND, VA, C. 1900 10 1/2 in. long

A Cobb Island robin snipe in an appealing pose hailing from the McCleery Collection. Old working paint with gunning wear, a few chips out of left side, and a replaced bill. PROVENANCE: Dr. James M. McCleery Collection Private Collection, Connecticut LITERATURE: Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, lot 41, exact decoy illustrated.

$2,000 - $3,000

LITERATURE: Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 157, exact decoy illustrated.

$3,000 - $5,000 159

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

267

160

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

268

267 Flying Canvasback Pair

268 Exemplary Canada Goose

This dynamic life-size canvasback pair features exceptional carved and painted detail. Each is signed and dated by Lem. Flying carvings by the Wards are rare, with only a single Canada goose illustrated (and glowingly described) in Gard and McGrath’s book on the two brothers. Original paint with minimal wear.

This classic Ward Brothers Canada goose demonstrates an attitude and sophistication that few balsa birds carved during this era possess. The bill and head carving are amongst Steve’s best and he imparted added flair with a 45-degree turned head and an inset uplifted tail. The large body was expertly finished by Lem with a precise and rhythmic paint pattern. The underside is inscribed “Made by Steve Ward, Crisfield, MD, 1947, Painted by Lem Ward.” Original paint with light even gunning wear, professional touchup to neck seam, and a few spots of touch-up to flaking.

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1960 19 in. long with 17 1/2 in. wingspan

PROVENANCE: Dr.

Morton D. Kramer Collection

LITERATURE: Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, May 20 & 21, 1977, lot 193, exact pair illustrated. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pl. 116, related goose illustrated.

$8,000 - $12,000

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1947 21 in. long

LITERATURE: Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, May 21, 1976, lot 136, related example illustrated.

$6,500 - $8,500

161

269

270

162

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

271

269 Redhead Drake

HENRY KEYES CHADWICK (1865-1958) OAK BLUFFS, MARTHA’S VINEYARD, MA, C. 1930 15 in. long

A classic long-bodied Chadwick, branded from the rig of “W. E. DUGAN” of Vineyard Haven and bearing the George Thompson Collection ink stamp. Original paint with even gunning wear. A check runs along the underside. PROVENANCE: W. E. Dugan Rig George Thompson Collection. Dr. S. Lloyd Newberry Collection

$1,800 - $2,400

270 Hoover Rig Black Duck A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1925 16 1/2 in. long

A rare turned-head black duck with fine feather paint to the head and body. Crowell patron William H. “Boss” Hoover (1849-1932) was the founder of the largest vacuum cleaner manufacturer in the world. A monumental American figure, even today the act of vacuuming in England is often referred to as “hoovering.” The underside of this carving bears the maker’s early oval brand, a painted “HOOVER” owner’s designation, and a “JHD” stamp for collector John H. Dunham. In excellent original paint with touch-up around neck crack, faint age line along back.

PROVENANCE: William H. “Boss” Hoover Rig John H. Dunham Collection Alan and Elaine Haid Collection LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 152. John and Shirley Delph, New England Decoys, Exton, PA, 1980, p. 147, bottom of exact decoy illustrated.

$6,500 - $8,500

271 Raised-Wing Mallard Drake A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1935 16 1/2 in. long

This elaborately carved Crowell showcases raised feather carving that extends from the tip of the scalloped tail, through the raised primaries, and up to the shoulders. When this decoy was made, mallards were not as prevalent along the Atlantic Flyway, as is evidenced by their scarce representation by decoy makers along the East Coast until the 1940s. The decoy is finished with the maker’s signature rasping to the head and breast. Original paint with light gunning wear, with some darkening to flaking on breast. PROVENANCE:

Dr. S. Lloyd Newberry Collection

$5,000 - $8,000 163

272 Early Redhead

272

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1905 15 1/2 in. long

“Dr. L. C. Jones” is partially inscribed in pencil on the bottom of the decoy. Dr. Lombard C. Jones was born on Cape Cod and attended Harvard College in the 1890s. The decoys from his gunning rig are exceptionally early, dating prior to the maker’s circular brand which was created circa 1912. In heavily worn original paint with gunning wear and touch-up to neck seam and underside of head. PROVENANCE: Dr. Lombard C. Jones Rig Private Collection, Massachusetts LITERATURE: Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, July 22-23, 1975, lot 52, exact bird illustrated.

$1,500 - $2,500 273

273 Self Bailing Scoter

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900 17 1/2 in. long

An example of Lincoln’s ingenuity, this white wing scoter displays great form and has a beveled bottom board. In nice dry original paint with even gunning wear, including some shot scars, a few with touch up, tight crack in neck. PROVENANCE:

Private Collection, Massachusetts

LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 49 related example illustrated.

$3,000 - $4,000

164

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

274

274 Ruby-Throated Hummingbird A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920 Bird is 3 1/2 in. long

An exceedingly rare hummingbird carved in the act of flight. One of only two examples known to exist by the maker. The body and wings are well conceived, the tail feathers nicely scalloped, and the paint vibrantly rendered. Original paint with minimal wear. Mounted on a driftwood base.

PROVENANCE: Harry and Virginia Sprong Collection Private Collection, Cape Cod LITERATURE: Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, p. 87, pl. 58, related example illustrated.

$12,000 - $18,000

165

SOARING TERN

275 Soaring Tern

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1900 21 in. wingspan

An extremely rare, life-size, flying tern carving. Measuring a full twenty-one inches from wing tip to wing tip, this curvaceous early work captures the aerial beauty of the species to perfection. This decoy was carved approximately fifteen years prior to the passing of the 1918 Migratory Bird Act which would begin to stop the slaughter of these graceful birds whose feathers were used as fashion statements in ladies’ hats. Crowell, like many people today, had an affinity for these expert hovering fishermen, creating this wooden homage to their beauty. It was Crowell’s interpretive ability to capture the likeness of birds and waterfowl that defined him as one of America’s greatest carvers. The anatomy of the bird is nearly flawless with a sharp “V” split tail, accurately carved inset feet and bill, and strong feather paint.

This tern is among the largest, earliest, and finest by the maker to come on the market. In original paint with minor wear and gesso loss, some discoloration to top of wings, restoration to very tip of bill. PROVENANCE: Dr. Oscar Warren Billingham, West Dennis and Jamaica Plain, Massachusetts Private Collection, New Hampshire, by descent in the family Private Collection, Florida LITERATURE: John Phillips, A Sportman’s Scrapbook, Boston, MA, 1928, p. 33. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p.38, related example illustrated. Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, July 22-23, 1975, cover, related carving illustrated.

In A Sportsman’s Scrapbook, Dr. John C. Phillips talks about Crowell’s creations: “Elmer used to decorate Wenham Camp $20,000 - $30,000 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.”

166

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

275

167

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

“Crowell’s reputation rests firmly on his shorebirds. They are without peer, as distinguished as the famous Audubon prints—as natural and as lovingly interpreted.” -Adele Earnest, The Art of the Decoy: American Bird Carvings

168

THE HARMON “DUST-JACKET” PLOVER TRIO

275a

275b

275c

Lots 275a-c are offered in association with Decoys Unlimited, Inc.

169

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

“To those who knew him and were his neighbors, Elmer Crowell was more than a craftsman. He became a legend during his lifetime. For half a century Elmer Crowell dominated the sporting scene on the Cape. Truly, he was America’s one indispensable decoy maker.” -William J. Mackey Jr., American Bird Decoys

275a The Harmon Turned-Head “Dust Jacket” Plover A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1900 10 in. long

For full description and to order The Harmon “Dust Jacket” Plover Trio catalog please contact our gallery: 617.536.0030 or info@copleyart.com. PROVENANCE: Roger Bacon Collection Ted and Judy Harmon Collection, acquired from the above, c. 1977 LITERATURE: Brian Cullity, “The Songless Aviary: The World of A. E. Crowell & Son,” Hyannis, MA, 1992, p. 49, pl. II, and p. 59, exact decoy illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 160, exact decoy illustrated. John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings, The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 86, exact decoy illustrated. Frank Maresca & Roger Ricco, American Vernacular, New York, NY, 2002, p. 33, exact decoy illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 64, pl. III, and dust jacket, related plover illustrated. John and Shirley Delph, New England Decoys, Exton, PA, 1990, dust jacket, related plover illustrated.

170

Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, p. 98, exact decoy illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 305, exact decoy illustrated. Sandwich, Massachusetts, The Songless Aviary: The World of A. E. Crowell & Son, Heritage Plantation of Sandwich, May 10–October 25, 1992. Salisbury, Maryland, Massachusetts Masters: Decoys, Shorebirds and Decorative Carvings, Ward Museum of Wildfowl Art, Salisbury University, LeMay Gallery, October 1, 2010–January 23, 2011. Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019.

EXHIBITED:

$250,000 - $450,000

THE HARMON TURNED-HEAD “DUST JACKET” PLOVER

275a

171

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

“They [The Harmon “Dust Jacket” Trio] are three supreme creations of Elmer Crowell and represent the finest in decoy carving and painting. The deeply carved feathers and boldly sculpted bodies are finished with blended feather patterns, unique to the Crowell hand.” -Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son

275b The Harmon Feeding “Dust Jacket” Plover A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1900 11 in. long

For full description and to order The Harmon “Dust Jacket” Plover Trio catalog please contact our gallery: 617.536.0030 or info@copleyart.com. PROVENANCE: C.W. Loud Rig Seymour Rapaport Collection Ted and Judy Harmon Collection, acquired from the above, c. 1977 LITERATURE: Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, p. 49, pl. II, and p. 59, exact decoy illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 160, exact decoy illustrated. John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 86, exact decoy illustrated. Frank Maresca & Roger Ricco, American Vernacular, New York, NY, 2002, p. 32, exact decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 53, exact decoy illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 64, pl. III, and dust jacket, related plover illustrated. John and Shirley Delph, New England Decoys, Exton, PA, 1990, dust jacket, related plover illustrated.

Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, p. 98, related plover illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 305, exact decoy illustrated. Salem, Massachusetts, Tollers and Tattlers: Massachusetts Waterfowl Decoys, 1840s–1940s, Peabody Museum of Salem, October 19, 1989–1992 Sandwich, Massachusetts, The Songless Aviary: The World of A. E. Crowell & Son, Heritage Plantation of Sandwich, May 10–October 25, 1992. Canton, Massachusetts, A. Elmer Crowell: Master of Decoys and More, Museum of American Bird Art at Mass Audubon, September 27, 2008–May 10, 2009. Salisbury, Maryland, Massachusetts Masters: Decoys, Shorebirds and Decorative Carvings, Ward Museum of Wildfowl Art, Salisbury University, LeMay Gallery, October 1, 2010–January 23, 2011. Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019.

EXHIBITED:

$300,000 - $500,000

172

THE HARMON FEEDING “DUST JACKET” PLOVER

275b

173

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

“He started out in his teens as a market hunter and a pioneering keeper of live waterfowl. These passions helped him to develop an intrinsic knowledge of waterfowl and other birds. His familiarity with bird behavior and anatomy enabled the master carver to create wood sculptures that bear exceptional likeness to species. -Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving

275c The Harmon “Dust Jacket” Plover A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1900 12 in. long

John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings, The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 86, exact decoy illustrated. Massachusetts Waterfowl Stamp, Black-Bellied Plover by A. Elmer Crowell, 1992, exact decoy illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 64, pl. III, and dust jacket, related plover illustrated. John and Shirley Delph, New England Decoys, Exton, PA, 1990, dust jacket, related plover illustrated. Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, p. 98, related plover illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 305, exact decoy illustrated. Sandwich, Massachusetts, The Songless Aviary: The World of A. E. Crowell & Son, Heritage Plantation of Sandwich, May 10–October 25, 1992. Salisbury, Maryland, Massachusetts Masters: Decoys, Shorebirds and Decorative Carvings, Ward Museum of Wildfowl Art, Salisbury University, LeMay Gallery, October 1, 2010–January 23, 2011. Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019.

EXHIBITED:

Lot 275c exact bird used as a model for the 1992 Massachusetts Waterfowl Stamp

174

$180,000 - $240,000

THE HARMON “DUST JACKET” PLOVER

275c

175

HARRY V. LONG

1857-1949 | WHITE HEAD, MA Often the fingerprints and influences people leave behind do not come to light for generations, if ever. This can be especially true for private individuals who seek neither recognition nor notoriety. Harry Vinton Long (1857-1949) lived an extraordinary life dedicated to his passions, surrounded by close friends and family. He cultivated a myriad of interests including the opera, architecture, horticulture, ornithology, hunting, fly fishing, sailing, conservation, and collecting Americana. In the spring of 1909, he and his wife, Susan Higginson Bowditch (18571935), purchased a property off the coast of Massachusetts that totaled just less than three acres.

Jutting out into Cape Cod Bay, Long’s White Head estate was ideally located for birdwatching, and it afforded terrific shorebird and duck shooting just steps from the house. Long was an extensive recordkeeper and his bird sightings were published in the Massachusetts Audubon Society’s bulletin. In 1919 he writes: “My island seems to be in the direct line of flight of almost all the birds; all the species of small birds seem to take a look in, coming in the spring and going in the fall; all kinds of flycatchers, shore-birds, geese, brant and coot fly directly over the house.” Shorebirds sighted in the first few years included whimbrel, pectoral sandpiper, winter and summer yellowlegs, robin snipe, stilts, ruddy turnstones, black-bellied plover, and golden plover.

176

Harry V. Long with a brace of yellowlegs, 1924.

Cover of Harry Long Journal 1909

177

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

275d The Long Open-Bill Calling Decorative Yellowlegs A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1912 12 in. tall by 11 1/2 in. long

Long was an active member of the New England Historical and Genealogical Society and the Society for the Preservation of New England Antiquities (now Historic New England). Since one of his core missions in life was the preservation of Americana, his identification of Elmer Crowell as a national treasure comes as little surprise. In a 1921 letter, Long states his vision “...to preserve and illustrate the life of New Englanders from the earliest period and find expression in those myriad objects of personal and domestic necessity or luxury and in the thousand and one implements of daily use.” An early collector of furniture, paintings, decoys, Audubon prints, Benson etchings, and books, Long sought out the finest examples in every genre and derived pleasure from living with these furnishings and decorative objects. Consequently, the carvings that Crowell carved for Long are exceptional. The Long Canada goose trinity, preening pintail, swimming black duck, tucked-head merganser, open-bill calling yellowlegs decoy with dropped wings (fig. 1), and this lot are all commissioned pieces and pinnacle works. Carved with a rare open wooden bill and dropped wings, the condition of this early yellowlegs is remarkable. The slightly upswept tail and dropped primaries mirror the horizontal

fig. 1

V-shape of the bill, providing the boldly carved shorebird with sculptural balance. The maker used a subtle incision to raise the top edge of the wings over the bird’s flank; the tail feathers are also incised. A strong S-curve defines the drawn-back posture of the calling head. Crowell applied his finest wet-on-wet paint with fine detail to represent the species’ plumage, including special treatment to the auriculars under the eyes. With particularly long legs and bill, this example represents the greater (winter) yellowlegs. The carved clamshell base is among the maker’s largest and finest, and its underside bears an early and crisp oval brand. Crowell made the aforementioned calling yellowlegs decoy (fig. 1) for Long in 1910 and subsequently used the pattern of this important working bird as the template for this lot. Together, these two Long Collection birds mark the nexus of Crowell’s transition from the marsh to the mantle, as it occurred at White Head. This exceptional and rare decorative has remained in the Long family since it was acquired from the artist over a century ago; it is now being offered for sale at auction for the first time. It stands as one of the finest decorative shorebird carvings ever created. Original paint with minimal wear from handling, including typical minor flaking to leg putty. PROVENANCE: Harry V. Long Collection, acquired directly from the artist Private Collection by descent in the family. LITERATURE: 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. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 124, Long calling decoy illustrated. Bulletin of the Massachusetts Audubon Society, vol. II, no. 9, January 1919. The New England Historical and Genealogical Register. Proceedings of the New England Historic Genealogical Society at the Annual Meeting, 3 February 1915. Boston: New England Historic Genealogical Society, 1915.

Estimate: $50,000 - $70,000

Dust jacket cover of The Long Collection catalog, 2009.

178

THE LONG OPEN-BILLED CALLING DECORATIVE YELLOWLEGS

275d

179

276

276 Important Black Duck MARSHFIELD, MA, 1900 18 in. long

Exceptionally well sculpted, this Massachusetts decoy shows sophisticated bill carving and pronounced shoulder carving that resolve at the lifted and incised wing tips. Below the wings, the makerâ&#x20AC;&#x2122;s craftsmanship continues with a thinly carved paddle tail with scalloped edges. The decoy does not appear to have ever been rigged which may explain its fine overall condition. The head was made to be removable and able to turn. Original paint with minor wear, a tight age line runs along the top left wing edge, and the left wing tip has been reset.

180

PROVENANCE: George and Hope Wick Collection Peter Bartlett Collection, acquired in 2008 Private Collection LITERATURE: Guyette and Schmidt, North American Decoys at Auction, Nov. 12 & 13, 2008, St. Michaels, MD, 2008, p. 31, lot 110, exact decoy illustrated.

$10,000 - $15,000

THE SAFFORD SWIMMING GOOSE

277 181

277 Outstanding Swimming Goose CHARLES A. SAFFORD (1877-1957) NEWBURYPORT, MA, C. 1910 31 in. long

Along with Captain Charles Osgood’s (1820-1886) (fig. 1) and Nathan Cobb Jr.’s (1825-1905) (fig. 2) geese, Safford’s carvings have found their place as some of America’s most iconic ganders. With their exceptional forms and unique laminated construction, Safford sculptures capture the eye of decoy and folk art collectors alike. Finding any Safford decoy in original paint is a rarity, as the maker’s geese, with their grand size, were designed to spend the entire season out in the marsh. This decoy, a sleeper, and a few straight-heads are among the only Safford geese in original paint known to exist. The vast majority of Safford decoys are found in rough condition, often with significant cracks and seam separations. This goose, was found in a Newbury, Massachusetts hunting camp, a short distance from Safford’s blind along with a sleeper and two straight heads. One of those straight heads was featured on the Massachusetts Duck Stamp. The owner of the property recalled seeing these decoys in the attic in the 1940s. This example is the best swimmer known

277

182

to exist, and it relates closely in scale, construction, and surface to its famous sleeping rigmate (fig. 3). Discussing the lore and legacy of Safford, author and historian Gigi Hopkins writes: “Although Charles Safford was a member of an old respected family descended from Newburyport’s first English settler, it quickly became evident that as an adult, he had very little use for any restrictions imposed by the proper social life. “He was schooled locally, proved to be bright and talented, did skilled work with his hands and was drawn to the outdoor life; he was a natural at hunting and shooting. He was small, but wiry and strong, and famous for sculling his sneak float (gunning boat) up-current against the mighty Merrimack River…As a young man, Charlie apprenticed at his great-grandfather’s cabinetmaking shop, Safford and Sons, where he became known for his meticulous craftsmanship...

CHARLES A. SAFFORD 1877-1957 | NEWBURYPORT, MA

277

“Safford had built himself a gunning camp and goose stand at Hale’s Cove on Plum Island, the eight-mile-long barrier beach just south of his hometown. He was now a crack shot, a successful market gunner and a highly sought-after hunting guide. At this point his needs were minimal, and being the gifted craftsman that he was, he could get a job at any firm, including his great-grandfather’s shop or next door at the prestigious Molten Silversmiths. He could create anything in wood from an elegant casket to an elegant seaworthy boat. He worked readily both as a designer and artist in gold and silver (or any other metal). In fact, he quickly mastered any medium to which he turned his attention. He was an inventor as well, employed as a tool maker and machinist when in his forties... “In 1934, Plum Island, Safford’s home hunting grounds, became a protected bird sanctuary. Happily, Charlie was invited to stay on as the property’s game warden, and he readily accepted the post. “This change meant that, virtually overnight, Charlie went from gunner to defender of waterfowl. He patrolled his wildlands every day on horseback, or occasionally by car if the weather was foul, and compiled detailed bird lists which Mass Audubon published in its monthly newsletters. - Special thanks to The Museum of American Bird Art, Mass Audubon, and Massachusetts Masterpieces curator and author Gwladys (Gigi) Hopkins for providing this biographical content.

not the only maker of laminated bodies (fig. 6) this lot’s construction is seemingly unique to Safford with numerous laminated layers applied on five planes around the axis of the body’s core block. Outstanding original paint with even gunning wear, a chip out of the underside of the bill, and a crack along underside of body. PROVENANCE: Charles A. Safford Rig Private Collection, Massachusetts LITERATURE: Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, pp. 78-79. Jay S. Williamson, Decoys of the Newburys, Plum Island and Surrounding Communities: Catalog of an Exhibition at the Cushing House Museum, Newburyport, MA, 1999, pp. 4142, rigmate illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 158, sleeping rigmate illustrated. Massachusetts Waterfowl Stamp, Canada Goose by Charles Safford, 1998, rigmate illustrated.

$60,000 - $90,000

The head and neck are two joined pieces mounted on a raised neck seat. Comparable head construction, utilizing the directional strength of the wood’s grain, is also seen in the dovetailed geese (fig. 4) and the goose carvings of A. Elmer Crowell (1862-1952) (fig 5). While 183

AMERICAN GOOSE DECOYS 277

Lot 277

fig. 3

Safford Sleeping Goose fig. 1

Osgood Goose

fig. 4

Dovetailed Goose fig. 5

fig. 2

Crowell Goose

Cobb Goose

fig. 6

Rigmate of lot 277, used as a model for the 1998 Massachusetts Waterfowl Stamp

Schoenheider Goose

184

ELISHA E. BURR

1839-1909 | HINGHAM, MA

278

278 The Starr Running Plover ELISHA BURR (1839-1909) HINGHAM, MA, C. 1880 12 1/2 in. long

This grand plover is one of the finest Burr shorebird forms to have surfaced, with a large body, clean carved wing detail, and strong head carving with sharp eye grooves. The underside is branded “C. BURR” and is marked with Starr’s Lincoln wood duck ink stamp. Original paint with even gunning wear; the wing tips are old replacements. PROVENANCE: Carl Burr Rig Dr. George Ross Starr Jr. Collection Dr. S. Lloyd Newberry Collection

LITERATURE: Richard A. Bourne Co., Inc. The Rare Decoy Collection of George Ross Starr Jr., M.D., Hyannis, MA, 1986, p. 30, pl. 79, exact bird illustrated. George Ross Starr Jr., M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, p. vi, top left, exact carving illustrated and p. 74, fig. 25. Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 148, fig. 170, related example illustrated.

$10,000 - $14,000

185

279

279 Eskimo Curlew Pair MASSACHUSETTS, C. 1850 13 in. long

Bearing the traits seen in the earliest Massachusetts South Shore carvers, 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 likely made before Lincoln was even born and some attribute them to 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 stamp on its 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:

186

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. $6,500 - $8,500

LOTHROP TURNER HOLMES

1824-1899 | KINGSTON, MA

280

280 Exceedingly Rare Dowitcher LOTHROP TURNER HOLMES (1824-1899) KINGSTON, MA, C. 1860 12 in. long

Unlike many professional carvers who earned a living selling their decoys, Lothrop Turner Holmes only carved decoys for his own use along the marshes of the Jones River and Duxbury Bay. Holmes is one of the earliest documented shorebird makers from any region and many consider him the top known decoy maker of the nineteenth century. This singular decoy is believed to be the only known Holmes dowitcher in original paint to have surfaced, making it even more rare than the maker’s coveted ruddy turnstones. This one-of-a-kind dowitcher displays a rich red breast, alert

posture, and precise split-tail carving. A rigmate golden plover was sold in Session III of the Donal C. O’Brien Jr. Collection in 2018. Original paint with even gunning wear. Minimal touch-up to base of the original reset bill. PROVENANCE:

Private Collection, Massachusetts

LITERATURE: Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions III, July, 2018, lot 16, closely related golden plover illustrated.

$14,000 - $18,000

187

JIM SCHMIEDLIN

1945-2015 | BRADFORD WOODS, PA

281

281 Ring-Neck Pair

JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1988 13 3/4 in. long

Two hollow birds with turned heads, branded “JAS,” and inscribed on the underside with the maker’s “Return for Reward” note along with the carver’s name and address. Original paint with gunning wear. PROVENANCE:

Jim Schmiedlin Rig

$4,000 - $6,000

282

282 Rare Wigeon Pair

JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1984 17 in. long

Both birds are hollow. The drake has a turned head and the hen is in a tuckedhead position. The drake bears the inscription on the bottom “Only pair made.” Branded “JAS” and inscribed “Return for Reward” along with the carver’s name and address on the undersides of both birds. Original paint with gunning wear. PROVENANCE:

Jim Schmiedlin Rig

$4,000 - $6,000

283

283 Surf Scoter

JIM SCHMIEDLIN (1945-2015) BRADFORD WOODS, PA, 1995 17 1/2 in. long

This is among the finest sea duck decoys by the artist to come to market with smooth lines and fine carving detail. The underside bears extensive markings by the carver that include his brand, two inscriptions, and painted “reward for return” address. Original paint with even gunning wear. PROVENANCE: Jim Schmiedlin Rig Dr. S. Lloyd Newberry Collection

$1,500 - $2,500

188

284 Bluebill Pair

ROBERT G. KERR (B. 1935) SMITHS FALLS, ONTARIO, C. 1960 16 in. long

284

This Kerr pair features excellent bill, raised-wing, and paddle-tail carving. The paint is nicely blended by the awardwinning maker. Both are ink stamped with the Miller Collection stamp and the hen displays the maker’s “Kerr, Smith Falls, Ontario” ink stamp signature on the bottom. Original paint with minimal wear. The drake has some minor touch-up at neck seam and right side, and an age line in bill. PROVENANCE:

Doug and Ellen Miller

Collection $900 - $1,200

285 Green-Winged Teal Drake LEO H. MCINTOSH (1953-2007) WOODVILLE, NY, C. 1990 12 in. long

285

A slightly turned-head carving with “L. H. McIntosh” incised in the bottom. This teal showcases not only McIntosh’s high level of decoy design, but also his exceptional painting abilities. In excellent original paint with minimal wear. PROVENANCE: Private Collection, New York, acquired directly from the artist

$800 - $1,200

286 Wood Duck Pair

GEORGE STRUNK (B. 1958) GLENDORA, NJ, C. 1980 14 in. long

286

A pair of wood duck decoys with raised wings and tail carving. The undersides display “G. STRUNK” stamped in the weight. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection $500 - $800

189

CHAUNCEY WHEELER 1888-1945 | ALEXANDRIA BAY, NY

287

287 Exceedingly Rare Dove

CHAUNCEY WHEELER (1888-1945) ALEXANDRIA BAY, NY, C. 1915 11 1/2 in. long

This hunting decoy belonged to washing machine magnate Lewis “Bud” Maytag (1926-1990) and came off his Sedgefield Plantation in Union Springs, Alabama. “Bud” Maytag was featured in a 1966 Sports illustrated article “Shooting on Mr. Bud’s Place.” Discussing Sedgefield Plantation author Virginia Kraft writes, “one of the last great sprawling plantations of the deep South is L. B. Maytag’s Sedgefields, in Union Springs, Alabama, where the dainty bobwhite quail, not cotton, is king and where hunting is regally reminiscent of the antebellum years.” According to Chance author Harold W. Reiser III, “Along with making decoys for Abercrombie & Fitch, local residents, and himself, back in the early 1900s Wheeler was commissioned by his most famous customer and student, world-renowned bandmaster John Philip Sousa [1854-1932]. John asked Wheeler to carve him a flock of dove decoys for his hunting lodge in Sachets Harbor, New York. This rig of doves is the only rig of its kind that Chauncey ever made.” 190

It is plausible that Sousa, who was a hunter, may have gifted this decoy to Maytag on a Southern hunting trip. Excellent original paint with even wear, a hairline crack in neck crack, some flaking to metal tail, and restoration to bill. PROVENANCE: Louis B. Maytag Rig Gifted by Maytag to his plantation manager Private Collection by descent from the above Private Collection, Florida LITERATURE: Harold W. Reiser III, Chance, A Man of Great Talent, Strength and Mystery, Lewes, DE, 2002, p. 53, closely related example illustrated. Hal Sorenson, Decoy Collector’s Guide, 1966-1967, p. 35, related example illustrated. Richard W. Oliver Auction Gallery, Rare and Important American Bird Decoys, Kennebunk, ME, July 2-3, 1988, lot 268, related example illustrated.

$3,000 - $5,000

JAMES ADAM “ADDIE” NICHOL 1864-1929 | SMITH FALLS, ONTARIO

288

288 Hollow Bluebill Pair

JAMES ADAM “ADDIE” NICHOL (1864-1929) SMITHS FALLS, ONTARIO, CANADA, C. 1890 13 in. long

A fine hollow bluebill pair with an extensive carved and painted feather detail, and raised primaries. On their inlaid bottom boards, the drake displays an incised “XXXV” and the hen bears an incised “XXXIV.” These are among the family and region’s finest forms; indeed, a closely related pair was selected for the cover of the Nichol Decoys book. Excellent second coat of Nichol paint with minimal gunning wear.

PROVENANCE:

Herb Wetanson Collection

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

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 145, pl. 244, rigmate hen illustrated. $2,000 - $4,000

191

Just like his decoys, Herb Wetanson was attracted to one-of-a-kind cars like this 1966 Porsche 906 Roadster. Here, Wetanson sits behind the wheel at Bridgehampton Raceway on Long Island the same year the car debuted.

192

The Herb Wetanson Collection

The words “duck decoy” and “racecar” don’t often

now. Now the kids are all on computers.”

appear in the same sentence. However, restaurateur

Although he grew up duck hunting, Wetanson explains

Herb Wetanson has pursued these two interests with

why he focused on collecting decoys for their form and

enthusiasm and determination for decades.

history, rather than their utility: “We hunted whatever

Wetanson recently explained the genesis of his automo-

was flying, but I didn’t like eating ducks. I disliked their

tive passion: “I was a car nut since I was about twelve

gamey taste and I can speak with some authority coming

years old. I just loved to look at cars and appreciate their

from the restaurant industry. So I dropped the hunting

lines and the differences between them. My parents

and kept on collecting the decoys.” Similar to famed

thought I was crazy. There wasn’t anyone else in my

collector and author Joel Barber (1876-1952), Wetan-

family who shared my car interests. I bought three cars

son pursued the decoys that pleased him aesthetically,

by the time I was fifteen, even though you couldn’t get a

describing decoys as “local natural artifacts of water

license until sixteen. I paid $90 for my first one.” These

communities.”

cars were Fords from the 30s and 40s.

Wetanson delved into the decoy collecting world with

In his teens, Wetanson began to visit the stock car

the same determination and enthusiasm that he devoted

track. He explains, “Each county had a dirt track in those

to his interest in cars. Partially driven by his lifelong love

days, a quarter-mile oval where they raced sports cars

of history, Wetanson studied all the makers, went to all

and midgets [smaller cars with smaller engines] in the

the auctions, and bought all the books on decoys that

1950s.” Wetanson would go on to race sports cars all

he could lay his hands on. When asked which carver or

over the world for decades. In 1969 he won the 24 Hours

carvers stood out to him, he replies, “My favorite is the

of Daytona, a sports car endurance race, in a Porsche 911.

Ward brothers from Maryland. I also love the carvers

A testament to his prowess on the race track, Wetan-

from the Illinois River basin.”

son was named Sportscar Vintage Racing Association’s

With hundreds of decoys in his home, Wetanson enjoys

(SVRA) Driver of the Year in 1997. In addition to his

studying the carvings’ lines and differences, just as he

impressive track record, Wetanson is a world renown car

appreciates looking at cars. He concludes, “It’s a love.

collector, with a car count that has climbed from three to

You have to be deeply in love, or crazy.”

sixty-five over the years. Less publicized is Wetanson’s longtime fascination with decoys, and working decoys in particular. He was raised in Woodmere on Long Island, an area with many oceanfed bays. Practically surrounded by water, Wetanson recalls, “Everyone was a hunter back then. You grew up knowing about the fish, the oysters, the birds. You were part of the landscape, the environment. It was a way of life. You shot your food. I fell in love with watching kids and their fathers hunting ducks together. That’s all gone

Wetanson duck hunting on Mecox Bay, Long Island with Gregory and Tim Sieger

193

“The best of the Warin geese, according to [Bruce] Malcom, who has acquired a small flock of them, came out of the St. Clair Flats Shooting Company. His favorite (and the author’s too) was made for Charles H. Gooderham of Toronto, a club member from 1883-1899. This style has beautiful proportion, sculpture and painting, and is hollowed to a lightness that could easily serve as a symbol of the Toronto school of decoy making.” - Bernard Crandell

289 Early and Important Canada Goose GEORGE WARIN (1830-1905) TORONTO ISLAND, ONTARIO, CANADA, C. 1883 20 1/2 in. long

Two serendipitous circumstances set over one hundred years apart allow us to draw some amazing conclusions regarding the use and ownership of this Canadian treasure. The first was the St. Clair Flats Shooting Company’s decision to brand the bottom of their decoys and thus designate the ownership of gunning rigs of existing and incoming members. The second was Bernie Gates’ decision to publish the list. Gates explains, “Collectors fortunate enough to find these birds are able to accurately date them.” The underside of this decoy is branded “C.HG,” “F. H. WALKER,” and “A H BUHL,” for three of its owners whose memberships collectively spanned 1883 to 1933. The Warins created lightweight, hollow decoys that were perfectly suited to the calm waters of southwestern Ontario. George Warin (1830-1905) and his brother James (18321884) first apprenticed to the highly esteemed boat-builder Robert G. Renardson before taking over his business in 1873. As a testament to their craftsmanship, a Warin-built racing scull won the 1881 and 1882 world championships. George Warin used his exceptional boat-building skills to carve decoys which “set a new standard of excellence in the region and were imitated by dozens of later Toronto and southwestern Ontario craftsmen,” according to historian Robert Shaw. Warin was also the first president of the St. Clair Flats Shooting Company and his recommendation positioned carver Thomas Chambers (1860-1948) as the club’s keeper. The featherweight decoy displays the maker’s earliest and best form in addition to his accomplished fine blended feathering. Original paint with even gunning wear, old stabilizing nails to neck and bill cracks, gunning putty to shot scars.

194

PROVENANCE: Charles H. Gooderham Rig Franklin H. Walker Rig Arthur H. Buhl Rig (1914-1933) Herb Wetanson Collection LITERATURE: Bernie Gates, Ontario Decoys II, Kingston, ON, 1986, p. 65, related decoy illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 211, pl. 38, related decoy illustrated. Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II, July 27, 2017, p. 56, lot 7, related decoy illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 232-233. Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 56-57, related decoy illustrated. Bernard Crandell, “George Warin Revisited,” Decoy Magazine, May/June 1997, front cover and p. 9 rigmate illustrated.

$16,000 - $22,000

GEORGE WARIN

1830-1905 | TORONTO, ONTARIO

289

195

C. WILLIAM CHRYSLER 1870-1940 | BELLEVILLE, ONTARIO

290 Rare Preening Bluebill

C. WILLIAM CHRYSLER (1870-1940) BELLEVILLE, ONTARIO, CANADA, C. 1890 12 1/2 in. long

Ontario decoy specialist Jim Stewart selected this oneof-kind decoy and a straight-head mate for his book The County Decoys, in which he describes them as “knockout decoys - old, hollow and elegant.” Original paint with gunning wear, working paint successfully taken down. PROVENANCE:

Roger Young Collection

LITERATURE: Jim Stewart, The County Decoys, Erin, ON, 2004, p. 135, exact decoy illustrated. Bernie Gates, Ontario Decoys III, www.ontariodecoys.ca/ chrysler-william-6/, 5/21/2019, exact decoy illustrated. Gene and Linda Kangas, Great Lakes Interpretations, Concord, OH, 2011, p. 71, exact decoy illustrated.

$6,000 - $8,000 290

291

196

WILLIAM HART

1875-1946 | BELLEVILLE, ONTARIO

292

291 Hooded Merganser Pair

292 Rare Hollow Mallard Drake

A stylish pair of hollow hooded mergansers with broad thin crests. From the maker’s personal gunning rig, each is stamped “C.W.C.” twice on the thin bottom board and stamped “C” under the chin. Stewart notes that the form of Chrysler’s “elegantly formed mergansers are a collectors’ dream.” Original paint with light wear, some early repaint has been successfully removed. The drake has a partial bill replacement, and chip at right base of neck, the hen has an age line in neck.

Stewart describes this exact bird as “a fine Hart mallard decoy, typical of his best work.” A hooded merganser by William Hart, until fairly recently, held the world record at auction for any Canadian decoy. As a hollow Hart mallard, this is not a typical species for the maker and it is believed to be the only example in original paint known to exist. It exhibits fine feather blending and an Incised “JT” on underside. Original paint with even gunning wear.

C. WILLIAM CHRYSLER (1870-1940) BELLEVILLE, ONTARIO, CANADA, C. 1900 15 in. long

PROVENANCE: Sam Stuart Collection Peter Brown Collection

Private Collection LITERATURE: Jim Stewart, The County Decoys, Erin, ON, 2004, p. 134, rigmate pair illustrated. Linda and Gene Kangas, “A Bit Racy: The inspired Diversity of Merganser Decoys,” Decoy Magazine, May/June 2007, p. 24, related example illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 226, related example illustrated.

WILLIAM HART (1875-1946) BELLEVILLE, ONTARIO, CANADA, C. 1900 15 1/2 in. long

PROVENANCE: James Tuite Rig Bernie Gates Collection Roger Young Collection, acquired from the above

Literature: Jim Stewart, The County Decoys, Erin, ON, 2004, pp. 17 and 138, exact decoy illustrated. $14,000 - $18,000

$14,000 - $18,000

197

293

293 Important Pintail Pair

RICHARD “FRESH AIR DICK” JANSON (1872-1951) SONOMA, CA, C. 1940 17 1/4 in. long

Often regarded as the West Coast’s most important carver, a related pintail pair was chosen for the front cover of Wildfowl Decoys of the Pacific Coast in which the hen of this pair is also featured. Excellent representations of the maker’s work, the drake’s head is slightly turned. Through Duckhorn Vineyard’s famous Decoy wine line, Janson’s pintail drake has become perhaps the world’s most recognized decoy. In original paint with even gunning wear paint with cracks in both necks. PROVENANCE: Herb

294

Wetanson Collection

LITERATURE: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Davis, CA, 1986, cover and pp. 142152, related birds illustrated, p. 149, exact hen illustrated.

$2,000 - $4,000

294 Pair of Swimming Mallard Hens BRITISH COLUMBIA, CANADA, C. 1930 19 3/4 in. long

A pair of hollow swimming mallard hens with carved bill detail. In original paint with gunning wear, one has reset tail chip and gray paint along waterline, the other has a crack and chips in neck. PROVENANCE:

Private Collection, Ohio

$1,000 - $1,500 295

295 Standing Green-Winged Teal CALIFORNIA, C. 1930 11 1/4 in. long

An early and unusual California stick-up decoy fabricated from a palm frond. Early working paint with heavy gunning wear.

198

WILLIAM C. GIBIAN

B. 1946 | ONANCOCK, VA

296

298

297

299

296 Preening Bluebill Pair

298 Mourning Dove

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

A life-size bird carving with carved raised wings and the maker’s incised “Gibian” signature on the underside, mounted on a wooden base. Original paint with minimal wear.

PrOVENANCE: Private Collection, New York, acquired directly from the artist

PROVENANCE:

WILLIAM C. GIBIAN (B. 1946) ONANCOCK, VA, 2007 14 in. long

WILLIAM C. GIBIAN (B. 1946) ONANCOCK, VA, C. 1990 12 in. long

Private Collection, New York

$600 - $900

$2,000 - $3,000

297 Black-Bellied Plover WILLIAM C. GIBIAN (B. 1946) ONANCOCK, VA, C. 1990 12 in. long

Signed by the maker with his incised signature on the underside. Original paint with minimal wear. PROVENANCE:

Private Collection, New York

$600 - $900

299 Preening Blue-Winged Teal WILLIAM C. GIBIAN (B. 1946) ONANCOCK, VA, C. 1990 11 in. long

A drake teal decoy with elegant wing-tip carving. Rigged with a pad weight and original leather., inscribed “GIBIAN” on the underside. In original paint. PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900

199

300

302

301

303

300 Lapwing

Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22-23, 2000, p. 224, lot 565, exact decoy illustrated.

A rare decoy of this European plover species with split, raised wing tips and remnants of its crest. As found.

$1,000 - $1,500

PROVENANCE: Private

302 Three Whistles and a Call

C. 1900 10 in. long

Collection, Maine

A three-inch-tall, barrel-shaped, metal shorebird whistle, Ludwig & Ludwig Company, Chicago, IL., with soldered repair. A bald-pate and pintail duck call acquired from Tuts Lawson. A shorebird whistle, c. 1900. A George J. Seiss, Toledo, OH, metal hand-cranked call, c. 1910. As found.

$400 - $600

301 Golden Plover

MR. BRONSDON HARWICH, MA, C. 1890 9 3/4 in. long

A plump golden plover with split-tail carving and thick original paint. Regarding a nearly identical plover in his book, Mackey writes, “Bronsdon could whittle a fine plover but was unable to do it justice when it came to painting. The illustration shows some of the Golden Plover carved by Bronsdon but painted by Elmer Crowell.” Maritime Canada decoy specialist Gary Guyette documents decoys of this form as being the work of John Ramsey. This exact decoy was identified as a Nantucket decoy in the McCleery Collection sale catalog. Original paint with light gunning wear. Bronsdon Rig, Harwich, Massachusetts Dr. James M. McCleery Collection Dr. Morton D. Kramer Collection PROVENANCE:

LITERATURE: Sotheby’s 200

and Guyette and Schmidt, American

PROVENANCE:

Dr. Morton D. Kramer Collection

303 Golden Plover Pair

SHERMAN OR SIMMONS CHANDLER DUXBURY, MA, C. 1870 11 in. long

A 1975 Bourne auction catalog describes these as having been made by either Sherman or Simmons Chandler of Duxbury, Massachusetts. These gunning decoys were likely repainted after the passing of the 1918 Migratory Bird Act and retired to the mantle. PROVENANCE:

Chandler Gunning Rig

LITERATURE: Richard A. Bourne Co. Inc., Rare American Decoys and Bird Carvings, Hyannis, July 22, 1975, lots 753-754, exact pair illustrated.

$600 - $900

GEORGE H. BOYD

1873-1941 | SEABROOK, NH

304 Black-Bellied Plover GEORGE H. BOYD (1873-1941) SEABROOK, NH, C. 1900 11 in. long

304

A classic Boyd beetlehead with strong stippled paint and pleasing patina. Original paint with light wear, an age line on bottom, and small restoration to wing tip. LITERATURE: John and Shirley Delph, New England Decoys, Exton, PA, 1990, p. 45, related decoy illustrated.

$2,000 - $3,000

305 Black Duck

GEORGE H. BOYD (1873-1941) SEABROOK, NH, C. 1920 22 in. long

This black duck is made in a similar style to the maker’s famous canvas-covered geese. In the case of these rare black ducks, Boyd executed fully finished carving to both the front and back ends of the bird. The undersides of the bill and tail are branded “BEAN.” Mostly original paint on the head and working paint on the body with gunning wear, including a chip to the tail.

305

PROVENANCE: Bean Rig James R. and Diane Cook Collection Dr. S. Lloyd Newberry Collection LITERATURE: Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p. 83, exact decoy illustrated.

$3,000 - $4,000

306 Black Duck

GEORGE H. BOYD (1873-1941) SEABROOK, NH, C. 1925 20 in. long

306

A boldly carved Boyd black duck. In original paint with light gunning wear and some darkening mostly to sides, tail chip repair, and an age crack along bottom into lower breast. LITERATURE: Copley Fine Art Auctions, The Sporting Sale 2009, Plymouth, MA, July 2009, lot 171, exact decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 69, related example illustrated.

$1,000 - $1,500

201

307

307 Rare Golden Plover Trio JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1890 9 1/2 in. long

A recent find, the three rigmate golden plover decoys display the maker’s knife finish and split-tail carving. Two of the plover are painted in breeding plumage. Original paint with gunning wear, including some flaking. PROVENANCE: From a Long Island gunning rig Private Collection, by descent from the above LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 66 related example illustrated.

$3,000 - $5,000

308 Running Yellowlegs MASSACHUSETTS, C. 1910 11 1/2 in. long 308

The 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 stick hole. PROVENANCE: Donal C. O’Brien Jr. Collection Dr. Morton D. Kramer Collection, acquired in 2018

309

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, figure 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.

$2,000 - $3,000

309 Sanderling

MASSACHUSETTS COAST, C. 1910 7 1/2 in. long

An alert peep decoy with a delicate split tail and painted eyes. Original paint with gunning wear including some rubs to right side, a tight age line in neck., and a paint rub to left side of head. Provenance: Dr. S. Lloyd Newberry Collection $1,000 - $1,500

202

310 Mackey-Lincoln Yellowlegs JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900 10 1/2 in. long

310

A split-tailed shorebird decoy with stippled paint, fine proportions, a very thin neck, and spoke-shaved finish. The Mackey Collection ink stamp is seen on the underside. Original paint with even gunning wear. PROVENANCE: William J. Mackey CollectionDr. S. Lloyd Newberry Collection LITERATURE: 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, Session III, 1973, lot 325, exact bird illustrated.

$2,000 -$3,000

311

311 Golden Plover

MR. HARRIS NANTUCKET, MA, C. 1870 9 1/2 in. long

This two-piece Nantucket decoy has the exact construction, form, and paint as those found in the O’Brien, Mackey, Shelburne Museum, and the University Club of Milwaukee decoy collections. Original paint with even gunning wear. PROVENANCE:

Private Collection, Tennessee

$1,000 - $1,500

312 Golden Plover

W. S. MORTON (1809-1871) RIG QUINCY AND NANTUCKET, MA, C. 1865 9 1/2 in. long

312

The decoys carved by Morton are readily identifiable with their beveled-edge wing design and their stick holes for two wire legs on their underside. Morton, who hailed from Quincy, is also believed to have hunted on Nantucket, as many of his decoys have surfaced on the island that lies ninety miles south of Quincy. This plover displays intricate “golden” feathering along its back. Original paint with even gunning wear, blunted bill tip. PROVENANCE: Private Collection, Massachusetts LITERATURE: John and Shirley Delph, New England Decoys, Exton, PA, 1980, p. 86, related decoy illustrated.

$1,500 - $2,500

203

313

313 High-Head Willet MASSACHUSETTS, C. 1880 14 in. long

This stylish willet has raised wings, a refined split tail, and was built with three-piece laminated construction. The underside is stamped “McCLEERY.” A related example was discovered in Marshfield, Massachusetts, by Dr. George Ross Starr Jr. Original paint with gunning wear and flaking, a few old green drips. The Stewart E. Gregory Collection Dr. James M. McCleery Collection Dr. Morton D. Kramer Collection PROVENANCE:

LITERATURE:

204

Sotheby’s and Guyette and Schmidt, American

Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 208, lot 546, exact decoy illustrated. Dr. George Ross Starr Jr., Decoys of the Atlantic Flyway, New York, NY, 1974, p. 173, fig. 30, related carving illustrated. $6,000 - $9,000

A. ELMER CROWELL.

1862-1952 | EAST HARWICH, MA

314 Early Hollow Black-Bellied Plover A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1895 13 1/4 in. long

314

This exceedingly rare hollow Crowell plover, along with two other known rigmates, are the maker’s earliest documented shorebird decoys. They are most likely from his personal gunning rig and used to harvest birds for both the maker’s own table fare and for market. Other than these three examples, no other hollow shorebirds by the maker have surfaced. This bold plover exhibits several of the features seen in his later “dust-jacket” decoys, including a large size and fastidious attention to plumage patterns. The intricate brushwork speaks of a young man with an acute sense for detail. The flared bill tip, square “beetlehead,” and long split tail show anatomical knowledge rarely matched by other makers. In excellent original paint with even gunning wear, touchup at base of reset bill, and a hairline crack in neck. PROVENANCE: Joseph B. French Collection John Dinan Collection Dr. S. Lloyd Newberry Collection LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 218, fig. A, exact decoy illustrated.

315

$10,000 - $14,000

315 Gunning Yellowlegs

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1910 11 in. long

A plump gunning decoy with Crowell’s lively paint application. Original paint with gunning wear, including some touch-up mostly on head and along right side. PROVENANCE: Joseph B. French Collection Dr. Morton D. Kramer Collection

$3,000 - $5,000

205

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

12711_2 316

316

316 Exceedingly Rare Eskimo Curlew

317 Golden Plover

Carvings of this now-extinct species rarely surface, making this example by one of Massachusetts’ most famed makers all the more alluring. Only three Lincoln Eskimo curlew are thought to have survived.

Authors Cap Vinal and William Mackey published segments of Herbert Hatch’s diary in which the gunner describes buying Joseph Lincoln decoys and making his own off of Lincoln’s model. This decoy is a rigmate to the golden plover found with Hatch’s diary. Original paint with minimal wear.

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1890 13 1/2 in. long

This plump curlew, along with its two rigmates, was discovered on Nantucket in the early 1960s by collector Donal C. O’Brien Jr. Shortly thereafter, O’Brien sold, or traded, this example to Dr. James M. McCleery. Another was acquired by Ogden Pleissner biographer Peter Bergh and was later obtained by noted shorebird decoy collector Grant Nelson in 1997. Stamped “McCLEERY” on the underside. Early gunning paint with even wear. PROVENANCE: Donal C. O’Brien Jr. Collection Dr. James M. McCleery Collection Cap Vinal Collection Private Collection, Massachusetts LITERATURE: Sotheby’s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 212, lot 566, exact decoy illustrated.

John M. Levinson and Somers G. Headley, Shorebirds, Centreville, MD, 1991, p. 56, rigmate illustrated. $6,500 - $8,500 206

HERBERT F. HATCH (1877-1951) MARSHFIELD, MA, C. 1898 9 1/2 in. long

PROVENANCE: Herbert F. Hatch Rig Dr. Morton D. Kramer Collection LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, pp. 58-59, rigmate illustrated.

William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, pp. 86-87. Richard A. Bourne Co. Inc., “Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey,” Hyannis, MA, 1973, Session III, lot 225, rigmate illustrated. $1,000 - $1,500

317

319 318

320

318

319

318 Cork Bluebill

320 Oversize Black Duck

The underside bears the Chitwood Collection ink stamp. Paint has been restored.

This decoy approaches Lincoln’s typical twenty-five-inchlong goose pattern in size. In addition to the bird’s grand scale, it has a sharp flared bill and sculpted shoulder carving. There is a partial C. F. Spear brand on bottom. Original paint with heavy gunning wear, some working black on body, and a typical age split in bottom which has filler.

CHARLES E. “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1930 12 3/4 in. long

PROVENANCE: Henry Chitwood Collection Dr. Morton D. Kramer Collection

319 Merganser Hen

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1910 21 1/2 in. long

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900 17 1/2 in. long

PROVENANCE: Chester F. Spear Rig, acquired from the maker Ellery Clark Collection Dr. S. Lloyd Newberry Collection

Lincoln’s mergansers are among his most celebrated forms. Original and old working paint with gunning wear and typical age split in bottom.

LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 29, related example illustrated.

Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 52, related example illustrated. LITERATURE:

$500 - $800

$3,000 - $5,000

207

321

321 Herring Gull

CHATHAM, MA, C. 1900 15 1/4 in. long

An early gunning decoy from Cape Cod, Gulls were usually used as singles in larger rigs and hence are uncommon. Old working paint with gunning wear. PROVENANCE: Private Collection, Massachusetts LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 203, related gull illustrated.

$1,200 - $1,800

322

322 Long-Tailed Hen

WILLIAM MINOR NORTH HAVEN, CT, C. 1925 11 in. long

A bold decoy with very fine head and bill carving. The underside is branded “E. A. THOMPSON.” This work resembles the carving of fellow Connecticut maker Edward “Shang” Wheeler. Original paint with gunning wear. PROVENANCE: Rig of Edward A. Thompson Private Collection, Massachusetts LITERATURE: Decoy Magazine, Burtonsville, MD, January/February 2012, Collectable Old Decoys ad on inside front cover, rigmates illustrated.

$2,500 - $3,500 323

323 Three Wildfowler Jewelry Boxes WILDFOWLER DECOYS (1939-1957) OLD SAYBROOK, CT, C. 1950 12 in. long

A green-winged teal drake, a wigeon drake, and a bufflehead with hollowed-out compartments inside. The backs, when lifted from the raised primary feathers, are the box’s hinged tops. Wildfowler crafted these birds to be used as cigarette or jewelry boxes. Original paint with minor flaking. The bufflehead has some restoration to bill and head. PROVENANCE:

208

Richard LaFountain Collection

324

326

325

327

324 High-Head Long-Tailed Duck MASSACHUSETTS, C. 1890 11 3/4 in. long

A decoy with high-head form and lines similar to those seen in the mergansers of Lothrop Holmes (1824-1899). Original paint, a crack in neck, and a few dings. $600 - $900

325 Long-Tailed Drake MAINE, C. 1900 13 in. long

As found. PROVENANCE:

Private Collection, Maine

$400 - $600

326 Long-Tailed Drake MAINE, C. 1920 12 1/2 in. long

A folky little hunting decoy with an inletted head. The underside is partially hollowed. Original paint with even gunning wear and a crack in the neck and bill. PROVENANCE:

Private Collection, Maine

$500 - $800

327 Three Hollow Ice or Field Geese JOHN BROOKS (1879-1962) PRINCE EDWARD ISLAND, CANADA, C. 1920 30 in. long

The well-conceived field decoys by John Brooks captured the imagination of Maritime Canada decoy specialist Gary Guyette, who discusses the maker’s work: “At first he used live geese for decoys but when this was outlawed he turned his hand to making wooden decoys. The bodies of the geese are hollow and seamed through the middle, and the head and neck are carved in one piece using tree branches.” Guyette continues, “All of Brooks’ goose decoys are painted a dark brown the later ones being almost black, and have gray brush strokes for feathering. Brooks carved ice decoys and floaters in upright or feeding positions that all have carved eyes and mouths.” The two largest birds bear the maker’s “JB” brand on their undersides signifying that they were from Brooks’ personal gunning rig. As found. PROVENANCE:

Private Collection, Washington State

LITERATURE: Dale and Gary Guyette, Decoys of Maritime Canada, Exton, PA, 1983, p. 119, related example illustrated.

$1,000 - $1,500

209

AUGUSTUS “GUS” AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

328 Outstanding Eider Hen

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1900 17 1/2 in. long

This boldly carved sea duck is one of the finest Wilson eider hen decoys to ever be offered at public auction. The carving features an exceptionally rendered breast-preening head with carved eyes, fine bill detail, and raised wings. This large bird is over seventeen inches long, over eight inches tall, and over nine and three-quarters inches wide. The two-piece construction features a prodigious six-andone-half by four-and-one-quarter-inch inletted head inlay. The bottom displays an anchor line ring fastened with an old fence staple. Wilson was born on Mount Desert Island, Maine. Though he is foremost remembered as a carver, he was also a boat builder, waterman, outdoorsman, and lighthouse keeper. He was an attendant to a number of Maine’s lighthouses, including the Great Duck Island Light, Goose Rocks Station on Fox Island, Two Lights Station on Cape Elizabeth, Marshalls Point Light at Port Clyde, and Spring Point Light in Casco Bay. According to art historian Gene Kangas, “His job as a lighthouse keeper provided financial security and ample time to facilitate rapid artistic advancement. Imaginative decoys and wildlife carving began to taking shape in an incredible variety of poses.”

Wilson’s interests were by no means limited to decoys. He carved a variety of songbirds, decoratives, weathervanes, and big cats. A pair of Wilson’s tigers are featured in the American Identities exhibit, on display as a part of the permanent collection of the Brooklyn Museum, Brooklyn, New York. Strong original paint with even gunning wear. The underside has a crack and imperfection in wood, and there is a paint drip on left shoulder. PROVENANCE:

Private Collection, Maine

LITERATURE: Guyette and Schmidt, North American Decoys at Auction, July 29 & 30, 2006, Boston, MA, 2006, p. 30, lot 85, exact decoy illustrated. Gene Kangas, “Gus Wilson, Folk Artist,” Decoy Magazine, Lewes, DE, November/December 1994, pp. 8-13. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 149, similar decoy illustrated. Copley Fine Art Auctions, The Sporting Sale 2015, Plymouth, MA, July 25, 2015, p. 241, lot 6, rigmate illustrated. Copley Fine Art Auctions, The Donal C. O’Brien, Jr. Collection of Important American Sporting Art and Decoys, Sessions III, July 19, 2018, p. 137, lot 54, rigmate illustrated.

$25,000 - $35,000

Early regional traditions and requirements drove carvers to produce big solid decoys with modest paint patterns. “Seaworthiness, durability, practicality, effectiveness and affordability were essential considerations...Wilson’s genius is demonstrated by his ability to work within those existing traditions, yet elevate the Maine decoy to a higher level of artistic achievement.”

“Wilson looked at waterfowl much the way the Ward brothers did. There was a similarity in their ability to capture an unusual pose and to produce a decoy that continues to enthrall even the seasoned gunners who have spent their lives observing waterfowl.” - Robert Shaw, Bird Decoys of North America: Nature, History, and Art

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AUGUSTUS “GUS” AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

328

211

AUGUSTUS “GUS” AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

329

329 Feeding Rocking-Head Black Duck with Mussel AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1930 20 1/2 in. long

212

Known for creating decoys with dynamic forms, this swimming, feeding, rocking-head black duck successfully ties three distinct Wilson features all into one decoy. This decoy was never rigged and hails from the Haid Collection. Excellent original paint with minimal wear.

LITERATURE: John and Shirley Delph, New England Decoys, Exton, PA, 1990, p. 25, related decoy illustrated. Guyette and Schmidt, North American Decoys at Auction, April 27 & 28, 2006, St. Charles, IL, 2006, p. 29, lot 95, exact decoy illustrated.

PROVENANCE: Alan and Elaine Haid Collection Private Collection, Long Island

$14,000 - $18,000

AUGUSTUS “GUS” AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

330

331

330 Long-Tailed Drake

331 Goldeneye Pair

A fine example of a rare Wilson species. Original paint with gunning wear, original maker patch left wing tip.

A strong rigmate pair of whistlers. Original paint with even gunning wear, including some drips on drake.

PROVENANCE:

PROVENANCE: Private

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1920 13 3/4 in. long

Private Collection, Massachusetts

$3,500 - $4,500

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1920 15 1/4 in. long

Collection, Massachusetts

$3,000 - $5,000

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AUGUSTUS “GUS” AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

332

332 White-Winged Scoter

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1890 17 in. long

A Monhegan-Island-style white-winged scoter decoy with great form, an inletted head, and raised wings. Stamped “ADELE EARNEST COLLECTION” on the underside. Mix of original and in-use repaint with gunning wear and tight age cracks in bottom and breast. PROVENANCE: Adele Earnest Collection Private Collection Dr. S. Lloyd Newberry Collection

$2,500 - $3,500

333

333 Swimming Goldeneye

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1920 15 in. long

A goldeneye drake with an inletted turned head. Original paint with gunning wear, crack in neck. PROVENANCE:

Private Collection, Maine

$1,000 - $2,000

334

334 Turned-Head Mallard Hen

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1920 17 in. long

Few mallards by Wilson have surfaced. This example has a turned head and the underside bears a branded “E.C.S.” Original paint with gunning wear, including a neck crack. PROVENANCE:

Private Collection, Rhode

Island $1,200 - $1,600

214

335 Black Duck

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1925 17 in. long

335

The decoy has the maker’s oval brand on bottom along with two faint Pequaw-Honk Club brands. Gunning repaint by Crowell. PROVENANCE: Pequaw-Honk Club Rig Dr. Morton D. Kramer Collection LITERATURE: John and Shirley Delph, New England Decoys, Exton, PA, 1980.

$500 - $700

336 Goldeneye Hen

ORLANDO “OS” BIBBER (1882-1970) SOUTH HARPSWELL, ME, C. 1910

336

A coastal Maine decoy with a sleek, stylized form. In The Great Book of Wildfowl Decoys, John Dinan writes, “Bibber’s birds are the best carvings on the coast... He made decoys for his own use.” A mixture of original and working white paint with even gunning wear and a bill chip. LITERATURE: Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 33-36.

$4,000-$7,000

337 Hollow Long-Tailed Drake MASSACHUSETTS, C. 1890 13 in. long

337

Old working paint with heavy gunning wear and cracks in neck and breast. PROVENANCE: Joseph Davis Collection, Louisville, Kentucky Private Collection, by descent in the family

$600 - $900

215

STEPHEN R. SMITH B. 1942 | JAMESTOWN, NY

338

338 Rainbow Trout Model

STEPHEN R. SMITH (B. 1942) JAMESTOWN, NY, C. 1995 fish is 28 3/4 in. long, plaque is 13 by 33 in.

A trophy rainbow trout carving of a fish caught by artist James Prosek, inscribed on plaque “11 lbs. 7 oz., Kenai River, Alaska, 10th August 1995, James Prosek.” Inlaid maker’s signature appears lower left. Approximate 1/4 in. by 2 in. chip to upper right-hand corner of plaque, as found. $3,000 - $4,000

216

339 Brook Trout

339

LAKE CHAUTAUQUA, NY, C. 1890 7 in. long

A classic Chautauqua fish with banded paint on the leather tail and a sharp three-dot pattern along the sides. Original paint with fishing wear. $2,000 - $3,000

340 Brown Trout

LAKE CHAUTAUQUA, NY, C. 1880 6 3/4 in. long

340

A stylish trout with good fins and deep gill carving. Original paint with fishing wear. In 2007 this fish was identified as a Harry Seymoure. PROVENANCE: Bob and Pauline White Collection Private Collection, acquired in 2007

$2,000 - $3,000

341 Trout

LAKE CHAUTAUQUA, NY, C. 1890 6 1/2 in. long

341

Original paint with fishing wear and working paint on underside. $2,000 - $3,000

342 Trout

LAKE CHAUTAUQUA, NY, C. 1880 7 1/4 in. long

Some have attributed this fish to be the work of Harry Seymoure. Original paint with fishing wear.

342

PROVENANCE: Charles Magin Collection David Fannon Collection Private Collection LITERATURE: Charles E. Magin, The Charles Magin Collection of Lake Chautauqua Fish Decoys, Macedon, NY, 2016, p. 26 exact fish illustrated.

$2,000 - $3,000

343 Twenty-Five Fish Decoys

343

As found.

217

344 Rare Display Sample Canoe OLD TOWN CANOE COMPANY OLD TOWN, ME, 1926 48 in. long

The Old Town Canoe Company of Old Town, Maine, is a historic maker of canvas-covered wooden canoes. Incorporated in 1901, Old Town is the largest and most wellknown American canoe maker and they are still in business today. The individual build records for Old Townâ&#x20AC;&#x2122;s canoes that were built prior to 1976 still exist and can be accessed by contacting the Wooden Canoe Heritage Association. A serial number is located on the upper face of the stem on the floor of the canoe at each end and is tied to the build records which contain specific information regarding construction, dates, and the final shipping destination. The Old Town Canoe Co. build records disclose that approximately thirty-five forty-eight-inch-long samples

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were made between 1922 and 1927; however, very few bear the build/serial number relating to their actual production. Identification is sometimes possible by matching original paint colors to records and/or relating the locale where the canoe was found to the original shipping destination records. This particular piece is likely Old Town build #88798, shipped on 27 February 1926 to J. W. Teshune Co. in Hackensack, New Jersey, close to where it was discovered over forty-five years ago. The Old Town Canoe Co. made approximately 100-120 samples in all over the years, including thirty-five to forty of their larger eight-foot-long models. It is believed that Old Town rewarded its wholesale distributors with a free forty-

OLD TOWN CANOE COMPANY

OLD TOWN, ME

eight-inch sample if they ordered a railway boxcar load of canoes, about forty full-size canoes. Distributors received two forty-eight-inch-long samples or one eight-foot sample if they ordered two boxcar loads. Thus, the samples were really used as “premiums” to recognize favored distributors, not routinely handed out to salesmen, though they are often called such. Old Town Canoe Co. was by far the greatest maker and distributor of “display” samples, which were also often referred to as “sign” canoes. By comparison, the Kennebec Canoe Co., Old Town’s biggest competitor, built sixty recorded “sample” canoes sixty-three to sixty-nine inches in length, ten of them in 1916 and fifty more between 1922-1926. The parallels in production and distribution are striking.

Display samples were not sold to individual buyers. Most were distributed prior to the 1930s and were placed in window displays or hung prominently in outfitter stores. Given the relatively low production numbers and disappearance through attrition, they are scarce and highly sought after collectibles today. We are grateful to Roger Young of Antique Model Canoes for supplying this information.

$16,000 - $20,000

344

219

345 Wood Ducks Plaque

345

DECOURCEY TAYLOR (B. 1930) 1973 18 3/4 by 37 3/4 in.

A relief-carved and painted plaque initialed and dated “DLT 1973” on back. As found. PROVENANCE: Private Collection, South Shore, Massachusetts, acquired from the artist

$500 - $800

346 Folk Art Stag and Deer Pattern Rug

346

AMERICAN SCHOOL, 19TH CENTURY 32 1/2 by 70 1/2 in.

Wool work on canvas foundation. As found. PROVENANCE:

From a Vermont

Collection $1,000 - $2,000

347 Two Sets of Owl Bookends 347

220

Two pairs of cold-painted, cast-iron owl bookends. One set measures five-and-one-quarter-inches-tall and the other is six-inches-tall. Original condition with light wear and minor flakes.

348 Owl

HERTERS MANUFACTURING INC. (EST. 1890S) WASECA, MN, C. 1940 18 1/2 in. tall

348

Original paint with light wear. PROVENANCE: Dr.

Morton D. Kramer

Collection LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 100, related example illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 198, related example illustrated.

$1,000 - $2,000

349 Owl Mechanical Coin Bank C. 1880 7 1/2 in. tall

349

A cast-iron mechanical coin bank with a lever on the back which rotates the owl’s head to open the coin slot. “Pat’d Sept 21-28th, 1880” on the bottom of the base. “Pat’d Feb 2, 1875” on the round coin trap cover. In good original condition. PROVENANCE: Dr.

Morton D. Kramer Collection

350

350 Two Crows 15 1/2 in. long

One is on two wire legs in the style of Charles Perdew; the other is similar to the Mason form. As found.

221

351

351 Breast-Preening Brant H. O. KRUGER PATCHOGUE, NY, C. 1920 18 3/4 in. long

A rare and hollow arching Long Island decoy bearing the inked inscription “H. O. Kruger Patchague L.I. 1920” on the bottom board. Original paint with gunning wear. PROVENANCE: Joseph Davis Collection, Louisville, Kentucky

Private Collection, by descent in the family $3,000 - $5,000

352 Swimming Canada Goose Jim Ketchum Copiague, Long Island, NY, c. 1925 21 in. long 352

A racy Long Island Canada goose decoy with Verity-style stippled paint along the back. The decoy exhibits refined head carving with circular incised eyes. Excellent original paint with even gunning wear. PROVENANCE: Bud Ward Collection Private Collection, New York, acquired from the above LITERATURE: Guyette and Schmidt, North American Decoys at Auction, April 27 & 28, 2006, St. Charles, IL, 2006, p. 126, lot 622, rigmate illustrated.

$3,500 - $4,500

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GEORGE W. COMBS SR.

1911-1992 | FREEPORT, LONG ISLAND, NY

Captain George W. Combs Sr. was a larger-than-life figure at 6’1,” 300 pounds with a booming voice. A prominent bayman of the South Shore of Long Island, he was also a decoy carver, author, historian, and founding member of the Long Island Decoy Collectors Association. Captain George made his livelihood off the bay, like many of his baymen ancestors who were boat builders, guides for wealthy gunning parties from New York City, clammers, fishermen, market gunners, and rum runners during Prohibition.

Born 1911 in Freeport, George was an eleventh-generation Mayflower descendant whose family settled Hempstead, Long Island, in 1644. George grew up close to his father and

grandfather, learning about gunning and fishing the bay at any early age; he reportedly carved his first stool when he was just eight years old. His grandfather and namesake, George W. Combs (1848–1930), was a market hunter, gunning guide, and talented stool maker in his own right; one of his heron confidence decoys from the Joel Barber Collection currently resides at the Shelburne Museum.

In the early 1930s, George befriended well-known New Jersey decoy carver Nathan Rowley “Reilly” Horner. Later in the same decade, George carved a variety of birds: teal, black duck, broadbill, and both swimming and flying pintail decoys. Examples of Combs’ broadbill (1936) and flying

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GEORGE W. COMBS SR.

1911-1992 | FREEPORT, LONG ISLAND, NY

pintail (1935) from his personal rig, were exhibited in the 1948 Sportsman's Show in New York City. Additionally, his decoys are in Long Island’s Stony Brook Museum, the Suffolk County Marine Museum (now the Long Island Maritime Museum), and the Shelburne Museum in Vermont.

During World War II, George served in the Coast Guard aboard the Gander, an eighty-five-foot ketch sailboat conducting anti-submarine patrols stationed out of Greenport, Long Island. These sailing missions used the silence of wind power to their stealthy advantage. The crew would locate German U-Boats with listening gear and report their position to US destroyers. Conversely, when the submarines detected a Coast Guard ketch nearby, they would surface, and the comparatively unarmed sailboat was at the mercy of the submarine’s deck guns, making Combs’ job extremely dangerous.

George moved to the Eastern Shore of Maryland, which reminded him of the Long Island of his youth.

In the late '50s, Combs’ interest in decoy collecting grew immensely as he traded with William Mackey, Malcolm Fleming, Adele Earnest, and King Hemming.

In 1992, according to his wishes, Captain George’s ashes were spread at the old bayhouse adjacent to Little Stone Creek, his favorite place on the Great South Bay to fish, dredge clams, and gun black ducks over corn at night.

We thank his grandson, George W. Combs III, for providing photographs and resources. Sources

After the war, George moved his wife, Frances, and two sons, Jack and George, from Freeport to Massapequa. When he first settled in the area, it was a vast marsh to gun ducks and trap mink and muskrat. Unfortunately, as Massapequa became populated, his beloved marsh fell prey to relentless development. Frustrated with the changes to his bay,

Guglielmo, Wayne. “Our Island People.” L. I. Faces, 1984.Long Island Decoy Collectors Association Bulletin, Fall 1984. ‘George W. Combs, 81, renowned LI bayman.” The Amityville Record, August 26, 1992.

George W. Combs, Sr. discussing the theory behind his flying pintail decoy with a panel of onlookers.

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THE COMBS FLYING PINTAIL DECOY

353

353 The Combs Flying Pintail Decoy CAPT. GEORGE W. COMBS SR. (1911-1992) FREEPORT, LONG ISLAND, NY, 1935 26 in. long, 25 in. wingspan

This bulling pintail is considered to be the finest flying gunning decoy known to exist, yet it has remained largely out of the public eye since 1948, when it won a ribbon at the famous 1948 National Decoy Markers Contest. It has resided in the Combs’ family rig and collection, since George Sr. created it for his gunning rig eighty-four years ago. True flying decoys are exceedingly rare as they were more challenging to create and transport than their floating counterparts. Those that were made were prone to significant damage, resulting in very few surviving into the decoy-collecting era. Indeed, this bird has a repair by the maker to its left wing tip. Most vintage flying waterfowl collected today were made as decoratives with fine examples by Crowell and Hudson adorning many top collectors’ walls. The majority of flying hunting decoys are brant from New Jersey and California by makers such as George Gaskill, Ellis Parker, Avon Merlini, and George McLellan. A review of the “Hundred Greatest” book reveals only one such flyer, a black brant by McLellan. Ira Hudson is one of the only top-tier makers that produced flying decoys, with just two Canada geese known. Combs apparently had a penchant for experimenting with flyers; Henry Stansbury documents a “Hudson flying Canada goose decoy from the Combs rig… used on Long Island Sound in the 1930s.” This on-the-wing sprigtail captures a perfect balance of folk art and realism. This lively, animated form demonstrates the work of a highly skilled craftsman with intimate knowledge of his subject.

The body and wings are canted slightly to the left simulating a banking flight. The outstretched head is angled upward and evokes a drake in pursuit of a hen. Combs is remembered as an innovator, informed by the past and making improvements along the way. The Combs rig Hudson goose is heavy and its wings were lost. Combs made his flyer out of strong and lightweight balsa. As such, it was able to be transported easily and propped up high above the floating decoys in the rig on a thin rod where it could move with the wind. Unlike many of the aforementioned brant, there was no canvas to tear and puncture. Like the best shorebirds of Elmer Crowell and William Folger, the stick hole is lined with a metal sleeve. It now rests on a rod mounted in a wooden base finished with a plaque naming the maker and hunter “Captain George W. Combs Sr.” Signed and dated “G. W. Combs, Sr. 1935” on the underside of the left wing. Original paint with working touch-up to some flaking and wing tip repair by the maker. PROVENANCE: Capt. George W. Combs Sr. Rig Private Collection, by descent from the above LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, p. 99, flying Hudson goose illustrated.Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 210, flying Hudson goose illustrated.

$50,000 - $70,000 225

GEORGE W. COMBS SR.

1911-1992 | FREE PORT, LONG ISLAND, NY

354

354 Hollow High-Head Pintail

355 Bluebill

This high-head pintail is one of two floating pintail known to have been made by Combs for his personal gunning rig. The underside of the hollow body is signed “G. W. Combs 1930.” In original paint with even gunning wear.

This balsa-bodied bluebill drake is out of the maker’s personal gunning rig and has his “G. W. Combs” marking incised on the underside. This decoy took home, and retains, a ribbon from the 1948 National Sportsmen’s Show in New York. This “famous decoy contest in 1948,” writes Quintina Colio, “was held in the Grand Central Palace, New York City, sponsored by Schaefer Brewing Company and the winner was the Ward Brothers, from Crisfield, Maryland. Renowned judges included Wm J. Mackey, Jr., Lynn Bogue Hunt and Dr. Edgar Burke.” This bird retains its two “16” competition tags. A rigmate was gifted to the Shelburne Museum in Vermont. Original paint with light gunning wear and rubs to tail.

CAPT. GEORGE W. COMBS SR. (1911-1992) FREEPORT, LONG ISLAND, NY, 1930 16 in. long

PROVENANCE: Capt. George W. Combs Sr. Rig Private Collection, by descent from the above

$3,000 - $5,000

226

CAPT. GEORGE W. COMBS SR. (1911-1992) FREEPORT, LONG ISLAND, NY, 1938 13 in. long

GEORGE W. COMBS SR.

1911-1992 | LONG ISLAND, NY

PROVENANCE:

Capt. George W. Combs Sr.

355

Rig Private Collection, by descent from the above LITERATURE: Quintina Colio, American Decoys, Ephrata, PA, 1972, front pages. Russell A. Fink, Catalog of American Bird Decoys, Lorton, VA, 1976, lot 141, rigmate illustrated.

$1,400 - $1,800

356 Cork Green-Winged Teal Pair CAPT. GEORGE W. COMBS SR. (1911-1992) FREEPORT, LONG ISLAND, NY, C. 1981 10 1/2 in. long

A pair of cork-bodied, green-winged teal bearing the “G. W. Combs” brand and an inked “G. W. Combs Sr.” inscription on the underside. Original paint with wear. PROVENANCE:

356

Combs Family Rig

$300 - $500

357 Half-Size Wood Duck Desk Box CAPT. GEORGE W. COMBS SR. (1911-1992) FREEPORT, LONG ISLAND, NY, C. 1935 8 1/2 in. long

A two-piece, half-size wood duck with a hollowed-out storage space for cigarettes and other curios in the body of the duck. Combs made carvings such as these for Abercrombie & Fitch in New York. Original paint with wear and craquelure. PROVENANCE: Capt. George W. Combs Sr. Collection Private Collection, by descent from the above

357

$200 - $300

227

VERITY SLEEPING BLACK DUCK

358

358 Verity Sleeping Black Duck SEAFORD, LONG ISLAND, NY, C. 1870 11 1/2 in. long

The head and body of this early Seaford decoy are carved from a single block of wood, while the tail is inserted and held in place with wooden pegs. The rarity of this black duck cannot be overstated, with just a single related example held in the Richard McIntyre Collection. Both Adele Earnest and William J. Mackey illustrate and discuss Long Island sleeping decoys in their books. Discussing the example in the McIntyre Collection, Mackey states, “Without question a few Great South Bay duck and goose decoys were made before 1850... it is difficult to be specific about which are the oldest Long Island decoys and impossible to state who made them. Better to enjoy the simple fact that some fine, classic examples are available.” Adele Ernest, in her book The Art of the Decoy, takes an even more ethereal approach when discussing two sleeping duck sculptures: “... a Sumerian duck in the Metropolitan Museum that, in its simplicity of form, does resemble a sleeping duck... But this ancient duck is a stone weight, not a decoy. It is curious that the sensuous, self-contained forms are so

228

similar, although The Artisans were separated by oceans, worlds, and forty centuries of time.” True to her book’s title, The Art of the Decoy, Earnest addresses the universality of appealing form. Working paint with gunning wear. PROVENANCE: Bud Ward Collection Capt. George W. Combs Sr. Collection, acquired from the above Private Collection by descent in the family LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, pp. 95-96, pl. 78, related example illustrated. Adele Earnest, The Art of the Decoy, West Chester, PA, 1965, pp. 41-42, related example and Sumarian duck weight illustrated. Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 60, fig. 52, related example illustrated.

$20,000 - $30,000

ALBERT DAVIDS LAING

1811-1886 | NEW YORK, NY AND STRATFORD, CT

359

359 Rare Straight-Head Broadbill

ALBERT DAVIDS LAING (1811-1886) NEW YORK, NY, AND STRATFORD, CT, C. 1855 13 1/4 in. long

“Considering functional design,” writes Laing authority Ronald S. Swanson, “Laing’s decoys are extremely successful. Minimum weight, compactness and durability are combined with accuracy of species and an attitude of quiet repose to create a highly effective working decoy. The quality of Laing’s designs accounts for his influence of the makers of the Stratford school and the lower Delaware River and perhaps other areas…” In 1863 Laing purchased a house in Stratford, Connecticut, where he lived as a gentleman farmer. His decoy rig went north with him where it had a tremendous impact, on the next generation of the areas decoy makers and hunters. His rig totalling over one hundred decoys was hunted over for many decades after his passing and the carvings became the template for the Stratford School of decoy making. Notably, Charles E. “Shang” Wheeler and Louis Rathmell are the only two early followers of Laing who approached the high bar that Laing set. His stylistic influence also appears to have extended to the Delaware River, as directly seen in the rig of his cousins, Richard Wistar Davids (1825– 1863) and Caspar W. Morris (1806-1877). Laing scholar, Ronald Swanson, describes this hollow decoy “from the early classic rig” as “the only known broadbill in the forward position.” In addition to being illustrated in multiple volumes, this decoy

was exhibited at the Bruce Museum in Greenwich, Connecticut, and the Shelburne Museum in Shelburne, Vermont. The underside bears three old paper labels. In excellent Wheeler working paint typical of the rig with even gunning wear. PROVENANCE: Albert D. Laing Rig Charles E. “Shang” Wheeler Rig Thomas Marshall Collection Dr. S. Lloyd Newberry Collection LITERATURE: Adele Earnest, The Art of the Decoy, West Chester, PA, 1965, p. 64, pl. 45, exact decoy illustrated. Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 65, exact decoy illustrated. Ronald S. Swanson, “Albert D. Laing: A decoy maker unequaled in his time,” Decoy Magazine, Burtonsville, MD, July/August 1995, pp. 13-14, exact decoy illustrated three times. Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, West Farmington, ME, 1996, p. 139, lot 566, exact decoy illustrated. Linda and Gene Kangas, Decoys, Paducah, KY, 1992, p. 119, pl.178, exact bird illustrated.

$10,000 - $14,000 229

THE WHEELER GULL

360 The Wheeler Gull

CHARLES E. “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1930 21 in. long 13 1/2 in. high

Charles Edward Wheeler is 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 seagulls to salmon. 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. “Unlike T.R., Wheeler had no driving ambitions. He went into politics because he wanted to clean up Connecticut’s harbors and river. He did much of the hard work and then let other men win the laurels. His ties to Roosevelt and later to Herbert Hoover might have led him to high government office, if that had been his goal. But Wheeler was satisfied with 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.” 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 earliest 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

230

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 and Lytle, “Wheeler carted off first prize at Bellport because he had introduced a new style to decoy painting.” Shang has been referred to as a “gentleman carver” and was an amateur in the truest sense of the word. To illustrate this, he reportedly turned down a commission from Walter P. Chrysler that would have been worth over $200,000 today “because he carved for pleasure, never for money,” according to Merkt. He preferred to make carvings for his rig, competition, and as gifts. An inscription on the underside of this rare gull states it was a wedding gift to his hunting companion Horace B. Merwin, who was a fellow carver and a bank president. Wheeler did not make many standing decoratives and this is the only gull to come to light. This grand carving features raised and split wing tips, a turned head, and excellent head detail with Wheeler’s signature smile. The bird was finished with the maker’s confident stylized paint which has a well-preserved surface. This gull, along with a related standing sandhill crane that resides in the collection of the Abby Aldrich Rockefeller Folk Art Museum in Colonial Williamsburg, remain the pinnacle of Wheeler’s decorative bird works. Excellent original paint with minor wear, and cracks in legs. PROVENANCE: Horace Merwin Collection, received as a wedding gift by the maker Herb Wetanson Collection LITERATURE: Dixon MacD. Merkt, Shang: A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, p. 20, exact carving illustrated. Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 71, exact carving illustrated.

$30,000 - $50,000

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

360

231

LOUIS C. RATHMELL 1898-1974 | DANBURY, CT

361

361 Turned-Head Black Duck LOUIS C. RATHMELL (1898-1974) DANBURY, CT, C. 1941 17 1/4 in. long

The maker’s refined head carving, dynamic poses, and exceptional scratch and feather paint place him in the ranks of Stratford’s finest carvers, alongside Shang Wheeler. This black duck, with its turned head and exquisite paint, reveals Rathmell at the height of his abilities. In the 1960s, O’Brien acquired eleven of these cork black ducks, including this decoy, from the rig of fellow Connecticut hunter and carver Louis Rathmell. O’Brien remarked, “His decoys are difficult to distinguish from Shang Wheeler’s when both were at their best. He won several contests from 1939- 1943, beating Wheeler and other top makers. He made one exquisite rig of shooting decoys, black ducks, all with different head positions.” O’Brien traded away seven of his other Rathmells to other top collectors, including Lloyd Griffith, George Starr, and George Thompson. This decoy is signed “L. C. Rathmell” by the maker in his impressed lead weight. A “G. W. T.” collection stamp, indicating the George Thompson Collection, is also on the bottom. “...one of the best gunning rigs ever made.” -Dixon Merkt Excellent original paint with even gunning wear, minor tail-chip restoration.

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PROVENANCE: Louis Rathmell Rig Donal C. O’Brien Jr. Collection, acquired from the maker circa 1962 George W. Thompson Collection, acquired from the above Herb Wetanson Collection LITERATURE: Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys: Wildfowl Carvers and Collectors News, Spanish Fork, UT, Spring/Summer 1982, p. 36, rigmate illustrated. Decoys Unlimited Auctions, A Sale of Rare and Important Decoys and Related Artifacts, July 23, 1990, lot 111, exact decoy illustrated. Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, West Farmington, ME, 1996, p. 139, lot 567, exact decoy illustrated. Copley Fine Art Auction, The Donal C. O’Brien, Jr. Collection of Important American Sporting Art and Decoys, Sessions III, July, 2018, lot 41, rigmate illustrated.

$10,000 - $15,000

CASSIUS SMITH 1847-1907 | MILFORD, CT

362

362 Hollow Black Duck CASSIUS SMITH (1847-1907) MILFORD, CT, C. 1880 17 in. long

This decoy is an early Connecticut classic, made by one of the state’s most skilled carvers. Cassius Smith is recorded as a market gunner who, prior to the passing of the Migratory Bird Act of 1918, supplied wild waterfowl to his brother George, who owned a hotel in Milford, Connecticut. Smith produced some of the finest waterfowl carvings on either shore of Long Island Sound. His decoys are exceptionally rare, even more so than those of fellow regional carvers of fame Laing or Wheeler. Most of the known Smith carvings in original paint, of which there are perhaps less than ten, reside in top collections.

The broad hollow body features gentle shoulder separation, a thick pointed tail, and the bird was finished with fine blended feathering. The underside bears an inset lead weight and an incised “09FHC05251.” Original paint with even gunning wear and faint age line lower left neck edge. PROVENANCE:

Alan and Elaine Haid Collection

LITERATURE: Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 205, pl. 26, related decoy illustrated.

$8,000 - $10,000

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363

365

364

366

363 Broadbill Hen

365 Havemeyer Rig Redhead Drake

This hen, captured in motion, displays a slight turn from the tip of bill to the end of the tail. The pine head shows the adept bill and cheek carving that set Wheeler apart from most makers. The balsa body features deep shoulder grooves and raised wing detail with subtle blended paint. Original paint with even gunning wear and rubs mostly along bottom edge.

A rare species for the maker, this hollow decoy was gunned over by the legendary Henry Osborne Havemeyer (18471907) and bears “H. O. Havemeyer” and “CLB” brands on the underside. Havemeyer was one of the earliest art collectors to bring French Impressionism to the United States, aided by Mary Cassatt. An avid duck hunter, he owned 500 acres in Commack, Long Island, called Merrivale Farms. Original paint with even gunning wear, a crack in neck, and an old gunning repair to small tail chip.

CHARLES E. “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1935 13 1/2 in. long

PROVENANCE:

Dr. S. Lloyd Newberry Collection

$1,000 - $1,500

364 Turned-Head Black Duck CASSIUS SMITH (1847-1907) MILFORD, CT, C. 1880 14 1/2 in.

With superb fat body form, this hollow decoy has captured the imagination of three separate authors. Original paint and old working re-paint with heavy gunning wear and repair to bill. PROVENANCE: Dr.

S. Lloyd Newberry Collection

THOMAS GELSTON (1850-1924) QUAGUE, LONG ISLAND, NY, C. 1880 15 1/2 in. long

PROVENANCE: H. O. Havemeyer Rig Private Collection, New Hampshire LITERATURE: Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 69, pl. 112, related decoys illustrated.

$1,000 - $2,000

366 Black Duck

Dixon MacD. Merkt, Shang: A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, p. 151, exact decoy illustrated. Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 132, exact decoy illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 87, pl. 144, exact decoy illustrated.

JOEL D. BARBER (1876-1952) WILTON, CT, C. 1920 16 1/4 in. long

$600 - $900

LITERATURE: American Wildlife Carvings: The Decoy as Folk Sculpture, The Cummer Gallery of Art, Jacksonville, FL, 1988, fig. 2, exact decoy illustrated.

LITERATURE:

A fine example by the maker displaying the “BARBER DECOYS” brand. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer Collection

$400 - $600 234

367

369

368

370

367 Two Goldeneye Hens and a Hooded Merganser Hen KENNETH L. GLEASON (1902-1988) DARIEN, CT, C. 1974 14 in. long

Gleason was a good friend and competition-carving companion of Donal C. O’Brien Jr.’s in the 1960s and 1970s. All three carvings are ink-stamped with the Miller Collection designation. The merganser and one of the goldeneyes have the maker’s inked signature and the other goldeneye has the inked inscription “Ken Gleason 1st Central 1974” on the bottom. Original paint with light wear. Provenance: Doug and Ellen Miller Collection $800 - $1,200

$1,500 - $2,000

369 Goldeneye Pair

JIM WEST (1937-2000) BORDENTOWN, NJ, C. 1975 13 in. long

An elegant pair of competition goldeneye, both birds exhibit fine carved bill and head detail along with relief carved wings. The paint is applied with beautiful feather blending particularly well executed on the hen. Both birds are signed by the maker on the bottom with the notation “3rd Place Pairs.” The drake has the Miller Collection stamp on its underside. Excellent original paint with minimal wear. PROVENANCE:

368 Preening Black Duck

EDWARD “TED” MULLIKEN (1896-1964) OLD SAYBROOK, CT, C. 1940 14 in. long

One of the fine preeners made by Mulliken and his Wildfowler Decoy company in the early 1940s, its beauty did not escape the eye of early Connecticut decoy collector and carver Tim Eastland who acquired it circa 1975. It bears his art deco “TEC” Collection stamp on the underside. A closely related example was loaned to the Chincoteague National Wildlife Refuge. Original paint with minimal wear. PROVENANCE:

Tim Eastland Collection Richard LaFountain Collection LITERATURE:

Karla Mattsson and C. John Sullivan, Captured in Wood: An Album of Decoys from the Havre de Grace Decoy Museum, Havre de Grace, MD, 1996, p. 44, related decoy illustrated.

Doug and Ellen Miller Collection

$800 - $1,200

370 Bufflehead Pair

WILDFOWLER DECOYS (1939-1957) OLD SAYBROOK, CT, C. 1955 11 in. long

Both decoys are painted by Richard Harris who worked for Wildfowler. The hen is signed by Harris under the tail and is stamped “SGH” for the Somers G. Headley Collection Original paint with minimal wear. PROVENANCE: Somers G. Headley Collection Richard LaFountain Collection

$500 - $700

235

371

371 Black Duck

JOHN MCLAUGHLIN (1911-1985) BORDENTOWN, NJ, 1969 16 1/4 in. long

A competition-grade black duck bearing the “2nd Annual Atlantic Flyway Wildfowl Carving & Arts Exhibition, Salisbury, MD” stamp on the underside in addition to the carver’s signature and the inked inscription “2nd place midwest 1969.” Excellent original paint with minimal wear. PROVENANCE:

Herb Wetanson Collection

$1,000 - $2,000

372 Mallard 372

ROBERT “BOB” WHITE (B. 1939) TULLYTOWN, PA, 1990 16 in. long

This hollow mallard features some of the maker’s best carving and paint. It retains his triangular bobwhite-quail lead weight and is signed and dated on the bottom. Original paint with minimal wear. PROVENANCE: Bob White Gunning Rig Private Collection, New York, acquired from the above in 1998

$1,000 - $2,000

373

373 Early Canvasback Drake ROBERT “BOB” WHITE (B. 1939) TULLYTOWN, PA, C. 1960 16 in. long

A slightly turned-head canvasback displaying the maker’s early “R.L. WHITE” stamp on the underside of the hollow body. Original paint with light gunning wear. PROVENANCE: Bob White Gunning Rig Private Collection, California

$700 - $1,000

374 Hollow Swimming Brant 374

DAVISON B. HAWTHORNE (1924-2018) SEAFORD, DE, C. 1980 16 1/2 in. long

A turned-head carving signed “D.B. Hawthorne” on the bottom. Original paint with minimal wear. PROVENANCE:

Richard LaFountain Collection

$500 - $700

236

JOHN ENGLISH

1848-1915 | FLORENCE, NJ

375

375 Canvasback Pair

JOHN ENGLISH (1848-1915) FLORENCE, NJ, C. 1890 15 in. long

A stylish pair of hollow upper Delaware River decoys by the region’s top maker. Regional authority and decoy maker Robert “Bob” White describes English as “the ultimate Delaware River carver” and author Kenneth L. Gosner notes, “The work of John English set a standard against which other Delaware River makers have been measured and compared ever since. Indeed, for many collectors, the English style is the Delaware River style.” In repaint with gunning wear, including a line through top of hen’s head and the drake has a bill tip restoration.

PROVENANCE:

Herb Wetanson Collection

LITERATURE: Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1985, pp. 89-91. Harrison Huster and Doug Knight, Floating Sculpture: The Decoys of the Delaware River, Spanish Fork, UT, 1982.

$5,000 - $7,000

237

JOE KING

1835-1913 | MANAHAWKIN, NJ

376 The McCleery King Merganser JOE KING (1835-1913) MANAHAWKIN, NJ, C. 1880 16 in. long

The McCleery King merganser decoy is considered a New Jersey icon. Featured in the two most important publications dedicated to the region, it relates closely to the famous Lloyd Parker (1859-1922) red-breasted pair pictured in the “Hundred Greatest;” however, this King decoy likely predates the noteworthy Parkers by several decades. Additionally, this King decoy features several extra treatments not seen in the later Parker design, most notably a more detailed crest, a more intricate bill, and a sweeping neck line with pronounced shoulder delineations. Discussing the HillmanParker pair, the catalogers of the birds write, “...they are the finest pair of birds to come out of the state of New Jersey.” While Parker deserves rightful praise as a master carver from New Jersey, the reigning monarch is the region’s stylistic innovator, Joe King. The underside bears an inset rectangular weight and a McCleery Collection stamp. Excellent original paint with minimal gunning wear and a hairline crack in neck.

PROVENANCE: Dr. James M. McCleery Collection Private Collection, Connecticut acquired from the sale of the above LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 151, pl. 308, exact bird illustrated. Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22-23, 2000, p. 156, lot 393, exact carving illustrated. Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 127, pl. 280, exact decoy illustrated. Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, West Farmington, ME, 1996, p. 34, lot 113, related examples by Lloyd Parker illustrated. Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 40-41, related examples by Lloyd Parker illustrated.

$30,000 - $40,000

238

THE MCCLEERY KING MERGANSER

376

239

377 Tucked-Head Black Duck 377

WILLIAM H. QUINN (1915-1969) TULLYTOWN, PA, C. 1930 14 1/2 in. long

An early Quinn decoy with incised, raised primaries and a carved tail. In excellent Quinn paint with minimal wear. PROVENANCE:

Herb Wetanson Collection

$1,000 - $1,400

378 Oversize Tucked-Head Black Duck JESS HEISLER (1891-1943) BURLINGTON, NJ, C. 1920 20 in. long

378

An oversize “rocking horse” black duck made for weathering rough waters. According to authors Harrison Huster and Doug Knight, “Heisler was known as a quality boat builder as well as a first class professional decoy maker...He made his bodies of western cedar.” A stylized “CAP” brand is visible under the tail. Original paint with even gunning wear. PROVENANCE: Private

Collection, Rhode

Island Literature: H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 73, related example illustrated. $1,000 - $1,400 379

379 Rig of Three Black Ducks JOHN MCLAUGHLIN (1911-1985) BORDENTOWN, NJ, 1950 18 in. long

Three gunning birds displaying three different poses: preening, straight, and snuggle head. All three exhibit the makers matte finish paint to reduce glare. Original paint with minor wear. PROVENANCE:

Herb Wetanson Collection

$2,000 -$3,000

240

WILLIAM H. QUINN 1915-1969 | YARDLEY, PA

380

380 Exceptional Snuggle-Head Pintail Pair WILLIAM H. QUINN (1915-1969) YARDLEY, PA, C. 1950 17 in. long

One of the best pintail pairs to come out of the region, this matched pair is out of Quinn’s personal gunning rig. The grand bodies are hollowed and feature the region’s signature raised wing tips that are quite pronounced and sit above the long thin tails. The underside of each has a painted “W. QUINN YARDLEY, PA.” Excellent original paint with minimal gunning wear and some drips removed from the drake’s right side.

PROVENANCE: Thomas Eshenbaugh Collection William Butler Collection Herb Wetanson Collection LITERATURE: Alan Linkchorst and Artie Birdsall, “Bill Quinn,” Decoy Magazine, July/August 1993, pp. 8-10, rigmates illustrated.

$22,000 - $26,000

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381 Rare Bufflehead

EDSON G. GRAY (1891-1982) OCEAN VIEW, DE, C. 1925 13 in. long

This bold bufflehead exhibits full features and subtle refinements. At thirteen inches long, this is one of the grandest examples of the species. The plump body draws down to a refined tail and the bird’s plump head resolves with a sharp ridge from its crown down to the neck. Gray’s decoys rank among the finest ever produced in Delaware. Original paint with gunning wear, including some working repaint mostly along bottom, minor cracks along neck seam, and an old repair to the very tip of bill. PROVENANCE: Harold B. Evans Sr. Collection Mike Lagerman Collection Private Collection, New York, acquired from the above in 1984

381

Literature: Harold D. Sorenson, ed., “One Man’s Buffleheads,” Decoy Collector’s Guide 1967, Burlington, IA, 1967, p 36, exact decoy illustrated. James L. Trimble, “Edson Gray: Southern Delaware’s Finest Decoy Maker,” Decoy Magazine, Lewes, DE, July/Aug. 2001, pp. 8-11. $3,000 - $5,000

382 Hollow Goldeneye Drake CLARK C. MADARA (1883-1953) PITMAN, NJ, C. 1920 15 3/4 in. long

An outstanding slightly swimming whistler by one of New Jersey’s top decoy makers. Indeed, this exact bird was selected for Jim Doherty’s Classic New Jersey Decoys. Stamped “DSC” on the bottom. Original paint with gunning wear and a tight neck crack. PROVENANCE: Nelson G. Holloway Rig Jim and Deb Allen Collection Dave and Jean Campbell Collection Private Collection

382

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, p. 163, pl. 342, exact decoy illustrated.

$5,000 - $8,000

242

NATHAN ROWLEY HOMER 1881-1942 | WEST CREEK, NJ

383

383 Outstanding Swimming Brant NATHAN ROWLEY HORNER (1882-1942) WEST CREEK, NJ, C. 1920 18 in. long

One of the finest Horner brant to have surfaced, this decoy features the maker’s racy lines with bold cheeks, a graceful thin neck, and a sharp tail. Horner’s decoys are considered by many to be the finest ever produced in New Jersey. The underside is stamped with a small “E” in several places. Original paint with light gunning wear and some rubs typical of the rig from stacking.

PROVENANCE:

Private Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, pp. 89-97, rigmate illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 41, pl. 66, rigmate illustrated.

$15,000 - $18,000

243

385

384

384 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

JOHN BLAIR JR. (1881-1953) PHILADELPHIA, PA, C. 1920 13 3/4 in. long

A rare pair by the maker carved in swimming postures. “JB” is stamped in the pad weight of the drake. Original paint with gunning wear. Drake has restoration to the underside of bill and an imperfection on the underside near weight.

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 107, related example illustrated.

PROVENANCE: John BlairJr. Rig Dr. S. Lloyd Newberry Collection

$1,500 - $2,500

$4,500 - $6,500

385 Redhead

387 Swimming Black Duck

JOHN DAWSON (1889-1959) TRENTON, NJ, C. 1915 14 in. long

A redhead carving displaying detailed combing on the back. The underside bears an incised “J. D.” stamp and the “MK” brand designating the Kramer Collection. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer Collection

JOHN BLAIR JR. (1881-1953) PHILADELPHIA, PA, C. 1910 17 in. long

A classic Philadelphia swimming decoy with hollow body construction. Original paint with even gunning wear. PROVENANCE: Litzenburg Family Collection Dr. Morton D. Kramer Collection

LITERATURE:

Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston,

LITERATURE: Huster, Harrison H. and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, pp. 40-41, exact decoy illustrated twice.

TX, 1992, p. 66, related decoy illustrated.

$4,000 - $6,000

$1,000 - $1,500

244

386 Matched Bluebill Pair

JOHN BLAIR JR.

1881-1953 | PHILADELPHIA, PA

386

387

245

388

389

388 Hollow Canada Goose LOVELAND FAMILY POINT PLEASANT, NJ, C. 1900 22 1/2 in. long

A hollow Canada goose decoy with attached lead weight. Original paint with even gunning wear and old touch-up to flaking nail holes. PROVENANCE: Herb

Wetanson Collection

$1,000 - $1,500

Doherty’s book. This example was never rigged and reveals the maker’s telltale painted legs on its sides. Clark Madera (1883-1953), who also hailed from Pitman, was known to employ this painted thigh treatment and it is likely that Grauch learned the technique from the accomplished maker. An early collector’s identification label with the maker’s name is affixed to the bottom. Excellent original paint, working touch-up to rub on back. PROVENANCE:

389 Canada Goose MEL GRAUCH PITMAN, NJ, C. 1930 25 1/2 in. long

A rare carving by this New Jersey maker. Only a handful in original paint have ever surfaced, with one illustrated in

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Private Collection, Washington State

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 159, pl. 333, related example illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 47, pl. 77, rigmate illustrated.

$800 - $1,200

MASON DECOY FACTORY

1896-1924 | DETROIT, MI

390

391

390 Canvasback

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 17 in. long

A high-head premier-grade canvasback drake. Original paint with minimal wear and an age line in neck. LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 52, related example illustrated.

$1,000 - $2,000

391 Brant

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 20 in. long

Authors Goldberger and Haid chose to illustrate this prime McCleery example in their monograph on Mason decoys. They point out that the Barron Gun Club rig of Masons

“were generally kept in fine original condition, enhancing the value.” With its excellent form, condition, and provenance, this is one of the best Mason brant decoys known to exist. The “Barron” brand is on the back and on the left side of the decoy. The McCleery collection ink stamp is impressed on the bottom. Near-mint original paint, neck has faint age line and minimal touch-up along seam, minute chip to tail. PROVENANCE: Dr. James McCleery Collection Dr. Morton D. Kramer Collection 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. 115, lot 256, exact decoy illustrated. Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 82, exact decoy illustrated.

$1,000 - $2,000 247

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

392

392 Premier-Grade Mallard Pair MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1908 18 in. long

Authors Goldberger and Haid laude the â&#x20AC;&#x153;unmatched beauty and craftsmanshipâ&#x20AC;? of Mason factory decoys in their monograph. A classic mallard pair in excellent condition with strong swirl paint. Original paint with minimal wear, hen has minor touchup at neck seam and to factory age line along back, drake has touch-up to nail holes and body seam along left side. Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 23, related examples illustrated. $5,000 - $8,000

248

MASON DECOY FACTORY

1896-1924 | DETROIT, MI

393

393 Canada Goose

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 24 1/2 in. long

Mason geese are quite rare as they were discontinued in 1913 because the large wood needed to make them became too difficult to source. This example features strong swirl paint from head to tail and excellent feathering across the back. Original paint with even gunning wear, a professional restoration to tip and underside of bill, a factory age line along bottom, and minor chips at base of neck.

PROVENANCE:

David Fannon Collection, acquired from RJG

Antiques LITERATURE: Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Lewes, DE, 2014, pp. 7981, related example illustrated.

$10,000 - $15,000

Catalog detail from W..J. Masonâ&#x20AC;&#x2122;s High Grade Cedar Decoys, c. 1905.

249

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

394

394 Early Robin Snipe

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1900 10 1/2 in. long

The scarcity of Mason’s earliest red knots is evidenced by the absence of any illustrated example in Mason Decoys: A Complete Pictorial Guide. Original paint with minimal wear, minor touch-up at base of bill, plugged stick hole in breast. PROVENANCE:

Dr. Morton D. Kramer

Collection $2,000 - $3,000

395 Dowitcher in Spring Plumage MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 10 3/4 in. long 395

Excellent original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer

Collection LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 109, related example illustrated.

$1,000 - $2,000

396 “Dust Jacket” Black-Bellied Plover MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 10 1/2 in. long

396

Authors Goldberger and Haid chose this sterling example for the back dust-jacket cover of their monograph on Mason decoys. Stamped “DSC” on underside. Excellent original paint with light gunning wear. PROVENANCE: David Campbell Collection Dr. Morton D. Kramer Collection LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 101 and back dustjacket cover, exact decoy illustrated.

$1,000 - $2,000

250

MASON DECOY FACTORY

1896-1924 | DETROIT, MI

397

397 Exemplary Mason Long-Billed Curlew MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1900 17 in. long

The original Mason catalog described this model as the “A-1-enamel glass eyes... Long Bill Curlew.” In their 1993 publication on Mason decoys, Goldberger and Haid discuss curlew by Mason as being “huge; the bodies alone are 12-inches long.” This example measures over thirteen inches from the tip of the tail to the front of the breast. Mason’s renowned painters lavished care on the surface with strong swirl paint and extensive feather detail, especially towards the tail.

Decoys: A Complete Pictorial Guide, Burtonsville, MD, 1993, pp. 106, 107, 136, and back dust-jacket cover, related decoys illustrated. Alan G. Haid and Brandy S. Culp, The Allure of the Decoy, Charleston, SC, 2013, p. 61, similar decoy illustrated. Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 12, Mackey text. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 225, related example illustrated.

A similar example has been exhibited at The Metropolitan Museum of Art, New York, New York, in their Decoys From $18,000 -$24,000 the Collection of the American Folk Art Museum, New York display. Original paint with even gunning wear, including minor touch-up to chip repair at bill insertion. PROVENANCE: Davis Island Club Rig Dr. S. Lloyd Newberry Collection LITERATURE: Russ

J. Goldberger and Alan G. Haid, Mason

Catalog detail from W..J. Mason’s High Grade Cedar Decoys, c. 1905.

251

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

398

398 Dowitcher

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 10 1/4 in. long

Original paint with light gunning wear. PROVENANCE: John Hillman Collection Dr. Morton D. Kramer Collection

$1,000 - $2,000

399

399 Yellowlegs

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 10 3/4 in. long

Near-mint original paint with minimal gunning wear, including one shot scar. PROVENANCE:

John Hillman Collection

Dr. Morton D. Kramer Collection 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 252, exact decoy illustrated.

$1,000 - $2,000

400

400 Mason Dove

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 10 1/4 in. long

A rare Mason with strong swirl paint, painted primaries, and tight stippling on the breast. Original paint with minor gunning wear. PROVENANCE: Hunter Collection Richard LaFountain Collection

$2,000 - $3,000

252

MASON DECOY FACTORY

1896-1924 | DETROIT, MI

401 Unrigged Mallard

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 15 1/2 in. long

401

With its turned head, having never been rigged, and pencil inscription on the bottom, it is likely that this decoy served as a salesman’s sample. Original paint with minor wear from handling. PROVENANCE:

Jim Bell Collection

$300 - $500

402 Seneca Lake Canvasback Pair MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 16 1/2 in. long

402

A pair of high-head canvasback decoys. The hen’s underside retains a “S. S. CAVITT” brand. Original paint with minimal gunning wear, a piece of the drake’s neck has been reset at the base with some touch-up, and minor age lines on the undersides of each bird. PROVENANCE: John Hillman Collection Dr. Morton D. Kramer Collection, acquired from the above in 1983

$1,000 - $1,500

403 Two Premier Mason Decoys

403

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 16 in. long

Premier-grade redhead hen and canvasback drake. The canvasback is branded “AHK” on the bottom. The redhead displays the “MK” brand. As found. PROVENANCE:

Dr. Morton D. Kramer Collection

404 White-Winged Scoter

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 15 1/4 in. long

404

A white-winged scoter stamped “S G H” twice on the bottom, designating the Somers G. Headley Collection. Mix of original and working paint. PROVENANCE: Somers G. Headley Collection Dr. Morton D. Kramer Collection, acquired in 1992

253

THE KONOPASEK PERDEW MALLARD HEN

405

405 The Konopasek Perdew Mallard Hen CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1932 16 1/2 in. long

An early Illinois River decoy with Edna Perdew’s finest swirl and feather paint. Examples of this caliber are highly coveted by collectors and showcase this husband and wife team at the top of their game. Gene Konopasek was an important Illinois River decoy collector from Fox Grove and past president of the Midwest Decoy Collectors Association. His decoys were known for their quality, including one of the finest preeners to come out of the region, a Bert Graves mallard hen. Anne Tandy Lacy, in her thoroughly researched treatise on the Perdews, discusses this exact decoy: “The mallard hen... exhibits some of Edna’s finest paint, similar in style to that found on the Green-winged teal carved for Robert weeks. The bold and graceful feathers found on the back of the bird along with the lines of the wings are carefully outlined with a light gray paint, the same color used to accent the overlapping tips of wing feathers.” Outstanding original paint with minimal gunning wear, a few small smudges of green paint, likely from a drake’s head when the decoy was stacked after being painted, and very minor touch-up to a few flakes mostly on right shoulder.

254

PROVENANCE: Gene Konopasek Collection Herb Wetanson Collection LITERATURE: Ann Tandy Lacy, Perdew: An Illinois Tradition, Muncie, IN, 1993, pp. 138-139, exact decoy illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 107, related drake illustrated. Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 79, pintail hen with similar paint illustrated.

$8,000 - $10,000

CHARLES PERDEW 1874-1963 | HENRY, IL

406 Rare Canvasback Pair

CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1945 15 1/4 in. long

406

These canvasbacks represent a difficult to obtain species for the maker, and one of the few matched pairs. They exhibit fine feather paint detail and raised wings. On the drake, Perdew implemented extensive feather-combed painting. Outstanding original paint with very minimal wear. Provenance: Henry Looyer Collection Jack D. Mitchel Collection, presented by the above in 1952 Herb Wetanson Collection $12,000 - $14,000

407 Rare Black Duck Hen

CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1950 17 in. long

407

This important hollow-bodied black duck was one of three that Perdew made for his dear friend Otto Meyer from Chicago. In excellent original paint with minimal wear. Provenance: Otto Meyer Gunning Rig David A. Galliher Collection Herb Wetanson Collection $3,500 - $4,500

255

G. K. SCHMIDT PINTAIL DRAKE

408

408 G. K. Schmidt Pintail Drake ROBERT ELLISTON (1847-1925) BUREAU, IL, C. 1920 16 3/4 in. long

This decoy showcases the clean lines of Elliston’s carving and the refined elegance of Edna Perdew’s paint. The underside is branded “G.K. SCHMIDT.” This famous rig was commissioned by George K. Schmidt (1869-1939), the president of the Prudential State Savings Bank in Chicago. For four decades, the Schmidt rig of decoys resided unused in a bank vault. This drake, with its superb condition, beautifully applied paint, and historic provenance, is an Illinois River classic. In excellent second coat of paint by Edna Perdew. PROVENANCE: G. K. Schmidt Rig Herb Wetanson Collection

$14,000 - $18,000

256

CHARLES WALKER 1873-1954 | PRINCETON, IL

“When members of the club left or passed away their decoys descended to the next incoming member. Unfortunately, members of the Princeton Fish & Game Club were notorious for maintaining their decoys in perfect condition. Decoys were often repainted at the end of each season and the birds with broken bills or birds that leaked during the season were discarded into a pile near the boat landing. The large pile that accumulated, often comprised of Walker, Perdew, and Elliston decoys, was hauled off at the end of each season to be burned.” - Stephen O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River

409

409 Jolley Rig Mallard Drake CHARLES WALKER (1873-1954) PRINCETON, IL, C. 1945 17 1/4 in. long

This elegant, hollow Illinois River decoy hails from the Clifford Jolley Rig. It features a slightly turned head with pronounced cheeks, a tall neck, and the maker’s finest feather-combed paint. The underside retains a painted number “8” and “Jolley” rig designation, an incised “JL” for early collector John Lellos, and a “Kirson Collection” paper label. Jolley, who commissioned the bird, was a member of the Princeton Game and Fish Club and owned a nearby lumber mill. He supplied Walker with perfectly milled and seasoned boards and his rigs, which consisted of pintails and mallards, are known for their exceptional condition. Original paint with minor gunning wear, including some touch-up around left eye.

PROVENANCE: Clifford Jolley Rig John Lellos Collection Alan Haid Collection James R. Doherty Collection Donald Kirson Collection LITERATURE: Stephen O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 60, rigmate illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 185, pl. 149, related example illustrated.

$14,000 - $18,000 257

HIRAM “HY” HOTZE 1886-1977 | PEORIA, IL

410 Mallard Pair

HIRAM “HY” HOTZE (1886-1977) PEORIA, IL, C. 1930 16 1/4 in. long

This hollow Illinois River mallard pair displays all of the elements of the maker’s refined craftsmanship and Jack Franks’ best paint. Franks was employed to paint not only Hotze’s fine mallards, but also many of Charles Shoenheider’s best decoys as well. These carvings have elegant wing tips, which draw back to a sharp point, abruptly dropping into the tail. Franks saved some of his most elaborate paint detail for his hens, which feature intricate “cut brush” stippling throughout most of the body. Proud of his work, Hotze is known to have signed and dated the inside of some of his hollowed bodies. Original paint with even gunning wear. The hen has two small repairs to tail tip and a spot of touch-up under bill. The drake has a yellow drip on right side.

410

258

PROVENANCE:

Herb Wetanson Collection

LITERATURE: Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 114, similar decoys illustrated. Alan Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, p. 172, similar bird illustrated.

$5,000 - $7,000

THE MACKEY ENGLEHART SNOW GOOSE

411

411 The Mackey-Englehart Snow Goose NICHOLAS ENGLEHART (B. 1888) ANITO, IL, C. 1920 27 1/2 in. long

Englehart operated a ferry service on the Illinois River called Copperas Creek Ferry. Though not a true “river rat” like many of the regional carvers, Capt. Englehart was known to occasionally hunt ducks and geese. He is believed to have only made bird decoys for his personal use. A few of his field Canada and snow geese have been found, with several ending up in the collections of Mackey, Haid, Figge, and a Virginia gentleman. Englehart’s bird interpretations are unique among Illinois River decoys; in fact, they relate more closely to the work of Minnesota’s John Tax. The serpentine head and neck of this goose, like Englehart’s others, are detachable. The bodies were crafted from several blocks of wood and two sheets of metal sheathing. This bird also retains its removable iron legs for use as a stick-up. Original paint with even gunning wear, a collector’s label along lower right edge

PROVENANCE: William J. Mackey Collection Private Collection, Virginia Private Collection, Midwest LITERATURE: Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey, Hyannis, MA, 1973, Session IV, lot 200, exact decoy illustrated.

$5,000 - $7,000

259

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

412

413

412 Robin Snipe

413 Black-Bellied Plover

A robin snipe in spring plumage. Red knot carvings by this maker are rare with the majority of Shourds decoys fashioned as plovers and yellowlegs. Original paint with gunning wear, some shot marks, minor touch-up around hairline crack in neck, and possible touch-up to end half of bill.

A New Jersey plover with very good stippled paint. Original paint with gunning wear, including shot on right side.

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 8 1/2 in. long

PROVENANCE:

Dr. S. Lloyd Newberry Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 70, related examples 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. 31, related decoy 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.

$3,000 - $4,000

PROVENANCE:

260

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 8 3/4 in. long

Richard LaFountain Collection

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

414

415

414 Yellowlegs

415 Plover in Winter Plumage

This decoy was found with a rig of six other shorebirds on Long Beach Island, New Jersey. Original paint with even gunning wear and a chip under the tail.

A black-bellied plover in winter plumage by one of the Jersey Coastâ&#x20AC;&#x2122;s top carvers. Original paint with minor wear, craquelure on end grain, and touch-up to an age line on underside.

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 10 1/4 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 66, related examples illustrated. LITERATURE:

$3,000 - $4,000

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900 10 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 67, related examples illustrated.

$2,000 - $3,000

261

416

416 Hook-Bill Curlew

WILLIAM ROBERTS (DECD. 1910) CAPE MAY, NJ, C. 1880 16 in. long

Though curlew decoys were fairly common in Cape May, few, if any, matched the quality or dynamic bills of those carved by William Roberts. This observation was first documented in American Bird Decoys when William J. Mackey Jr. discussed a Roberts curlew in his collection which he endearingly referred to as “Ol’ Hookbill.” Less than four of these carvings in original paint are known to exist. In 2010 a rigmate set a world record for this maker. The bill of this decoy is constructed of steambent oak. A “Hillman Collection” white ink stamp is displayed on the underside. Original paint with craquelure, minor flaking, and even gunning wear.

417

PROVENANCE: Roberts Family John Hillman Collection, acquired from the above circa 1965 Private Collection, Florida Private Collection, New York LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 135, pl. 112, rigmate illustrated. Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 154, exact decoy or rigmate illustrated. Guyette and Schmidt, Inc., The Hillman Collection: Rare Antique Waterfowl Decoys, W. Farmington, ME, April 1996, lot 645, exact decoy illustrated. Copley Fine Art Auctions, The Winter Sale 2016, February 12, 2016, lot 406, exact decoy illustrated.

$6,500 - $8,500

417 Rig of Four Yellowlegs

DR. GILBERT E. WALLACE (1873-1917) ATTR. FORKED RIVER, NJ, C. 1900 9 1/2 in. long

Dr. Wallace was a friend of fellow New Jersey carvers Lewis Barkalow and Watts Penn. This rig of birds was hunted on Long Island, NY. Original paint with gunning wear, including broken and replaced bills. ROVENANCE: Private Collection, by descent from a Long Island, NY rig LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 72, related example illustrated.

$1,000 - $2,000 262

DANIEL LAKE LEEDS

1852-1922 | PLEASANTVILLE, NJ

418

418 Black-Bellied Plover

DANIEL LAKE LEEDS (1852-1922) PLEASANTVILLE, NJ, C. 1890 9 1/2 in. long

Describing a rigmate and its maker in Classic Shorebird Decoys: A Portfolio of Paintings, William J. Mackey Jr. writes, “Jeremiah Leeds, keeper of the salt flats, left one descendant, Dan Lake Leeds, who carved bird decoys including sanderling, plover, yellowlegs, turnstones, and curlew. His own rig, numbering over fifty snipe, came to light a few years ago. It was probably the greatest single find of its kind in New Jersey decoy history. The Dan Leeds birds have a stylized exaggeration that has an artistic appeal. The black-bellied plover have heads that indicate their local name, ‘bull heads,’ the sanderling have a slimness that suggests their speed before the advancing waves. Paint patterns are bright and adequate, and the technique is unusual; Dan used thick oily paint and laid it on instead of brushing it out. This viscous coating made a

durable finish, and the rig was found in mint condition. The old gentleman lavished great care on his decoys during their years of service. They stand on their own merit and have little in common with their New Jersey contemporaries.” The underside bears McCleery and Kramer Collection ink stamps. Original paint with light gunning wear, possible restoration to bill tip. PROVENANCE: Dr. James M. McCleery Collection Dr. Morton D. Kramer Collection LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 190, exact decoy illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 55, exact decoy illustrated.

$5,000 - $7,000

263

J. TAYLOR JOHNSON 1853-1929 | POINT PLEASANT, NJ

419

419 Important Long-Billed Dowitcher J. TAYLOR JOHNSON (1853-1929) POINT PLEASANT, NJ, C. 1900 11 1/2 in. long

An excellent Johnson yellowlegs with an exceptionally long bill. The underside bears the collector marks of Giberson and Kramer. Original paint with even gunning wear. PROVENANCE: Gary Giberson Collection Dr. Morton D. Kramer Collection

420 Yellowlegs

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900 9 3/4 in. long

Though attributed to the work of Nate Frazier in the Hillman Sale, Doherty, in his Classic New Jersey Decoys, makes a strong case for this being the work of Harry V. Shourds. Branded “JHD” on the underside. Original paint with even gunning wear, a worn tail chip, and a replaced bill.

LITERATURE: James

R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 168, related decoys illustrated.

PROVENANCE: John Dunham Collection Dr. S. Lloyd Newberry Collection

$4,500 - $6,500

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 66, pl. 111 and 114, related examples illustrated.

$1,000 - $1,400

264

420

422

421

423

421 Yellowlegs

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900 10 1/2 in. long

A yellowlegs decoy bearing the Hillman collection stamp on the underside. Original paint with gunning wear and an original scar on right side. PROVENANCE: John Hillman Collection Dr. Morton D. Kramer Collection

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 66, pl. 111 and 114, related examples illustrated. LITERATURE:

$1,000 - $1,400

422 Ruddy Turnstone JOHN HORN OCEANVILLE, NJ, C. 1890 10 in. long

As found.

Schiller Martin Collection Private Collection LITERATURE: John M. Levinson and Somers G. Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centreville, MD, 1991, p. 86, exact decoy illustrated.

$600 - $900

423 Running Willet

EDWARD “TED” MULLIKEN (1896-1964) OLD SAYBROOK, CT, C. 1955 12 1/2 in. long

Wildfowler expert Richard LaFountain’s tag relays that this exceedingly rare gunning shorebird decoy was made on Mulliken’s sailing voyage from New England to the Bahamas for shorebird hunting on the island nation. Original paint with minimal wear. PROVENANCE: Richard

LaFountain Collection

$500 - $700

PROVENANCE: John Levinson Collection Private Collection

265

424 Running Shorebird “FIELDY” DIZE CRISFIELD, MD, C. 1900 11 in. long

A rare Crisfield shorebird with a plump body and thin paddle tail. A collector’s note on the bottom identifies it as a “’Sea Robin’ Ruddy Turnstone.” Original paint with light gunning wear. PROVENANCE:

Dr. Morton D. Kramer Collection

$2,000 - $3,000

424

425 Rare Yellowlegs

LEONARD E. PRYOR (1876-1967) ELKTON, MD, C. 1910 9 1/4 in. long

Kramer describes this decoy as the “only Leonard Pryor shorebird known.” This exact decoy is illustrated in an early collector’s volume from the 1970s and is out of the Harry V. Shourds III Collection. Original paint with gunning wear, working white wash has been taken down, and some touch-up. PROVENANCE: Harry V. Shourds III Collection Dr. Morton D. Kramer Collection

$800 - $1,200 425

266

LLOYD AARON STERLING

1880-1964 | CRISFIELD, MD

426

426 Turned-Head Black Duck

LLOYD AARON STERLING (1880-1964) CRISFIELD, MD, C. 1925 15 1/2 in. long

An early Crisfield decoy with a wide body, dramatically turned head, and exceptional scratch feather paint. Original paint with even gunning wear and a crack along the bottom. PROVENANCE:

Dr. S. Lloyd Newberry Collection

LITERATURE: Copley Fine Art Auctions, LCC, The Sporting Sale 2015, Plymouth, MA, July 25, 2015, p. 49, lot 83, exact decoy illustrated.

$4,500 - $6,500

267

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

427

427 Pintail Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 16 1/2 in. long

A pair of turned-head, balsa-bodied pintails signed and dated on the underside. The hen displays particularly elaborate feather paint. Original paint with light gunning wear; the drake’s bill has been reset and repainted. PROVENANCE: Dr.

Morton D. Kramer Collection

LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 65, related examples illustrated.

$3,000 - $5,000

268

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

428

428 Wigeon Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 15 1/2 in. long

This exact decoy is featured in the 1978 print entitled The Decoys of Lem and Steve Ward by Lemuel T. Ward and Paul W. Shertz. The underside of the balsa body bears the date “1948,” the signatures of both Ward brothers, the inscription “This decoy is on Shertz Print,” and the “MK” brand. Original paint with gunning wear, a flake to putty under tail, and touchup to reset neck. PROVENANCE:

Dr. Morton D. Kramer Collection, acquired in

1976 LITERATURE: Lemuel T. Ward, Jr and Paul Shertz, The Decoys of Lem and Steve Ward, printed by Phototype Engraving, Philadelphia, PA, 1978, exact decoy illustrated.

$3,000 - $5,000

269

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

429

430

270

432

431

429 Canvasback Drake

431 Early Humpback Pintail

A rare early model with raised wing tips and an inquisitive turned head. Inscription and signature in ink on the bottom “Happiness is not having what you want but wanting what you have, (1 of 12), L.T. Ward - Bro, Crisfield, MD -1929 Lem Ward.” Original paint with gunning wear and some flaking.

The underside relays that this decoy was found nearly a half century after its creation, in a marsh, by Bobby Ford in 1972. A testament to Steve’s designs, with few “warriors of the marsh” have garnered more attention than early Wards have. As found with replaced section on side of neck base.

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1929 15 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Byron Cheever, L.T. Ward & Bro., Wildfowl Counterfeiters, Spanish Fork, UT, 1981, p. 27, pl. 13, rigmate illustrated. Adele Earnest, The Art of the Decoy, American Bird Carvings, New York, NY, 1965, p. 98, rigmate illustrated.

$2,500 - $3,500

430 Mallard Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1934 16 1/2 in. long

A turned-head mallard bearing Lem’s signature and dated “-1934-.” This rare form is related to the famous pinchbreast pintails. Gard and McGrath selected this decoy for their book on the Wards. Original and working paint with touch-up to neck and breast, gunning wear, repair to bill edge, and a crack along bottom. PROVENANCE:

Dr. Morton D. Kramer Collection, acquired in

1979

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1926 17 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection, acquired in

1972 LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 100, exact decoy illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 205, related example illustrated. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, inside front cover, related example illustrated.

432 Canvasback

L. TRAVIS WARD SR. (1863-1926) CRISFIELD, MD, C. 1924 17 1/2 in. long

This canvasback bears the inked inscription “L. Travis Ward Sr.-1924-.” As found with replaced bill. PROVENANCE: Dr.

Morton D. Kramer Collection

LITERATURE: Robert H. Richardson, ed., Chesapeake Bay Decoys, Easton, MD, p. 137, exact decoy illustrated.

LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 82, exact decoy illustrated.

$2,500 - $3,500

271

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

433

434

433 Ruddy Duck Pair

434 Canvasback Pair

The slightly turned-head hollow pair display intricate carved bills, detailed feather painting, and Lem Ward’s best stippled paint across the backs. They are signed “Lem Ward,” inscribed “My Best Ruddy Made for Dr. Morton Kramer Collection,” and dated, “-1969-.” Original paint with minimal wear.

A pair of hollow canvasback decoys, both are signed and dated on the bottom by Lem and bear the “MK” brand.

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1969 12 in. long

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1968 16 1/2 in. long

PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the Wards in 1968

Discussing these exact carvings, author Glenn Lawson writes “note the magnificent paint detail. Also, the nostril hole is carved entirely through each bill.” Indeed, the hen’s paint is among the most successful decorative paint seen on any canvasback from the era. Original paint with minimal wear.

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 66, exact pair illustrated.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the Wards in 1968

$3,000 - $4,000

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 60, exact pair illustrated.

$5,000 - $8,000

272

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

435 Goldeneye Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1965 13 in. long

435

A matching pair of hollow decorative goldeneye, both are dated 1965 and bear the inscription “Goldeneye Whistler King Diver L. T. Ward 1965 Norris Pratt Collection.” Original paint with minimal wear. PROVENANCE: Mary and Norris Pratt Collection Dr. Morton D. Kramer Collection, acquired in 1976

Literature: Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, May 21, 1976, lot 38, exact pair illustrated. $3,500 - $4,500

436 Bufflehead Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1966 11 3/4 in. long

436

A rare pair of Ward turned-head decoys with detailed paint. Both birds are signed “Shooting Stool, Ward Bro., 1966, Made by Steve, Painted by Lem, Dr Kramer” and display the “MK” brand for the Kramer Collection on the bottom. Original paint with minor wear from handling. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the Wards in 1966 LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 56, related pair illustrated.

$2,000 - $3,000

273

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

437

438

437 Merganser Pair with Fish

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1966 19 1/4 in. long

A hollow pair of red-breasted mergansers with the drake carrying a removable fish in its mouth. Both are inscribed on the bottom “SHOOTING STOOL, MADE BY ‘STEVE’ PAINTED BY ‘LEM’ WARD BRO. 1966. For Dr. Kramer” and branded “MK.” Both decoys are in original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer Collection, acquired from

the Wards $2,500 - $3,500

438 Decorative Blue-Winged Teal Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1969 12 in. long

A fine and storied pair of hollow decorative blue-winged teal that has been illustrated in two books on the Wards. In a 1969 letter from Mort’s wife, Carol, to Ida, Lem, and Steve, she writes, “I do want to surprise him with the teal. We both think they are interesting especially since the

274

media used on them was different, and yet the appearance is identical...Can you imagine the look on his face when he gets these birds for his birthday? Thank you for helping me carry this off.” Carol procured this pair and presented them to her surprised and thrilled husband on his birthday. The Wards never stopped experimenting with their carvings and, as the letter alludes, the hen was painted in oil and the drake in acrylic. To the viewer, the fine blended feather paint on each is consistent and exceptional. Lem, however, decided that acrylic was not for him and returned to oils after this one teal. Each bears the date “1969,” Lem’s signature, and the inked inscription “Counterfeiter in Wood Since 1918.” Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired by Carol Kramer directly from the Wards in 1969 LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 103, exact pair illustrated. Byron Cheever, L.T. Ward & Bro., Wildfowl Counterfeiters, Spanish Fork, UT, 1981, pl. 70, exact pair illustrated.

$3,500 - $4,500

439

441

440

439 Black Duck

L. TRAVIS WARD SR. (1863-1926) CRISFIELD, MD, C. 1918 18 in. long

A Ward black duck with Lem and Steve’s signatures and “Made by our father L. Travis Ward Sr. around 1918” inked on the underside. As found. PROVENANCE:

Dr. Morton D. Kramer Collection

$500 - $700

440 “Steps in Carving a Duck Head”

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1965 5 1/2 in. long

441 Early Bluebill

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1919 15 1/2 in. long

This early bluebill bears both Lem and Steve’s signatures and the inked inscription “L. T. WARD BRO. CRISFIELD, MD. Around 1919.” Original paint with wear. PROVENANCE: Davison Hawthorne Collection Dr. Morton D. Kramer Collection, acquired from the above in 1975

$2,000 - $3,000

Dr. Kramer considered it a luxury to watch Steve’s carving process and decided to share the maker’s alchemy with future generations by preserving and presenting this series of five duck heads. The steps include: Bandsaw, Hatchet, Knife, Rough sandpaper, and Fine finish. The latter four are signed by the Wards. Original condition. PROVENANCE:

Dr. Morton D. Kramer Collection

275

442

444

443

445

442 Canvasback Pair

LEONARD E. PRYOR (1876-1967) ELKTON, MD, C. 1920 15 in. long

In working paint with gunning wear. PROVENANCE:

Bill Litzenburg Collection Dr. Morton D. Kramer Collection, acquired from the above in 1973

443 Canvasback Drake

CAPT. BENJAMIN F. DYE (1832-1896) PERRYVILLE, MD, C. 1880 14 1/2 in. long

Old working repaint with gunning wear. PROVENANCE:

Dr. Morton D. Kramer Collection

444 The Cleveland Redhead CLEVELAND RIG UPPER CHESAPEAKE BAY, C. 1870 14 3/4 in. long

The Cleveland Rig is named for famed waterfowling enthusiast, and 22nd president of the United States, Grover Cleveland (1837-1908). This redhead is illustrated on Paul W. Shertz’s 1979 print Decoy Makers of the Susquehanna

276

Flats. Written on the print is the following information: “Brother of the famous Cleveland canvasbacks, only one decoy of this type is known to exist. - From the collection of Dr. Morton D. Kramer.” Old working repaint with gunning wear. PROVENANCE: Cleveland Rig Dr. Morton D. Kramer Collection LITERATURE: J. Evans McKinney, Decoys of the Susquehanna Flats and their Makers, Ocean City, MD, 1978, p. 18 and back dust-jacket, canvasback illustrated. Bob Ridges, Decoy Ducks, New York, NY, 1988, p. 157, exact decoy illustrated.

445 Canvasback Drake

CHARLES NELSON BARNARD (1876-1958) HAVRE DE GRACE, MD, C. 1920 14 1/2 in. long

Original paint with light gunning wear. PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900

446

448

447

449

446 Early Canvasback Drake CAPT. HARRY R. JOBES (1936-2019) ABERDEEN, MD, 1959 13 1/2 in. long

An early working decoy by this popular captain and decoy maker who recently passed away on May 10th, 2019. The underside is cold stamped with various marks including “HMM.” A tag on the bird relays an unconfirmed literature reference. Joseph Paul Linduska, Arnold L. Nelson, ed. “Waterfowl Tomorrow,” 1964, p. 712, exact decoy illustrated. Original paint with even gunning wear. PROVENANCE: J. Evans McKinney Collection Dr. Morton D. Kramer Collection, acquired from the above in 1976

447 Canvasback Drake

ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1930 15 1/2 in. long

Original paint with light gunning wear. PROVENANCE: Dr.

Morton D. Kramer Collection

448 Bluebill and Canvasback 16 in. long

A canvasback drake, c. 1910, by Edward T. Parsons (18561937) of Oxford, MD, and a bluebill, c. 1930, by Edward J. Phillips (1901-1964) of Taylors Island. Both are in working repaint with gunning wear. PROVENANCE: Dr. Morton D. Kramer Collection, the bluebill was acquired from H or N. Valliant in 1971, the canvasback was acquired in 1975

$700 - $1,000

449 John Duck

WILLIAM HEVERIN (1860-1951) CHARLESTOWN, MD, C. 1900 15 1/2 in. long

“John Ducks,” such as this canvasback, were painted and rigged to be used as marking buoys for sink box rigs. Few survive today, making this a true piece of Maryland’s waterfowling heritage. Red paint with wear, including loss of wood at lower right portion of neck. $500 - $800

$400 - $600

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450 Bluebill Pair

450

ELLIOT BROTHERS EASTON, MD, C. 1935 14 in. long

A pair of gunning decoys displaying the inked inscription “Made by Elliott Bros. Easton, MD” on the underside. The hen also has a painted “W” rig identifier. Original paint on drake and Elliot repaint on hen, each with heavy gunning wear. PROVENANCE:

Dr. Morton D. Kramer Collection

451 Goldeneye Drake

451

MARYLAND 16 3/4 in. long

A Sterling-style goldeneye drake. As found. PROVENANCE: Joseph Davis Collection, Louisville, Kentucky Private Collection, by descent in the family

452 452

452 Bluebill Box

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1967 15 in. long

A life-size bluebill carving with a lift-back lid and interior storage area. The bottom of the carving bears the inked inscription “Made especially for our best friend Dr. Morton Kramer, Baltimore, MD. Ward Brothers Crisfield, MD. Lem Ward - Steve Ward. - 1967 -.” Original paint with minimal wear and age lines at neck seam and breast.

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PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the Wards in 1967 LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 118, exact bird illustrated.

453

455

454

456

453 Goldeneye Hen

455 Bluebill

A whistler hen displaying detailed bill carving and a thin paddle tail. Original paint with light gunning wear.

A bluebill drake with fine scratch painting on its back and a broad flared bill. Original paint with light gunning wear.

$1,000 - $1,400

$500 - $800

RAYMOND L. ANDRESS (1890-1955) GANANOQUE, ONTARIO, CANADA, C. 1925 13 in. long

454 Goldeneye and Bluebill HenUPSTATE NEW YORK, C. 1930

13 1/4 in. long

The bluebill bears an incised “AF” on the underside. Both in original paint with gunning wear. The goldeneye has an age line in breast, and the bluebill has touch-up at reset neck seam and flaking to breast. PROVENANCE:

Private Collection, New Hampshire

$600 - $900

RAYMOND L. ANDRESS (1890-1955) GANANOQUE, ONTARIO, CANADA, C. 1925 11 1/2 in. long

456 Bluebill Pair

MORRIS BOATWORKS HAMILTON, ONTARIO, CANADA, C. 1910 11 1/2 in. long

A stylish pair of hollow bluebills with swing weights. In original paint with working repaint to drake’s sides, and a crack to end of hen’s bill and at the edge of neck seam. PROVENANCE:

Dr. S. Lloyd Newberry Collection

$500 - $800

279

THOMAS CHAMBERS

1860-1948 | WALLACEBURG, ONTARIO, CANADA

457

457 Rigmate Redhead Pair

THOMAS CHAMBERS (1860-1948) WALLACEBURG, ONTARIO, CANADA, C. 1914 16 in. long

These hollow decoys are each branded “A.H. BUHL,” for Arthur H. Buhl, who was a St. Clair Shooting Club member from 1914 to 1933. Referring to this exact Chambers redhead hen in 2004, decoy specialist Russ Goldberger described it as the “Best example I have seen!” The drake is a perfectly matched rigmate. The underside of the hen also bears a “RY” stamp for Ontario collector Roger Young, a paper “Kirson Collection” sticker, and a Ward Museum exhibition sticker. Original paint with minimal gunning wear. PROVENANCE Hen:

Arthur Buhl Rig Harry Seitz Collection Paul Brisco Collection Roger Young Collection Donald Kirson Collection PROVENANCE Drake: Arthur Buhl Rig Don Kirson Collection, acquired 2006 LITERATURE: Bernie Gates, Ontario Decoys II, Kingston, ON, 1986, p. 168, closely related examples illustrated.

Chesapeake Wildfowl Expo, The Ward Museum, Salisbury, MD, Oct. 10-11, 2008

EXHIBITED:

$3,000 - $5,000

280

458 Redhead Drake

THOMAS CHAMBERS (1860-1948) WALLACEBURG, ONTARIO, CANADA, C. 1915 15 3/4 in. long

458

A hollow drake with a dry original surface. Original paint with gunning wear, including some flaking. Provenance: Private Collection, Vermont Literature: Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p. 106, related example illustrated. $1,200 - $1,800

459 Hollow Black Duck TORONTO, ONTARIO, C. 1920 16 in. long

459

This hollow black duck appears never to have been rigged. Original paint with minor wear. Provenance: Private Collection, New Hampshire $400 - $600

281

SAMUEL R. HUTCHINGS 1894-1995 | JONES FALLS, ONTARIO

460

460 Hooded Merganser

SAMUEL R. HUTCHINGS (1894-1995) JONES FALLS, ONTARIO, CANADA, C. 1910 11 in. long

Samuel Hutchings lived to see his 100th year, but will be remembered primarily for his decoys attributed to his teenage years (c. 1908-1914). He was a carving prodigy inspired by his grandfather, who was a master blacksmith. Decoy historians Gene and Linda Kangas interviewed Hutchings as an octogenarian and chose a pair of these exceptional hooded mergansers as the front cover for their Great Lakes Interpretations book. They write, “The uniqueness is in their petite jewel-like bodies embellished by intricate cross-hatched diamonds incised into the head and bodies…Each varies in total degree of ornamental surface articulation…Sam reminisced about his fascination with his maternal grandfather’s blacksmithing shop back when he was a child….‘As soon as I could walk there [age three or older], I was up in his shop watching him make things and... would get involved which interested me and got me started making things…’ Known examples of his grandfather’s handforged ironwork feature ‘checkered’ decorative surfaces…In the global lexicon of decoy designs, there are no others of corresponding vision.”

282

Hutchings’ creation of great decoys was cut short, after his brief flourish as a young decoy carver he became entirely immersed in the family dairy farm. Reportedly, he made no decoys between 1914 and 1967, and his later works would never approach the bar he set as a youth. All of the black feather areas on this pair are hatched or cross-hatched, while the white on the head and breast is outlined and left smooth, heightening the intensity of the design. The maker’s passion for surface carving extends under the tails where the live ducks would never see his workmanship. Each has raised wings with delineated primaries. This pair, along with the cover birds on the Kangas book, displays crests in the raised and lowered positions. This Merganser is Hutching’s raciest model with sweeping lines from tip-to-tail emphasized by the drawn back crest and his complementary hatching. This petite decoy is a full inch shorter than its rigmate, lot 461. The underside is marked with the Roger Young collection mark. Original and old working paint, much of which has been successfully removed, three-quarter restoration to bill.

SAMUEL R. HUTCHINGS 1894-1995 | JONES FALLS, ONTARIO

461

PROVENANCE: Henry Darling Smith Rig, acquired from the artist in 1919 Private Collection, by descent from the above Private Collection, acquired from the above circa 1996 LITERATURE:

Gene and Linda Kangas, Great Lakes Interpretations, Concord, OH, 2011, front cover, pp. 45, 51, 75, related examples illustrated. Decoys Unlimited Auctions, Spectacular Summer Decoy Auction, July 28 & 29, 2013, lot 101A, exact decoy illustrated. Linda and Gene Kangas, “A Bit Racy: The Inspired Diversity of Merganser Decoys,” Decoy Magazine, May/June 2007, p. 25, related example illustrated. Larry Lunman, David W. Nichol and the Decoys of the Rideau Canal Waterway, Louisville, KY, 2003, p. 18, related example illustrated. $25,000 - $35,000

461 Hooded Merganser

SAMUEL R. HUTCHINGS (1894-1995) JONES FALLS, ONTARIO, CANADA, C. 1910 11 3/4 in. long

This high-crest hoodie showcases the maker’s best workmanship and his lightning-bolt breast pattern. The underside is marked with the Roger Young collection mark. Original and old working paint, much of which has been successfully removed, and a one-half restoration to bill. PROVENANCE: Henry Darling Smith Rig, acquired from the artist in 1919 Private Collection, by descent from the above Private Collection, acquired from the above circa 1996 LITERATURE: Gene and Linda Kangas, Great Lakes Interpretations, Concord, OH, 2011, front cover, pp. 45, 51, 75, related examples illustrated. Decoys Unlimited Auctions, Spectacular Summer Decoy Auction, July 28 & 29, 2013, lot 101, exact decoy illustrated. Linda and Gene Kangas, “A Bit Racy: The Inspired Diversity of Merganser Decoys,” Decoy Magazine, May/June 2007, p. 25, related example illustrated. Larry Lunman, David W. Nichol and the Decoys of the Rideau Canal Waterway, Louisville, KY, 2003, p. 18, related example illustrated.

$25,000 - $35,000

283

CAMERON T. MCINTYRE B. 1968 | NEW CHURCH, VA

462

463

462 Caines Mallard Pair

463 Swimming Brant

A snakey-head pair of mallards made in the Caines Brothers’ style. The undersides display the maker’s incised “CTM” and the inked inscription “Caines Brothers Mallard Pair Cameron McIntyre 2001.” Original paint with wear including minor flaking.

A Northampton-County-inspired hollow brant with roothead construction, incised “CTM” on underside. Original paint with wear.

CAMERON T. MCINTYRE (B. 1968) NEW CHURCH, VA, 2001 17 1/2 in. long

Provenance: Herb Wetanson Collection $3,500 - $4,500

284

CAMERON T. MCINTYRE (B. 1968) NEW CHURCH, VA, C. 2010 23 in. long

PROVENANCE:

Private Collection, California

$2,000 - $3,000

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

464 Presentation Dove Box

464

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1987 13 by 17 1/2 by 5 3/4 in.

This unique dove box sheds light on the relationship between artists and their best patrons and friends. The box holds four of McNair’s finest raised- and split-wingtip dove decoys. These fit neatly into bent-wood compartments. Also included is a wooden dove call and a leather pouch holding copper legs for each bird. The box, fittingly made with dovetail joinery, is bespoke for not only the birds, but also the patron. “M.D.K. BALTIMORE” is incised on the hinged lid and “MORTON D. KRAMER, M.D.” is painted on its front. Each bird is incised “McNAIR” and measures 14 3/4 inches. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist

464

$4,000 - $6,000

465

465 Vance Pintail

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1991 17 1/2 in. long

This hollow decoy is fashioned after Philadelphia maker Arthur B. Vance’s (18181889) pintail design, signed by the maker on the underside. Original paint with minimal wear. PROVENANCE:

Dr. Morton D. Kramer Collection

$1,000 - $1,500

285

MIKE BORRETT B. 1960 | MADISON, WI

466

466 Pheasant

MIKE BORRETT (B. 1960) MADISON, WI, C. 2015 28 in. long

A pheasant carving signed with an incised “BORRETT” on the underside of the carving and branded “BORRETT” on the bottom of the base. Original paint with minimal wear. $500 - $800

467

467 Ruffed Grouse

MIKE BORRETT (B. 1960) MADISON, WI, C. 2015 16 in. long

A ruffed grouse carving signed with an incised “BORRETT” on the underside of the carving and branded “BORRETT” on the bottom of the base. Original paint with minimal wear. $500 - $800

468

468 Wood Duck Pair MIKE BORRETT (B. 1960) MADISON, WI, C. 2015 14 3/4 in. long

A pair of carvings signed with an incised “BORRETT” on the underside of the carvings and branded “BORRETT” on the bottom of the base. Original paint with minimal wear. $500 - $800

286

MARTY HANSON B. 1965 | PRIOR LAKE, MN

469 Pintail Pair

MARTY HANSON (B. 1965) PRIOR LAKE, MN, 1998 19 in. long

469

A pair of hollow high-head pintails bearing Hanson’s signature, his rectangular stamp, a date, and an inscription on the underside of each. Hanson is widely regarded as one of the top carvers to come out of Minnesota. Original paint with minimal wear. PROVENANCE: Private Collection, North Dakota, acquired from the artist

$1,200 - $1,800

470 Goldeneye Pair

MARTY HANSON (B. 1965) PRIOR LAKE, MN, C. 1995 16 in. long

470

A dynamic pair of hollow decoys. The high-head drake and sleeping hen both have extensive carved features and a masterfully textured surface. The maker’s rectangular ink stamp signature is on the bottom of each. Both are in original paint. Provenance: Private Collection, North Dakota, acquired from the artist $1,200 - $1,800

471 Hollow Canvasback Pair MARTY HANSON (B. 1965) PRIOR LAKE, MN, C. 1995 17 in. long

471

A hollow pair with a high-head drake, each has the maker’s rectangular ink stamp. Original paint with minimal wear. PROVENANCE: Private Collection, North Dakota, acquired from the artist

$800 - $1,200

287

MARTY HANSON B. 1965 | PRIOR LAKE, MN

472

474

473

475

472 Sleeping Black Duck

474 Canvasback Pair

A hollow decoy signed on the bottom with the maker’s rectangular ink stamp. Original paint with minimal wear.

A chip-carved canvasback pair signed and dated “Marty Hanson 1994” and ink stamped on the bottom. Original paint with minimal wear.

MARTY HANSON (B. 1965) PRIOR LAKE, MN, C. 1995 16 in. long

Provenance: Private Collection, North Dakota, acquired from the artist $800 - $1,200

MARTY HANSON (B. 1965) PRIOR LAKE, MN, 1994 17 in. long

PROVENANCE:

Private Collection, North Dakota, acquired from

the artist $800 - $1,200

473 Dove

MARTY HANSON (B. 1965) PRIOR LAKE, MN, C. 1995 11 in. long

A hollow dove with the maker’s incised “MH” under the tail. Original paint with wear. $300 - $500

475 Redhead Pair

MARTY HANSON (B. 1965) PRIOR LAKE, MN, 1994 15 1/2 in. long

Both of these hollow decoys are signed, dated, and ink stamped. In original paint. Provenance: Private Collection, North Dakota, acquired from the artist $800 - $1,200

288

CAMERON MCINTYRE B. 1968 | NEW CHURCH, VA

476 Ruddy Duck

CAMERON T. MCINTYRE (B. 1968) NEW CHURCH, VA, C. 2000 9 1/2 in. long

A pert decoy signed with the maker’s “CTM” incised initials on the bottom. In original paint with wear. PROVENANCE:

Private Collection, New York

$1,000 - $1,500

476

477 Black-Bellied Plover

CAMERON T. MCINTYRE (B. 1968) NEW CHURCH, VA, C. 2000 12 in. long

This Brady-inspired carving displays two-piece construction and the maker’s incised “CTM” signature on the underside. In original paint with wear and an original age line on left side. $600 - $900

477

478 Redhead

CAMERON T. MCINTYRE (B. 1968) NEW CHURCH, VA, C. 1985 13 in. long

A slightly turned-head decoy exhibiting carved bill detail and raised wings. Signed with the maker’s early “CTM” incised initials on the bottom. Original paint with light gunning wear and working touch-up to reset bill. PROVENANCE:

Private Collection, New York

$1,000 - $1,400

478

289

DELBERT “CIGAR” DAISEY 1928-2017 | CHINCOTEAGUE, VA

479

481

480

482

479 Ruddy Duck

DELBERT “CIGAR” DAISEY (1928-2017) CHINCOTEAGUE, VA, 1972 11 1/4 in. long

A ruddy duck in winter plumage branded “CIGAR.” Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the maker in 1972

$400 - $600

290

481 Bluebill Drake

DELBERT “CIGAR” DAISEY (1928-2017) CHINCOTEAGUE, VA, 1970 12 1/2 in. long

A tag on the underside of this decoy is signed and dated by the maker. Original paint with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the maker in 1970

$400 - $600

480 Bufflehead Drake

482 Curlew

DELBERT “CIGAR” DAISEY (1928-2017) CHINCOTEAGUE, VA, 1970 11 in. long

DELBERT “CIGAR” DAISEY (1928-2017) CHINCOTEAGUE, VA, 1970 15 in. long

The underside is signed, dated, and branded by the maker. Original paint with minimal wear, minor paint spatter on back.

A Hudsonian curlew, signed, dated, and branded by the maker on the underside. Original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the maker in 1970

$400 - $600

483

485

484

486

483 Wood Duck Hen

CAPT. GERALD B. SMITH (1905-1994) MARBLEHEAD, MA, C. 1970 16 1/2 in. long

485 Contemporary Swan 33 in. long

A large, graceful swan carving with a high head and a long body. Original paint with flaking and wear.

A rare species by the maker, with raised wing carving, the maker’s brand, and number 1007 on the bottom. Original paint with minimal wear, including minute chips to wing and bill tip.

PROVENANCE: Joseph Davis Collection, Louisville, Kentucky Private Collection, by descent in the family

PROVENANCE: Private

486 Black Duck Pair

Collection, Massachusetts

$300 - $500

484 Rock Dove

WILLIAM C. GIBIAN (B. 1946) ONANCOCK, VA, C. 1990 13 1/2 in. long

Incised “GIBIAN” on the bottom. In original paint with light wear. PROVENANCE:

CLARENCE FENNIMORE (B. 1935) WRIGHTSTOWN, NJ, C. 2015 20 1/4 in. long

An expertly carved and painted hollow pair of black ducks consisting of a swimming and preening model. Each is signed and stamped by the maker on the underside. Original paint with minimal wear. $500 - $700

Private Collection, New York

$600 - $900

291

CAPT. JOHN C. SCHWEIKART 1870-1954 | DETROIT AND STRAWBERRY ISLAND

487

487 Canvasback Hen

CAPT. JOHN C. SCHWEIKART (1870-1954) DETROIT AND STRAWBERRY ISLAND, MI, C. 1910 17 in. long

A rare hollow St. Clair Flats, Detroit River decoy exhibiting glass eyes, carved bill detail, the maker’s “signature” bull neck, aluminum wing tips and primaries, a hollowed head, and a unique two-piece copper bottom plate which, when unlatched, provides a winged keel. John Schweikart lived and worked in Detroit. He and his brother Carl were boatbuilders, who also built racing yachts on the Detroit waterfront. John would sail his own boat, The Huntress, in regattas and to his camp on Strawberry Island in Lake St. Clair to hunt and fish. Original paint with gunning wear and touch-up.

292

PROVENANCE: Dr.

John Dinan Collection

LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, dust jacket and pp. 236-237, related examples illustrated. Joe Engers, ed. The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 215, related pair illustrated. Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 62, related example illustrated.

$5,500 - $6,500

PAUL LIPKE WHITING, IN

488

488 Exemplary Blue-Winged Teal Pair PAUL LIPKE WHITING, IN, C. 1930 12 in. long

Very few Lipke decoys have surfaced, yet they have found their way to top collections, including those of Jim Cook and Leonard “Rusty” Johnson. This pair displays the maker’s best form with fat cheeks, refined bills, and high backs. The drake has a slightly uplifted head. These are among the finest decoys from the state of Indiana. Original paint with minor gunning wear.

PROVENANCE:

Rusty and Diana Johnson Collection

LITERATURE: Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p. 140, related example illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 24-27, bluebill illustrated.

$6,000 - $8,000

293

489

489 Blue-Winged Teal

JUDGE GLENN J. CAMERON (1882-1958) RIG 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. PROVENANCE: Private Collection, New York LITERATURE: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.

$1,800 - $2,400 490

490 Mallard

ROBERT ELLISTON (1847-1925) BUREAU, IL, C. 1890 17 in. long

The underside bears “THE ELLISTON DECOY” lead weight. Catherine Elliston paint with minor gunning wear and some touch-up. PROVENANCE:

Private Collection, Illinois

$1,000 - $2,000

491

491 Pintail Pair

CLINE A. MCALPIN (1919-1969) CHICAGO, IL, C. 1950 15 in. long

A pair of hollow turned-head pintails, each is stamped with the maker’s name and address on the underside. Original paint with minimal wear and an age line in drake’s neck. PROVENANCE: Herb

$3,000 - $5,000

294

Wetanson Collection

492 Rare Pintail Drake

THE MCKENZIE BROTHERS JOHN THOMAS (1852-1914) AND THOMAS JEFFERSON MCKENZIE (1860-1938) HENRY, IL, C. 1900 17 in. long

492

A hollow-bodied pintail carved by Thomas, who worked at a wagon factory and transferred those skills into his talented carving. His brother, John, was responsible for the painting. In their 1969 Decoys and Decoy Carvers of Illinois, Paul W. Parmalee and Forrest D. Loomis report, “Farming, fishing and hunting most of their lives, John and Thomas McKenzie pooled their talents and skills around the turn of the century to produce a limited number of puddle duck gunning decoys.” Finding a choice pintail in original paint by these gifted makers is an infrequent occurrence. Original paint with even gunning wear.

493

PROVENANCE: Peter Van Trigt Collection Private Collection, New York LITERATURE: Paul W. Parmalee and Forrest D. Loomis, Decoys and Decoy Carvers of Illinois, Dekalb, IL, 1969, p. 276, similar decoy illustrated.

$3,000 - $5,000

493 Canvasback

GEORGE “BERT” GRAVES (1880-1956) PEORIA, IL, C. 1920 17 in. long

A fine example of a hollow, Illinois River decoy with excellent swirl paint. Original paint with gunning wear.

494

PROVENANCE: Dr. E. C. Burhans Collection Private Collection, by descent from the above Private Collection, Midwest LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 122, related decoys illustrated.

$1,800 - $2,400

494 Bluebill Drake

WILLIAM LOHRMANN (1890-1955) PEORIA, IL, C. 1920 13 in. long

Original paint by Edna Perdew with light wear and a tight crack in neck. PROVENANCE: Joseph Davis Collection, Louisville, Kentucky Private Collection, by descent in the family

$300 - $400

295

495

495 Rare Preening Pintail Drake CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1930 14 in. long

This is quite possibly the only Perdew preening pintail drake known to exist. This early example showcases the maker’s best form. In working repaint with gunning wear and touch-up. PROVENANCE: Earl Pogemiller Collection Private Collection, Illinois

$3,000 - $5,000

496 Turned-Head Raised-Wing Mallard Drake CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1945 15 1/2 in. long 496

This exact decoy was selected for the monograph on the maker. Its caption states: “...it is a beautifully carved example of Perdew’s later style. The head appears more streamlined, yet retains its full cheeks and is gracefully turned and slightly tucked.. The decoy bears the original weight which reads: HENRY...PERDEW...ILL.” The underside is stamped “222.” Original paint with heavy gunning wear and flaking. PROVENANCE: Harold “Hal” Sorenson Collection Private Collection, Illinois LITERATURE: Ann Tandy Lacy, Perdew: An Illinois River Tradition, Indianapolis, IN, 1993, p. 129, exact decoy illustrated.

$1,000 - $2,000 497

497 Early Pintail Drake

CHARLES WALKER (1873-1954) PRINCETON, IL, C. 1905

This decoy is featured in Donna Tonelli’s Decoy Magazine cover story on Walker. It is the earliest of four pintails illustrated spanning from approximately 1905-1940. The author notes that Walker’s “decoys constantly evolved throughout his life, and since he produced decoys almost exclusively for the members at Princeton, one can easily follow this evolution - from the Elliston models to the Walker classics.” Fittingly, this early model was finished with paint by Catherine Elliston. The underside is

296

marked “DM” inside the slot-weight for the Douglas Moseley rig. Moseley was a founding member of the Princeton Game and Fish Club of Princeton, Illinois. In early Catherine Elliston paint with even gunning wear and a one-half bill restoration.

498

PROVENANCE: Douglas Moseley Rig Private Collection, Illinois LITERATURE: Donna Tonelli, “Charles Walker,” Decoy Magazine, Burtonsville, MD, November/December 1992, p. 12, exact decoy illustrated.

$3,000 - $5,000

498 Turned-Head Redhead

J. N. DODGE DECOY FACTORY (1883-1893) DETROIT, MI, C. 1890 14 in. long

499

In strong original paint, restoration to neck filler. PROVENANCE:

Private Collection, Rhode

Island $1,000 - $1,500

499 Black-Bellied Plover

J. N. DODGE DECOY FACTORY (1883-1893) DETROIT, MI, C. 1890 10 in. long

Branded “P” for the Purnell collection on the underside. Original paint with gunning wear, including flaking to left side. PROVENANCE: William H. Purnell Jr. Dr. S. Lloyd Newberry Collection

$600 - $900

500

500 Blue-Winged Teal

J. N. DODGE DECOY FACTORY (1883-1893) DETROIT, MI, C. 1890 12 in. long

An early teal with double-blue marks. Original paint with gunning wear, touch-up to neck, and some flaking. PROVENANCE:

Private Collection, Rhode

Island $1,000 - $1,500

297

501

503

502

504

501 Rare Preening Down-East Mallard Drake FREEPORT, ME, C. 1950 15 in. long

This decoy was never rigged and retains the maker’s whiteinked oval stamp on the underside. In original paint with an age line on the underside. $500 - $800

502 Plover

503 Black-Bellied Plover

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 11 in. long

This decoy is from the rig of Henry Rice Guild, a World War I Navy veteran, a Harvard Law graduate, and a past director of the Audubon Society. It was used at his Eastham, Massachusetts, hunring camp. Original paint with even gunning wear, including some small rubs and a faint age line along the bottom.

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 11 in. long

PROVENANCE: Henry Rice Guild Rig Dr. S. Lloyd Newberry Collection

As found.

$1,000 - $1,400

PROVENANCE:

Richard LaFountain Collection

504 Two Mason Decoys

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 17 1/4 in. long

A premier-grade black duck and a challenge-grade redhead. The black duck has the factory “PREMIER” stamp on the bottom. As found. PROVENANCE:

298

Dr. Morton D. Kramer Collection

505 Plump Golden Plover NANTUCKET, MA, C. 1880 8 3/4 in. long

505

A charming golden plover with a flared split tail and a petite tenoned bill. The bird displays excellent paint with carefully applied gold and white dots on the back and wet-on-wet blending across the underside. A collector or museum code is written in red on the bottom. This is one of the finest examples to come out of this rig.. Original paint with even gunning wear. PROVENANCE:

Dr. S. Lloyd Newberry

Collection $3,500 - $4,500

506 Golden Plover

506

E. FRANK ADAMS (1871-1944) WEST TISBURY, MARTHA’S VINEYARD, MA, C. 1910 9 in. long

A golden plover in breeding plumage with green stippled paint along the back. This rig is featured in Stanley Murphy’s book on Martha’s Vineyard, which displays very few shorebirds by known makers. Original paint with gunning wear. PROVENANCE: Private Collection, Massachusetts LITERATURE: Stanley Murphy, Martha’s Vineyard Decoys, Boston, MA, 1978, pp. 20-21, rigmates illustrated.

$1,000 - $1,400

507 Rig of Six Flattie Yellowlegs

507

Mounted on an eighteen-inch-long base. As found.

299

508

511

509

512

510

513

508 Yellowlegs

509 Eskimo Curlew

Original paint with even gunning wear.

A rare species in this Lincoln-type form, it retains the Starr Collection ink stamp on the underside. Original and old working paint with gunning wear, including shot scars on left side and a knot hole through wingtip and tail.

MASSACHUSETTS, C. 1900 12 1/4 in. long

LITERATURE: Richard A. Bourne Co., Inc., Rare American Decoys and Bird Carvings, Hyannis, MA, May 20 & 21, 1977, lot 748, exact decoy illustrated. The Ward Museum, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings, Salisbury, MD, 2010, p. 114, related pair illustrated.

$300 - $500

SOUTH SHORE, MA, C. 1890 10 1/2 in. long

PROVENANCE: Starr Collection Private Collection LITERATURE: Willis Henry Auctions, Inc., Decoy Auction from the collection of Dr. George Ross Starr Jr., August 27 & 28, 1983, Duxbury, MA, 1983, lot 259, exact bird illustrated.

$400 - $600

300

514

510 Golden Plover

513 Black-Bellied Plover

A golden plover bearing a “W. J. Smith” brand on the underside. Gunning repaint with even wear.

A plover decoy in winter plumage with nice raised-wing carving. Original paint with light gunning wear, some grime on left side of head.

W. J. SMITH RIG NANTUCKET, MA, C. 1880 10 in. long

PROVENANCE: W. J. Smith Rig Dr. Morton D. Kramer Collection

$400 -$600

VERITY FAMILY SEAFORD, LONG ISLAND, NY, C. 1910 11 in. long

PROVENANCE: Private Collection, acquired by descent from a Long Island rig

$600 - $900

511 Running Black-Bellied Plover

NORTH SHORE, MA OR NEW HAMPSHIRE, C. 1900 11 in. long

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. A small “JF” stamp denoting the French collection on the underside next to stick hole. In original paint with a very minor chip to tail.

514 Preening and Feeding Shorebird Pair NEW ENGLAND, C. 1890 9 in. long

$500 - $800

Adele Earnest illustrates a related feeder in the “rarities” section of her decoy book. Even less often seen by any shorebird maker is the preening posture of its rigmate which was made with three-piece lamented and pegged construction and applied raised wing tips. Original paint with gunning wear and some flaking. The preener has an early onehalf bill replacement and a faint age line in neck. The feeder has working touch-up to bill and underside of tail.

512 Black-Bellied Plover

PROVENANCE: Private Collection, Connecticut Private Collection, New Hampshire

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

LONG ISLAND, NY, C. 1900 10 in. long

Original paint with heavy wear to wood in places. PROVENANCE: Joseph Davis Collection, Louisville, Kentucky Private Collection, by descent in the family

LITERATURE: Adele Earnest, The Art of the Decoy, West Chester, PA, 1965, p. 57, related feeder illustrated, p. 42, rare preener illustrated.

$3,000 - $5,000

301

515 515

517

516

518

515 Yellowlegs

517 Dowitcher

Though a very prolific carver, this maker is known to have made few yellowlegs compared to his plover and peep forms. Old working repaint with gunning wear and a cracked bill.

Original paint with heavy gunning wear and a replaced bill.

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 11 in. long

PROVENANCE: Private Collection, acquired by descent from a Long Island rig

516 Yellowlegs

PROVENANCE: Lloyd Johnson Collection Private Collection LITERATURE: Dr. Cynthia Byrd, The Decoys of Long Island, Water Mill, NY, 2010, pp. 10, 30, and 66, exact decoy illustrated three times.

VERITY FAMILY SEAFORD, LONG ISLAND, NY, C. 1910 12 in. long

$1,000 - $1,500

This decoy was made by the same maker as lot 513 and hails from the same gunning rig. Original paint with light gunning wear and some chew marks to tail.

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880 12 1/4 in. long

Private Collection, acquired by descent from a Long Island rig PROVENANCE:

$600 - $900

302

THOMAS H. GELSTON (1850-1924) QUOGUE, LONG ISLAND, NY, C. 1890 8 3/4 in. long

518 Yellowlegs

As found. $400 - $600

519

521

520

522

519 Miniature Canada Goose

521 Miniature Swimming Mallard

A hissing example with the artist’s best wet-on-wet feather paint. Signed by the maker on the underside of base. Excellent original paint with minimal wear.

A swimming mallard displaying Dr. Hill’s best work with raised wing carving and thick blended paint. Original paint with minimal wear, including a crack in neck.

$300 - $500

$300 - $400

520 Set of 12 Miniature Bird Carvings

522 Nantucket Basket with Sperm Whale

JAMES LAPHAM (1909-1987) DENNISPORT, MA, C. 1960 7 1/4 in. long

PENNSYLVANIA

The longest of these “distilfinks” is a parakeet which measures seven inches long. As found.

DR. LEWIS WEBB HILL (1889-1968) BOSTON, MA, C. 1930 7 in. long

JOSÉ FORMOSO REYES (1905-1980) NANTUCKET, MA, C. 1970 10 by 10 by 6 1/2 in.

Signed by the maker “Made in Nantucket, Jose Formosa Reyes,” with a drawn outline of Nantucket Island on the bottom. Good condition with light wear from use and a slight crack in handle. $2,000 - $3,000

303

523

524

525

523 Lake Trout Model FRANK S. FINNEY (B. 1947) CAPEVILLE, VA, 1982 plaque is 10 by 37 in.

A rare trophy carving featuring the maker’s best workmanship. Signed and dated on the back. As found. Provenance: Loy Harrell Collection $3,000 - $5,000

525 Kenn’s Creel PORTLAND, OR 9 in. tall by 15 in. wide

In addition to the fancy pressed leatherwork, an impressed stamp on the verso reads “KENN’S K. G. McKEENMAN LEATHER MFG, PORTLAND ORE.” The shoulder strap is also marked “KENN’S.” The leather hinge is marked as a fish ruler. In good condition with wear from use. PROVENANCE:

524 Hummingbird

FRANK S. FINNEY (B. 1947) CAPEVILLE, VA, C. 1990 8 1/2 in. long by 8 in. tall

An inquisitive hummingbird with incised wing and tail feather carving. Stamped with the maker’s signature on the underside of the base. Original paint with minimal wear. $400 - $600

304

Donald Kirson Collection

Hugh Chatham and Dan McClain, The Art of the Creel, Ennis, MT, 1997, p. 104.

526 Sandpiper Trio

ARNOLD T. MELBYE (1909-2000) SOUTH YARMOUTH, MA, 1969 base is 14 in. long and 5 1/2 in. wide

526

Three decorative sandpipers mounted on a driftwood base. Exhibits very realistic paint, raised wing tips, and one bird has a lifted foot. Each bird is signed “A. Melbye” on the underside. Regarding this group, Kramer noted, “I waited 2 years for them.” In fine original condition with minimal wear. PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the artist in 1969

$300 - $500

527

527 Turned-Head Yellowlegs GEORGE W. CSEFAI CONNECTICUT, 1972 12 in. tall

A yellowlegs on an oval wooden base displaying a metal plaque that reads “by George W. Csefai - 1972.” In original paint with minimal wear, including a reset bill with touch-up. $300 - $400

528 Sandpiper

STAN SPARRE (1922-2011) FALMOUTH, MA, 1986 base is 8 1/2 in. long

528

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

529 Yellowlegs

ALFRED BAILEY GARDNER (1881-1971) ACCORD, MA, C. 1940 13 in. long

Mounted on a carved wooden quahog shell base with maker’s stamp on the underside. Original paint with wear. 529

305

530 Saw-Whet Owl

530

DAVISON B. HAWTHORNE (1924-2018) SEAFORD, DE, 1972 10 in. tall

A turned-head northern saw-whet owl with carved-wing feather detail mounted on a wooden base. Signed and dated “72” in ink on the bottom of the branch. In excellent original paint. PROVENANCE: Dr. Morton D. Kramer Collection, acquired directly from the artist

$400 - $600

531

531 Ruffed Grouse

STEVEN HENSEL FRIENDSHIP, ME, C. 1975 14 in. tall

A highly detailed upland bird sculpture with fine paint by this competition carver. The underside bears a “S T HENSEL” brand. Original paint with a few minor cracks to top of crest. PROVENANCE:

Private Collection, Florida

$600 - $900

306

532

535

533

536

534

537

532 Cane with Running Retriever on Handle 35 in. long

As found.

535 Elaborate Penwork Cane with Fox and Bird Hunting 35 in. long

As found.

533 Cane with Hand Holding Snake on Handle 35 1/2 in. long

As found.

536 Cane with Hunter, Gun, and Game on Handle 36 in. long

As found.

534 Cane with Mice Eating Grapes on Handle 35 in. long

As found.

537 Cane with Masonic Imagery 36 1/2 in. long

As found.

307

538.1

538.2

541

539

540

542

538 Frank McCarthy (1924-2002)

541 Duck Shooting Along the Atlantic Tidewater

The Old West Book and Print Crossing the Divide signed and dated in plate color print, 22 1/4 by 17 in.

Eugene Connett, ed., Duck Shooting Along the Atlantic Tidewater, William Morrow & Company, NY, 1947. A rare limited-edition book in a slipcase, numbered 124/149. Signed by the editor.

edition of 1500, printed and published in 1981 by Greenwich Press Ltd.

As found.

Accompanied by The Old West: A Portrait in Paintings edition #572 of 1500 leather-bound volume with gilt lettering in custom box, 14 5â &#x201E;8 by 18 5â &#x201E;8 in.

PROVENANCE:

Private Collection, Rhode Island

$800 - $1,200

542 Set of Twenty-Five Collector Coins 539 Two Weiler Books Milton C. Weiler and William J. Mackey Jr., Classic Shore Bird Decoys, New York, NY, 1971.

DUCKS UNLIMITED, C. 1970 16 in. wide by 12 3/4 in. tall

Each coin is two inches in diameter and displays the Ducks Unlimited crest on the other side.

Milton C. Weiler and William J. Mackey Jr., The Classic Decoy Series, New York, NY, 1969.

As found.

543 Lot of Ten Ducks

Provenance: Dr. Morton D. Kramer Collection

As found. (not illustrated)

540 Classic Shore Bird Decoys Milton C. Weiler and William J. Mackey Jr., Classic Shore Bird Decoys, New York, NY, 1971. As found. PROVENANCE: Milton Weiler and William J. Mackey, Jr. Milton C. Weiler Collection Private Collection, by descent in the family

$200 - $300

308

END OF AUCTION

309

INDEX BY LOT

Adams, E. Frank: 506

Connett, Eugene: 541

Hart, William: 292

Adamson, Harry Curieux: 18, 19

Corbin, Peter: 24

Hartkopf, Victor A.: 62

Andress, Raymond L.: 453, 455

Cornell, William: 215

Hatch, Herbert F.: 317

Anger, Ken: 155, 167

Crowell, A. Elmer: 153, 156, 175, 243, 245, 270-272, 274, 275, 314, 315, 335

Hawthorne, Davison B.: 374, 530

Cruwys, Roger: 51-56

Heisler, Jess: 378

Csefai, George W: 527

Hensel, Steven: 531

Daisey, Delbert “Cigar”: 479-482

Herters Manufacturing Inc.: 348

Dawson, John: 385

Heverin, William: 187, 449

de Groot, Ewoud: 34

Hill, Dr. Lewis Webb: 521

Dilley, John: 205-208, 211

Hodges, Dave: 32

Dize, “Fieldy”: 424

Holly, James T.: 184, 189, 190

Dye, Capt. Benjamin F.: 443

Holly, John “Daddy”: 191

Earl, Maud: 48

Holmes, Lothrop Turner: 280

Ede, Basil: 47

Horn, John: 181, 422

Elliot Brothers: 450

Horner, Nathan Rowley: 383, 384

Elliston, Robert: 408, 490

Hotze, Hiram “Hy”: 410

Elwell, Robert Farrington: 43

Hudson Family: 162

Boyd, George H.: 160, 238, 242, 304306

Englehart, Nicholas: 411 English, John: 375

Hudson, Ira D.: 231-233, 237, 261, 262, 264

Boyd, Taylor: 192

Evans, Bus: 202

Hunt, Lynn Bogue: 31, 35, 36

Brice, Capt. Harvey: 200

Fennimore, Clarence: 486

Hutchings, Samuel R.: 460, 461

Bronsdon: 301

Finney, Frank S.: 523, 524

J. N. Dodge Decoy Factory: 498-500

Brooks, John: 327

Foote, Jim: 30

Janson, Richard “Fresh Air Dick”: 293

Browne, George: 21

Frazier, Luke: 37

Jester, Doug: 159

Bunn, Charles Sumner or William “Bill” Bowman: 216

Frost, Arthur Burdett: 3-6

Jobes, Capt. Harry R.: 446

Gardner, Alfred Bailey: 529

Johnson, J. Taylor: 419

Gelston, Thomas H.: 225, 227, 517

Joiner, Charlie “Speed”: 122-131, 163

Gibian, William C.: 244, 296-299, 484

Kenn’s: 525

Gilley, Wendell: 161

Kerr, Robert G.: 284

Gleason, Kenneth L.: 367

Ketchum, Jim: 352

Glenn, John: 173, 197

King, Joe: 376

Graham, John: 195

Knap, Joseph Day: 87

Grauch, Mel: 389

Koelpin Sr., William J.: 59-61

Graves, George “Bert”: 493

Kruger, H. O.: 351

Gray, Edson G.: 381

Laing, Albert Davids: 359

Hanson, Marty: 469-475

Lapham, James: 519

Harris: 311

Lawson, Oliver “Tuts”: 109-121

Harris, Ken: 168

Lee, Terry: 64

Baker, Harry Brown: 63 Barber, Joel D.: 366 Barnard, Charles Nelson: 445 Barnes, Sam: 196 Benson, Frank W.: 15-17, 66-81 Best, James R.: 230 Bibber, Orlando “Os”: 336 Birch, Charles: 228 Bishop, Richard E.: 89, 91 Blair Jr., John: 386, 387 Boise, Harry B.: 182 Borrett, Mike: 466-468 Bowman, William “Bill” or Charles Sumner Bunn: 216

Burr, Elisha: 178, 278 Burr, Russ E.: 164, 246 Cameron, Judge Glenn J. Rig: 489 Chadwick, Henry Keyes: 269 Chambers, Thomas: 457, 458 Chandler, Sherman or Simmons: 303 Chashoudian, Richard: 33 Chrysler, C. William: 290, 291 Clark, Roland: 20, 88, 90, 92 Cobb Jr., Nathan F.: 260 Cobb, Elkanah B.: 265 Coffin Family: 176 Combs Sr., Capt. George W.: 353-357

310

Heinefeld, August: 194

INDEX BY LOT

Leeds, Daniel Lake: 418

Old Town Canoe Company: 344

Smith, Frank Vining: 46

Lincoln, Joseph W.: 177, 180, 239-241, 273, 307, 310, 316, 319, 320

Osthaus, Edmund H.: 8, 9

Smith, Stephen R.: 338

Parker, Lloyd: 183

Sparre, Stan: 528

Lipke, Paul: 488

Perdew, Charles H.: 154, 405-407, 495, 496

Sterling, Lloyd Aaron: 426

Lohrmann, William: 494 Loveland Family: 388

Plasschaert, Richard: 50

Swan, John: 13

Madara, Clark C.: 382

Pleissner, Ogden M.: 10-12, 82

Taylor, DeCourcey: 345

Mason Decoy Factory: 390-404, 502504

Pope Jr., Alexander: 7

Thorne, Edwin Rig: 224, 226

Pryor, Leonard E.: 188, 425, 442

Matia, Walter T.: 1, 2, 28, 29

Verity Family: 358, 513, 516

Quinn, William H.: 377, 380

McAlpin, Cline A.: 491

Rathmell, Louis C.: 361

Verity, Obediah: 212-214, 219, 220, 515, 518

McCarthy, Frank: 538

Relyea, Charles Mark: 57, 58

Verity, Stephen: 365

McGaw, Robert “Bob”: 171, 172, 447

Reneson, Chet: 25-27, 44

Walker, Charles: 409, 497

McIntosh, Leo H.: 285

Reyes, José Formoso: 522

McIntyre, Cameron T.: 462, 463, 476478

Ringer, Michael: 45

Ward Brothers: 94-101, 103-107, 151, 152, 158, 267, 268, 427-431, 433-438, 440, 441, 452

McKenzie Brothers: 492 McKinney, J. Evans: 169, 174, 193 McLaughlin, John: 371, 379 McNair, Mark S.: 132-149, 247-258, 464, 465

Ripley, Aiden Lassell: 14, 83 Roberts, William: 416 Rosseau, Percival: 23, 86 Ruppel, Walter: 170 Safford, Charles A.: 277

Strunk, George: 286

Ward Sr., L. Travis: 432, 439 Ward, Lemuel T.: 102, 108, 150 Warin, George: 289 Weiler, Milton C.: 84, 539, 540 West, Jim: 369

Megargee Jr., S. Edwin: 85

Schmidt, Benjamin: 167

Melbye, Arnold T.: 526

Schmiedlin, Jim: 281-283

Wheeler, Charles E. “Shang: 236, 318, 360, 363

Minor, William: 322

Schweikart, Capt. John C.: 487

Wheeler, Chauncey: 287

Mitchell, R. Madison: 174

Seabury, Lafayette: 221-223

White, Robert “Bob”: 372, 373

Morris Boatworks: 456

Shilstone, Arthur: 42

Whittington, Hector “Heck”: 168

Morton, W. S. Rig: 312

Shourds, Harry V.: 209, 210, 412-415, 420, 421

Wildfowler Decoys: 157, 323, 370

Moss, Gary: 49 Mulliken, Edward “Ted”: 368, 423 Nichol, James Adam “Addie”: 288 Noble, Manner of John Sargent: 65 O’Neal, George Washington: 229

Sloane, Eric: 22, 41

Williams, John Wesley: 186

Smith, Brett James: 38-40

Wilson, Augustus “Gus” Aaron: 328334

Smith, Capt. Gerald B.: 483

Wilson, Charles T.: 185

Smith, Cassius: 362, 364

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TERMS AND CONDITIONS OF SALE 1 Your bidding on items indicates your acceptance of the following Terms and Conditions of sale by Copley Fine Art Auctions, LLC. These terms are subject to amendment before or during the sale. Copley Fine Art Auctions, LLC operates as an agent of the seller only, and is not responsible in any way in the event the seller or buyer fails to fulfill their respective agreements. In all instances the auctioneer’s interpretation of these conditions is final and binding on all bidders. 2 All bids are per lot as numbered in the catalog unless otherwise announced by the auctioneer. The sales price shall consist of the final bid price plus the buyer’s premium, plus any applicable sales tax. A buyer’s premium of 20% (23% for online bidding) of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the buyer as part of the purchase price. 3 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot. 4 The auctioneer has the sole right to re-offer a lot and/or settle disputed bids. The record of sale kept by the auction house will be taken as final in the event of dispute. Additionally, items may be withdrawn at any time prior to the offering of each lot. 5 All goods are sold “as is” and all sales are final with no exchanges or refunds. Copley Fine Art Auctions, LLC and its consignors make no representations or warranties as to merchantability, fitness for a particular purpose, the correctness of the catalog or other description of physical condition, quality, size, medium, importance, rarity, provenance or historical relevance of any property, and no statement made at the sale, or in the bill of sale, or invoice, or elsewhere shall be deemed such a warranty or representation or an assumption of liability. The purchaser assumes complete responsibility for items at the fall of the hammer. 6 Successful bidders are to pay for their purchases during or immediately after the sale or upon receipt of an invoice, unless other arrangements have been authorized in writing by the auction house. Payment may be made by cash or good check payable to Copley Fine Art Auctions, LLC. The auction house reserves the right to hold property until checks clear. A monthly service charge of 1.5% will be added to unpaid balances beginning 30 days after the sale date. A $50.00 fee will be added for returned checks. If a check fails to clear after the second deposit, the purchaser will be held responsible for any and all fees incurred until we have collected good funds. 7 If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Copley Fine Art Auctions, LLC may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale, and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has failed to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 8 Condition reports are not included in this catalog. It is the responsibility of prospective bidders to examine lots and decide their level of interest. Neither the auctioneer, Copley Fine Art Auctions, LLC, nor the consignor is responsible for the accuracy of any printed or verbal descriptions. Copley Fine Art Auctions, LLC strongly encourages clients to attend our previews and auctions so as to best determine condition of lots. Due to the high volume of condition requests, Copley Fine Art Auctions, LLC reserves the right to reject requests at its sole discretion. All weights and measurements are approximate. 9 Some of the lots in this sale carry reserves or minimum selling prices. This is a confidential figure set by the consignor and the auction house below which a lot will not be sold. The reserve will not exceed the low estimate, and the auction house will execute the reserve bids by bidding for the consignor. Estimates are subject to change at any time prior to the offering of each lot. 312

10 Absentee and telephone bids will be executed when possible as a convenience to customers: the auction house will not be held responsible for any errors or failures to accurately execute bids. All absentee and telephone bids must be received at least 24 hours before the start of the sale. 11 Buyers wishing to pick up items at the sale must do so by the end of the sale. Buyers wishing to pick up items after the auction at our office may do so only by appointment starting five days after the sale. We kindly ask that all items be removed from our warehouse within 30 days of auction end to avoid a $5 daily storage fee. 12 Shipping is the responsibility of the buyer. Upon request, we will provide a list of shippers who deliver within the United States and overseas. Once your payment has cleared, items may be released for shipment. Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyers should allow up to four weeks for shipment. 13 Copley Fine Art Auctions, LLC may, at its discretion and at the buyer’s request, package and ship sold items as directed by the purchaser. In such instances 1) the buyer shall prepay all related expenses, and 2) the buyer agrees that all packaging, handling and shipment is at the sole risk of the purchaser, and Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyer should allow four to five weeks for shipment. 14 Some property sold at auction can be subject to laws governing export from the United States, such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute delay or cancellation in payment for the total purchase price of these lots. 15 Bidding increments will normally follow the pattern below, but may vary at the sole discretion of the auctioneer: Estimate To 950 1,000 – 2,400 2,500 – 4,750 5,000 – 9,500 10,000 – 24,000 25,000 – 47,500 50,000 – 95,000 Over 100,000

Increment 50 100 250 500 1,000 2,500 5,000 at auctioneer’s discretion

16 Copley Fine Art Auctions, LLC is the owner of the images of each lot offered for sale, and may use such images at any time at its sole discretion for advertising, publicity, and for archival purposes. 17 If you are bidding as an agent for another individual or company, and you execute a bid on behalf of someone else under your bidder number, then you are responsible for the settlement of that account. 18 In no event will the liability of Copley Fine Art Auctions, LLC to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 19 Any legal disputes arising from this auction shall be settled in the court system of the Commonwealth of Massachusetts.

Name:

Telephone (#1):

Company Name: Agent acting on behalf of: Invoice Address: (PO Box not sufficient)

Telephone (#3):

Email:

City:

Telephone (#2):

Signature:

(required)

State:

Zip:

Bids will not be accepted without a completed form, including your signature. Your signature denotes that you have read and agree to be bound by the Terms and Conditions of Sale issued by Copley Fine Art Auctions, LLC for the 2019 Sporting Sale. All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof while registering. Failure to do so will subject the bidder to a mandatory 6.25% Massachusetts sales tax on purchases.

Auctions, LLC are requested to supply a bank reference prior to bidding. I authorize you to contact the references below to provide you with any information in their possession including any business or credit experience with me, and I further agree to accept the cost of any charges such references may incur providing such information.

To be sure that bids will be accepted and delivery of lots not delayed, bidders who do not have an account with Copley Fine Art

FINANCIAL REFERENCES

AUCTION REFERENCES

Name of Bank(s):

1. Name of Company:

Address of Bank(s):

Contact Name:

Account Number(s):

Name of Account Officer(s): Bank Telephone: Bank Fax:

Telephone Number: 2. Name of Company: Contact Name:

Telephone Number:

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ABSENTEE/TELEPHONE BID FORM COPLEY FINE ART AUCTIONS, LLC 65 Sharp Street | Hingham MA 02043 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com please check one of the following:

ABSENTEE

TELEPHONE

1 All bids must be received at least 24 hours before the start of the sale. We cannot guarantee that bids placed after this time will be accepted. A Copley representative will send you an email to confirm receipt. If you have not received confirmation within 24 hours, please call 617.536.0030. Bids will not be accepted without your signature on this form. 2 This service is offered as a convenience at no charge; however, Copley Fine Art Auctions, LLC will not be held responsible for error or failure to execute bids. Copley staff will try to purchase these lots for the lowest possible price taking into account the reserve and other bids. 3 All bids are subject to the Terms and Conditions of Sale listed in this auction catalog. Further, it is the responsibility of the bidder to check with Copley staff whether a sale room notice relates to any lot which they have listed. LOT #

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a Absentee bids: Absentee bids are executed alternately in competition with the bidders in attendance. It is possible, due to the variations in bidding patterns, that a lot may be won by the audience for the same amount authorized by the absentee bidder. A (+) sign to the right of the bid amount will authorize the absentee bidder to bid one additional bid increment. In the event of identical bids, the first bid received will take precedence. b Telephone bids: If bidding by telephone, the bidder accepts the inherent risks associated with bidding over the telephone. 4 Payment: If successful, you will be contacted. Payment is due immediately upon notification unless arrangements have been made with Copley prior to bidding. A buyerâ&#x20AC;&#x2122;s premium of 20% of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the Buyer to Copley Fine Art Auctions, LLC as part of the purchase price.

CATALOG DESCRIPTION

BID PRICE US$

Print Name:

Signature:

(required)

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.

Copley is obligated to deliver the items to an interstate carrier as noted below.

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

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

Print name:

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:

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To order a copy please call 617.536.0536.

a publication by

O. Pleissner |

$345,000

J. Lincoln |

$360,000

A.E. Crowell | $661,250

selling the worldâ&#x20AC;&#x2122;s finest DECOYS AND SPORTING ART

E. Osthaus |

Dovetailed Goose |

$235,750

J. Graham |

$810,000

$216,000

C. Rungius | $460,000

Denotes world record for the artist

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