The Winter Sale 2020 | Copley Fine Art Auctions

THE WINTER SALE 2020 FEBRUARY 15 | CHARLESTON MARRIOTT | CHARLESTON, SC

THE WINTER SALE SCHEDULE OF EVENTS

Auction to be held at Charleston Marriott | 170 Lockwood Blvd. | Charleston, SC Friday, February 14 SEWE Dealer Exhibition Preview

10:00AM - 6:00PM 3:00PM - 5:00PM

Saturday, February 15 SEWE Dealer Exhibition Auction Preview Auction

10:00AM - 6:00PM 8:30AM - 10:00AM 10:00AM

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

Leah Tharpe Fine Art Specialist leah@copleyart.com

Colin McNair Decoy Specialist colin@copleyart.com

ABSENTEE & TELEPHONE BIDS To schedule absentee or telephone bids, please use the forms found in the back of this catalog or call our office at 617.536.0030. 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 252 and Important Notices on page 6 of this catalog.

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

Front Cover: Lots 220, 222, 48 detail, 336, 53 detail Inside Front Cover: Lot 48 detail Back Cover: Lots 54, 339, 342, 239, 221, 52 detail Inside Back Cover: Lot 82 Left Schedule of Events: Lot 54 Left Table of Contents: Lot 222 Right Important Notices: Lot 47 Left Properties Page: Lot 220

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

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

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TABLE OF CONTENTS

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Schedule of Events

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Important Notices

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Properties From

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Session II: Paintings, Works on Paper, and Bronzes

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Session III: Decoys and Folk Art

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Index of Artists and Makers

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Terms and Conditions of Sale

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Buyer Pre-Registration Form

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Absentee/Telephone Bid Form

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Authorized Shipping Release Form

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THE WINTER SALE IMPORTANT NOTICES 1

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

Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for our Sporting 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.

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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.

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Sales tax Purchases picked up at the auction will be subject to the South Carolina state and local tax of 9%. Buyers purchasing for resale and claiming exemption from sales tax must present a properly executed resale certificate prior to the release of property.

Purchases delivered to South Carolina after the auction will be subject to the applicable South Carolina state and local taxes.

Purchases picked up at the office or delivered to Massachusetts after the sale will be subject to the 6.25% Massachusetts sales tax, unless exempted by applicable law.

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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.

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

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.

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

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

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

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

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

14 Pick up and shipping Buyers wishing to pick up items 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 information On site: 617.536.0030, info@copleyart.com Auctioneer Peter J. Coccoluto , South Carolina License #4547 SC AF #4040

THE WINTER SALE

CHARLESTON MARRIOTT | 170 LOCKWOOD BLVD. | CHARLESTON, SC

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Properties from William J. Butler Jr. Collection Dennis Jenny Collection Donald Kirson Collection Estate of Dr. Morton D. Kramer Richard LaFountain Collection Robert Montgomery Collection Dr. S. Lloyd Newberry Collection Donal C. O’Brien Jr. Collection The Sam and Betty Pierce Collection Gil Walsh Collection A Descendent of Frank W. Benson Estate of Alfred F. King III Private Collection, Cape Cod Private Collection, Connecticut Private Collection, Florida Private Collection, Long Island Private Collection, Maine Private Collection, Maryland Private Collection, Massachusetts Private Collection, New Hampshire Private Collection, New Jersey Private Collection, New York Private Collection, North Carolina Private Collection, Pennsylvania Private Collection, South Florida

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THE WINTER SALE 2020 SESSION II PAINTINGS, WORKS ON PAPER, AND BRONZES

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THOMAS AQUINAS DALY B. 1937

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43 Thomas Aquinas Daly (b. 1937) Turkey Point Ice signed “tAdaly” lower left watercolor and pencil, 10 by 14 3⁄4 in.

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“The marsh at Turkey Point is a privatelyowned shooting preserve along the Canadian shore of Lake Erie. I have been invited to hunt there a few times over the years and my memories of those experiences remain vivid enough to evoke this image. I relish the quiet and contemplative moment of a hunt every bit as much as the action. This image depicts one of those times, as a hunter picks up his decoys at the end of the day.

The composition is clean and simple, consisting of a few horizontal bands interrupted by only two vertical elements: the solitary hunter and the reflection of the setting sun.” - Thomas Aquinas Daly $2,000 - $3,000

44 Thomas Aquinas Daly (b. 1937)

A Beached Salmon, 1996 signed “tA daly” lower right watercolor, 9 3⁄8 by 13 3⁄4 in. titled and inscribed “April 1996 MBYY” on artist label on back

$2,000 - $3,000

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DAVID A. HAGERBAUMER 1921-2014

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45 David A. Hagerbaumer (1921-2014) Quail - A Covey Rise signed “David Hagerbaumer” lower right watercolor, 28 1⁄2 by 39 1⁄2 in.

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PROVENANCE: Estate of J. G. Brooks Jr., Greenwich, Connecticut Private Collection, Connecticut

$3,000 - $5,000

46 David A. Hagerbaumer (1921-2014)

Quail in Flight, 1982 signed and dated “David Hagerbaumer 1982” lower left watercolor, 12 1⁄2 by 16 1⁄2 in.

$2,000 - $3,000 12

WILLIAM J. SCHALDACH

1896-1982

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47 William J. Schaldach (1896-1982) Leaping Male Eastern Brook Trout signed “Wm. J. Schaldach” lower right watercolor, 12 3⁄4 by 18 3⁄4 in.

This painting graced the cover of the 1952 edition of Ray Bergman’s important book, Trout. Bergman is in the Catskill Fly Fishing Center & Museum’s Hall of Fame, and was the angling editor of Outdoor Life from 1933 to 1960.

LITERATURE: Ray Bergman, Trout, 2nd edition, New York, 1952, illustrated on cover.

$2,000 - $4,000

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48 Ogden M. Pleissner (1905-1983) Western Pheasant Hunting signed “Pleissner” lower right watercolor, 18 by 28 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.

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

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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.”

Depicting Western pheasant shooting with black labs, this watercolor is a rare and possibly unique subject matter for the artist. Expertly conceived, the dogs have just flushed two pheasants and the hunters are poised at the ready.

Pleissner’s ability to capture light and shadows is on full display is this masterwork.

PROVENANCE:

Private Collection, Florida

$40,000 - $60,000

OGDEN M. PLEISSNER

1905-1983

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AIDEN LASSELL RIPLEY 1896-1969

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49 Aiden Lassell Ripley (1896-1969)

Canada Geese signed “Sketch - A. Lassell Ripley” lower left watercolor and pencil, 8 5⁄8 by 12 5⁄8 in.

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PROVENANCE: Private Collection, Massachusetts

$2,000 - $3,000

50 Aiden Lassell Ripley (1896-1969) Ruffed Grouse in an Apple Orchard watercolor, 5 3⁄4 by 7 3⁄4 in.

$600 - $900

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ROLAND CLARK 1874-1957

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51 Roland Clark (1874-1957)

Canvasbacks signed “Roland Clark” lower left watercolor and gouache, 14 3⁄4 by 24 in.

This classic rendering of the king of ducks is masterfully executed with ten canvasbacks, all in different poses on the wing and in the water. $5,000 - $7,000

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52 Gustav Muss-Arnolt (1858-1927)

Two Setters signed “G. Muss-Arnolt” lower left oil on canvas, 22 1⁄4 by 34 1⁄4 in.

Vose Galleries inventory number on back, Carrig-Rohane frame #5284 on back

Gustav Muss-Arnolt specialized in the depiction of hunters and their dogs. He worked as a judge in dog shows, served on the board of the American Kennel Club from 1906-1909, and demonstrated an incredible knowledge of a variety of sporting breeds in his paintings. Throughout his career, Muss-Arnolt’s illustrations were published in magazines, such as Harper’s Weekly and the American Kennel Club Gazette.

A big canvas for the artist, this boldly painted work provides the viewer with an intimate portrait of two setters on point. The artist’s full talents are on display with the dogs’ proportions, perspective, and faces all masterfully rendered.

PROVENANCE: Private Collection, New Jersey, acquired from Sotheby’s, c. 1980s

$16,000 - $24,000

“Though not as prolific as Rosseau and Osthaus, I would include Muss-Arnolt as a part of America’s trinity of top dog painters from the period.”

- Stephen B. O’Brien Jr.

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GUSTAV MUSS-ARNOLT 1858-1927

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53 Percival Rosseau (1859-1937)

New England, 1935 signed and dated “Rosseau 1935” lower left oil on canvas, 28 1⁄4 by 34 1⁄4 in. titled and inscribed on back

This iconic painting is possibly the most widely published and well known of Rosseau’s extensive body of work. It was made into a three-dimensional print for the Federal Cartridge Corporation, now Federal Premium Ammunition, and hung in sporting goods stores across the country as an advertising display.

Rosseau was born near Baton Rouge, Louisiana, in 1859.

Although considered a premier painter of sporting dogs, he did not pick up a paintbrush until the age of thirty-five.

After leaving an eclectic business career, including stints as a cowboy and a lumberjack, he sailed to Paris to attend the Académie Julian. His entry at the 1904 Paris Salon, a painting of a pair of Irish wolfhounds, gained him pivotal acclaim. He returned to the United States where he found a ready market for his work among wealthy sportsmen and received many commissions from first-rate breeders of pointers and setters. Rosseau’s best works capture the tense action of hunting dogs and depict them in romantic landscapes.

Among these patrons was Percy Rockefeller, nephew of oil tycoon John. D. Rockefeller and a successful businessman in his own right. Along with several investors, Rockefeller built

Overhills, a private hunt and country club with stables and kennels in Cumberland County, North Carolina. He kept a cottage on the property for Rosseau to use when he traveled to the state, and the artist painted there throughout the 1920s and 1930s.

Dog historian A. F. Hochwalt writes, “Eventually such men as Samuel G. Allen, Harry D. Kirkover and others who own high class shooting dogs began to cultivate his acquaintance, for artists who can portray the pointer and the setter as he really appears in the field, those who are able to transfer to canvas an actual hunting scene where the dog is not a mere caricature, are few and far between the world over, but particularly so here in America.”

Rosseau’s debt to the Barbizon tradition is apparent in New England with its softly defined brushstrokes, rich colors, and pastoral setting. A copy of the associated print is included with the lot, and the alert pointer and setter are likely from Rosseau’s own kennel.

PROVENANCE:

$30,000 - $50,000

Three-dimensional advertising display print of New England c. 1935 made for the Federal Cartridge Corporation.

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Private Collection, New Jersey, acquired in the

1970s

PERCIVAL ROSSEAU 1859-1937

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54 Thomas Blinks (English, 1860-1912) English Springer Spaniel with Pheasant signed “TBlinks” lower right oil on canvas, 18 by 14 in.

This painting was Robert Montgomery’s favorite portrait of this breed, and may be the most significant painting representing the breed in this golden era of sport. About this painting, a 1938 catalog from The Sporting Gallery and Bookshop states, “Pictures by Thomas Blinks are hard to come by and it is seldom that you will find ones that are so completely pleasing as these...In spite of the fact that they were painted over thirty years ago their treatment and style is so fresh that one might think they had been done yesterday.”

Robert Montgomery (1904-1981), born Henry Montgomery Jr., in Fishkill, New York, was a son of industrialist Henry Montgomery, president of the New York Rubber Company.

When the family’s fortune was lost during the Depression, Montgomery and his brother Donald tried many jobs to stay afloat. Robert went to New York City to find work as a screen writer, and he tried his luck at stage acting. He appeared in his first film in 1929. Two years later, Norma Shearer chose him to be her leading man in Private Lives, cementing his status as a movie star.

His career progressed through many prominent roles in film and television. He also became a writer, director, and producer. Montgomery served as president of the Screen Actors Guild for two stretches, interrupted by his service in the U.S. Navy during World War II, where he saw action in both Europe and the Pacific. After the war in 1945, he co-starred with John Wayne in They Were Expendable.

He subsequently left MGM to become an independent director, and producer, with his own popular show, Robert Montgomery Presents from 1950 until 1957. His daughter, Elizabeth, was a successful actress who played Samantha Stevens on Bewitched for eight years. His only son, Robert “Skip” Montgomery Jr., also became a successful film actor.

In addition to his career, Robert Montgomery was a sportsman, as well as a breeder and fancier of imported English Springer Spaniels, the most prominent breed of sporting field dogs during the Golden Era of Sport. The breed was featured in trials on the palatial estates of the gold coast of Long Island, Fishers Island, as well as in Henry L. Ferguson’s The English Springer Spaniel in America,

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published by The Derrydale Press in 1932. Major American artists of the era were commissioned by owners to paint their dogs, including Percival Rosseau (1859-1937), Edwin Megargee (1883-1958), Marguerite Kirmse (1885-1954), and English sporting artists, notably Thomas Blinks (18531910).

Thomas Blinks was a self-taught English artist who flourished during the Victorian era. He was popular during his lifetime, exhibiting twenty-nine paintings at the Royal Academy in London between 1883 and 1910, and many of his dynamic hunt scenes and dog portraits were made into prints. Blinks studied horses and their characteristic movements on the grounds of Tattersalls, a horse auction company dating from 1766, and his highly realistic paintings display keen observation and a skilled hand. His works can be found in the Royal Collection, London, among other institutions.

PROVENANCE: Robert Montgomery Collection The Sporting Gallery and Bookshop, Inc. LITERATURE: The Sportsman’s Miscellany, The Sporting Gallery and Bookshop, New York, 1938, p. 37, illustrated.

Sotheby’s, The Countryside Alliance, North American Chapter, New York Auction, New York, Wednesday, November 14, 2001, illustrated on cover.

Spaniels in the Field, Summer 1995, Vol. 15, No. 3, illustrated on cover.

EXHIBITED:

New York, New York, The Sporting Gallery and Bookshop, Inc., 1938.

New York, New York, The Crossroads of Sport, 1940.

New York, New York, The Sportsman’s Gallery, 1946.

New York, New York, Abercrombie & Fitch, 1948.

New York, New York, The Sportsman’s Edge, 1976.

Easton, Maryland, A Noble Companion: The Dog in Art, The Academy of the Arts, 1999.

Old Westbury, New York, Dog Art, Old Westbury Gardens, 2007. $18,000 - $24,000

THOMAS BLINKS

1860-1912

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55 Edmund H. Osthaus (1858-1928)

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Three Setters signed “Edm. H. Osthaus” lower right watercolor, 17 1⁄4 by 29 1⁄2 in.

PROVENANCE:

Private Collection, South

Florida $3,000 - $5,000

56 Arthur Wardle (1864-1949) Setters Working signed “Arthur Wardle” lower right watercolor on paper, 25 by 20 1⁄4 in.

Arthur Wardle was born in London in 1864. At the age of sixteen, he exhibited an oil painting at the Royal Academy’s annual exhibition, and he went on to become one of the most successful animal artists of his generation. For much of his career, Wardle lived in St. John’s Wood, within walking distance of the London Zoo. His studio was filled with models and skeletons of the animals he painted, including big cats and purebred dogs. His career coincided with the rise of dog fancier movements in Britain and America, and his accurate and atmospheric works capture the tension and focus of sporting dogs at work in the field. $3,000 - $5,000

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57 Herr

Pointer and Setter signed “Herr” lower right oil on canvas, 32 by 26 in.

A well-executed period illustration that appears to have been painted c. 1930.

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58 Dave Hodges (b. 1949)

The Nose Knows signed “’The Nose Knows’ By Dave Hodges” on plaque on side of base bronze, 10 by 18 by 7 in.

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

In 2002 Dave created an ornament for the White House Christmas tree. His Texas Longhorn steer, Fancy Footwork, is on permanent display at the Ronald Reagan Presidential Library and Museum in Simi Valley, California. In 2013 he created a monumental panther for the University of Pittsburgh’s Bradford campus. His work has received awards at shows throughout the West, and his commissioned pieces are on display in Montana and across the country. $700 - $900

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LUKE FRAZIER B. 1970

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59 Luke Frazier (b. 1970) Emerging Fox, 2019 signed “lfrazier” lower right oil on panel, 20 by 16 in.

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

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at Utah State University, where he earned a bachelor of fine arts degree in painting and a master of fine arts degree in illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work. $5,000 - $7,000

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60 David A. Hagerbaumer (1921-2014)

In the Thick Stuff, 1981 signed and dated “David Hagerbaumer 1981” lower left watercolor, 22 by 29 in.

This watercolor depicts four ruffed grouse as they flush.

Hagerbaumer painted this important work at the height of his artistry. The depth of field that he was able to create in

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this masterwork is astonishing with a myriad of layering of leaves, grouse, and trees. $3,000 - $5,000

61 William J. Schaldach (1896-1982) Leaping Rainbow Trout signed “Wm. J. Schaldach” lower right watercolor, 12 by 15 1⁄2 in.

$1,500 - $2,500

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DAVID A. HAGERBAUMER 1921-2014

62 David A. Hagerbaumer (1921-2014)

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Quail, 1967 signed and dated “David Hagerbaumer 1967” lower left watercolor, 22 by 30 in.

$2,000 - $3,000

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63 David A. Hagerbaumer (1921-2014)

Pheasants, 1964 signed and dated “David Hagerbaumer 1964” lower left watercolor, 26 1⁄2 by 40 in.

$1,500 - $2,500

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64 Travis Tuck (1943-2002) Setter and Grouse Weathervane 27 1⁄2 by 38 by 15 1⁄2 in.

One of America’s premier weathervane makers, Travis Tuck of Vineyard Haven made his first weathervane in 1974 as a prop for the movie Jaws while it was being filmed on Martha’s Vineyard. He went on to create custom weathervanes for many celebrities and musicians

65 Arthur D. Fuller (1889-1966) Leaping Black Duck signed “Arthur D. Fuller” lower left watercolor and gouache, 15 by 11 in.

throughout his career, and was a fixture in his open studio and among Martha’s Vineyard locals.

PROVENANCE:

Gil Walsh Collection

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PROVENANCE:

Donal C. O’Brien Jr. Collection Private Collection, New Hampshire LITERATURE: Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 82, illustrated. $1,000 - $1,400

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RICHARD E. BISHOP 1887-1975

66 Richard E. Bishop (1887-1975)

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Flying Pintails, 1934 signed and dated “Richard Bishop ‘34” lower right oil on canvas, 16 by 20 in.

$1,000 - $3,000

67 Richard E. Bishop (1887-1975)

Brant Along Currituck Sound, N.C., 1953 signed and dated “Richard E. Bishop ‘53 ©” lower right oil on board, 11 3⁄4 by 15 3⁄4 in. signed, dated, copyrighted, and titled on back

$2,000 - $3,000

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RICHARD E. BISHOP

1887-1975

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68 Richard E. Bishop (1887-1975)

Whistling Swans, 1932 signed and dated “Richard E. Bishop ‘32” lower left oil on canvas, 24 by 30 1⁄4 in. titled on label on back

$2,000 - $3,000

69 Richard E. Bishop (1887-1975)

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Currituck Club House, Currituck, NC oil on board, 11 1⁄2 by 15 1⁄2 in. estate stamped and titled on back

$600 - $900

70 Richard E. Bishop (1887-1975) Ristigouche Salmon Club Drawing and Steel Die drawing, 4 by 4 in. estate stamped on back

Steel Die, 2 ¾ in. tall

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71 David A. Maass (b. 1929) Canvasbacks signed “Maass” lower right oil on board, 23 ¾ by 35 1/2 in.

$6,000 - $9,000

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72 Rod Serbousek (b. 1958)

Mallards signed “© Rod Serbousek” lower right oil on canvas, 24 by 36 in.

$2,000 - $3,000

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BRETT J. SMITH

B. 1958

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73 Brett J. Smith (b. 1958)

24° and Dropping, 1996 signed and dated “Brett J Smith © 96” lower right oil on board, 24 by 36 in. signed, dated, and titled on back

$4,000 - $6,000

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74 Brett J. Smith (b. 1958)

Duck Hunting in a Marsh signed “Brett J. Smith” lower right watercolor, 16 by 20 in.

The artist has painted in a faux mat with rushes from the marsh extending onto the implied framed boundary.

$1,500 - $2,500

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75 Eldridge Hardie (b. 1940)

Breaking Water- Broadbills signed “Eldridge Hardie” lower right watercolor, 19 3⁄4 by 27 3⁄4 in. signed and titled on back

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$2,000 - $3,000

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76 Chet Reneson (b. 1934)

Shooting Scoters, 1969 signed and dated “Reneson 69” lower left watercolor, 16 1⁄2 by 26 7⁄8 in.

PROVENANCE:

Private Collection,

Maryland $2,000 - $3,000

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CHET RENESON

B. 1934

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77 Chet Reneson (b. 1934)

Driven Grouse signed “Reneson” lower left acrylic on board, 21 by 35 in.

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

Year in 1982 and 2001, and the Bonefish & Tarpon Trust Artist of the Year in 2018. There are two books published on Reneson’s work, Shadow on the Flats and The Watercolors of Chet Reneson.

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

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

$5,000 - $7,000

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JOHN KOBALD B. 1967

BONEFISH & TARPON TRUST 2020 ARTIST OF THE YEAR 79

John Kobald is the 2020 Featured Artist for the Bonefish & Tarpon Trust. 100% of the proceeds from the sale of this bronze will go directly to BTT, whose mission is to conserve and enhance global bonefish, tarpon, and permit fisheries and their environment through

stewardship, research, education, and advocacy. The BTT serves as a repository for information on the life history of these species and works internationally with anglers, guides, scientists, regulators, and the public to nurture and enhance fish populations.

79 John Kobald (b. 1967)

Hitchhikers - Permit and Nurse Shark, 2019 bronze, 9 by 7 by 20 in. edition 1 of 12

My experience as a fly-fishing and hunting guide gives me a unique relationship with the natural world and the people who share this passion.” - John Kobald At an early age, Kobald was taught by his parents to observe nature and translate it into an art form. He started creating with the guidance of his father, Ray, who is a widely respected artist. John received a bachelor of fine arts degree in sculpture from Northern Illinois University.

Through bronze and wood sculptures, John captures his patient and discerning observations of wildlife. The environment, inherent to the animal’s identity, is suggested with a simple gesture. John’s fascination with the dramatic

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presence of wildlife will forever influence his artwork. His travels throughout North and Central America and New Zealand have provided many research opportunities.

Watercolor paintings express the varied environments of his travels, including the rivers of the Rocky Mountains, the colorful aquatic life of the oceans, and the moods of the changing seasons.

Kobald’s commissioned artwork is appreciated in private and corporate collections throughout the United States, Europe, Africa and New Zealand. He currently resides in northwestern Colorado with his wife and two children. $2,800 - $3,200

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80 William Goadby Lawrence (1913-2002) Overboard for Tarpon signed “W. Goadby Lawrence” on back oil on artist board, 16 by 24 in.

This painting was used to illustrate Hart Stilwell’s article “Overboard for Tarpon” in the January 1950 issue of Field & Stream.

LITERATURE: Field & Stream, January 1950, pp. 18-19, illustrated (in reverse).

$1,500 - $2,500

“Even though it meant fighting him in his own element, one thing was for sure: Elmer wasn’t going to lose his first tarpon.”

81 Chet Reneson (b. 1934) Tug O War signed “Reneson” lower right acrylic on board, 21 by 35 in.

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$5,000 - $7,000

37

EWOUD DE GROOT B. 1969

82

82 Ewoud de Groot (Dutch, b. 1969) Curlew, 2019 oil on linen, 24 by 48 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

38

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

EWOUD DE GROOT B. 1969

83

83 Ewoud de Groot (Dutch, b. 1969) Resting Oystercatchers, 2019 oil on linen, 43 by 43 in.

$8,000 - $12,000

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OGDEN M. PLEISSNER 1905-1983

84

84 Ogden M. Pleissner (1905-1983)

Cains River at Sabbies River Camp, 1949 signed “Pleissner” lower left watercolor, 6 1⁄2 by 9 1⁄2 in. titled on label on back

Seabury Stanton (1892-1971) was a prominent New Bedford industrialist and lifelong fisherman and sailor. His ancestors were whaling captains, and he was a class of 1915 graduate of Harvard College. Stanton married Jean Kellogg Austin of Ocala, Florida, in December 1916 and entered the textile industry. He was treasurer for the Hathaway Manufacturing Company, which merged with Berkshire Fine Spinning Associates to form Berkshire Hathaway, the largest textile manufacturer in New England, which was ultimately purchased by Warren Buffett.

In addition to his industrial successes, one of Stanton’s great loves was salmon fishing. In 1945 he built the camp later depicted by noted artist Ogden M. Pleissner in a series of watercolors from 1949, including three sold by Copley in 2011.

Today, the lodge is located where the Sabbies River flows into the Cains River, a tributary of the Miramichi system in

85 Ogden M. Pleissner (1905-1983)

Umbrian Town, Italy signed “Pleissner” lower left watercolor, 17 by 30 in. titled on Milch Galleries, New York label on back

$3,000 - $4,000

40

85

New Brunswick, and is known as “Camp Stanton.” In this watercolor, the deep green and yellow richness of the forest, the reflections of the trees on the water, and canoe combine to create an angler’s paradise.

Thanks to the efforts of camp owners, guides, wardens, local watershed and environmental groups, and the leadership of the Atlantic Salmon Federation, memories of tranquil days in pursuit of wild salmon on Canadian rivers continue today.

PROVENANCE: Seabury Stanton Collection Marion S. Tripp Collection, acquired in 1970 by bequest from Seabury Stanton Private Collection

$2,500 - $4,500

WALTER T. MATIA B. 1943

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87

88

86 Walter T. Matia (b. 1943) Curlew Pair signed “Matia” on side of base bronze, 16 1⁄4 by 20 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.”

Walter Matia earned degrees in art design and biology at Williams College. His studies, experience in the field, and his apprenticeship in the Cleveland Museum of Natural History’s Exhibits Department inform his artwork. Matia’s sculptures have been exhibited at the National Museum of Wildlife Art in Jackson, Wyoming, the Cleveland Museum of Natural History, and many other institutions.

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

$1,000 - $1,500

87 Walter T. Matia (b. 1943)

Kingfisher, 1984 signed and dated “Matia ‘84” in base bronze, 12 1⁄2 by 9 by 8 1⁄2 in. edition 11 of 36

$600 - $900

88 Walter T. Matia (b. 1943)

Green Heron signed “Matia” on side of base bronze, 9 1⁄4 by 9 1⁄4 by 9 3⁄4 in.

AP, edition of 48

An edition of this bronze resides in the collection of the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin. $600 - $900

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89

91

90

92

89 Walter T. Matia (b. 1943)

Snipe signed “Matia” on side of base bronze, 5 3⁄4 by 7 by 4 in. edition 22 of 48

91 Walter T. Matia (b. 1943)

Banana Bandits, 1988 signed and dated “Matia 1988” in base bronze, 14 1⁄2 by 10 by 8 in.

AP, edition of 16

According to the artist, “this snipe was the first piece in a $800 - $1,200 continuing series of shorebird and upland gamebird sculptures which has now spanned over 25 years of working in bronze.”

$400 - $600

90 Walter T. Matia (b. 1943)

Avocets signed “Matia” on side of base bronze, 9 3⁄4 by 17 by 9 3⁄4 in. edition 1 of 10

This pair of avocets was the artist’s first sculpture.

$1,000 - $1,500

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92 Beverly Benson Seamans (1928-2012)

Beaver, 1980 signed “Beverly B. Seamans / 203 / For M.I.T. / Argos / 1980” on base bronze, 6 by 6 by 3 1⁄2 in.

Beverly Benson Seamans was a Massachusetts artist and sculptor descended from John P. Benson, the marine painter brother of noted sporting and Impressionist artist Frank W. Benson. She created this beaver sculpture for MIT, and her work can be found in the collection of the Peabody Essex Museum in Salem, Massachusetts, as well as other public and private collections around the world.

MIKE STIDHAM B. 1954

93 Mike Stidham (b. 1954)

93

Brook Trout signed “Mike Stidham” lower right watercolor, 14 3⁄4 by 22 1⁄4 in. titled lower left

$1,000 - $2,000

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94 Mike Stidham (b. 1954)

Cutthroat Trout signed “Mike Stidham” lower right watercolor on paper, 15 by 22 1⁄2 in. titled lower left

$1,000 - $2,000

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95 Frank Stick (1884-1966) The Hunters, c. 1912 signed “Frank Stick” lower right oil on canvas, 38 1⁄2 by 26 1⁄2 in.

Born in 1884 in what was then the Dakota Territory, Frank Stick spent his childhood hunting, fishing, and trapping.

At the age of seventeen, he moved to Wisconsin where he worked as a hunting and fishing guide and supported himself by trapping in the winter. He produced sketches throughout this period along with written accounts of his explorations, many of which he sold to outdoors and sporting magazines. With their support, he was able to travel and adventure extensively throughout the Midwest, the Great Plains, the Rockies, and Montana.

In 1904 Stick enrolled at the Chicago Institute of Art, selling a painting after only four months of classes. At the suggestion of his teacher, he traveled to Wilmington, Delaware, to study with famed illustrator Howard Pyle (1853-1911). After his training, Stick moved to Interlaken, New Jersey, where he had a successful career as an

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illustrator. His work appeared in magazines including Colliers, The Saturday Evening Post, Sports Afield, and Field and Stream, and he also illustrated multiple articles by Zane Grey in Outdoor America.

This painting, which is quintessential Stick, depicts a tense moment during a backcountry hunt. The unsuspecting men will ultimately vie with a mountain lion for their trophy, and the work captures the element of dramatic action and storytelling for which the artist is known.

In 1929, Stick retired from the art world and dedicated himself to the outer banks in North Carolina, where he helped establish several state and federal parks to preserve the landscape. Today, the Frank Stick Memorial Art Show is held yearly in the area in his honor. $12,000 - $18,000

FRANK STICK

1884-1966

95

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96 Howard Hill (English/American, d. 1870)

96

Chicks and Moth signed “H Hill” lower right oil on board, 13 1⁄2 by 17 1⁄2 in.

Howard Hill, Norman Rockwell’s grandfather, was an English-born genre scene painter who moved to New York in the 1860s. He was known for his farm and animal scenes and exhibited at the National Academy in 1865 and 1866.

PROVENANCE:

Private Collection, New Jersey

$2,000 - $3,000

97 John Henry Dolph (1835-1903) Bones of Contention signed “J Dolph” lower left oil on panel, 6 3⁄4 by 10 7⁄8 in. signed, titled, and inscribed on back Lewis & Son, New York label on back

97

Dolph, a native New Yorker, was known as the “leading cat painter of America” in 1894 after a long and varied career as an artist in New York, Ohio, and Paris. He was a member of the National Academy of Design and the Salmagundi Club, among others, and his paintings can be found in these collections as well as the Pennsylvania Academy of Fine Arts and others.

PROVENANCE:

Private Collection, New Jersey

$1,500 - $2,000

98

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98 Andrew Beer (British, b. 1894)

Wandering Boy signed “Andrew Beer” lower right oil on canvas, 12 by 16 in. inscribed “B.U.23.625. Won 1st Ripon and flew all race stages from Ashchurch to Durham. 1925. This oil painting was presented by Mr. W. Jefferies for Best of O.B. Average in “Rising Sun” H.S. Bred by J. Summerill. Owner T.W. Oaten.” lower center

99

100

99 John McAuliffe (Irish/American, 1830-1900)

100 after Jules Moigniez (French, 1835-1894)

Horse in Stable signed “J McAuliffe” lower right oil on canvas on board, 20 1⁄4 by 25 1⁄4 in.

Horse signed “J. Moigniez” on top of base bronze, 12 by 14 1⁄2 by 4 1⁄2 in.

PROVENANCE: Private Collection, New Jersey

PROVENANCE: Private Collection, New Jersey

$600 - $900

$1,000 - $2,000

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101

102

101 John McAuliffe (Irish/American, 1830-1900)

102 Henry Collins Bispham (1841-1882)

According to his New York Times obituary, “John McAuliffe was a well-known painter of horses. He was born in Ireland. He came to this country in 1847, and had always resided in this city. He was originally a house painter, but, as he had a natural gift for drawing and painting horses, he soon took to that as a business.

He painted extensively for the late Robert Bonner, Commodore Dickinson, Col. Kipp, Sheppard Knapp, Gabe Case, and Mesrs. Wakeman, Hammond, and others.”

Henry Collins Bispham, born in Philadelphia in 1841, studied under William Trost Richards and in Paris.

During his career as a painter of animals, he exhibited at the National Academy of Design, Pennsylvania Academy of Fine Arts, the Boston Art Club, the Royal Academy in London and the Paris Salons.

Colonel Kip Driving a Pair of Horses signed “J. McAuliffe” lower right oil on canvas, 26 by 40 in.

PROVENANCE:

Private Collection, New Jersey

LITERATURE: “Fatal Fall of an Artist,” New York Times, December 10, 1900.

$2,000 - $3,000

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A Pair of Trotters, 1876 signed and dated “H. C. Bispham NY 1876” lower left oil on canvas, 25 by 40 in.

PROVENANCE:

Private Collection, New Jersey

$2,000 - $3,000

103 A.L. Martin (19th century)

103

Leaping Brook Trout, 1851 signed and dated “AL Martin 1851” lower right oil on canvasboard, 11 1⁄2 by 15 1⁄2 in.

$1,000 -$2,000

104 American School (20th century) Still Life of Jug, Creel, and Fly Rod inscribed “To Joe From Rockie” lower right oil on canvas, 25 by 20 in.

104

This painting is from the Estate of Joseph C. Lincoln, author of Cape Cod Yesterdays, and was in the Lincoln family for at least three generations.

PROVENANCE: Private Collection, Massachusetts, purchased at the sale of the Collection of Joseph C. Lincoln’s Cross Quail Residence, Klinger & Co, May 5, 2007

$400 - $600

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105 American School (late 19th century) Three Trout on a Bank oil on canvas, 14 by 22 in.

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Works from the Estate of Alfred F. King III (1941-2019) Lots 106-137

Born on August 22, 1941, Alfred F. “Freddy” King III grew

deceased artists such as Benson, Rungius, and Kuhnert.

up on Fishers Island, New York, at the eastern end of

Over the course of four decades, The Sportsman’s Edge

Long Island Sound. As a young boy, he developed a love

published numerous sporting art books and prints and

for hunting and the natural world, and was a longtime

hosted exhibitions of sporting and wildlife artists’ works.

member of the Fishers Island Rod and Gun Club. Freddy’s

A mogul in the sporting art field, King represented some

fascination with wildlife art and sporting art and his dedi-

of the top sporting artists of the day, including Robert

cation to conservation causes were natural extensions of

Abbett, Harry C. Adamson, Tom Beecham, Kenneth L.

his early passions.

Carlson, David Hagerbaumer, Robert G. Kerr, Bob Kuhn,

In 1972 he founded The Sportsman’s Edge, Ltd. in New

David A. Maass, Roger Tory Peterson, Ogden Pleissner,

York City. King was one of the first art dealers to bring

Chet Reneson, and Arthur Shilstone. Freddy is remem-

together the fields of maritime, wildlife, golf, fishing,

bered not only for his discerning eye but also the many

and hunting art. Many early collectors will remember

wildlife conservation efforts he supported over the

popping into Freddy’s “hole in the wall” gallery on East

decades.

74th Street in New York and seeing worldclass works by

Freddy King at an opening (far right) seen with some of the noteworthy artists that he represented.

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106

107

106 Ken Carlson (b. 1937)

107 Manfred Schatz (1925-2004)

PROVENANCE:

PROVENANCE: Estate of Alfred F. King III

Wood Ducks, c. 1978 signed “Ken Carlson” lower right watercolor, 14 by 25 in.

Estate of Alfred F. King III

Mallards signed “M Schatz” lower right oil on canvas, 23 1⁄2 by 35 in.

LITERATURE: Sportsman’s Edge, Ltd., A Collection of Original Paintings Prints and Sculpture of Contemporary Sporting and Wildlife Art, New York, NY, 1976, p. 36, illustrated.

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TOM BEECHAM 1926-2000

108

108 Tom Beecham (1926-2000)

Deer, 1980 signed and dated “T BEECHAM © 80” lower right oil on canvas, 24 by 36 in.

109

Tom Beecham grew up hunting and ranching in Grand Junction, Colorado. After serving in the Navy during World War II, he attended the St. Louis School of Fine Arts and embarked on a long career as a painter and illustrator. He worked with publishers such as National Geographic, Outdoor Life, Field and Stream, and Remington Arms Calendars and turned to western and wildlife art full-time in 1973.

PROVENANCE:

Estate of Alfred F. King III

109 Tom Beecham (1926-2000)

Up & Gone - Pintails, 1982 signed and dated “© T. BEECHAM ‘82” lower right oil on board, 19 by 28 in.

Sportsman’s Edge Ltd. label on back PROVENANCE:

52

Estate of Alfred F. King III

GREG BEECHAM B. 1954

110

111

110 Greg Beecham (b. 1954)

Battleground - Elk, 1982 signed and dated “G. BEECHAM © ‘82” lower right oil on canvas, 21 by 36 in.

Sportsman’s Edge, Ltd. label on back

Greg Beecham, son of Tom, is an award-winning wildlife artist based in Dubois, Wyoming. He counts his father and Bob Kuhn as important mentors, and aims to “sculpt with paint.” Beecham was SEWE’s feature artist in 2000.

111 Greg Beecham (b. 1954)

Sunrise Grizzly, 1984 signed and dated “G. BEECHAM © ‘84” lower right oil on linen, 20 by 30 in.

PROVENANCE:

Estate of Alfred F. King III

The size, subject matter, and provenance of this important work rank it among the artists finest.

PROVENANCE:

Estate of Alfred F. King III

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WILHELM KUHNERT 1865-1926

112

112 Wilhelm Kuhnert (1865-1926)

Lion signed “Willy Kuhnert” lower right in pencil engraving, 16 3⁄4 by 30 1⁄4 in.

Sportsman’s Edge Ltd. label on back

113

A technically gifted artist from a young age, Wilhelm Kuhnert was an important German wildlife painter who sought out big game in the wild rather than drawing animals at the zoo. African lions were his favorite subject, and Kuhnert went onto influence later wildlife painters such as Bob Kuhn and Ken Carlson.

PROVENANCE:

Estate of Alfred F. King III

113 Wilhelm Kuhnert (1865-1926)

Male Lion Study signed “Willy Kuhnert” lower right in pencil pencil, 9 by 11 1⁄2 in.

PROVENANCE:

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Estate of Alfred F. King III

BOB KUHN

1920-2007

114 Bob Kuhn (1920-2007)

Tiger inscribed and initialed “Happy Birthday, Freddie -BK” lower right acrylic, 7 by 8 in.

Christmas card from artist to consignor attached to back

114

Dedicated to his good friend Freddy King who helped him get started, this rare and important small-sized work by Kuhn is one of his gems.

PROVENANCE:

115 Bob Kuhn (1920-2007)

Tiger signed “Kuhn” lower right conte crayon on paper, 12 by 15 1⁄2 in.

Sportsman’s Edge, Ltd. label on back PROVENANCE:

116

Estate of Alfred F. King III

115

Estate of Alfred F. King III

116 Bob Kuhn (1920-2007)

African Elephant, 1997 signed “Kuhn” lower left conte crayon on paper, 13 3⁄4 by 15 in.

Sportsman’s Edge, Ltd. label on back

Kuhn writes, “In this series, I tried to capture characteristic behavior...In the case of the elephant, their fondness for rubbing offers the opportunity to suggest the animals’ tendency to be constantly in motion, be it a gentle fanning of ears or a simple shifting of weight back and forth on tree-like limbs...”

PROVENANCE:

Estate of Alfred F. King III

LITERATURE: Wild Harvest: The Animal Art of Bob Kuhn, Sporting Classics, 1997, p. 94.

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117 Jerome Connolly (1931-2016)

117

Mountain Goats signed “Jerome Connolly” lower left oil on canvas, 30 by 24 in.

Connolly was a veteran of the Korean War before becoming a staff artist for the Illinois State Museum. A gifted artist and illustrator, his love of nature is evident in all of his work. During his lifetime he illustrated sixteen nature and children’s books for Doubleday, Rand McNally, Harper and Row, G. P. Putnam and numerous others. He painted dioramas for thirty-six different museums around the globe, including the Smithsonian, William Penn, Vanderbilt, and Carnegie museums.

PROVENANCE:

118 Tom Beecham (1926-2000) White-Tailed Deer signed “J.T. BEECHAM” lower left oil on board, 9 1⁄2 by 12 1⁄2 in.

PROVENANCE:

56

Estate of Alfred F. King III

118

Estate of Alfred F. King III

119 Rob O’Meara (20th century)

119

Giraffes, 1986 signed “Rob O’Meara © ‘86” lower right oil on canvas, 18 by 30 in.

Sportsman’s Edge Ltd. label on back PROVENANCE:

120 Gill Wiles (British, 1940-2014) Kudu bronze, 15 by 15 by 4 in. inscribed “Gill Wiles © 7/[10]” on base edition 7 of 10 PROVENANCE:

121

Estate of Alfred F. King III

120

Estate of Alfred F. King III

121 Gill Wiles (British, 1940-2014)

Ibex signed “Gill Wiles” on base bronze, 14 by 14 1⁄2 by 6 in. inscribed “© 10/[16]” on base foundry stamp “MERIDIAN/LONDON/BRONZE” on base edition 10 of 16 PROVENANCE:

Estate of Alfred F. King III

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JOHN SEEREY-LESTER B. 1946

122 NO LOT

123

123 John Seerey-Lester (b. 1946)

Before the Rain signed “John Seerey-Lester” lower right oil on canvas, 22 by 34 in.

PROVENANCE:

124 John Seerey-Lester (b. 1946)

Study of Squirrel Monkey on Palm, 1994 signed and dated “Seerey-Lester © ‘94” lower left oil on board, 9 by 12 in.

PROVENANCE:

58

Estate of Alfred F. King III

124

Estate of Alfred F. King III

125 Neil Cawthorne (b. 1936)

125

Top of the Hill - Epsom, 1986 signed and dated “Neil Cawthorne ‘86” lower right oil on canvas, 20 by 30 in.

Sportsman’s Edge, Ltd. label on back PROVENANCE:

126 Stanley Meltzoff (1917-2006) Boat Charge in Morning Steam initialed “SM” lower left oil on board, 10 1⁄2 by 9 3⁄4 in.

PROVENANCE:

Estate of Alfred F. King III

126

Estate of Alfred F. King III

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127

127 Kent Ullberg (b. 1945)

Greyhounding, Blue inscribed “© Ullberg 12/20” on base bronze, 14 by 22 by 5 in. edition 12 of 20 PROVENANCE:

128

Estate of Alfred F. King III

128 R. Phinney Jr. (20th century)

Bobwhite, 1981 signed and dated “R. Phinney Jr. © ‘81” on base bronze, 5 by 6 by 5 in. inscribed “Bobwhite AP/12” on base PROVENANCE:

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Estate of Alfred F. King III

GEORGE EDWARD LODGE

1860-1954

129 George Edward Lodge (British, 1860-1954)

129

Whimbrel signed “G.E. Lodge” lower left gouache, 8 1⁄4 by 11 in.

Sportsman’s Edge Ltd. label on back PROVENANCE:

130 George Edward Lodge (British, 1860-1954) Sanderling- Male, Summer and Winter, Juvenile signed “G.E. Lodge” lower left gouache, 10 3⁄4 by 8 1⁄4 in.

Sportsman’s Edge Ltd. label on back PROVENANCE:

Estate of Alfred F. King III

130

Estate of Alfred F. King III

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131 after Isidore Jules Bonheur (French, 1827-1901)

131

Bear and Bull signed “ISIDORE BONHEUR” on base bronze, 8 1⁄4 by 14 1⁄2 by 6 in. overall with base 10 1⁄2 by 15 1⁄2 by 7 in.

PROVENANCE:

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

PROVENANCE:

Estate of Alfred F. King III

133 Carl Rungius (1869-1959)

Alarmed, 1925 signed “C. Rungius” lower right etching, 6 1⁄4 by 8 1⁄4 in. edition of 100 PROVENANCE:

The Challenge, 1925 signed “C. Rungius” lower right etching with drypoint, 6 1⁄4 by 8 1⁄4 in edition of 100

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133

Estate of Alfred F. King III

134 Carl Rungius (1869-1959)

PROVENANCE:

132

Estate of Alfred F. King III

134

Estate of Alfred F. King III

135 Aiden Lassell Ripley (1896-1969)

135.1

Two works

Quail Shooting Ripley estate stamp lower left pencil drawing, 8 3⁄4 by 13 1⁄2 in.

Quail Shooting signed “A. Lassell Ripley” lower right drypoint, 8 7⁄8 by 14 in.

PROVENANCE:

Estate of Alfred F. King III

135.2

136 Marguerite Kirmse (1885-1954) Zoom! signed “Marguerite Kirmse” lower right etching, 5 3⁄4 by 6 3⁄4 in.

PROVENANCE:

136

Estate of Alfred F. King III

137.1

137.2

137.3

137 Richard E. Bishop (1887-1975)

Three Framed Christmas Cards each with drawing, metal plate, and etching Merry Christmas from Howard L. McGregor, 1949 overall, 29 by 9 3⁄4 in.

Merry Christmas from George W. Mason, 1950 overall, 23 3⁄4 by 11 3⁄4 in.

Merry Christmas from Eugene E. duPont, 1958 overall, 23 3⁄4 by 11 3⁄4 in.

PROVENANCE:

Estate of Alfred F. King III

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ANTONIO JACOBSEN 1850-1921

138

138 Antonio Jacobsen (1850-1921)

City of Rome, 1886 signed and dated “A Jacobsen 1886 “ lower right oil on canvas, 22 by 36 in. inscribed “705 Palisade Av West Hoboken NJ” lower right

Antonio Jacobsen was born in Denmark in 1850, trained at the Royal Academy of Design in Copenhagen, and moved to New York as a young man. He often painted commissions for sea captains and shipping companies, and was known for the accuracy of his details. His works can be found in the Shelburne Museum, the Peabody Essex Museum in Salem, Massachusetts, and the New-York Historical Society, among others.

The City of Rome was built and commissioned in 1881 for the Inman line, one of the three largest British passenger

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ship lines in the North Atlantic. Their goal was to capture the Blue Riband of the Atlantic, the unofficial accolade for the fastest passenger ship crossing the Atlantic. The ship was later sold to the Anchor line, where it was used as a transportation ship during the Boer War. She was scraped in 1902.

PROVENANCE: Private Collection, New Jersey, acquired from Norm Fladerman c. 1972

$5,000 - $8,000

JOHN JAMES AUDUBON 1785-1851

139 John James Audubon (1785-1851)

139

Ruddy Duck (No. 69, Plate CCCXLIII), 1836 hand-colored engraving, 26 1⁄2 by 39 in. (sheet) “Ruddy Duck Fuligula Rubida” lower center “Drawn from Nature by J.J. Audubon” lower left “Engraved, Printed & Coloured by R. Havell 1836” lower right on J. Whatman watermarked paper

$2,000 - $3,000

140 John James Audubon (1785-1851)

Pin-tailed Duck (No. 46, Plate CCXXVII), 1834 hand-colored engraving, 25 1⁄2 by 38 in. (sheet) “Pin tailed Duck ANAS ACUTA Male.1. Female 2.” lower center “Drawn from Nature by J.J. Audubon FRS. FLS.” lower left “Engraved Printed & Coloured by R. Havell 1834” lower right PROVENANCE:

140

Private Collection, Pennsylvania

$5,000 - $7,000

141

141 John James Audubon (1785-1851)

Buffel-headed Duck (No. 65, Plate CCCXXV), 1836 hand-colored engraving, 25 3⁄4 by 39 in. (sheet) “Buffel-headed Duck. FULIGULA ALBEOLA. Male 1. Female 2.” lower center “Drawn from Nature by J.J. Audubon. F.R.S. F.L.S.” lower left “Engraved, Printed and Coloured by R. Havell 1836.” lower right PROVENANCE:

Private Collection, Pennsylvania

$1,000 - $3,000

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JOHN JAMES AUDUBON 1785-1851

142 John James Audubon (1785-1851) The Birds of America, New York: V.G. Audubon, 1856. Second octavo edition, in seven volumes, illustrated throughout with 500 hand-colored lithographs after Audubon’s drawings.

John James Audubon and Rev. John Bachman, The Viviparous Quadrupeds of North America, New York: V.G. Audubon, 1856. Octavo edition, in three volumes, illustrated throughout with 155 full-page color lithographs after Audubon’s drawings.

The octavo version of Audubon’s Birds of America, with its second edition published in 1856, cemented the artist/ naturalist’s status and made his masterwork more widely available. While the double-elephant folios went to subscribers with aristocratic pedigrees or soaring fortunes, the octavo editions opened up a broader market for the great ornithological artist’s work. Published with his sons, Victor Gifford and John Woodhouse, it incorporated tinted backgrounds and was printed and colored by J. T. Bowen in Philadelphia. In a scientific sense, the octavo edition improved on the earlier folio prints, with more species included and ordered in a more scientific manner.

This copy, in its original publisher’s bindings, was previously owned by Charles Evans, a prominent chemist, businessman, and Quaker in the Philadelphia area, who inscribed the front endpapers in 1904. Evans lived in Riverton and Cinnaminson, New Jersey, with his wife, Anna Stokes Wood, whom he married in 1899 at the Westfield Meeting. He came to lead the chemical manufacturing firm Carter & Scattergood, and after World War I directed relief

142

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efforts in France for the American Red Cross, and in Mexico after a major 1920 earthquake.

Evans was a member of the Delaware Valley Ornithological Club, and in 1916 he reported a sighting of two evening grosbeaks, feeding in his yard, that was published in The Auk, the journal of the American Ornithological Society.

It states, “He recognized them at once by a colored plate of the species which he had, but supplemented this identification with a direct comparison with the description in Chapman’s ‘Handbook.’ The birds were exceedingly tame and would scarcely get out of his way.”

Paired with The Quadrupeds of North America and bound in the original publisher’s brown morocco leather, this set of ten volumes is a feat of artistry, scientific observation, and a landmark of American scientific publishing. The Audubon family worked closely together to produce the set, and the lithograph stones were destroyed in a Philadelphia warehouse fire after 1870.

LITERATURE: George Spencer Morris, “The Evening Grosbeak,” The Auk, vol. XXXIV, 1917, p. 93.

PROVENANCE: Collection of Charles Evans, 1904 Private Collection, Pennsylvania

$30,000 - $50,000

142

142

142

142

67

143

143 Edward Lear (1812-1888) and John Gould (18041881)

Snowy Owl, 1832-1837 hand-colored lithograph, 21 by 14 1⁄2 in. (sheet) signed “E. Lear del.” in plate lower left“Snowy Owl (Strix Nyctea, Surnia Nyctea)” lower center

From The Birds of Europe, Volume 1, Plate 43.

PROVENANCE:

Private Collection, Pennsylvania

$1,500 - $3,000

144 Mark Catesby (British, 1679-1749)

The Summer Duck hand-colored engraving on paper, 13 3⁄4 by 20 1⁄2 in. (sheet) printed “The Summer Duck” and “Anas cristata degans The Summer Duck” upper left and “T 97” upper right

“Catesby made his second voyage to British North America in 1722. This time, his port of arrival was Charleston. This four year sojourn, which allowed Catesby to explore and document the natural habitats of the Carolinas, Florida, and the Bahamas, ultimately resulted in the first major work on New World botanical and animal life, The Natural History of Carolina, Florida, and the Bahama Islands.” - Gibbes Museum, Charleston, which exhibited the original watercolor for this print in a 2017 show, Artist, Scientist, Explorer: Mark Catesby in the Carolinas.

PROVENANCE:

Private Collection, Pennsylvania

LITERATURE: From Volume I, Part 5 of Catesby’s Natural History of Carolina, Florida and the Bahama Islands, London: 17321771.

$1,000 - $3,000

68

144

145

145 John James Audubon (1785-1851)

American Red-Fox. Male (No. 18, Plate LXXXVII) hand-colored lithograph, 20 1⁄2 by 26 in. (sheet)

by John T. Bowen “Vulpes Fulvus, (Desm.).” lower center “Drawn from Nature by J.J. Audubon F.R.S. F.L.S.” lower left “Lith’d, printed & Col’d by J.T. Bowen, Philad*, 1846” lower right

PROVENANCE:

William J. Butler Jr. Collection

$500 - $800

146 John James Audubon (1785-1851)

Red-breasted Sandpiper (No. 63, Plate CCCXV), 1836 hand-colored engraving, sheet size 25 1⁄2 by 38 in.

“Red-breasted Sandpiper TRINGA ISLANDICA, L. Summer plumage 1. Winter 2.” lower center “Drawn from Nature by J.J. Audubon FRS. FLS.” lower left “Engraved, Printed & Coloured by R. Havell. 1836” lower right PROVENANCE:

146

Private Collection, Pennsylvania

$800 - $1,200

147

147 John James Audubon (1785-1851)

Little Sandpiper (No. 64, Plate CCCXX), 1836 hand-colored engraving, 25 1⁄2 by 38 in. (sheet) “Little Sandpiper. TRINGA PUSILLA, WILS. Male Adult Summer plumage 1. F. 2.” lower center “Drawn from Nature by J.J. Audubon. FRS. FLS.” lower left “Engraved, Printed and Coloured by R. Havell.

1836” lower right PROVENANCE:

Private Collection, Pennsylvania

$800 - $1,200

69

PAUL DESMOND BROWN 1893-1958

148 Paul Desmond Brown (1893-1958)

148

The Field Hunter signed “Paul Brown” lower right drypoint, 7 by 9 3⁄4 in.

PROVENANCE: Robert Montgomery Collection The Sporting Gallery and Bookshop, Inc.

149 Paul Desmond Brown (1893-1958) Over the Plough signed “Paul Brown” lower right drypoint, 5 by 6 3⁄4 in.

149

PROVENANCE: Robert Montgomery Collection The Sporting Gallery and Bookshop, Inc.

150

150 Paul Desmond Brown (1893-1958) Steeple Chase signed “Paul Brown” lower right etching, 10 3⁄4 by 6 3⁄4 in.

PROVENANCE: Robert Montgomery Collection The Sporting Gallery and Bookshop, Inc.

151 Paul Desmond Brown (18931958) Two Works

Dark Child, 1945 signed and dated “Paul Brown ‘45” lower right inscribed “I jabbed him deep but he never moved - Dark Child Page 300 257” pen and ink illustration,9 by 7 in.

Three Hounds signed “Paul Brown” lower right watercolor and pencil, 10 1⁄2 by 9 1⁄2 in.

70

151.1

151.2

PAUL DESMOND BROWN 1893-1958

153.1

152

153.3

153.2

152 Paul Desmond Brown (1893-1958) The Water Jump at Nationals, Aintree, 1931 signed “Paul Brown” lower right color lithograph, 10 1⁄2 by 18 1⁄4 in.

A color plate made for Polo Magazine, New York with description of each horse in margin.

153.4

153 Paul Desmond Brown (1893-1958) Four Drawings

Spectators Watching the Hunt, 1940 signed and dated “Paul Brown 40” lower left pencil, 8 3⁄4 by 11 in.

Dogs at the Foxhole, 1939 signed and dated “Paul Brown 39” lower right pencil, 10 1⁄2 by 8 in.

Figures Walking Down the Lane, 1938 signed and dated “Paul Brown ‘38” lower left pencil, 13 1⁄2 by 10 1⁄2 in.

Tavern Scene with Hornblower, 1938 signed and dated “Paul Brown ‘38” lower right pencil, 13 by 10 in.

71

DAVID CHAPPLE B. 1947

154

154 David Chapple (b. 1947)

Decisions signed “David Chapple” lower left oil on canvasboard, 14 by 18 in.

Dave Chapple is a California artist who is active with conservation organizations such as Ducks Unlimited. He studied anthropology at the University of California at Santa Barbara, where he also worked as a taxidermist before a six-year stint as a professional football player. He turned to

155 David Chapple (b. 1947)

Magic Hour signed “David Chapple” lower right oil on canvasboard, 14 by 18 in.

$1,200 - $1,800

72

155

art full-time in 1975, and his paintings and sculpture can be found in prominent private and corporate collections across the country. $1,200 - $1,800

156

158.1

158.2

158.3 157

156 Arthur Shilstone (b. 1922)

Salmon Fisherman signed “Arthur Shilstone” lower right watercolor, 12 by 7 in.

157 Peter Corbin (b. 1942)

Opening Week - Middle Camp, 1996 signed “Peter Corbin” lower left pencil drawing, 11 3⁄4 by 19 1⁄2 in.

158 Peter Corbin (b. 1942)

Three Drawings pencil on paper, each 4 by 7 in.

Hunting Scene signed “Peter Corbin” lower left Fishing Scene signed “Peter Corbin” lower right Releasing Salmon signed “Peter Corbin” lower right

73

159 Raymond Harris Ching (b. 1939) 159

Snowy Owl, 1968 titled, signed and dated “Raymond Harris Ching. London. 1968” lower right gouache, 21 by 15 in.

Raymond Harris-Ching is a noted New Zealand artist specializing in birds. After a brief stint in advertising, he turned to painting full time in the 1960s. In 1969, he provided illustrations for 250 different species in The Book of British Birds. Noted bird artist and conservationist Sir Peter Markham Scott (1909-1989) was important to Ching’s development as a successful painter. Today, he divides his time between England and New Zealand. $2,000 - $4,000

160 Athos Menaboni (1895-1990) Bufflehead Ducks signed “Athos Menaboni” lower right watercolor, 23 1⁄2 by 18 1⁄2 in.

Born in Italy, Menaboni trained as an artist in Florence before settling in the Atlanta, Georgia area in 1927. After working with architects and designers on decorative interior painting, he was able to focus on his lifelong interest of bird art for much of the rest of career. Much loved in the Atlanta area, Menaboni provided bird illustration art for the Christmas cards sent yearly by Robert W. Woodruff, president of Coca Cola and Atlanta philanthropist.

In 1950 he published Menaboni’s Birds, which was reissued in 1984.

Menaboni’s works were exhibited in many institutions and galleries across the country, including the St. Louis Museum of Art, the High Museum of Art, Seattle Art Museum, Detroit Art Museum, and Vose Galleries in Boston. He received multiple awards throughout his long career, including from the American Graphic Society and the Italian Cultural Society, among others.

Menaboni produced lithographs for the National Audubon Society, where he also had a major exhibition. He died at age 94 in 1990.

PROVENANCE: Estate of J.G. Brooks Jr., Greenwich, Connecticut Private Collection, Connecticut

$1,000 - $2,000

74

160

161

161 William Simmons (1884-1949)

Fox Kits, 1909 signed and dated “Will Simmons 1909” upper center watercolor, 5 3⁄8 by 9 1⁄4 in.

Known primarily as a painter and etcher of natural history subjects, William Simmons was the son of Edward Emerson Simmons (1852-1931) who was one of the original Ten American Painters. From a distinguished Massachusetts family, Will’s father was first cousin to Ralph Waldo Emerson and he grew up in the Old Manse, the house in Concord, Massachusetts in which Nathaniel Hawthorne wrote the volumes of short stories, Mosses from an Old Manse.

Will Simmons was born in Elche, Spain, while his parents were traveling. His early studies were under his father’s tutelage in Baltimore, Maryland, and his formal education

followed at the Académie Julian in Paris. With family heritage rich in the arts and observation of the natural world, it is not surprising that Will was drawn to painting and etching the wildlife he loved.

Simmons was a member of the Society of American Artists, the Chicago Society of Etchers, California Print Makers, and Prairie Printmakers. He exhibited at the Art Institute in Chicago, the Whitney Museum of American Art, and the United States National Museum, of Washington, D.C. His works hang in the New York Public Library, Smithsonian Library of Congress in Washington, D.C., the Bibliothèque in Paris, and the Public Library in Liverpool, England.

162 Gary E. Neel (20th century) Quail signed “Gary E. Neel” lower left watercolor, 22 by 30 in.

$400 - $600

162

163 David Lazarus (b. 1952) Deer signed “D.Lazarus” lower right oil on canvas, 9 by 12 in.

163

David Lazarus, born in London, has spent the majority of his life as a resident of Nantucket Island where he is known as a scrimshander, printmaker, and painter. His paintings hang in numerous private collections in both America and Europe. Not wanting to be limited by any particular style, he is adept in both traditional and non-representational oils and watercolors. Despite a movement towards abstraction, he maintains a more formal approach to printmaking and sporting art. $1,000 - $2,000

75

GRANT HACKING B. 1964

164 Grant Hacking (b. 1964)

164.1

Two African Wildlife Paintings

Gemsbok, or South African Oryx, 1991 signed and dated “Grant Hacking ‘91 ©” lower right oil on canvas, 20 by 30 in.

Drinking Bongo Pair, 1990 signed and dated “Grant Hacking 90” lower right oil on canvas, 16 1⁄2 by 19 1⁄4 in.

PROVENANCE:

Collection

164.2

76

William J. Butler Jr.

JOHN LOREN HEAD 1913-1997

165

166

165 John Loren Head (1913-1997)

166 John Loren Head (1913-1997)

One of the artist’s most well-known works, this piece was published as a limited-edition print.

PROVENANCE: William J. Butler Jr. Collection

Fresh Powder signed “John Loren Head” lower right oil on canvas, 24 by 36 in.

PROVENANCE:

Duck Hunting signed “John Loren Head” lower right oil on canvas, 18 by 24 in.

William J. Butler Jr. Collection

77

167

167 Frank W. Benson (1862-1951)

Rising Ducks signed “F.W. Benson.” lower left ink wash, 13 by 9 1⁄2 in. titled and numbered 85432 on Kennedy & Co. label on back inscribed “F.W. Benson 46 Washington Sq. Salem, Mass.” on back of watercolor paper

$2,000 - $3,000

168 Four Framed Wildlife Works Two Ed Side Drawings (one shown)

Mallards in Flight and Canada Geese one signed “Ed Side” lower right charcoal and white chalk on paper each 10 1⁄2 by 13 in.

Two Roland Clark Etchings Open Water 14 3⁄4 by 11 3⁄4 in.

First Flock 9 1⁄4 by 12 3⁄4 in.

78

168

FRANK W. BENSON 1862-1951

169

169 Frank W. Benson (1862-1951)

Three Prints (one shown) each signed “Frank W. Benson.” lower left Cloudy Dawn, 1922 etching, 9 7⁄8 by 11 7⁄8 in.

Paff #215, edition of 150 Shoveler Drake, 1920 etching, 10 by 8 in.

Paff #183, edition of 150 Ducks at Play, 1923 signed and dated “F.W. Benson 1923” in plate lower left drypoint, 10 7⁄8 by 13 3⁄4 in.

Paff #217, edition of 150 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

170 Frank W. Benson (1862-1951)

$200 - $400

Three Etchings (one shown) each signed “Frank W. Benson.” lower left

170

Over the Tree Tops, 1915 numbered “35” lower right 5 by 8 in.

Paff #84, edition 35 of 54 Two Black Ducks, 1924 4 7⁄8 by 6 7⁄8 in.

Paff #295, edition of 150 The Resting Place, 1921 4 7⁄8 by 3 7⁄8 in.

Paff #209, edition of 150 (50 signed)

One was the frontispiece for The Print Connoisseur, Volume II, published in 1922.

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

171

171 Frank W. Benson (1862-1951)

Boats at Dawn, 1920 signed “Frank W. Benson.” lower left etching, 7 7⁄8 by 10 7⁄8 in.

Paff #190, edition of 150

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

$1,000 - $1,500

172 Frank W. Benson (1862-1951)

Casting for Salmon, 1929 signed “Frank W. Benson.” lower left etching, 7 3⁄4 by 10 in.

Paff #288, edition of 150

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

172

$1,500 - $2,500 79

FRANK W. BENSON 1862-1951

173

175

174

176

173 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 of Frank W. Benson By descent in the family to his great grandson

$1,000 - $2,000

174 Frank W. Benson (1862-1951) Dark Pool, 1920 signed “Frank W. Benson.” lower left drypoint, 8 by 11 7⁄8 in.

Paff #189, edition of 150

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

$1,000 - $2,000

175 Frank W. Benson (1862-1951)

Two Prints (one shown) each signed “Frank W. Benson.” lower left Nascaupee Indian, 1921 etching, 8 by 6 in.

Paff #210, edition of 150

80

Soaring Fish Hawk, 1923 drypoint, 5 5⁄8 by 7 7⁄8 in.

Paff #225, edition of 150 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

$1,000 - $1,500

176 Frank W. Benson (1862-1951)

Three Prints (one shown) each signed “Frank W. Benson.” lower left Mallards No. 2, 1918 numbered “3” lower right etching, 8 7⁄8 by 10 3⁄4 in.

Paff #138, edition 3 of 150 Black Ducks Towering, 1930 inscribed “To Nora & Dick -1947-” lower left drypoint, 11 7⁄8 by 7 7⁄8 in.

Paff #305, edition of 150 Morning Flight, 1918 inscribed “To Nora & Dick 1950” lower left etching, 7 7⁄8 by 9 7⁄8 in.

Paff #152, edition of 150 PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

FRANK W. BENSON 1862-1951

177

177 Frank W. Benson (1862-1951)

Supper, 1920 signed “Frank W. Benson.” lower left etching, 6 7⁄8 by 4 7⁄8 in.

Paff #182, edition of 150

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

$800 - $1,200

178

178 Frank W. Benson (1862-1951)

The Start, 1922 signed “Frank W. Benson” lower left etching, 4 7⁄8 by 3 7⁄8 in.

Paff #211, edition of 150

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

$600 - $900

179

179 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

$1,000 - $1,500

180 Frank W. Benson (1862-1951) Waders, 1930 signed “Frank W. Benson.” lower left drypoint, 7 by 12 in.

Paff #298, edition of 150

180

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson Private Collection, New Hampshire

$600 - $900 81

181

182

181 Frank W. Benson (1862-1951)

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

Springing Teal, 1930 drypoint, 13 3⁄4 by 9 3⁄4 in.

Paff #306, edition of 150

182 Frank W. Benson (1862-1951)

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

Log Driver, 1924 signed “Frank W. Benson.” lower left drypoint, 9 7⁄8 by 11 7⁄8 in.

Paff #230, edition of 150

Tired Geese, 1933 etching, 6 by 8 in.

Paff #332, edition of 135

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

Redheads Coming, 1930 etching, 8 by 15 in.

Paff #302, edition of 150

183

184

82

$1,500 - $2,000

185

186

AIDEN LASSELL RIPLEY

1896-1969

183 Aiden Lassell Ripley (1896-1969)

187 Aiden Lassell Ripley (1896-1969)

Covey of Quail signed “A. Lassell Ripley” lower right etching, 8 3⁄4 by 13 5⁄8 in. titled lower left

Pheasants signed “A. Lassell Ripley” lower right etching, 9 1⁄4 by 13 in. titled lower left

$200 - $400

$200 - $400

184 Aiden Lassell Ripley (1896-1969)

188 Aiden Lassell Ripley (1896-1969)

Quail Shooting, 1966 signed and dated “A. Lassell Ripley July 16, ‘66” lower right etching, 9 by 14 in. titled lower left

Working the Singles signed “A. Lassell Ripley” lower right etching, 8 5⁄8 by 13 3⁄4 in. titled lower left

$200 - $400

$200 -$400

185 Aiden Lassell Ripley (1896-1969)

189 Aiden Lassell Ripley (1896-1969)

Hunting for Pheasants signed “A. Lassell Ripley” lower right etching, 8 7⁄8 by 13 3⁄4 in. titled lower left

Bluebills signed “A. Lassell Ripley” lower right etching, 8 3⁄4 by 13 1⁄2 in. titled lower left The Old Print & Frame Shop, Boston label on back

$200 - $400

$200 - $400

186 Aiden Lassell Ripley (1896-1969)

Turkey Blind signed “A. Lassell Ripley” lower right etching, 9 1⁄4 by 13 3⁄4 in. titled lower left

190 Aiden Lassell Ripley (1896-1969)

Grouse and Wild Apple Tree, 1936 signed and dated “A. Lassell Ripley 1936” lower right etching, 8 by 10 in. titled lower left

$200 - $400

$200 - $400

187

189

188

190

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FEDERAL DUCK STAMPS AND PRINTS 1934-1942

191.1

191.2

191.3

192.1

192.2

192.3

193.1

193.2

193.3

191 Three Federal Duck Stamps and Prints

each framed with duck stamp and Abercrombie & Fitch Co. label on back Jay Norwood “Ding” Darling (1876-1972) Mallard, 1934 signed lower right and titled lower left etching, 6 by 8 5⁄8 in. edition of 197 Frank W. Benson (1862-1951) Canvasback, 1935 signed lower left etching, 2 7⁄8 by 4 7⁄8 in. edition of 100 Richard E. Bishop (1887-1975) Canada Geese, 1936 signed lower right and titled lower left etching, 5 by 8 in.

192 Three Federal Duck Stamps and Prints

each framed with duck stamp and Abercrombie & Fitch Co. label on back Joseph Day Knap (1875-1962) Broadbill, 1937 each signed lower right and titled lower left gravure, 5 3⁄4 by 8 3⁄4 in. edition of 260

84

Roland Clark (1874-1957) Pintail, 1938 each signed lower right and titled lower left etching, 6 3⁄4 by 10 3⁄4 in. edition of 300 Lynn Bogue Hunt (1878-1960) Green Wing Teal, 1939 each signed lower right and titled lower left lithograph, 7 3⁄4 by 10 7⁄8 in. edition of 200

193 Three Federal Duck Stamps and Prints

each framed with stamp and titled on Abercrombie & Fitch Co. label on back Francis Lee Jaques (1887-1969) Black Ducks, 1940 signed lower right and titled lower left lithograph, 9 1⁄2 by 12 1⁄2 in. edition of 260 Edwin Richard Kalmbach (1884-1972) Ruddy Duck Stamp Design, 1941 signed lower right and titled lower left lithograph, 6 1⁄2 by 8 3⁄4 in. edition of 110 Aiden Lassell Ripley (1896-1969) Wigeon, 1942 signed lower right and titled lower left etching, 6 by 8 1⁄4 in. edition of 250

194 Richard E. Bishop (1887-1975)

194

Six Etchings (one shown) each signed lower right and titled lower left each Abercrombie & Fitch Co. label on back Coming In, 1931 8 3⁄4 by 14 3⁄4 in.

Mallards Pitching, 1931 12 3⁄4 by 9 3⁄4 in.

In the Bag, 1940 7 1⁄2 by 5 1⁄4 in.

195.1

195.2

Getting Out, 1928 8 3⁄4 by 14 3⁄4 in.

Mississippi Mallards, 1937 14 5⁄8 by 10 3⁄4 in.

In They Come 10 by 13 3⁄4 in.

196

195 Richard E. Bishop (1887-1975) Drawing, Etching, and Book Dawn signed “Richard E Bishop” lower right etching, 11 1⁄2 by 9 5⁄8 in. titled lower left Study for Dawn pencil on paper, 11 by 8 3⁄4 in. estate stamped on back 197

Russell A. Fink, Richard E. Bishop: Etchings, Drypoints, and Aquatints, 2008, no. 815/1500, author signed.

196 Carl Rungius (1869-1959)

Osbourne’s Caribou, 1925 signed “C. Rungius.” lower right etching, 6 1⁄4 by 8 1⁄2 in. edition of 100

$1,200 - $1,800

197 William Simmons (1884-1949)

Ariel (Hummingbird with Foxglove) signed “Will Simmons” lower right in pencil etching and aquatint, 9 1⁄4 by 4 3⁄4 in.

198

198 Aiden Lassell Ripley (1896-1969) Flight Woodcock signed “A. Lassell Ripley” lower right drypoint, 9 by 12 in. titled lower left

85

199

199 LeRoy Neiman (1921-2012)

Giraffes signed “Neiman” lower right print, 38 by 28 3⁄4 in. edition 249 of 300 PROVENANCE:

William J. Butler Jr. Collection

$500 - $1,000

200.1

200 Walter Joseph Wilwerding (1891-1966) Two Wildlife Illustrations

African Leopard, On His Jungle Couch, 1952 signed and dated “W.J. Wilwerding 1952” lower left oil on board, 14 by 18 in. titled, dated, and inscribed on back Fox and Rabbits, c. 1964 signed “W. J. Wilwerding” lower left oil on board, 22 1⁄2 by 17 in. dated January 1964 on Sports Afield label on back PROVENANCE:

Private Collection, New Jersey

$500 - $800 86

200.2

201.1

201.2

203

204

202

201 Richard E. Bishop (1887-1975)

Protection-After the Last Derby Days color lithograph, 17 3⁄4 by 24 in.

Map of the Surface Feeding Ducks Swans and Geese of North America, 1934 color print, 32 by 28 in. edition 606 of 2000

PROVENANCE:

Map of the Diving Ducks Eiders and Mergansers of North America, 1937 color print, 31 by 27 in. edition 606 of 1000

Shooting Pictures, 1972 (not shown) New York: Winchester Press, 1972, edition 509 of 750 twelve chromolithographs, sheet 12 1⁄2 by 18 1⁄2 in.

Two Maps

202 Ogden M. Pleissner (1905-1983)

Clove Valley, 1981 signed “Ogden M. Pleissner N.A.” lower right color print, 18 3⁄4 by 27 3⁄4 in. published in 1981 by Clove Valley Rod and Gun Club in an edition of 156

203 Richard E. Bishop (1887-1975)

A Map of Well Known Salt Water Game Fish of North America, 1935 signed “Richard E. Bishop” and “Joseph P. Sims” lower center color print, 27 by 35 in. edition 284 of 1000

204 Two Prints (one shown)

Leon Danchin Working Dogs with Pheasant signed “Leon Danchin” lower right color lithograph, 17 1⁄2 by 25 in. edition 163 of 500 J. West Giles

William J. Butler Jr. Collection

205 Arthur Burdett Frost (1851-1928)

206 Lynn Bogue Hunt (1878-1960)

Game Birds of America, 1944 (not shown) color prints, each 16 1⁄4 by 13 in. folio of 12 color prints by Lynn Bogue Hunt with descriptive text

by Ray P. Holland published in 1944 by Field and Stream, New York PROVENANCE: Robert Montgomery Collection The Sporting Gallery and Bookshop, Inc.

207 S. Edwin Megargee Jr. (1883-1958)

Gun Dogs at Work, 1945 (not shown) color prints, each 16 1⁄2 by 13 in. folio of six works by Edwin Megargee with History of the Breeds

by Freeman Lloyd published in 1945 by Field and Stream, New York PROVENANCE: Robert Montgomery Collection The Sporting Gallery and Bookshop, Inc.

87

Lot 218

88

THE WINTER SALE 2020 SESSION III DECOYS AND FOLK ART

89

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

208

208 Trimper Rig Turned-Head Black Duck IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, 1937 16 in. long

Ira Hudson biographer Henry Stansbury discusses this decoy and its history in his monograph on the maker, noting that the decoy was “obviously a special effort for a deserving customer” and “arguably some of Hudson’s finest work.” The deserving customer was Dan Trimper, Hudson’s boss at a boatyard in Ocean City, Maryland, from 1936 to 1937. Trimper came to the attention of collectors in the 1990s when he sold this decoy along with a straight-head rigmate and several special decoratives and miniature carvings. Trimper’s account of Hudson is documented in the Stansbury book.

The special effort exhibited in this decoy is shown in its full body which turns to the right from tip-to tail, raised heart-shaped wings, deep shoulder carving, fluted paddle tail, inlayed weight, and refined feather paint.

This is the finest example from this important rig known to exist. Original paint with gunning wear.

90

PROVENANCE: Dan Trimper Rig, ordered directly from the maker Collectable Old Decoys, South Carolina, acquired 1994 Private Collection, North Carolina Private Collection, New Jersey LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, pp. 152-153, exact decoy discussed, p. 65, rigmate illustrated.

HOG ISLAND, VA C. 1870

209

209 Brady Black Duck HOG ISLAND, VA, C. 1870 14 1/2 in. long

The lines of this decoy are some of the finest seen in any Virginia black duck. The inletted head is secured with wooden pegs, features eye grooves, and is drawn back over a long and narrowed breast. The body has bold shoulder carving and a sharp ridge down the back to the wing tips. The back side resolves with the exceptional tail and wing tip carving seen on the maker’s finest geese.

PROVENANCE: Private Collection, North Carolina Private Collection, New Jersey LITERATURE: Cameron McIntyre, “Walter Brady: The grandfather of the Hog Island style of carving,” Decoy Magazine, Lewes, DE, Mar/Apr 2000, p. 11, exact decoy illustrated.

This exact carving is featured in Cameron McIntyre’s Decoy Magazine cover story on “The grandfather of the Hog Island style of carving.” Gunning wear to bare wood, filled shot holes, eyes may be an addition, and the lower third of the bill is restored.

91

CAINES BROTHERS C. 1900 | GEORGETOWN, SC

210

210 Black Duck

CAINES BROTHERS JOSEPH J. “HUCKS” CAINES (1876-1944), EDMUND A. “BALL” CAINES (1851-1914), R. RANDOLPH “SAWNEY” CAINES (1860-1938), MOULTRIE J. L. “PLUTY” CAINES (1870-1912), AND ROBERT J. “BOB” CAINES (1879-1923) GEORGETOWN, SC, C. 1900 16 3/4 in. long

Hobcaw Barony is on the lower end of Waccamaw Neck and it is here that Richard Caines (1813-1881) raised his children. Five of his sons lived to adulthood and carved decoys. Caines family decoys are the most sought-after South Carolina decoys and very few are known to have survived. This exact decoy was chosen for the South Carolina chapter in Henry Fleckenstein’s Southern Decoys book. The body features raised heartshaped wings and a pronounced breast.

Like other Caines decoys, this bird was made as a mallard drake and later painted by the Caines as a black duck. In old working Caines paint with gunning wear.

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PROVENANCE: Collectable Old Decoys, South Carolina Private Collection, North Carolina Private Collection, New Jersey LITERATURE: Henry A. Fleckenstein Jr., Southern Decoys of Virginia and The Carolinas, Exton, PA, 1983, p. 248, exact decoy illustrated.

Dick McIntyre, “Caines Brothers Decoys, Birds of Great Distinction,” Decoy Magazine, March/April 1989, pp. 10-11, related example illustrated.

North American Decoys Magazine, Spanish Fork, UT, OctDec 1978, p. 11, exact decoy illustrated.

$15,000 - $20,000

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

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211 Swimming Brant

NATHAN F. COBB JR. (1825-1905) COBB ISLAND, VA, C. 1880 17 1/2 in. long

Many believe that Cobb Island produced the finest brant decoys known. This may in part be due to a special affinity for the species that the Islanders showed. Indeed, Nathan Cobb Sr. kept a tame flock of brant on the island that were a local attraction and once the gaggle was even listed as collateral for hotel construction loans.

This choice example, with a hollow body and forwardreaching head, hails from one of the island’s finest rigs and was selected in 1998 for the Cobb Island exhibition at the Ward Museum in Salisbury, Maryland.

Grayson Chesser, “Cobb Island, A hunter’s paradise,” Decoy Magazine, Nov/Dec 1998, p. 12, exact decoy illustrated.

Chesapeake Bay Decoys, Cambridge, MD, 1991, p. 201, exact decoy illustrated.

EXHIBITED: Salisbury,

Maryland, Cobb’s Island Decoys & Artifacts: An Historical Perspective, The Ward Museum, 1998. $14,000 - $18,000

The underside displays the “E. B. COBB.” brand, 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. Original and old working paint with gunning wear and tight age lines, a very good surface by Cobb decoy standards with no signs of any restoration.

PROVENANCE: Capt. Elkanah B. Cobb Rig Private Collection, North Carolina Private Collection, New Jersey LITERATURE: Eugene V. Connett, ed., Duck Shooting Along the Atlantic Tidewater, New York, NY, 1947, p. 149, rigmate illustrated.

The Clara Combs with a skiff of Cobb decoys, c. 1890.

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CHARLES S. CLARK

1869-1947 | CHINCOTEAGUE, VA

212

212 Yellowlegs Pair

CHARLES S. CLARK (1869-1947) CHINCOTEAGUE, VA, C. 1890 10 in. long

This rigmate pair of yellowlegs features the plump bodies, paddle tails, ridged backs, and expressive heads with flared crowns that collectors look for in this maker’s distinctive work.

William J. Mackey Jr. discusses a famous and closely related plover from the Assawoman rig of William Matthews (b. 1855) in the Classic Shorebird Decoys folio illustrated by Milton Weiler. Original paint with light even wear.

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PROVENANCE:

Private Collection, Massachusetts

LITERATURE: Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 14, related example illustrated.

Jeff Waingrow, American Waterfowl Decoys, New York, NY, 1985, pp. 24-25, rigmate illustrated.

$8,000 - $12,000

EDWARD “NED” BURGESS

1868-1958 | WATERLILY, CHURCHES ISLAND, NC

213

214

213 Pintail Hen

214 Pintail Drake

An outstanding North Carolina pintail, this important decoy is featured in Kroghie Andresen’s treatise, Gunnin’ Birds. A renowned North Carolina decoy carver, Burgess carved long, slender bodies with heads that were typically upright and reared back. The maker would often put a nail up through the bottom of the decoy’s neck to hold the head in place should cracking occur.

Another signature of Burgess’ work is the rasp marks he intentionally left on the carvings to help dull the paint. Hen with carved bill detail, an extended tail, and a lead pad weight. Original paint with even gunning wear, including a small knot hole on top of head.

This decoy was originally owned by Mark Wright, of Currituck, North Carolina, whose brother was the caretaker of the Dews Island Club. Wright’s widow gave the decoy to her father, Arnold Daniels, of Wanchese, North Carolina. In 1996 he sold it to Kroghie Andresen.

Original paint with gunning wear, including a shallow chip along the top of tail.

EDWARD “NED” BURGESS (1868-1958) WATERLILY, CHURCHES ISLAND, NC, 1945 18 1/2 in. long

PROVENANCE: Mark Wright Rig Arnold Daniels, by descent from the above Kroghie Andresen, acquired from the above Private Collection, North Carolina, acquired from the above

EDWARD “NED” BURGESS (1868-1958) WATERLILY, CHURCHES ISLAND, NC, 1930 18 1/2 in. long

PROVENANCE: Mark Wright Rig Arnold Daniels, by descent from the above Kroghie Andresen, acquired from the above Private Collection, North Carolina, acquired from the above LITERATURE: Kroghie Andresen, Gunnin’ Birds, Charlotte, NC, 2008, pp. 142, 164-165, exact decoy illustrated four times.

$7,000 - $10,000

LITERATURE: Kroghie Andresen, Gunnin’ Birds, Charlotte, NC, 2008, pp. 142, 165, exact decoy illustrated three times.

$7,000 - $10,000

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215

215 Canvasback

EDWARD “NED” BURGESS (1868-1958) WATERLILY, CHURCHES ISLAND, NC, C. 1920 17 in. long

This decoy exhibits excellent form with the head cocked more skyward than on most of the maker’s canvasbacks. A mix of original and early working paint with even gunning wear. $2,000 - $3,000

216

216 Root-Head Brant

NORTH CAROLINA, C. 1920 20 in. long

As found.

PROVENANCE:

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Private Collection, Massachusetts

217 Outstanding Canvasback Drake

SUSQUEHANNA FLATS, MD, C. 1930 14 1/2 in. long

This well-constructed decoy shows the influences of both John Graham (1822-1912) and Samuel Barnes (1851-1926), two of the region’s top makers. Though likely crafted a generation or two after these masters had hung up their carving tools, this canvasback stands as a testament to their unknown disciple’s skill. Excellent original paint with even gunning wear, the head is loose from a crack in neck.

PROVENANCE:

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Private Collection, Maryland

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

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218 Classic 1936 Canvasback Hen

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1936 15 1/2 in. long

The Ward 1936 Canvasback is an American bird decoy classic. The full body, with a humped back and refined turned-head carving, the original paint, and the provenance of this lot place it among the better hens of this popular model.

The underside bears both of the Ward brothers’ signatures, Lem’s inked inscription “1936 L. T. Ward Bro.,” and William H. Purnell’s “P” brand. Bill Purnell is a highly-respected southern decoy collector with many of the top decoys from Virginia and Maryland having passed through his hands.

Original paint with gunning wear, some minor touch-up to reset bill and neck area, repair to left side of tail edge, and a crack down underside.

PROVENANCE: William H. Purnell Jr. Collection Private 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, related decoy illustrated.

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

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

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

$10,000 - $15,000

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WISCONSIN C. 1950

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219 Ring-Necked Pair WISCONSIN, C. 1950 14 in. long

Two finely carved and painted ring-necked decoys from Wisconsin showing the influences of Enoch Reindahl (1904-2000) and Ferdinand L. Homme (1901-1963). Both decoys are hollow, with split-tail and raised-wing carving. A collector’s tag on the underside of the skyward-looking drake indicates that the decoys are attributed to Ray Shack of Green Lake, Wisconsin, c. 1945; however, no records of a maker by this name have been found.

A loving pair, the maker created a resting spot on the front of the drake’s right wing where the hen’s bill perfectly fits. Excellent original paint.

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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

220

220

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

220 “Dust-Jacket” Yellowlegs A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1910 13 in. long

Of the thousands of decoys that William J. Mackey Jr. owned in his lifetime, he selected just three birds for the cover of his early and influential volume American Bird Decoys, published in 1965. These three “dust jacket” birds, along with a John Dawson merganser (lot 19), were also the only birds selected for the cover of a later reprinting in 1987. The shorebirds were all elaborately carved and painted by the father of American bird carving, A. Elmer Crowell. It was from collectors referencing this iconic book that the term “dust jacket” came to describe this exceptional carved-wing style that lasted just a short while. John and Shirley Delph’s 1981 book, New England Decoys, also features a trio of related decoys on its dust jacket along with an early turned-head wood duck by the same maker. The Delphs’ choice further cemented the moniker for this elite shorebird group.

The brief period during which Crowell carved these elaborate working decoys was just prior to the passing of the Migratory Bird Treaty Act of 1918, which outlawed nearly all shorebird shooting. Fortuitously for patrons and collectors, this shorebird gunning period coincided with the maker’s greatest carving years, which is generally regarded as 1900-1915. Known for their variety of forms, exceptional paint patterns, grand scale, and beautifully carved primaries, Crowell took tremendous care in carving these early “dust jacket” decoys. The efforts that he imparted in carving these

birds was simply too time consuming and he rather quickly abandoned the model all together. In fact, this wing-tip treatment, which virtually disappears from all of his work by 1920, acts as a marker for his stylistic changes.

An exceedingly rare “dust jacket” style yellowlegs, birds of this species and model rarely come to light; in fact, they are far less common than his renowned “dust jacket” plover.

Crowell’s most famous yellowlegs carving, and the most closely related yellowlegs decoy to this lot, is the open-bill calling yellowlegs seen on the dust jacket of the Harry V. Long Collection book.

With its uplifted and drawn-back head and graceful neck, this grand carving showcases Crowell’s unique ability to capture the semblance of movement in a gunning bird as well as any maker. The long and thin tail swoops slightly downward, completing a S-curve along the lower profile. The incised primaries extend for nearly six inches along the sides. The surface is finished with Crowell’s masterful paint techniques, including wet-on-wet blending throughout the mottled feather groups. Original paint with minimal gunning wear including tiny chip to wing tips.

PROVENANCE:

Private Collection, Cape Cod

LITERATURE: Copley Fine Art Auctions, The Harmon ‘Dust Jacket’ Plover Trio, The Sporting Sale, Hingham, MA, 2009, related plover illustrated.

Copley Fine Art Auctions, The Harry V. Long Collection of A. Elmer Crowell Decoys, The Sporting Sale, Boston, MA, 2009, front dust jacket and lot 64, related calling yellowlegs illustrated.

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 122-125 and 210, related carvings illustrated.

William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 64, pl. III, and dust jacket, related plover illustrated.

Robert H. Boyle, “With a Quack, Quack Here,” Sports Illustrated, September 27, 1971, p. 50, related example illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1981, dust jacket, related plover illustrated.

$100,000 - $150,000

Related example on Copley’s 2009 Sporting Sale catalog cover.

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220

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

Private Collection, Connecticut Lots 221-226

The following five Crowell lots represent a tightly curated group of the maker’s best works from a private collection out of Connecticut.

221 Feeding Yellowlegs

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930 9 in. long

The deep feeding position of this decorative is exceedingly rare as most of Crowell’s yellowlegs are seen in preening, raised-wing, or straight-head positions. The feather blending is among the best of any of the maker’s shorebird carvings. The finely crafted legs and feet are resting on a contoured carved “rock” base. The carving is signed in ink on the underside “A. E. Crowell, Cape Cod/The bird man/With my best wishes to Hickey” and struck with his rectangular stamp.

Collectors’ reverence for this rarely seen posture in carvings made by Crowell is evident, with the top two all-time results for the maker’s shorebirds held by birds with similar feeding poses.

This decorative has been well documented since coming to market in one of the earliest decoy auctions, a 1971 Richard Bourne sale where it was the top lot, commanding $2,400. Nine years later it was featured in the Philadelphia Wildfowl Exposition catalog alongside the O’Brien-Mackey-Wheeler Goose, DohertyMcCleery-Bunn/Bowman Curlew, and Rockefeller Cape May Merganser pair. This iconic feeder was next featured on the front cover of the stand-alone John S. du Mont Collection catalog by Northeast Auctions in 2007.

The combination of form, paint, condition, and provenance place this among the maker’s most desirable shorebird decoratives. In excellent original paint with minimal wear.

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PROVENANCE: William Hickey Collection John S. du Mont Collection Private Collection, Connecticut LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 212, 218, 225, 229, and back end-leaf, related examples illustrated.

Northeast Auctions, The John S. du Mont Collection, Portsmouth, NH, August 2007, front cover and lot 715, exact carving illustrated.

Stephen B. O’Brien Jr. Select Carvings by A. Elmer Crowell (1862-1952), Boston, MA, 2008, no. 5, exact carving illustrated.

Richard A. Bourne Co., Inc., Rare American Bird Decoys, Bird Carvings, and Related Items, Hyannis, MA, 1971, lot 266, exact decoy illustrated.

Jackson Parker, Philadelphia Wildfowl Exposition, Philadelphia, PA, 1980, p. 3, exact carving illustrated.

$40,000 - $60,000

“The plumage achieved a unique feeling of soft, deep feathers—an effect for which he is justly famous. His birds probably look better now than when he first painted them. Age and weather often enhance the beauty of painted wood surfaces. Fading produces color tones not found in a paintbox. Blacks become soft rusts and blue-grays, and white mellows. In places where the paint was thinly applied, wear begins to reveal the warm tones of the wood underneath.”

-Adele Earnest, The Art of the Decoy: American Bird Carvings

221

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

222 The Dr. Fritz Talbot Willet A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1925 11 1/2 in. long

An extremely rare and highly sought-after species by the maker, Crowell is known to have made only a very few examples, with a related carving in the Jim and Diane Cook Collection. Dr. Fritz B. Talbot (18781964) was a prominent Boston patron of the arts and was the head of the Children’s Medical Service at Massachusetts General Hospital from 1910-1931.

The surface of the Talbot willet exhibits very strong feather blending and prominently displays the species’ signature white and black wing bands, distinguishing it from Crowell’s other sandpiper species. The underside of the carved “rock” base bears Crowell’s oval brand.

Excellent original paint with minor touch-up to gesso on legs and thighs by Gigi Hopkins.

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PROVENANCE: Dr. Fritz Talbot Collection Private Collection, Connecticut LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 206-207, related carving illustrated.

Stephen B. O’Brien Jr., Select Carvings by A. Elmer Crowell (1862-1952), Boston, MA, 2008, no. 2, exact carving illustrated.

$40,000 - $60,000

“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.,

222

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

223 Reaching Greater Yellowlegs A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920 13 in. long

An elegant carving of the larger of the two yellowlegs species in a reaching posture. This grand mantle carving exhibits Crowell’s expertly blended “wet-on-wet” dry brush feathering from tip to tail. The body displays exceptional detail including concave shoulder carving, and incising that continues from the split wing tips up along the sides. The pattern for this mantle carving was taken directly from a gunning decoy pattern.

The bird is mounted on long wire legs and a traditional carved “stone” base. The underside of the base displays the maker’s oval brand. In excellent original paint with minor touch-up and some minor crazing.

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PROVENANCE:

Private Collection, Connecticut

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 197, similar carving illustrated.

$30,000 - $40,000

223

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224

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A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

224 Turned-Head Lesser Yellowlegs A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920 7 in. long

An exquisite small mantle bird with a dramatically turned head. This lesser yellowlegs is mounted on a faux carved “rock” base finished with Crowell’s oval brand on the underside. In near-mint condition with minimal wear.

PROVENANCE:

Private Collection, Connecticut

$10,000 - $20,000

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

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Crowell’s Lament By: John C. Phillips, Wenham Lake Shooting Record and the Farm Bag, 1897 to 1925, 1926 “She was the best of all the flock And now she’s stiff and stark.

No more you’ll hear her ‘wirey’ quack Off Wenham Camp, ‘just dark.’

A straying pellet from my gun Has laid the victim low, It almost makes me weep to think That I have dealt the blow.

Full many a wary Black duck She’s lured within my shot, And now a cold and clammy grave Has got to be her lot.

We’ll give her decent burial And hope that in the sky She’ll meet with other Duck Decoys In the sweet Bye and Bye.”

225 Rare Mallard “Call Duck” A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, 1939 16 in. long

A very rare mallard mantle carving featured in Elmer Crowell: Father of American Bird Carving. Call ducks were imported from England beginning in 1874. These bantam-sized waterfowl were bred to hail in wild ducks with their call. Used during the days of “live” decoy hunting, these ducks were frequently revered by their owners for their ability to attract wild fowl. In fact, Crowell’s important patron, John C. Phillips, penned a poem called “Crowell’s Lament” about an instance in which the maker inadvertently killed his own live decoy.

PROVENANCE: Private Collection, Cape Cod Private Collection, Connecticut LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 171, exact carving illustrated.

$20,000 - $30,000

The highly involved paint detail of this piece suggests that Crowell, a well-regarded gamekeeper and breeder of waterfowl, used a live decoy as a model.

Crowell’s life-size standing waterfowl of any species are rare, with the mallard among the rarest. This turned-head example displays an inquisitive pose with a finely carved bill, painted tack eyes, and rasp detail. The body has raised wings and the finely crafted legs and feet rest atop a contoured carved “rock” base. The carving is signed in ink on the underside “A. E. Crowell, Cape Cod, 1939” and struck twice with his rectangular stamp.

Original paint with a minor age line in neck, some craquelure mostly on breast and base, and minor touch-up to thigh putty.

Crowell’s workshop sign with decorative mallard on top. This is likely the exact carving. Image courtesy of Ron Bourgeault and John S. du Mont.

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226 Important Set of Twenty-Five Miniature Waterfowl A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1915 2 1/2 to 6 in. long

Crowell created three different sets of miniature birds, twenty-five ducks, twenty-five songbirds, and twentyfive shorebirds, which he sold to not only his decoy buyers and seasonal tourists, but also schools and museums around the nation for species identification purposes.

A vast majority of the original Crowell sets have been broken up over the years, making this a rare opportunity to acquire a single and original flock with remarkable consistency from bird to bird. The group includes the following: mallard drake, pintail hen and drake, redhead hen and drake, bufflehead hen and drake, ruddy duck drake, bluebill drake, red-breasted merganser drake and hen, canvasback hen and drake, green-winged teal hen and drake, brant, common merganser drake (Crowell referred to this species as “gooseander”), blue-winged teal drake, hooded merganser drake, black duck, goldeneye drake, long-tailed duck drake (Crowell referred to this species as “oldsquaw”), wood duck, wigeon drake, and Canada goose. Each miniature bears the “A. E. Crowell MAKER East Harwich MASS” circular ink stamp on the bottom of the base, along with an inked number in reference to Crowell’s published “Ducks” set list.

This set was originally owned by Crowell’s longtime friend and noted Cape Cod author Joseph Crosby Lincoln (1870-1944). Lincoln based the main character in his 1925 novel on Crowell and discusses the carver several times in Cape Cod Yesterdays: “...in filling one order from a wealthy customer, he let himself go. He made ducks with their heads turned backward, as ducks do turn their heads, when preening their feathers…He painted them with eyes which were more than round blobs of paint. And when he shipped

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that order to the wealthy customer, he explained what he had done, why he had done it, and why the amount of his bill was considerably greater than his former bills had been. And the result was that, almost immediately, he received orders for more decoys of that kind from that customer and more and still more from that customer’s friends.”

Given their condition, provenance, and early date, these birds, along with one other complete grouping in the Thomas M. Evans Collection, are believed to be the two finest original waterfowl sets known to have surfaced.

Outstanding original condition, the birds are near mint having always resided in their original case. There is a very small amount of craquelure on some, with just the canvasback hen with a reset bill.

PROVENANCE: Joseph Crosby Lincoln Collection Joseph Ballard Crocker Collection, Milton and Chatham, Massachusetts, acquired from the sale of the above Private Collection, by descent from the above Private Collection, Connecticut LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 239-241, closely related set and set list illustrated.

A. E. Crowell, “Cape Cod Memories,” in Duck Shooting along the Atlantic Tidewater, Eugene V. Connett, ed, New York, NY, 1947, pp. 59-60.

Brian Cullity, The Songless Aviary, Hyannis, MA, 1992, pp. 90-99, similar birds illustrated.

$60,000 - $90,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

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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.

was so excited, 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, Maryland to make the acquaintance of a Coast Guardsman Kramer c. 1943, shortly after enlisting at age 17.

pair of barbers/decoy makers. The ensuing meeting marked the beginning of an important lifelong friend-

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Mort never encountered a decoy or a gun as a child,

ship between Mort and the Ward Brothers, Stephen

but when hospital colleagues invited him to go hunt-

Wesley Ward (1895-1976) and Lemuel Travis Ward Jr.

ing after work, he was intrigued. He soon became an

(1896-1984). Thoroughly impressed with Steve’s hand

avid waterfowler. One article reports, “At times, he

carving and with Lem’s brushwork, the Ward Brothers’

Kramer holding court in his grand decoy room.

decoys and decorative 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. Mort would also go on to assemble a collection of some of the Ward Brothers’ protégé Oliver “Tuts” Lawson’s best carvings.

Dr. Kramer and his wife, Carol Sue, acquired many of these carvings from the Ward Brothers themselves,

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

resulting in countless visits to Crisfield and volumes

brothers as Uncle Lem and Uncle Steve. In addition,

of written correspondence, all of which strengthened

Mort helped with the management of many of Lem’s

the ties between them. As a testament to the depth of

medical issues.

their friendship, the Ward Brothers attended the 1968 wedding of Mort and Carol Sue. The two

In an article profiling Dr. Kramer, he comments on

families shared holidays together, and the Kramer

the motivation behind his decoy collecting, “I just

children, Rachel and Andrew, referred to the Ward

enjoy it. There is a story behind every bird.”

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The Starr Turned-Head Mallard 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 directions—the mallard out to open water and Steve straight back to the shop to whittle the lazy mallard before he forgot it.”

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

some of the Chesapeake Bay region’s best makers, including 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.

His passion for collecting, along with his enthusiasm for local carvers, waterfowling, and the birds

The Starr Turned-Head Mallard Drake that Steve Ward captured in wood for all time following his encounter with a startled sleeping green-head. Its mate is lot 264.

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,

Although Mort collected many things, including castiron 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

116

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

“Part of his collection was exhibited for the first time at

For almost sixty years, the Kramers made their

the first Maryland show held in Chestertown in 1963.”

collection available to a broad audience. During that

Through his ongoing efforts, Kramer continually shined

period, many prominent collectors made a pilgrim-

a spotlight on the early Upper Bay makers, the Wards,

age to Mort’s great decoy room, which held over

Lawson, Joiner, and McNair, which, in turn, helped to

500 gunning decoys, decoratives, punt guns, and

elevate these artists’ work.

related hunting memorabilia. Always the consummate host, Mort reveled in answering questions and

Mort was well known not only for his quality decoy

passionately describing the history of his decoys for

collection, but also for his generosity and foresight.

novice and veteran collectors alike. And for those

Kramer, like many collectors, saw himself as a steward

who were unable to make it to his home, Kramer

of the objects he loved and respected. Ida Ward and

would set up annually at the Waterfowl Festival in

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

Easton, Maryland, and the Havre de Grace Decoy &

chapter, titled “An Era Saved,” dedicated to the Kram-

Wildlife Art Festival in Havre de Grace, Maryland,

er-Ward relationship. The authors write: “The Wards

where his decoy and artifact exhibits presented im-

were aware of the Kramers’ growing collection and

portant historical narratives of Eastern Shore carvers.

contributed their old tools and patterns…to be stored

Dr. Kramer exhibited at the Waterfowl Festival for

and saved from destruction...Today, thanks to the

over forty years, since its inception in 1971.

loving care and dedicated efforts of Morton and Carol Kramer, we can trace the development of American

Throughout their lives, the Kramers were steadfast

wildfowl art—as it occurred at the Ward Brothers’

in donating and loaning carvings and other historical

shop.” Mort was also a supporter of Ducks Unlimited,

material to institutions including, but not limited to,

the National Wildlife Federation, Maryland Wildlife

the Havre de Grace Decoy Museum and the Ward

Federation, and the Audubon Society.

Museum of Wildfowl Art in Salisbury, Maryland.

Today, Mort’s children, Rachel and Andrew, continue

Kramer regularly aided authors and curators in their

in that tradition, donating important works and

research and allowed his collection to be featured in

material to Ducks Unlimited, the Ward Museum, and

books and exhibits on the Wards and other local carvers.

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

Brothers working decoys. One print, The Decoys of Lem

vital part of Chesapeake Bay carving history. Gen-

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

erations of future decoy collectors and enthusiasts

circulated since its publication in 1978.

will be the beneficiaries of Kramer’s keen eye and foresight. The 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 Press, 1974.

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

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

117

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

227

227 Red-Breasted Merganser Drake MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1984 17 1/2 in. long

A merganser in a reared back position displaying a rare pinch breast and a nicely balanced paint pattern.

The underside is signed with an incised “McNair” and the maker’s pencilled signature. The weight displays “Carol Sue 1984” incised by the maker.

Original paint with wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$2,000 - $3,000

118

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

228

229

228 Ruddy Duck

229 Sleeping Black Duck

An early ruddy duck drake with a spoke-shave finish, bearing an incised “McNAIR” signature on the bottom. In original paint with light wear.

A classic black duck model inspired by the nineteenth-century works of Albert Laing. Original paint with minor wear.

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1980 12 1/2 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

$1,000 - $1,500

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 15 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

$1,000 - $1,500

119

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

230

232

231

233

230 Phillips-Rig-Style Running Curlew

232 Early Whimbrel

An outstretched long-billed curlew with a split tail and incised wing detail. Signed by the maker with an incised “McNAIR.” Bill is removable. Original paint with wear.

A curlew decoy featuring raised wings and a split tail. Incised “McNair” and an inked “1976” on bottom. Original paint with minimal wear.

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1998 26 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1976 15 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

$800 - $1,000

$800 - $1,000

233 Ruddy Turnstone 231 Golden Plover

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 11 1/2 in. long

A refined plover with a hollow body, carved raised wings, detailed feathering, glass eyes, and an incised “McNair” signature on the underside. In excellent original condition.

PROVENANCE:

Dr. Morton D. Kramer Collection

$800 - $1,000

120

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2005 10 1/2 in. long

A split-tail shorebird signed by the maker on the underside with incised “McNAIR.” Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

234 Golden Plover

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 10 1/2 in. long

234

A Bunn/Bowman style plover incised “McNair” on the underside. Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900

235 Dowitcher

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 9 in. long

235

A Cobb-Island-style decoy with carved raised wings.

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

PROVENANCE:

Dr. Morton D. Kramer Collection

$400 - $600

236 Dove

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 16 1/4 in. long

236

A mourning dove decoy with pronounced wing carving and a long thin tail. Signed by the maker with an incised “McNAIR.” In original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900

237 Tern

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1985 16 1/2 in. long

237

A tern carving with applied sides and the maker’s incised signature on the underside. Original paint with minimal wear. A wing tip repair is original to carving.

PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900 121

Oliver “Tuts” Lawson (b. 1938)

Oliver “Tuts” Lawson was a protégé of the Ward

encouraged me to put the birds in their own envi-

brothers and many view him as Crisfield’s greatest

ronment.” The carver began to conscientiously place

living carver. Born in 1938 in Crisfield on the Eastern

his birds in the setting appropriate for the species

Shore of Maryland, he has lived there his whole life.

carved. Branches, flowers, pinecones, leaves, and

As a child, he explored the marshes near his home,

insects are just a few of the objects that adorn the

finding decoys to sell and familiarizing himself with

bases of his carvings. Lem Ward once advised young

different bird species, their behavior, and anato-

Lawson, “Don’t copy my work. Do what you want

my. Through his mother’s acquaintance with Lem

to do, develop your own style.” The protégé took

Ward’s wife, Thelma, Lawson began his training with

those words from his mentor to heart; as the Flying

Lem and his brother, Steve, in 1948. Tuts honed his

Bobwhite Quail Pair (lot 238), Exemplay Flicker (lot

carving and painting skills through years of being in

250), and Bluebird on Magnolia (lot 251) illustrate

their workshop, which was a mere mile away from

Lawson’s truly unique vision.

Tuts’ home. Many of Maryland’s finest decoys were produced in this workshop. In The Story of Lem Ward,

Sources

Lawson writes about an important lesson he learned:

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

“[Lem] stressed to me that without craftsmanship,

a Lot.” Sun Magazine, January 25, 1981.

any artist has a very limited means of expression.”

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

122

Lawson at his workbench c. 1975.

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

238

238 Flying Bobwhite Quail Pair OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1970 10 in. long

An early pair of bobwhite quail that showcases the maker’s best efforts. The wingspan measures eleven inches across with detailed incising and feather delineation. The paint is the maker’s finest and each is signed and dated on the underside.

Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$3,000 - $5,000

123

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

239

240

239 Blue-Winged Teal Pair

240 Red-Breasted Merganser Drake

A refined pair of turned-head blue-winged teal that showcase the exceptional carving and paint of Oliver “Tuts” Lawson. With their incised and raised wing tips, feather carving, and exceptional paint, this pair ranks among Lawson’s best works.

The undersides of both are signed and dated “1966” by the maker. Original paint with minimal wear.

A competition-grade red-breasted merganser drake displaying incised wing and tail detail and slight raised wing tips. The underside bears Lawson’s inked signature, the species’ name, and “Crisfield, MD. 1973.” Original paint with minimal wear.

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1966 11 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

$4,500 - $6,500

124

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1973 15 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

$2,500 - $3,500

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

241 Bufflehead Pair

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1972 10 in. long

241

A pair of buffleheads displaying finely carved incised head, wing, and tail detail. The underside bears the carver’s signature, date, species’ name, gender, and the maker’s home town. Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$3,500 - $4,500

242 Wigeon Drake

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1990 15 in. long

242

A wigeon drake displaying the maker’s signature and the following inked inscription on the underside: “Bald Pate (Male) / Crisfield, MD. 1995 / To Morty on Christmas 1990. Regards, Joan & Tuts.” In original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

243 Sleeping Mallard

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1984 15 in. long

243

A sleeping mallard drake displaying a deeply incised capital “L,” the maker’s signature, and the following inked inscription on the underside: “Crisfield, MD. 1984 / To Morty Kramer on Christmas 1984. With Best Wishes, Joan & Tuts.”

In excellent original condition.

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: The Ward Foundation News, vol. 2, no.

5, Holiday 1997, p. 9, related carving illustrated.

125

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

244

244 Important Set of Forty Miniature Waterfowl OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD tundra swan is 11 1/2 in. long

A tundra swan dated 1996, a hooded merganser pair, a mallard pair dated 1969, a ruddy duck pair dated 1968, a Canada goose pair including one dated 1967 and a feeder dated 1969, a 1971 shoveler pair, a gull dated 1971, a 1969 gadwall pair, a black duck pair dated 1970, a 1968 bufflehead pair, a 1971 brant, a canvasback pair dated 1968, a 1971 green-winged teal pair, a 1971 pair of snow goose, a wood duck pair dated 1971, a 1968

126

redhead pair, a pintail pair dated 1970, a 1971 ring-bill pair, a 1971 long-tailed duck pair, a pair of goldeneye dated 2001 and 2004, a 1970 bluebill hen, a 1997 black duck drake, and a 2003 long-tailed duck drake.

All carvings are signed on the underside by the maker.

Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

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

127

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

245

245 Two Diving Ducks

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD HOODED MERGANSER DRAKE, 1995 12 in. long

The underside displays the maker’s signature and the following inked inscription: “Hooded Merganser (Male) / Decoy Series / Crisfield, MD. 1995 / To Morty on Christmas 1995 With Best Wishes Joan & Tuts.”

BUFFLEHEAD DRAKE, 1989 11 in. long

The bufflehead displays the maker’s signature and the following inked inscription on the underside: “Crisfield, MD. 1989 / To Morty on Christmas 1989 With Best Wishes Joan & Tuts.”

In original paint with minimal wear and rubs.

PROVENANCE:

Dr. Morton D. Kramer Collection

246

246 Miniature Duck Mobile OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, C. 1970 carvings are 3 in. long

A miniature duck mobile with six carved flying ducks. As found.

PROVENANCE:

128

Dr. Morton D. Kramer Collection

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

247 Two Diminutive Mallard Drakes OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, C. 1960 AND 2007 11 1/2 in. and 8 1/2 in. long

247

The larger mallard drake displays a slightly turned head and bears the maker’s signature and the following inked inscription on the underside: “This model predates miniatures / Crisfield, MD. / Ward Bros. Style Circa - 1940 / To Morty on Christmas 2007. Love, Joan & Tuts.” The smaller mallard is made of balsa wood and bears a “Duck House” label on the underside. Both carvings are in original paint. The smaller bird has a rub to tail and a blemish in the side.

PROVENANCE:

Dr. Morton D. Kramer Collection

248

249

248 Miniature Red-Breasted Merganser Pair OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1968 8 in. long

A red-breasted merganser pair, each displays Lawson’s signature along with “Crisfield, Md. 1968” on the underside. Original paint in near-mint condition.

PROVENANCE:

Dr. Morton D. Kramer Collection

249 Miniature Blue-Winged Teal Pair OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, C. 1960 6 1/2 in. long

The underside of each bears the species’ name and gender. Original paint with minimal wear; the hen has a reset bill and an age line at neck seam.

PROVENANCE:

Dr. Morton D. Kramer Collection

129

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

250

250 Exemplary Flicker

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1966 13 1/2 in. tall

An early northern yellow-shafted flicker carving, exhibiting a slightly turned head, intricately painted wings, and a broad tail.

The bird is perched on the partial trunk of a tree mounted on to a wooden base. The trunk is signed and dated “1966” by the maker. Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer

Collection $2,000 - $3,000

251

251 Bluebird on Magnolia

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1974 9 in. long

A bluebird perched upon a carved Marsh Magnolia branch. Also known as Sweetbay Magnolia, the branch has four leaves and a white flower in full bloom. The branch bears the maker’s inked signature and “1974.”

This decoy represents a significant movement in the decorative bird arena.

Encouraged by his mentor, Lew Ward, to be unique and creative, Lawson began carving “habitat sculpture,” which was quickly adopted by the rest of the decorative carving field. In excellent original condition.

PROVENANCE:

Dr. Morton D. Kramer

Collection LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 51.

$1,500 - $2,500 130

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

252 Killdeer

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1974 10 in. long

252

A life-size killdeer with carved bill, wing, and tail detail. The bird is mounted on a driftwood base. In original, near-mint condition.

PROVENANCE:

Dr. Morton D. Kramer Collection

253 Yellowlegs

OLIVER “TUTS” LAWSON (B. 1938) CRISFIELD, MD, 1990 11 in. long

253

A yellowlegs with incised bill and wing detail mounted on a driftwood base. Signed and dated under the tail. Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

254 Mallard Bookends

OLIVER “TUTS” LAWSON (B. 1938 CRISFIELD, MD, 1972 8 in. long

254

Both are signed “To Morty, Best Wishes, Tuts / 1972” by the maker. Original paint with minor wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

131

The Ward Brothers - Lem and Steve

by Mort and Carol Kramer, January 1988

Our relationship with Lem and Steve Ward be-

block carved with the handsaw. His most important

gan about thirty years ago (approximately 1960)

tool was a Plumb hatchet with a short handle. His

when old Ward decoys in original paint were $20

only other tools were a pocket knife and sandpaper.

to $25 and new miniatures were $20 a pair. The

For most of the working decoys, Steve did the carv-

Wards became extended family and, after our first

ing and Lem did the painting. He wrote many poems,

meeting, we began visiting at least once a month.

some of which were printed in the Morning Sun in

As with family, we shared good times (birthdays,

Baltimore and others which he kept on cardboard

Lem’s grandson Warde’s high school graduation,

or odd scraps of paper. Although a year older than

the annual crab derby, arrowhead hunting with

his brother, Steve never seemed to mind that all the

Steve on Watts Island) and bad times (the death

attention went to Lem; he was content to be the Bro.

of Lem’s wife, Thelma, in 1966 and Lem’s medical

of L. T. Ward & Bro.

problems, including bouts of psoriasis). One of our fondest memories is the time Lem and Steve came

Lem Ward was a born artist. There was greater detail

to Baltimore for our wedding in 1968, a truly rare

in his decoy painting than in any other of the decoys

occurrence for the Wards to put on button-down

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

shirts and ties and cross the bay bridge.

into his birds, which had turned heads and unusual poses. It has been said about his decoys that “Their

When our children were old enough, we took them

eyes seem to follow you as you move.” He himself

for visits with the Wards, year after year, and they

was an innovator in the creation of decorative works.

began to think of Christmas as being with Uncle

He was one of the first to carve preening birds, birds

Lem, Uncle Steve, and Aunt Ida (Thelma and Lem’s

with outstretched wings, and was at the forefront of

daughter). The children took their annual photo-

carving birds on legs with feet, often standing on oak

graph with Aunt Ida near her Christmas tree and

burls. We often heard him say that he did not believe

certainly their most vivid recollections of the holiday

in wood burning or setting in of feathers, even in

center around the Ward family. At each visit, Thel-

decorative carvings. He loved to experiment with

ma, and later Ida, prepared sumptuous feasts: soft

shape and with color, and for a time used acrylics,

crabs, crab loaf, fried oysters, corn pudding, plate cake, and fresh greens, some of which came from 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

132

Bluebills in Flight, 1972, oil on canvas, 18 by 22 in., by Lem Ward (lot 269).

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

to compare them with oils, but soon went back to

It’s soft crab time in Crisfield,

using only oils. Always the artist, his recreation was

You can hear the hammers ring;

painting canvases with oils, often using scenes of

They are fitting up the skipjacks

marshes near his home.

It’s the first sure sign of spring.

Although it was their friendship we most treasured,

Bottoms dripping red with copper,

we love the decoys we collected and we are happy

Sides all white and washboards drab;

to help by exhibiting their prized pieces since they

Sails of pearly white are streaming,

never saved or collected their own work. Some of our Ward Brothers carvings were on exhibit at the first

For it’s time for Crisfield crabs.

Chestertown show in 1965, the first Salisbury show

You can hear the hoops go ringing

in 1968, and in more recent years, as part of the arti-

For they go up mighty fast;

facts section in the display at the Waterfowl Festival

You can hear the halyards singing

in Easton. We were always flattered when authors used the Wards from our collection in their books and talked to us about our experiences with the

In the wind beside the mast.

You can hear the crab gulls chatter,

Ward family. It was a pleasure to work with Byron

As they circle, dip and scream;

Cheever, Glenn Lawson, Bob Ridges, and Ron Gard

For it’s soft crab time in Crisfield,

in the preparation of their books about the decoys of the Wards.

We are honored to continue to promote the Ward

Soft crabs from the Crisfield streams.

There goes Duffy in the “Hattie,” Fred Tawes in the “Nancy B;”

Brothers’ name at the Havre de Grace Museum. It is

And a thousand other sailboats,

gratifying that the Havre de Grace Museum has seen

To the windward and the lee.

fit to recognize Lem and Steve Ward as the great innovators and patriarchs of decoy development

Steered by hands as strong as rawhide,

that they truly were. We will always be grateful for

Hardened by the wind and the brine;

having known the Wards, who led us into the world

To find men today just like them,

of carvers and decoys, and we feel privileged to have

It would take a long, long time.

the opportunity to talk about them and to exhibit their works.

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

133

Letter from Paul Shertz to Kramer discussing Lots 255, 256, 258 and 259.

134

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

Lem discussing the Shertz print.

The decoys of Lem and Steve Ward, print by Lem Ward and Paul Shertz, 1978, lots 255, 256, 258, and 259 illustrated.

135

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

255

255 Mallard Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 drake is 17 in. long

A pair of mallards exhibiting slightly turned heads.

These exact decoys were featured on the 1978 print entitled The Decoys of Lem and Steve Ward by Lemuel T. Ward and Paul W. Shertz. The underside of these balsa carvings bears the date “1948,” the signatures of both Ward brothers, the inscription “L. T. Ward - Bro’s.

Crisfield, MD. This decoy is on Shertz Print. Lem Ward,” the inked Kramer Collection stamp, and the “MK” brand. Some Ward touch-up to drake, some darkening and touch-up to the hen, rubs to tails, and hairline cracks in both bills.

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Lemuel T. Ward Jr. and Paul Shertz, The Decoys of Lem and Steve Ward, printed by Phototype Engraving, Philadelphia, PA, 1978, exact decoys illustrated.

Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, pp. 28-29, exact decoys illustrated.

$2,000 - $3,000

“…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

136

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

256

256 Bishops Head Canada Goose

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1941 27 1/4 in. long

together with a framed L.T. Ward & Bro. Counterfeiters in Wood print, 1978 (illustrated p. 135) 27 1/2 by 32 in.

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 long-reaching 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.

Of the numerous goose patterns produced by the Ward brothers, the Bishops Head Gun Club model is the most popular. This swimming goose displays articulated bill and full cheek carving and 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 decoy models.” 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.

This exact decoy is also illustrated in Gard and McGrath’s Ward monograph in which they describe its “long notch or groove behind the head similar to the fathead design.” They also point out that “the bird has extraordinary detail carving on the head” and that “the goose is painted beautifully.” Indeed, Lem applied fine feathering and wing-tip detail.

Finding a Bishops Head goose is a true rarity for both the collector of Wards and collectors of all regions.

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. 108-112, 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.

$8,000 - $12,000 137

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

257

257 Humpback Pintail Drake and Print

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1926 19 1/2 in. long

An early turned-head gunning decoy, this humpback pintail 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 “The Drifter” written by Steve Ward, a Ward Brothers 1920 bluebill (lot 260 in this sale), and a 1926 pintail.

The print is signed by both Lem and Schroeder. The pintail’s underside bears Lem’s signature and the inscription “Lem Ward / Made in 1926 / Repainted by Lem 1974,” an inked “Mackey Auction 1974” inscription, the Kramer brand and ink stamp, and Schroeder’s signature and his inscription “Model for My Plate I Ward Series.” Minimal wear, the head was reset before a second coat of paint by Lem Ward was applied.

PROVENANCE: William J. Mackey 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, 1974, Session VIII, lot 551, exact decoy illustrated.

Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, pp. 26, 117, exact decoy illustrated.

$5,000 - $8,000

138

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD 258 Low-Head Pinch-Breast Pintail Drake THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1938 16 in. long

A rare pinch-breast pintail drake with a low and slightly turned head. This bold body form is most similar to the iconic pinch-breast decoys found in the White Mallard Gun Club rig. Along with the following lot, this carving was chosen for the 1978 Paul Shertz print that depicted “the 11 favorite working decoys of Lem and Steve Ward.” The underside displays Lem Ward’s signature, the inked inscription “L. T. Ward - Bro. Crisfield, MD / 1938 / This decoy is on the Shertz print,” and the “MK” brand and two ink stamps designating the Kramer Collection. Original paint with gunning wear and some working touch-up.

PROVENANCE:

258

Dr. Morton D. Kramer Collection

259 Black Duck

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

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1936 17 in. long

LITERATURE:

A fine sculpture, this black duck with a slightly turned head received national acclaim as it was chosen (along with the previous lot) for the 1978 Paul Shertz print that depicted “the 11 favorite working decoy models of Lem and Steve Ward.” The underside displays both of the brothers’ signatures, the inked inscription “1936 L. T. Ward - Bro. Crisfield, MD,” and “This decoy is on the Shertz print.” Branded “MK” designating the Kramer Collection. In second coat of Ward paint with light wear and a reset bill.

$3,500 - $4,500

PROVENANCE:

259

Dr. Morton D. Kramer Collection

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.

$2,000 - $3,000

260 Early Bluebill

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1920 14 1/2 in. long

A “fat jaw” scaup with a turned head, hollow body, and carved wing detail. The body is hollow, which is rare for Ward decoys. This early carving was featured on Jack R. Schroeder’s 1981 Plate I Ward Bros. Series print. The print also includes a poem titled “The Drifter” written

by Steve Ward and a 1926 Ward pintail (lot 257 in this sale). The bluebill’s underside bears Lem’s signature and the inscription “L. T. Ward Bros. Crisfield, MD. 1920 / Made in 1926 / Repainted 1969,” the Kramer Collection ink stamp, and Schroeder’s signature and his inscription “Model for My Plate I of My Ward Series Paintings.”

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, pp. 22, 117, exact decoy illustrated.

260

139

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

261

261 Wigeon Pair

LEMUEL T. WARD (1896-1984) CRISFIELD, MD, 1960 12 in. long

A pair of hollow wigeon with the drake in full display preening and the hen featuring a slightly turned head and raised, crossed carved wings. Both have carved speculum and tail feather detail and are signed and dated on the underside. Each is finished with Lem’s elaborate and finest decorative paint. Outstanding original paint with minimal wear.

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 52, exact carvings illustrated.

$5,000 - $7,000

140

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

262

262 Red-Breasted Merganser Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1970 17 in. long

A pair of hollowed decorative red-breasted mergansers with slightly turned heads and extensive detail carving. The undersides of both exhibit the inked inscription “Lemuel T. Ward / Counterfeiter in Wood Since 1918. - 1970 - Kramer Collection.” Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 67, exact carvings illustrated.

$3,500 - $4,500

141

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

263

263 Canada Goose

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 23 1/2 in. long

A balsa-bodied Canada goose with a turned head.

The underside is signed by Lem Ward, inscribed “ L. T. Ward - Bro. 1948,” and bears the Kramer Collection ink stamp and brand. In original paint with some wear.

PROVENANCE: Dr. Morton D. Kramer Collection acquired in 1977 LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 104, exact decoy illustrated.

$2,000 - $3,000

264

264 Starr Mallard Hen

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 17 1/2 in. long

A balsa-bodied mallard hen exhibiting the inked inscription “Lem Ward Crisfield, MD MA-10,” the Kramer Collection brand, the Starr Collection inked stamp, and the Starr white-paper label. Original paint with some restoration to paint, mostly along right side.

PROVENANCE: Dr. George Ross Starr Jr. Collection Dr. Morton D. Kramer Collection LITERATURE: George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, pl. 37, exact decoy illustrated, p. 265, rigmate discussed.

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 decoy illustrated.

$2,500 - $3,500

142

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

265

266

265 Redhead Pair

LEMUEL T. WARD (1896-1984) CRISFIELD, MD, 1966 14 1/2 in. long

A pair of hollow decorative redheads. Both are signed and dated on the bottom by Lem and bear the inked inscription “Dr. Morty Kramer Collection.”

Original paint with light wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$3,000 - $4,000

266 Turned-Head Gull

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1966 17 1/2 in. long

A rare decoy by these famous makers, this gull features anatomically accurate bill carving and a rocked-back head. The bottom exhibits the Kramer Collection’s co-joined “MK” brand and the inked inscription “Confidence Decoy / Made by Steve.

Painted by Lem. Ward Bro / Dr. Kramer Collection.”

Original paint with minor wear, including a crack down the back.

PROVENANCE:

Dr. Morton D. Kramer Collection

$2,000 - $3,000 143

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

267

267 Rare Humpback Wigeon

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1930 15 in. long

A very rare and early humpback wigeon drake with a turned head in a resting position. The Wards made this carving for Lem’s niece as a standing duck, which they later refashioned to sit on the mantel. This bald pate drake displays an inked inscription “Bald pate drake made by Lem Ward Crisfield, MD - 1930 - Dr. Kramer” on the underside. The bottom also bears a sticker with the inked inscription “1930 bald pate made for Flora Sterling (Lem’s niece).” In original paint with Ward touch-up along lower portion of decoy.

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 22, exact decoy illustrated.

144

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

268

268 Rare Green-Winged Teal Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1930 12 in. long

A very early peach-basket-wing teal displaying a slightly turned head that relates to their Bishops Head model decoys. Original paint with minimal wear and warm patina.

Right foot is reset.

PROVENANCE:

Dr. Morton D. Kramer Collection

$4,500 - $6,500

145

LEMUEL T. WARD 1896-1984 | CRISFIELD, MD

269

270

269 Lemuel T. Ward (1896-1984) BLUEBILLS IN FLIGHT, 1972 signed and dated “Lemuel T. Ward 1972” lower right oil on canvas, 18 by 22 in.

PROVENANCE:

Dr. Morton D. Kramer

Collection $3,000 - $5,000

270 Lemuel T. Ward (1896-1984)

FLYING GEESE, 1972 signed and dated “Lem -72-” under lower center oil on canvas in the form of a #10 envelope, 4 1/4 by 9 1/2 in.

inscribed with Lem Ward’s return address upper left and addressed to Dr. Morton D. Kramer, Baltimore, MD lower right bearing two Eisenhower 8 cent stamps PROVENANCE:

Collection

146

Dr. Morton D. Kramer

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

271 Canvasback Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (18951976) CRISFIELD, MD, 1936 15 1/2 in. long

271

A classic turned-head canvasback with the underside exhibiting the makers’ signatures and ink stamp, the Kramer Collection ink stamp and brand, and the inked inscription “1936 / L. T. Ward - Bro. Crisfield, Md.” Original paint with gunning wear, a neck crack, and a tail chip.

PROVENANCE: Amos Waterfield Collection Dr. Morton D. Kramer Collection, acquired from the above

$3,500 - $4,500

272 Black Duck

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (18951976) CRISFIELD, MD, 1948 17 1/2 in. long

272

A fine balsa-bodied black duck with an upswept tail. The underside bears the inked inscription “Ward - Bros. Crisfield, Md. 1948.” In original paint with professional restoration to the lower half of bill.

PROVENANCE:

Dr. Morton D. Kramer

Collection $1,000 - $1,500

147

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

273 Pintail Hen

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1971 15 in. long

273

A turned-head pintail hen bearing both brothers’ inked signatures, the “MK” Kramer Collection brand, and the inked inscription “1971 Ward Bros Crisfield, MD.” Original paint with minimal wear.

274

274 Wigeon Pair

THE WARD BROTHERS LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1969 13 1/2 in. long

A pair of turned-head wigeon decoys with incised bill and wing detail. The undersides of both carvings display the inked inscription “Ward Bro. Lem and Steve. Crisfield, Md. 1969-” and the Kramer “MK” brand. Original paint with minimal wear, very minor chipping to crests.

PROVENANCE:

148

Dr. Morton D. Kramer Collection

275 Redhead Hen

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1948 14 in. long

275

A redhead hen with Lem’s signature and the following inscription on the underside of the balsa body: “Red Head (Aythya americana) L. T. Ward - Bro. Crisfield MD / Best Grade / Made and painted by Lem Ward 1948.”

In original paint with minor wear, reset bill with touch-up.

PROVENANCE:

Dr. Morton D. Kramer Collection

276

276 Beavertail Pintail

LLOYD AARON STERLING (1880-1964) CRISFIELD, MD, C. 1930 17 1/2 in. long

A classic Sterling decoy exhibiting a slightly turned head, broad body and tail, strong stippled paint detail, and a slightly upturned tail.

Professionally restored with minimal wear and tight age lines on the back and around the neck.

PROVENANCE:

Dr. Morton D. Kramer

Collection LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 209, related example illustrated.

149

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

277

277 High-Head Curlew

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1900 18 in. long

An oversize curlew with an iron bill. 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 fourteen inches from the tip of the tail to the front of the breast.

William J. Mackey Jr. writes in Classic Shorebird Decoys: A Portfolio of Paintings: “Mason’s skilled company of woodworkers and artists turned out numerous fine decoys...

The Mason curlew...in original paint...would be one of the finest of factory shorebirds. Mason’s paint was of unusual high quality...it has mellowed with age, but still retains the original luxurious, gemlike coloring. The method of application was also peculiar to Mason decoys. The paint is applied in a swirling pattern that made it stand up well

150

against the roughest treatment and the saltiest Atlantic tidewaters. The painting style of Mason’s decoys is fixed in a traditional, rather rigid pattern, but there is never a feeling of monotony, but rather one of rich ornamentation.” Strong original paint with light gunning wear, a reset neck seam, and minor touch-up in a few spots.

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Burtonsville, MD, 1993.

Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 12, Mackey text.

$5,000 - $8,000

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

278

278 Willet

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 13 in. long

In original paint with light gunning wear and traces of over-paint on the underside.

PROVENANCE: John Hillman Collection Dr. Morton D. Kramer Collection

Page from original Mason Decoy Factory catalog.

151

279

279 Black-Bellied Plover Pair GEORGE H. BOYD (1873-1941) SEABROOK, NH, C. 1910 11 in. long

Two classic Boyd plover with shoe-button eyes, and split tails. One carving bears the Hillman Collection stamp under the tail, and the other is marked from the Joseph B. French Collection. Original paint with some slight darkening, and touch-up to underside of one bill.

PROVENANCE: John Hillman Collection (one bird) Joe French Collection (one bird) Dr. Morton D. Kramer Collection

$4,000 - $6,000

280

280 Golden Plover Pair NANTUCKET, MA, C. 1870 9 1/2 in. long

Original paint with gunning wear, replaced bills, and some repair to left side of the smaller bird.

PROVENANCE:

Dr. Morton D. Kramer Collection

$2,000 - $3,000

lot 281 (detail)

152

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

281

281 Yellowlegs

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 10 1/2 in. long

A yellowlegs with “J. N. JAMES” branded into the bottom of the carving along with the Hillman Collection ink stamp.

Original paint with gunning a knot in back and original fill in top of head, and a replaced bill.

PROVENANCE: John Hillman Collection Dr. Morton D. Kramer Collection

282

LITERATURE: Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, West Farmington, ME, 1996, p. 22, lot 57, exact decoy illustrated.

$1,000 - $2,000

282 Plover in Winter Plumage HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900 10 in. long

A plump plover in winter plumage displaying the inked inscription “Harry Shourds / Tuckerton NJ / 1870-1900” on the underside. Original paint with even gunning wear, a reset neck, a crack in the bill, and some wear to wood on right side.

PROVENANCE:

Dr. Morton D. Kramer Collection

$1,200 - $1,800 153

283

284

283 Rare Curlew

284 Outstanding Long-Billed Dowitcher

Incised wing detail is displayed on this gunned-over decoy. Original paint with heavy gunning wear, some touch-up mostly to face, and a replaced bill.

This long-billed dowitcher, a rare Gelston species, displays raised wings and an outstretched pose. Original paint with light gunning wear.

JOHN DILLEY QUOGUE, LONG ISLAND, NY, C. 1880 13 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

$3,500 - $4,500

THOMAS GELSTON (1850-1924) QUOGUE, LONG ISLAND, NY, C. 1890 12 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 182, related example illustrated.

$3,000 - $5,000 154

JOHN DILLEY

C. 1890 | LONG ISLAND, NY

285 Black-Bellied Plover

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

285

The underside of this plover is identified as a “black bellied plover” in addition to being signed “Dilley.” by the maker. Very few Dilleys carry either the maker’s known stamp or signature, making this prime example all the more desirable. Its sides are hit by shot, proof of this gunning decoy’s baptism by fire.

Original paint with gunning wear, minor touchup to flaking, and a few shot scars.

PROVENANCE: Helen French Collection Dr. Morton D. Kramer Collection LITERATURE: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 49 and color pl. XX, exact decoy illustrated twice.

$5,000 - $7,000

286 Dowitcher

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

286

This plump, well-documented “robin snipe” decoy is identified by species in addition to being signed “Dilley.” by the maker on the underside. In addition to Dilley’s writing, it bears the “DOCB Jr” ink stamp designating the O’Brien Collection on the underside.

Original paint with even gunning wear and flaking.

PROVENANCE: Donal C. O’Brien Jr. Collection Dr. Morton D. Kramer Collection LITERATURE: Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 60, pl. 41 and 156, exact decoy illustrated.

Laurence Sheehan, The Sporting Life, New York, NY, 1992, p. 80, exact decoy illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 95, exact decoy 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. 97, lot 32, exact decoy illustrated.

$3,000 - $4,000

155

287

287 Peep

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1870 8 in. long

This plump little shorebird exhibits deeply incised wing detail and an incised “FFH” under the tail. Original paint with gunning wear and a replaced bill.

PROVENANCE:

Dr. Morton D. Kramer Collection

$5,000 - $7,000

288 Black-Bellied Plover

VERITY FAMILY SEAFORD, LONG ISLAND, NY, C. 1880 11 in. long

A plover decoy with incised wing carving. In working paint with light gunning wear.

PROVENANCE:

Dr. Morton D. Kramer

Collection $1,000 - $2,000

156

288

289

289 Robin Snipe

COBB ISLAND, VA, C. 1980 8 in. long

Red knot decoy with raised wings. As found.

PROVENANCE: Roy Bull Collection Dr. Morton D. Kramer Collection LITERATURE: Richard A. Bourne Co., Inc., The Roy Bull Decoy Collection, Hyannis, MA, March 8 & 9, 1983, lot 295, exact decoy illustrated.

290 Ruddy Turnstone NEW JERSEY, C. 1870 10 3/4 in. long

290

This rare and early plump example is in a reaching pose. Original paint with gunning wear.

PROVENANCE: Albert Minucci Collection Dr. Morton D. Kramer Collection LITERATURE: Christie’s, Important American Furniture, Folk Art, Prints and Decoys, New York, NY, January 17-18, 2008, lot 365, exact decoy illustrated.

$1,000 - $2,000

157

291

293

292

294

291 Peep

293 Gull

CAPTAIN AL KETCHUM AMITYVILLE, LONG ISLAND, NY, C. 1900 7 1/2 in. long

FRED BRADSHAW CRISFIELD, MD, 1968 14 1/2 in. long

A sandpiper decoy with raised wing and eye groove carving bearing the M. D. Kramer Collection ink stamp on the underside. Original paint with even gunning wear and an age line in bill.

A gull with raised, crossed wing tips standing on a driftwood base. In original paint with wear and age lines including some cracks to feet.

PROVENANCE:

PROVENANCE:

Dr. Morton D. Kramer Collection

Dr. Morton D. Kramer Collection

294 “Mammoth” Canvasback Pair 292 Plover in Winter Plumage 10 in. long

A shorebird decoy showing the Dilley influence with incised wing detail. As found.

PROVENANCE: Russ J. Goldberger Collection Dr. Morton D. Kramer Collection

NORRIS PRATT KEMBLESVILLE, PA, 1961 16 1/2 in. long

The drake bears the following inked inscription on the underside: “Mammoth Drake Canvasback / Made by Norris E. Pratt / Kemblesville Pa / Painted by L. T. Ward / Crisfield, Md. 1961.” The hen bears the following inked inscription on the underside: “Mammoth Hen Canvasback / Made by Norris E. Pratt / Kemblesville Pa / Painted by L. T. Ward / Crisfield, Md. 1961 / White pine from covered bridge over Big Elk Creek / 1/2 mile west of Cowertown Md / 3 miles up the creek above Elkton Md.” Original paint with minimal wear.

PROVENANCE:

158

Dr. Morton D. Kramer Collection

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

295

295 Pintail Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1931 19 in. long

A turned-head pintail with the underside bearing Lem’s signature, the inscription “L. T. Ward - Bro / Crisfield, Md. 1931,” and the Kramer brand. As found, including tail restoration.

PROVENANCE: Davidson Hawthorne Collection Dr. Morton D. Kramer Collection, acquired from the above

159

296 Two Canvasback

IRA HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920 16 in. long

296

An early Hudson canvasback decoy with rigging and weight attached and a five-inch-long canvasback. The decoy is in working Hudson paint. The miniature is in original paint. Both have heavy wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

297 Redhead and Bluebill

297

JOHN “DADDY” HOLLY (1818-1892) AND/OR JAMES T. HOLLY (1855-1935) HAVRE DE GRACE, MD, C. 1885 13 1/2 in. long

One carving is branded “Carrolls Island,” and the other is branded “Philadelphia Gunning Club.” Both bear the Kramer Collection ink stamp. As found.

PROVENANCE:

298 Canvasback Hen

WILLIAM HEVERIN (1860-1951) CHARLESTOWN, MD, C. 1920 16 in. long

Original paint with gunning wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$500 - $800

160

298

Dr. Morton D. Kramer Collection

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

299 Redhead Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1969 13 1/2 in. long

299

A pair of turned-head redhead decoys. The undersides of both carvings bear the “MK” brand and the inked inscription: “Made by Steve. Painted by Lem. Ward Bro 1969 / Collection Dr. Mort Kramer.” Original paint with minimal wear, drake has minor touch-up to chipped tail edge.

PROVENANCE: Dr.

Morton D. Kramer Collection

300 Canvasback Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1965 16 in. long

300

A pair of 36-model turned-head canvasbacks with keels.

The underside bears the Kramer Collection brand and ink stamp along with the inked inscription “L. T. Ward - Bro. Crisfield, Md. Lem - Steve Ward / 1936.” Original paint with even wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

301 Black Duck

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1947 18 in. long

301

A balsa-bodied black duck displaying a slightly turned head and raised wing tips. The underside bears Lem and Steve’s signatures, two collection ink stamps, and the inked inscription “1947 / Lem / Steve.” In original paint with minor wear, original Ward putty to tail tip.

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, pl. 69, exact decoy illustrated.

$600 - $900

161

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

302

302 Early Goose

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1932 23 in. long

This large Ward Brothers Canada goose exhibits incised bill detail and a 45-degree turned head. The underside is inscribed “Made by Steve Ward, 1932, L. T. Ward - Bro 1932 / From Steve’s own gunning rig” and bears the Kramer Collection ink stamp and brand. As found.

PROVENANCE: Steve Ward Rig Dr. Morton D. Kramer Collection

$2,000 - $3,000

303 Canada Goose

303

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1963 24 1/2 in. long

A large, balsa-bodied Canada goose with a turned head and incised wing carving. The underside bears both brothers’ signatures, the co-joined “MK” brand designating the Kramer Collection, and the inked inscription “TO OUR BEST FRIEND DR. MORTON KRAMER BALTO, MD. BY WARD BROS. CRIFIELD, MD. MADE 1963.” In original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 38, exact decoy illustrated.

304

304 Canada Goose Bookends

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1973

A pair of nine-inch-tall bookends with glass eyes and detailed bill carving. One bookend exhibits a duck half-model carving on the base and bears the inked inscription “Made by Steve Ward 1973.” The other bookend has a duck half-model carving, a shot duck carving, and a carving hanging from a string on the base. It bears the inked inscription “L. T. Ward - Bro. Crisfield, MD / Paul - 1973 - Anne.” In original paint with minimal wear.

PROVENANCE:

162

Dr. Morton D. Kramer Collection

305 Early Canvasback

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1930 17 in. long

305

The underside exhibits the inked inscription “L. T. Ward - Bro. Lem & Steve / Crisfield, Md. 1931.”

As found.

PROVENANCE:

Dr. Morton D. Kramer Collection

306 Early Goldeneye Drake

NOAH BERNARD STERLING (1884-1954) CRISFIELD, MD, C. 1920 17 in. long

306

An early Crisfield goldeneye with humped back and paddle tail displaying the Kramer Collection brand along with the inked inscription “Noah B. “Burner” Sterling.” As found.

PROVENANCE:

Dr. Morton D. Kramer Collection

307 Bluebill

JAMES T. HOLLY (1855-1935) HAVRE DE GRACE, MD, C. 1925 12 1/2 in. long

307

A bluebill displaying a Kramer Collection ink stamp and a “Spesutia I. R. & G. Club” brand. Spesutia Island is located near Havre de Grace. Working repaint with heavy gunning wear, including a loose head.

PROVENANCE: Spesutia Club Rig Dr. Morton D. Kramer Collection

308 Early Pintail Drake

L. TRAVIS WARD SR. (1863-1926) CRISFIELD, MD, 1917 19 in. long

308

A pintail drake displaying an inked collector’s inscription “L E Dize,” referring to Senator Dize, and an inked inscription “L. Travis Ward Sr. Crisfield, Md. 1917” on the underside. As found.

PROVENANCE:

Dr. Morton D. Kramer Collection

163

309

311

310

312

309 Wood Duck Bookends KEN HARRIS (1905-1981) WOODVILLE, NY, C. 1940

A set of five-inch-tall bookends, signed on the bottom with the maker’s ink stamp. In original paint with minor wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

311 Trout

IAN MCNAIR (B. 1981) CRADDOCKVILLE, VA, C. 1995 6 1/2 in. long

This fishing decoy exhibits tack eyes, copper fins, and a poured weight “IAN MCNAIR” stamped in the lead.

In fine original condition with even wear.

PROVENANCE:

310 Miniature Flying Goose and Woodcock

312 Miniature Canada Goose

Both are signed “W Reinbold 1966” on the backsides of one wing. As found.

A miniature Canada goose mounted on a driftwood base. In original paint with minor wear and touch-up to legs.

GEORGE W. REINBOLD (1885-1946) LANSDOWNE, PA, 1966 7 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

PERCY GANT (1895-1965) OSBORNVILLE, NJ, C. 1930 6 in. long

PROVENANCE:

164

Dr. Morton D. Kramer Collection

Dr. Morton D. Kramer Collection

CHARLIE “SPEED” JOINER 1921-2015 | CHESTERTOWN, MD

313

314

313 Two One-Third-Size Swans

314 Wood Duck Pair

A pair of one-third-size swans bearing the following inked inscription on the underside: “Whistling Swan / Charlie Joiner / Chestertown, MD. 1996.” Original paint with minimal wear.

Both bear the maker’s inked signature and “Chestertown, MD.” Original paint with minimal wear.

CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD, 1996 15 in. long

PROVENANCE:

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

PROVENANCE:

Dr. Morton D. Kramer

Collection

Dr. Morton D. Kramer Collection

165

315

315 Wigeon Pair

CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD, C. 1985 15 in. long

An exemplary Joiner bald pate pair signed by the carver on the underside. Original paint with minimal wear.

PROVENANCE:

316

Dr. Morton D. Kramer Collection

316 Twelve Miniature Waterfowl CHARLIE “SPEED” JOINER (1921-2015) CHESTERTOWN, MD 10 1/2 in. long

Six pairs of turned-head waterfowl all bearing the maker’s signature, “Chestertown, MD,” and the year on the bottom. The wood duck pair is dated 1981; the pintails are dated 1969; the black duck pair is dated 1975; goldeneye pair is 1977; the bluebill pair is dated 1978, and the canvasback pair is dated 1974. Original paint with minimal wear.

PROVENANCE:

317

Dr. Morton D. Kramer Collection

317 Swan

CHARLES P. BRYAN (1920-2008) MIDDLE RIVER, MD, 1990 31 in. long

An Upper Bay cork body swan with the inked inscription “Charles Bryan / Middle River, MD / 1990” on the underside. Original paint with minimal wear.

PROVENANCE:

166

Dr. Morton D. Kramer Collection

318 Wood Duck Pair

CHARLES P. BRYAN (1920-2008) MIDDLE RIVER, MD, 1991 13 1/2 in. long

318

A wood duck pair signed and dated “1991” on the underside. The drake displays Bryan’s best comb-feather paint. Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

319 Decorative Cardinal Pair JACK & BETTE HOLT WILMINGTON, DE, 1976 10 in. tall

319

A pair of decorative cardinals with turned heads and incised crown, wing, and tail carving. The birds are mounted on a wooden burl base. “Cardinals / Jack & Bette Holt / Wilm, Del. 1976” has been inked on the underside of the base. Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

320 Canvasback Pair

HAVRE DE GRACE, MD, C. 1920 16 1/2 in. long

320

Two working canvasback decoys, the drake is by Jim Currier and the hen is by Ed Pierson. Drake is in original paint and hen is in working repaint with flaking, both have gunning wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

167

321

323

322

324

321 Miniature Blue-Winged Teal Pair

323 Miniature Canvasback Pair

A pair of miniature blue-winged teal with the maker’s signature and “Dennisport, Mass” written in ink on the bottom. Original paint with minimal wear.

One canvasback bears the inked inscription “Made by C. N. Barnard Havre de Grace, Md. 1943.” Barnard moved to Havre de Grace in 1915. He carved a rig of decoys for Maryland’s U.S. Senator Millard Tydings (served 19271951), who was a lifelong resident of Havre de Grace at his “Oakington Farm.” Original paint with minimal wear.

JAMES LAPHAM (1909-1987) DENNISPORT, MA, C. 1960 4 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

CHARLES N. BARNARD (1876-1958) HAVRE DE GRACE, MD, C. 1943 5 1/4 in. long

PROVENANCE:

322 Two Miniature Goldeneye Drakes

324 Nineteen Paperweights

One by James Lapham (1909-1987) of Dennisport, MA, bears an inked inscription “Drake Goldeneye James Lapham Dennisport Mass.” The other goldeneye was carved by George Winters of New York, and displays a “Made for Abercrombie & Fitch by George Winters” ink stamp on the bottom of the base. In original paint with light wear.

Four canvasbacks bearing white labels inscribed “McKinney,” four top-hollowed ashtray ducks with embossed writing on the sides, one canvasback with the ink stamp “Made by Cap’n Harry R. Jobes / Aberdeen, Md.” on the bottom, and ten unmarked paperweights.

As found.

4 1/2 in. long

PROVENANCE:

168

Dr. Morton D. Kramer Collection

Dr. Morton D. Kramer Collection

5 in. long

PROVENANCE:

Dr. Morton D. Kramer Collection

325

327

326

328

325 Twenty-Five Powder Tins C. 1910

A Remington Arms Company wooden box with tongueand-groove joinery containing nine DuPont gun powder tins, including two “Dupont No. 1 Rifle Smokeless” containers, two “E. I. Dupont De Nemours & Company” tins, three “Indian Rifle Gunpowder” tins, one “Schuetzen Smokeless” powder tin, and one red DuPont powder flask. The box also contains three “Semi-Smokeless” turquoise green cans by the King Powder Co., Cincinnati, OH, and one red King’s “FFG Quick Shot” tin.

Also in the box is one “Kentucky Rifle Gunpowder” red can by the Hazard Powder Co., Hazardville, CT. A Winchester Repeating Arms Company wooden box contains two Hercules Powder Company tins and two Hercules Powder Company powder flasks, one Robin Hood Powder Co. tin, five Laflin & Rand Powder Co. tins, and one “Canadian Explosive Limited Snap Shot” tin. The lot also includes a thirteen-inch-tall keg with a white label which reads: “DuPont Life Saving Service Powder.” As found.

PROVENANCE:

327 Nine Bird Carvings PAUL NOCK SALISBURY, MD

Two life-size nuthatch and black-capped chickadee carvings each mounted on carved wooden bases, signed Paul Nock and dated 1970 on the undersides. A miniature Canada goose signed “To my good friends Mart & Carol - Paul Nock” and dated 1968 on the side of base. A miniature downy woodpecker dated 3/4/1972 on the underside, a miniature dark-eyed junco signed Paul Nock and dated 1970 on the side of base, a miniature cardinal on a wooden base, a miniature tufted titmouse signed Paul Nock and dated 1971 on the side of base, a miniature Baird sandpiper signed Paul Nock and dated 1969 on the underside of base, and a miniature seagull signed Paul Nock and dated 1976 on the side of base. Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

Dr. Morton D. Kramer Collection

326 Assorted Waterfowl Items

328 Six Small Oyster Tins

A duck-head clip, a duck-head paperweight, a call bearing the inked inscription “Canada Call / Paul Kingyon” with lanyard, a call inscribed “P. S. Olt. Perkin, Illinois / Regular duck call / Model No. D-2,” two unmarked duck calls, two stereoscopes, and a cigar box of stereoscope cards. As found.

Six vintage Chesapeake Bay Oyster cans. As found.

PROVENANCE:

PROVENANCE:

Dr. Morton D. Kramer Collection

Dr. Morton D. Kramer Collection 169

329

329 Gunning Shorebird Rig MASSACHUSETTS, C. 1880 10 1/2 in. long

Two animated golden plover and one feeding robin snipe by an unknown maker. Each is incised with a serifed “F” and a “D.” Original paint with gunning wear, roughness to some bills. $5,000 - $8,000

170

330

330 Early Burr Yellowlegs Pair SOUTH SHORE, MA, 1880 13 in. long

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

out of four pieces of wood. Each display unusually fashioned iron bills wrapped with marlin. Original paint with even gunning wear, including some flaking at the lamination seams. Both bills have touch-up at face insertion; one has been reset. $8,000 - $12,000

171

331 Two Sanderlings

331

DAVID GOODSPEED (1862-1943) (ATTR.) DUXBURY, MA, C. 1900 8 in. long

A rare rigmate pair of Massachusetts peeps.

Original paint with some flaking and wear, including a bill tip chip.

PROVENANCE: Richard and Lynn Gove Collection Private Collection, New York LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 42, pl. 20, similar decoy illustrated.

$1,600 - $2,000

332

332 Rare Curlew Decoy OBEDIAH VERITY (1813-1901) 14 1/2 in. long

Exceedingly rare curlew by Obediah Verity, this gunning decoy hails from the John H. Dunham Collection.

This boldly carved Seaford curlew decoy features the maker’s deeply carved heart-shaped wings, incised eyes, and rarely seen stippled feathering on the breast. Original paint with heavy even gunning wear with some darkening. It appears to be the original bill that has been reset.

PROVENANCE: John H. Dunham Collection Dr. S. Lloyd Newberry Collection

333 Three Dropped-Wing Sandpipers LONG ISLAND, NY, C. 1930 11 1/2 in. tall, 20 in. wide

This trio is mounted on a driftwood base.

Original paint with wear, including some flaking and chipped wing tips, one is more severe.

172

333

NANTUCKET, MASSACHUSETTS

C. 1870

334 Plover Pair

W. S. MORTON (1809-1871) RIG QUINCY AND NANTUCKET, MA, C. 1865 10 in. long

334

The decoys attributed to W. S. Morton are readily identifiable with their beveled-edge wing design. Morton hailed from Quincy, and hunted on Nantucket. Many of his decoys have surfaced on the island hunting oasis that lies ninety miles south of Quincy. One of the plover displays intricate “golden” feathering along its back, while the other’s plumage is representative of a blackbellied plover. Original paint with even gunning wear. One has a replaced bill.

PROVENANCE:

Private Collection, Massachusetts

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

$4,000 - $6,000

335

335 Plover Pair

COFFIN FAMILY NANTUCKET, MA, C. 1870 10 in. long

A two-piece pair of plover from this famous Nantucket carving family. Old working repaint with gunning wear. $2,000 - $4,000

173

FRED M. NICHOLS 1854-1924 | LYNN, MA

336

174

FRED M. NICHOLS 1854-1924 | LYNN, MA

336 The McCleery Nichols Feeding Yellowlegs FRED M. NICHOLS (1854-1924) LYNN, MA, C. 1890 12 1/2 in. long

An exceptional yellowlegs decoy in a feeding posture with raised wings that tuck under a thin paddle tail. The bird retains a metal sleeve in the stick hole and is branded “N” on the underside. Only a handful of Nichols feeding shorebirds decoys are known to exist.

Fred Melville Nichols is considered among the greatest shorebird makers from any region. As Crowell’s “dust jacket” shorebirds have come to represent the finest of his stick-ups, this delicate feeding yellowlegs model is the standard bearer for this North Shore, Massachusetts, maker. Indeed, this exact model was chosen for the logo of Ted and Judy Harmon’s Decoy Unlimited Inc. and for the 1982 Massachusetts Waterfowl stamp.

Dr. James M. McCleery selected this decoy from his collection to be featured in his famous Call to The Sky exhibition. Decoy curator and author Robert Shaw has published it twice, first in McCleery’s exhibition book, and then again in the definitive Bird Decoys of North America book. In the latter, Shaw writes, “Nichols’ obituary states that he was ‘especially interested in music and birds, giving great attention to the shore-birds.’ Both in form and paint, his handful of surviving whimbrels, yellowlegs, and plovers rank with the finest ever produced. He was a member of the Essex County Ornithological Club, whose first president was the renowned painter and etcher Frank Benson.” Original paint with gunning wear, including restoration to wingtips, tail, and bill extending to the lower portion of face.

2010, p. 169, exact decoy illustrated.

John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings Exhibition Catalog, The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 21, related example.

Gwladys Hopkins, Massachusetts Masterpieces: The Decoy as Art, Lincoln, MA, 2016, pp. 56-57, related yellowlegs illustrated.

Robert Shaw and Ronald Gard, The McCleery Auction, Dallas, TX, 2001 p. 19, exact decoy illustrated.

Rob Moir and Jackson Parker, “Massachusetts Waterfowl Decoys,” The Magazine Antiques, September 1989, p. 524, pl.

XIV, rigmate illustrated.

George Reiger, “Humble Masterpieces: Decoys,” National Geographic, vol. 164, no. 5, November 1983, p. 657, rigmates illustrated.

EXHIBITED: Houston,

Texas, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston Museum of Natural Science, October 1992-January 1993. $65,000 - $85,000

PROVENANCE: Dr. James M. McCleery Collection Private Collection LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 9.

Robert Shaw, Bird Decoys of North America, New York, NY,

A rigmate featured on the 1982 Massachusetts Waterfowl Stamp.

175

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

337

338

337 Golden Plover

338 Golden Plover

Lincoln shorebird decoy in transitional or eclipse plumage. Original paint with light gunning wear.

A tack-eyed shorebird decoy with its original inserted bill and split-tail carving. Original paint with even wear and minor paint loss to the top of head dowel.

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900 9 1/2 in. long

PROVENANCE: Alan Haid Collection Grant Nelson Collection Private Collection, Maryland LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 66, rigmate illustrated.

$1,000 - $2,000

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1890 10 1/2 in. long

PROVENANCE: Dr. Morton D. Kramer Collection Private Collection, Maryland LITERATURE: Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p. 90, exact decoy illustrated.

$1,200 - $1,800

176

“Lincoln was a laconic man, a consummate Yankee craftsman whose solid-bodied decoys are reflections of their maker’s personality—direct and spare, with not a gesture wasted.

Their clean, crisp lines and reductively abstract paint patterns capture the essentials of each species’ form and plumage with remarkable integrity and economy of means.”

- Robert Shaw, Bird Decoys of North America

339

177

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

339 Spear Rig Brant

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1910 18 in. long

Many artists and makers depend on patronage and special relationships. As John C. Phillips was to A. Elmer Crowell and The Bishops Head Gun Club was to the Ward brothers, so the Spear family was to Joseph W. Lincoln. As hunting companions and reliable buyers of his decoys, Lincoln made some of his finest work for the Spears. Chester F. Spear (1888-1956), along with his younger brother, Ernie (b. 1897), and their father, Henry E. Spear (b. 1869), hunted the coastline just south of Boston, where they shot over their Lincoln rigs. This decoy is branded “C. F. SPEAR” and “SCITUATE” on the underside.

The clean form of Lincoln’s Spear rig brant patterns, combined with his exacting and elegant paint application, place them among his most desirable species. Very few of these early Spear rig brant in original paint have ever surfaced.

The small group of brant decoys from the C. F. Spear rig are considered by collectors to be the best by New England decoy collecting standards. Indeed, Spear rig brant have been featured in museum exhibitions, books, and acquired by top collectors, including Dr. James M. McCleery, George Thompson, Jim Doherty, and Donald Kirson.

Dr. George Ross Starr Jr. came to know the Spear family and their exceptional decoys, eventually obtaining some of them.

The most celebrated decoy in Starr’s collection was one that Chester Spear had reserved for the mantle. Starr recounts in his book, “Many years ago Joe made the beautiful wood duck...for his friend Chester Spear of Scituate Harbor. It is an actual working decoy, but Chet liked it so much that it never left his mantle shelf. After Chet’s death, Mrs. Spear sold it to me for the collection. This is Lincoln at his very best.”

The Spear Starr wood duck became the icon of the Starr

Chester and Ernie Spear (on far right). Photo courtesy of Bob Mosher.

178

Collection, even before it set the world record for a decoy at auction in 1986. As one of the best of the Spear rig brant to ever come on the market, this marks a rare opportunity to acquire one of this Massachusetts makers top works.

Original paint with gunning wear, a crack in neck with stabilizing nails, and a typical Lincoln check along the underside.

PROVENANCE: Chester F. Spear Rig, acquired from the maker Private Collection LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 31, rigmate illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 4, rigmate illustrated, p. 156.

Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 37, rigmate illustrated.

John and Shirley Delph, New England Decoys, Exton, PA, 1981, p. 136, rigmate illustrated.

The Ward Museum, Masters of Decoy and Wildfowl Carvings: The Kirson Collection, Salisbury, MD, 2011, p. 2, rigmate illustrated.

John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings Exhibition Catalog, The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 50, rigmate illustrated.

George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, p. 153, Spear discussed.

James Julia and Gary Guyette, Inc., Important Waterfowl Decoys & Bird Carvings at Auction, April 27 & 28, 1989, St. Charles, IL, front cover and lot 548, exact decoy illustrated.

$30,000 - $50,000

339

179

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

340

340 Early Goldeneye Hen

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1900 13 3/4 in. long

This full-bodied hollow whistler hen is one of the earliest crossed-wing-tip models by Crowell. The maker’s carved-wing birds are rare, with this example revealing his signature deeply crossed-wing incisions.

The Smith brothers’ rig brand, with a stylized “SWAPS,” is found on the bottom board. The brothers, Stanley W. and Albert P., commissioned Crowell to make this distinctive rig. Decoy authors Linda and Gene Kangas discuss and illustrate this exact carving and its features in their Decoy Magazine cover story, “Connecting the Dots: Exploring the Provenance of Elmer Crowell’s Decoys.” Original paint with even gunning wear.

180

PROVENANCE: Smith Brothers’ Rig Donal C. O’Brien Jr. Collection LITERATURE: Gene and Linda Kangas, “Connecting the Dots,” Decoy Magazine, Lewes, DE, Mar/Apr 2010, p. 32, exact decoy illustrated.

$18,000 - $24,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

341

341 Rare Redhead Hen

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920 15 in. long

This redhead carving displays bold tail carving, glass eyes, expertly blended paint, and carved bill detail.

Measuring seven inches in width, it features deep rasp carving and a slightly uplifted head, accurately capturing the likeness of species. Never rigged, in near-mint original paint with a faint age line through head. $8,000 - $12,000

181

CHARLES A. SAFFORD 1877-1957 | PLUM ISLAND, MA

342 Canada Goose

CHARLES A. SAFFORD (1877-1957) NEWBURYPORT, MA, C. 1920 29 in. long

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...

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 soughtafter 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...

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.

Eight years on, in 1942, the sanctuary was incorporated into the Parker River National Wildlife Refuge, and Safford, just turned sixty-five, retired and moved down to Lynn, a small coastal city, where he spent the rest of his life with his housekeeper. He kept in touch with his former profession by carving miniature ducks and geese...”

- 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.

As a multi-talented craftsman, Safford brought his considerable skills to bear when carving his grand decoys.

These carvings from his personal rig were mammoth in both size and weight. The grand body of this decoy measures well over three feet in circumference, and showcases clean lines in both the form and paint that resolve at a stout, yet subtly refined, tail. Rather than using laminated boards, as seen in a number of his geese, this body was made from a huge single log. The consummate craftsman, Safford carefully filled the log’s check with a precise shim while carving the bird.

In the early 1920s, Safford made himself a fine rig of big goose decoys, and designed them to sit three-apiece on flat iron triangles. These spent the hunting season out on the marsh. They were intelligently constructed: the birds’ upright necks were carved from separate blocks that put the grain north-to-south, making them well-nigh unbreakable.

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.

182

Rigmate of lot 342, used as a model for the 1998 Massachusetts Waterfowl Stamp.

342

The heads and necks of his geese, as seen here, are two joined pieces mounted on a raised neck seat. The heads were then finished with two-tone glass eyes and intricate bill carving.

The telling scale of Safford geese dictated that they saw prolonged exposure to the elements during the long hunting season. Hence the vast majority of Safford decoys are found in heavily worn condition, often with numerous seam separations and cracks. Examples in strong original paint are rarely found, making this decoy one of the best preserved of Safford’s geese to have surfaced.

Safford’s geese are often marked with Roman numeral rig markings; this example bears “VI - I” on the underside.

Excellent original paint with even gunning wear, check along right side, and minor chipping to tail edge.

PROVENANCE: Charles A. Safford Rig Private Collection, Pennsylvania 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, Massachusetts, 1999, pp. 41-42, rigmate “IV” illustrated.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 156-158, sleeping goose illustrated.

$30,000 - $50,000

183

“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.”

-Captain John Dinan, Maine decoy author and historian, The Great Book of Wildfowl Decoys

343

343 Preening Eider Hen

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1900 15 in. long

This Monhegan Island-style sea duck carving features a broad body, a preening head with carved eyes, bill detail, and raised wings. The two-piece construction features a five-by-threeinch inletted head seat. The bird’s bill tip fuses with the back of the inlay, fully completing the graceful turn of the head. In old working repaint with gunning wear.

PROVENANCE:

Private Collection, Maine

LITERATURE: Gene Kangas, “Gus Wilson, Folk Artist,” Decoy Magazine, Lewes, DE, Nov/Dec 1994, pp. 8-13.

$5,000 - $8,000

344

344 8-Gauge Gun C. 1890 59 in. long

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

184

345 Goldeneye Drake

JAMES H. WHITNEY (1892-1982) (ATTR.) FALMOUTH FORESIDE, ME, C. 1920 14 1/2 in. long

345

A goldeneye decoy hailing from Maine, believed to be a very early example of this maker’s work.

Original paint with gunning wear; the head is slightly loose. $300 - $500

346 Folky Redhead C. 1930 13 1/2 in. long

346

A partial “Coot Farm” ink stamp is visible on the bottom of this carving from the collection of Roger D. Williams. As found.

PROVENANCE: Roger D. Williams Collection Private Collection

347 Canada Goose

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900 23 1/2 in. long

347

As found. $400 - $600

185

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

348

348 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, including some darkening to flaking on breast.

PROVENANCE:

Dr. S. Lloyd Newberry Collection

$3,500 - $4,500

349

349 Early Redhead

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.

$1,000 - $1,500

186

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

350

350 Exceedingly Rare Least Tern on Clamshell Base A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930 6 1/2 in long.

A least tern displaying a split tail and carved raised wings. The vast majority of the maker’s terns are the common tern species. This tern stands on a finely carved clamshell base with its head turned at ninety degrees. The underside bears the maker’s rectangular stamp and a pencilled “A. E. Crowell Cape Cod” signature. In good original condition. One wingtip has been reset, there is a small dent in back, and some putty loss and flaking to feet.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 198-199, related carvings illustrated.

$5,000 - $8,000

351 Miniature Canada Goose A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930 5 1/2 in. long

351

A miniature goose carving with the maker’s rectangular stamp and the pencilled inscription “Canada Goose” on the bottom. Original paint with minimal wear and minor touch-up at neck seam.

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 241, related carving illustrated.

$1,200 - $1,600

352 Miniature Mallard Hen A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920 4 1/2 in. long

352

A miniature standing mallard with the maker’s blue-paper label on the underside. Original paint with minimal wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

$600 - $900

187

William Joseph Butler Jr. (1933-2019) Lots 353-403

Born in 1933 in Washington D.C., William Joseph

is not known how he obtained it, it is not surprising

Butler Jr. was a man whose positive attitude, grit,

that Butler received the first pick in the draw! With

and ingenuity shaped not only his life, but the lives

that first pick he selected the famous Holly Swan,

of many. At age twelve he hitchhiked fifteen miles

featured in Decoys: North America’s One Hundred

to and from his first job every day. A few years later,

Greatest. Butler’s Holly Swan was again selected

Butler enlisted and then spent three years in the

as the number one pick by Thomas K. Figge in the

United States Air Force, serving as a captain and a

1990s when Stephen O’Brien Jr. Fine Arts sold the

navigator. After his return, he graduated from the

first session of the William Butler Decoy Collection.

University of Virginia School of Law and launched

The Butler Holly Swan decoy now resides in the

a distinguished career at the prestigious firm Han-

collection of Paul Tudor Jones II.

son, O’Brien, Birney & Butler. Over the next forty years, Butler became a partner, often representing

Despite being a partner at a law firm, owning a

non-profit organizations such as National Geograph-

marina, and having a first-rate decoy collection, all

ic and the Smithsonian Institution. In 1963 Butler and

who knew Butler remember him as much more than

a business partner purchased a boatyard and turned

just a shrewd businessman with a keen sense of

it into one of the finest marinas in Annapolis. An

value. At his funeral, a friend recalled, “More import-

ardent and early decoy collector, his friendship with

ant than simple smarts, Bill had a gift for insight that

Hal Sorenson and Joseph French lead them to pur-

led to true wisdom. When you were in his presence

chase the famous Thomas Eshenbaugh Collection in

you never knew when he would say one of those

the late 1970s.

things that was so perceptive and insightful that it would immediately become a pillar of your world-

In 1981 Butler married Dr. Kathleen “Kathy” Gleeson.

view. Think about that now. I am sure you all carry

Over the course of the next thirty-seven years, they

a precious gift from Bill’s mind around with you

raised two daughters, Meredith and Catie, sharing

every day that you don’t even think about anymore

family vacations in Maine, and traveling together all

because it’s become so ingrained in how you see the

over the world.

world. That is the true legacy of a great man.” Copley is honored to present the balance of the collection of

Butler’s passions and pursuits included skiing, sailing,

this preeminent acquisitor and wise gentleman.

travelling, cooking, and collecting. A discerning and varied acquisitor, Butler collected wine, watches, Cuban cigars, California Impressionist paintings, antique cars, and decoys. For over a half of a century, he was respected as a top-flight decoy collector. His biggest decoy collecting coup was putting together the syndicate to purchase the Eshenbaugh Collection. Eshenbaugh was one of the great unheralded primary-source decoy collectors. As such, the group of carvings that Butler, French, and Sorenson acquired represented one of the finest decoy collections to ever come to market at the time. Though it William Joseph Butler Jr.

188

353 Wigeon Hen

353

JOHN ENGLISH (1848-1915) FLORENCE, NJ, C. 1880 13 1/2 in. long

A tack-eyed, hollow-carved Delaware River decoy with its original weight and a Mackey Collection stamp on the underside. A heralded example in working paint by the celebrated John Dawson (1889-1959). In excellent Dawson paint with even gunning wear.

PROVENANCE: John Dawson Rig William J. Mackey Jr. Collection William J. Butler Jr. 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, Session IV, lot 64, exact decoy illustrated.

H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 149, exact decoy illustrated.

354

354 Snuggle-Head Pintail Drake JESS HEISLER (1891-1943) BURLINGTON CITY, NJ, C. 1935 15 in. long

A tucked-head pintail drake with raised, carved primaries.

The decoy bears the Mackey ink stamp on the bottom.

Regarding this exact decoy, Mackey writes, “Lazy, wellfed, Pintail decoys like this one must have been irresistible to their passing brethren. The observant rivermen of the Delaware never changed their style. Normal-sized, hollow bodies with carved tail and wing feathers are their trademark. The restful head and good paint pattern complete the Delaware River image.� Original paint with light gunning wear.

PROVENANCE: William J. Mackey Collection William J. Butler Jr. Collection LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 141, pl. 120, exact decoy illustrated.

Richard A. Bourne Co., Inc., Rare American Bird Decoys, Bird Carvings, and Related Materials, Hyannis, MA, 1978, Session I & II, lot 294, exact decoy illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 7 (bird top right), exact decoy illustrated.

Oakbrook, Illinois, Exhibition of Classic Antique Waterfowl Decoys, Midwest Decoy Collectors Association, April 24-26, 1980.

EXHIBITED:

189

355

355 Early High-Head Canvasback JOHN McLAUGHLIN (1911-1985) BORDENTOWN, NJ, 1930 17 1/2 in. long

A high-head canvasback drake bearing the inked inscription “John W. McLaughlin / Made June 18, 1930 / First Canvas-Back” and the Mackey Collection white-ink stamp on the underside. Early gunning paint with wear, including minor flaking.

PROVENANCE: William J. Mackey Collection William J. Butler Jr. Collection LITERATURE: Richard A. Bourne Co., Inc., Rare American Bird Decoys, Bird Carvings, and Related Materials, Hyannis, MA, 1978, Session I & II, lot 299, exact decoy illustrated.

Oakbrook, Illinois, Exhibition of Classic Antique Waterfowl Decoys, Midwest Decoy Collectors Association, April 24-26, 1980.

EXHIBITED:

356

356 Canvasback Drake JOHN DAWSON (1889-1959) TRENTON, NJ, C. 1920 16 in. long

A near mint decoy bearing a stamped “J D” and an inked inscription “Drake Canvasback by John Dawson - Duck Island, N.J. Typical Delaware River Decoy circa - 1898. This decoy found in barn loft in New Egypt, N.J. 6-13-64. Never used, decoy had been there since 1920. Owner duck hunted with Dawson on Delaware” on the underside. In original paint with minimal wear.

PROVENANCE:

357

William J. Butler Jr. Collection

357 Mallard Pair

JOE MORGAN (1924-2010) HOLLAND, PA, C. 1950 17 in. long

A hollow resting pair of mallard decoys with carved bills, detailed glass eyes, and raised primaries. The lead weight on the bottom of the drake is stamped “R. Carman, Tullytown, PA.” Possible second coat of paint by the maker.

PROVENANCE:

190

William J. Butler Jr. Collection

358 Tucked-Head Black Duck

358

WILLIAM H. QUINN (1915-1969) TULLYTOWN, PA, C. 1930 15 in. long

A Quinn decoy with incised, raised primaries and carved tail and bill detail. The underside bears a weight stamped “W QUINN TULLYTOWN.” In typical gunning paint by the maker with minimal wear.

PROVENANCE:

William J. Butler Jr. Collection

359

359 Tucked-head Bluebill JOSEPH S. KING (1905-1992) EDGELY, PA, C. 1930 13 in. long

Hailing from the artist’s own rig, this decoy is a fine Joe King bluebill. The weight on bottom is stamped “J. S. King, Edgely, PA.” In gunning paint by the maker.

PROVENANCE:

360 Hollow Black Duck

C. RIDGEWAY MARTER (1893-1977) BURLINGTON, NJ, C. 1930 15 1/2 in. long

William J. Butler Jr. Collection

360

A stylish, low-head decoy exhibiting raised, incised primaries and carved tail feather and bill detail. Marter was an early-1920s auto mechanic who ran Marter’s Garage on Beverly Road in Burlington and carved decoys between car repairs. Original paint with even gunning wear.

PROVENANCE:

William J. Butler Jr. Collection

191

361

361 Mallard Drake

CHARLES WALKER (1873-1954) PRINCETON, IL, C. 1925 17 in. long

This hollow decoy features excellent paint, raised wings, and a slightly turned head. “22” is painted on the underside. Original paint with even gunning wear and varnish.

PROVENANCE:

362

William J. Butler Jr. Collection

362 Pintail Drake

CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1920 16 in. long

As found.

PROVENANCE:

192

William J. Butler Jr. Collection

363 Pintail Drake

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910 18 3/4 in. long

363

Original paint with even wear, including faint age lines in head and some restoration to the bill and tail.

PROVENANCE:

William J. Butler Jr. Collection

364 Pintail Drake

BENJAMIN SCHMIDT (1884-1968) DETROIT, MI, C. 1940 17 1/2 in. long

364

In original paint with gunning wear.

PROVENANCE: William J. Butler Jr. Collection

193

365

365 Pintail Drake

HECTOR “HECK” WHITTINGTON (1907-1981) OGLESBY, IL, 1943 17 in. long

A hollow decoy with comb-feather detail and the inked inscription “Compliments of Hector Whittington Osglesby ILL Oct. 1943” on the underside. Branded “WP.” Original paint with minor gunning wear.

PROVENANCE:

366 Mallard Pair

William J. Butler Jr. Collection

366

G. BERT GRAVES (1880-1956) PEORIA, IL, C. 1930 17 in. long

A fine pair of hollow mallards, both birds retain the original “G.B. Graves Decoy Co. Peoria, ILL” weight and an incised “CJC” on the bottom. Original paint with gunning wear; the hen has a reset tail chip.

PROVENANCE:

William J. Butler Jr. Collection

367

367 Hollow Canvasback

WILLIAM LOHRMANN (1890-1955) PEORIA, IL, C. 1920 16 in. long

Original paint with light wear, a faint age line along back, and a reset bill.

PROVENANCE:

194

William J. Butler Jr. Collection

368 Pintail Drake

G. BERT GRAVES (1880-1956) PEORIA, IL 17 1/2 in. long

368

A fine hollow Graves pintail featuring Edna Perdew’s paint. Original paint with even gunning wear and restoration to tail chip.

PROVENANCE:

William J. Butler Jr. Collection

369 Mallard Drake

CHRIS POWERS (1902-1958) PERU, IL, C. 1935 17 1/2 in. long

369

A slightly turned-head mallard drake with metal curl feathers, the maker’s name stamped on the lead weight, and initials painted at base of bill. Powers paint with even gunning wear, a reset bill, and an age line under tail.

PROVENANCE:

William J. Butler Jr. Collection

370 Pintail Drake

HENRY HOLMES (1870-1940) BUREAU, IL, C. 1900 16 1/2 in. long

370

A hollow, turned-head pintail with comb feather detail. Old, possibly original paint with gunning wear.

PROVENANCE:

William J. Butler Jr. Collection

195

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

371

371 Swimming Merganser Hen A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1915 19 in. long

A racy merganser with carved bill detail, glass eyes, and Crowell’s early oval brand on the bottom. Original paint with gunning wear.

PROVENANCE:

William J. Butler Jr. Collection

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

372

372 Monomoy Brant

A. ELMER CROWELL (1862-1952) (ATTR.) EAST HARWICH, MA, C. 1900 18 1/2 in. long

Made for the Monomoy Brant Club. This decoy exhibits a painted crossed-wing tip finish, which may have been the precursor to Crowell’s famous raised crossed-wing carving. Branded “WP.” Original paint with gunning wear, and a check along the right side.

PROVENANCE: William J. Mackey Collection Tony Waring Collection William J. Butler Jr. Collection

196

373 Rare Pintail Hen

DOUG JESTER (1876-1961) CHINCOTEAGUE, VA, C. 1920 17 1/2 in. long

373

An exceptional and early example by one of Chincoteague’s best makers. Of the handful of Jester hen pintails that have surfaced in the last fifty years, this is among the finest. A closely related example from the Gresham Collection is illustrated in James Trimble’s article on the maker published in Decoy Magazine, March/April 2004 on page 9. Original paint with even gunning wear.

PROVENANCE:

William J. Butler Jr. Collection

374 Goldeneye Wing Duck

RICHARD L. TILGHMAN (1887-1937) EASTON, MD, C. 1930 14 in. long

374

A cast-iron goldeneye sinkbox decoy. Wing ducks of this species are a rarity. Documented examples by named makers in original paint are virtually unheard of, making this historic, iron wing duck one of the rarest to have surfaced. Original paint with gunning wear.

PROVENANCE:

William J. Butler Jr. Collection

LITERATURE: James L. Trimble, “Richard Lloyd Tilgham: Talbot County Farmer, Sportsman and Decoy Maker,” Decoy Magazine, September/October 1997, p. 37, related decoy illustrated.

Robert H. Richardson, ed., Chesapeake Bay Decoys, Burtonsville, MD, 1991, p. 96, related drake illustrated.

375 Wooden Canvasback Hen Wing Duck SCOTT JACKSON (1852-1929) CHARLESTOWN, MD, C. 1900 16 in. long

375

Original paint with minimal gunning wear.

PROVENANCE:

William J. Butler Jr. Collection

197

376

376 Black Duck

ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1930 16 in. long

Original paint with gunning wear, including a reset tail by maker.

PROVENANCE:

377

William J. Butler Jr. Collection

377 Mallard Drake

ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1930 16 in. long

Original paint with light gunning wear and a hairline crack in neck.

PROVENANCE:

378

William J. Butler Jr. Collection

378 Canvasback

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

As found.

PROVENANCE:

379

William J. Butler Jr. Collection

379 Canvasback Drake

JAMES A. “JIM” CURRIER (1886-1969) HAVRE DE GRACE, MD, 1963 16 1/2 in. long

A canvasback bearing an inked inscription that reads “James Currier / Havre De Grace, MD / Oct 1963.”

Original paint with minor wear, including touch-up to flaking on back.

PROVENANCE:

198

William J. Butler Jr. Collection

380

382

381

383

380 Goldeneye Drake

382 Redhead

In working repaint with gunning wear.

A solid-bodied decoy with traditional rigging. As found.

EDWARD T. PARSONS (1856-1937) OXFORD, MD, C. 1910 14 in. long

PROVENANCE:

William J. Butler Jr. Collection

CAPT. BENJAMIN F. DYE (1832-1896) PERRYVILLE, MD, C. 1880 13 1/4 in. long

PROVENANCE:

William J. Butler Jr. Collection

381 High-Head Canvasback Drake

383 Canvasback Pair

Appears to be original paint with even wear.

The drake has a turned head and both are stamped with rig initials on the undersides. Stamped letters include “HRJ,” “MM,” and “H McM.” Original paint with gunning wear and an age line on left side of hen.

JOHN WEEKS NORTH EAST, MD, C. 1945 17 in. long

PROVENANCE:

William J. Butler Jr. Collection

CAPT. HARRY R. JOBES (1936-2019) ABERDEEN, MD, 1959 15 in. long

PROVENANCE: Harry R. Jobes Rig William J. Butler Jr. Collection

199

384

384 Black Duck

JESS HEISLER (1891-1943) BORDENTOWN, NJ, C. 1920 15 1/2 in. long

A three-piece, hollow black duck decoy with carved, raised primaries, fluted tail carving, and bill detail. In original paint with gunning wear, a reset bill, roughness to tail edge, and an age line through body.

PROVENANCE:

385

William J. Butler Jr. Collection

385 Canvasback

JOHN MCLAUGHLIN (1911-1985) BORDENTOWN, NJ, C. 1970 16 in. long

A hollow canvasback decoy with bill detail. As found.

PROVENANCE:

386

William J. Butler Jr. Collection

386 Canvasback Drake CHARLES BLACK (1882-1956) BORDENTOWN, NJ, C. 1925 16 in. long

A hollow canvasback with carved bill detail bearing the inked inscription “C. W. Black Denton N. J.” Appears to be in original paint with even gunning wear.

PROVENANCE:

387

William J. Butler Jr. Collection

387 Brant

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1910 17 in. long

As found.

PROVENANCE:

200

William J. Butler Jr. Collection

388 Rocking-Head Scoter

AUGUSTUS “GUS” AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1900 19 1/2 in. long

A white-winged scoter with Wilson’s innovative head design and raised wings. Branded “WP.” Original paint with a reset neck with touch-up, even gunning wear, and some imperfections to wood, mostly under the tail.

PROVENANCE:

William J. Butler Jr. Collection

388

390

389

391

390 Pintail Drake

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1954 19 in. long

A slightly turned-head pintail bearing the Ward Brothers’ ink stamp and the inscription “L. T. Ward - Bro. Crisfield MD. - 1954” on the underside. Original paint with even gunning wear, restoration to check down back and touch-up to neck seam.

PROVENANCE:

William J. Butler Jr. Collection

389 Canvasback Hen

FRANK COCKEY (1896-1988) KENT ISLAND, MD, C. 1930 15 1/2 in. long

Original paint with minor wear.

PROVENANCE:

William J. Butler Jr. Collection

391 Canada Goose

LLOYD J. TYLER (1898-1970) CRISFIELD, MD, C. 1930 24 in. long

As found.

PROVENANCE:

William J. Butler Jr. Collection

201

392

392 Yellowlegs

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900 11 in. long

A split-tailed shorebird decoy with stippled paint and fine proportions. Original paint with even gunning wear, restoration to neck and head, and a replaced bill.

PROVENANCE:

393

William J. Butler Jr. Collection

393 Ruddy Turnstone C. 1880 7 1/2 in. long

Original paint with heavy gunning wear and a broken bill tip.

PROVENANCE:

William J. Butler Jr. Collection

LITERATURE: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, pp. 36 and 38, exact decoy illustrated twice.

394

394 Black-Bellied Plover

ACCOMACK COUNTY, VA, C. 1880 8 in. long

A rotund plover hailing from Virginia. Original paint with gunning wear, some minor darkening to flaking, and a replaced bill.

PROVENANCE:

William J. Butler Jr. Collection

LITERATURE: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 92, exact decoy illustrated.

395

395 Two Pigeons 14 1/2 in. long

As found.

PROVENANCE:

202

William J. Butler Jr. Collection

396

398

397

399

396 Bluebill Hen

398 Black Duck

Branded “C. A. DUKE.” Original paint with even gunning wear and a neck crack.

A late-model, slightly turned-head black duck by Connecticut’s preeminent maker. As found.

FRANK COOMBS (1882-1958) ALEXANDRIA BAY, NY, C. 1920 15 in. long

PROVENANCE:

William J. Butler Jr. Collection

CHARLES E. “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1945 17 in. long

PROVENANCE:

William J. Butler Jr. Collection

397 High-Head Redhead

399 Canada Goose

TOBIN MELDRUM FAIR HAVEN, MI, C. 1880 15 1/2 in. long

JOE KING (1835-1913) MANAHAWKIN, NJ, C. 1870 24 in. long

A hollow, wooden redhead bearing an incised “A” under the bill. Old paint is possibly original.

An oversize, hollow decoy by one of New Jersey’s earliest and finest makers. As found.

PROVENANCE:

William J. Butler Jr. Collection

PROVENANCE:

William J. Butler Jr. Collection

203

400

400 Five Delaware River Decoys 15 1/2 in. long

A canvasback drake with a metal plate inscribed with “Paul Green” on the underside along with his inked signature and “1932,” a hollow canvasback drake, a halfshell decoy, and two other working decoys. As found.

PROVENANCE:

401

William J. Butler Jr. Collection

401 Three Swimming Decoys HURLEY CONKLIN (1913-1991) MANAHAWKIN, NJ, C. 1965 Canada goose 28 in. long

Three hollow swimming decoys. The merganser is signed and dated 1966 by the maker on the underside.

The Canada goose is signed and dated 1964 on the underside. The underside of the brant bears the maker’s “H. CONKLIN” brand. In original paint with minimal wear.

PROVENANCE:

402

William J. Butler Jr. Collection

402 Eider

MAINE, C. 1910 17 in. long

An oversize Down East sea duck decoy with an inletted head. As found.

PROVENANCE:

403

William J. Butler Jr. Collection

403 Redhead Drake and Bluebill Drake ROBERT ELLISTON (1847-1925) BUREAU, IL, C. 1890 14 in. long

Both display scratch-feather paint detail. The underside of the redhead bears “THE ‘ELLISTON’ DECOY” lead weight and an incised “D.W.V.” As found.

PROVENANCE:

204

William J. Butler Jr. Collection

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

404 Curlew

404

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 13 1/4 in. long

In addition to being the most well-known decoy maker from New Jersey, Harry Vinuckson Shourds is also one of the earliest.

Original paint with touch-up, gunning wear, age lines, and a replaced bill.

LITERATURE: John M. Levinson and Somers G. Headley, Shorebirds, Centreville, MD, 1991, title page, p. 82, pl. 6-17, rigmate illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 69, pl. 130A, similar example illustrated.

$3,000 - $4,000

405

405 Robin Snipe

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890 8 1/2 in. long

A robin snipe in spring plumage. Red knot carvings by this maker are amongst the rarest of this species that he carved with the majority of Shourds decoys fashioned as plovers and yellowlegs. Original paint, gunning wear, neck reset with some touch-up, varnish successfully removed.

PROVENANCE:

Richard LaFountain Collection

Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 70, related examples illustrated.

Peter Johnson and Alf Wannenburgh, The World of Shooting, Lausanne, Switzerland, 1987, pp. 259-261, related decoy 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. $1,500 - $2,500

205

407

406

406 Running Golden Plover MASSACHUSETTS, C. 1900 11 in. long

As found.

PROVENANCE:

Private Collection, Massachusetts

407 Running Shorebird COBB ISLAND, C. 1890 10 1/2 in. long

As found.

408

206

408 Four Shorebirds 10 1/2 in. long

As found.

NORTH CAROLINA

409

409 Two Eskimo Curlews NORTH CAROLINA, C. 1880 12 1/2 in. long

Carvings of this now-extinct species rarely surface, making this pair all the more alluring. Appears to be original paint with gunning wear.

410 Bowling Pin Shorebird C. 1920 10 in. tall

410

An iron-billed shorebird fashioned from a bowling pin. As found.

207

411 Canvasback Drake

411

GEORGE S. WATERFIELD (1885-1926) KNOTTS ISLAND, NC, C. 1915 16 1/2 in. long

In Gunnin’ Birds, author Kroghie Andresen writes, “Around the turn of the century George Waterfield carved some of the most recognizable decoys from Knotts Island.” Working repaint and bill restoration, reheaded at some point during its gunning life. $600 - $900

412 Black Duck

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1930 17 1/2 in. long

412

A full-bodied black duck that features carved bill detail and tack eyes. The body, exhibiting scratch-feather paint, tapers down to Hudson’s signature fluted tail. As found. $500 - $700

413

413 Canada Goose

IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920 21 in. long

As found in Lem Ward paint. $400 - $600

208

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

414

414 Cobb Island-Style Canada Goose MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 29 1/2 in. long

415

Measuring almost thirty inches from tip-to-tip, this hollow Cobb-style goose is among the maker’s most grand. The underside bears the maker’s incised “McNair” signature. Original paint with even wear. $1,500 - $2,500

415 Red-Breasted Merganser MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 19 in. long

A long-bodied merganser with influences from Maine, including a horse-hair crest and an inletted head.

The underside is incised “McNAIR.” Original paint with even wear.

PROVENANCE:

416

Donald Kirson Collection

$1,500 - $2,500

416 American Merganser Drake MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1985 20 in. long

A spoke-shaved merganser with a slightly turned head.

Signed with an incised “M S McNair” signature on the underside. In original paint with minor wear.

PROVENANCE:

Donald Kirson Collection

$1,000 - $1,500

209

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA

417

419

418

420

417 Curlew

419 Black-Bellied Plover

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1995 12 1/2 in. long

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1985 10 1/2 in. long

A bone-billed curlew with a broad head and pronounced raised wings. Signed on the underside with an incised “McNair.” Original paint with even wear.

A black-bellied plover with carved wings, a split tail, glass eyes, a splined bill, and the maker’s incised signature on the bottom. Original paint with light wear.

PROVENANCE:

Donald Kirson Collection

Donald Kirson Collection

$600 - $900

$400 - $600

418 Running Willet

420 Cobb Island-Style Curlew

This decoy has a forward-reaching head, intricately incised eye carving, and the maker’s incised signature on the underside. Original paint with minimal wear.

Signed with an incised “McNair” signature.

Original condition.

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 13 in. long

PROVENANCE:

Donald Kirson Collection

$600 - $900

210

PROVENANCE:

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990 13 in. long

PROVENANCE:

Donald Kirson Collection

$600 - $900

421 Red Knot and Dowitcher with Raised Wings MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1985 11 in. long

421

Both of these carving are signed by the maker on the underside with his incised “McNair.” Original paint with minor wear.

PROVENANCE:

Donald Kirson Collection

$1,000 -$1,500

422 Woodcock JOHN VULCANI LASALLE, IL, 2019 9 in. long

422

A turned-head woodcock with fine carving and paint detail. Signed “JV” on the underside. Original paint with minimal wear.

423 Dove

MARTIN HANSON (B. 1965) PRIOR LAKE, MN, C. 1990 12 in. long

423

A hollow dove decoy with slightly raised primaries and the maker’s incised “MH” on the underside. Original paint with minimal wear. $200 - $300

424 Caines-Style Mallard Pair FRANK S. FINNEY (B. 1947) CAPEVILLE, VA, C. 1990 18 1/4 in. long

424

A pair of mallards exhibiting deeply incised wing detail. The undersides of both bear the carver’s stylized signatory stamp. Original paint with minimal wear. $1,200 - $1,800

211

425

427

426

428

426 Oversize Puffin

425 Owl

HERTERS MANUFACTURING INC. (EST. 1890S) WASECA, MN, C. 1940 19 in. tall

Both William J. Mackey Jr. and Quintina Colio dedicate chapters in their books to owl and crow decoys. Mackey dedicates an entire full page, showcasing the Minnesota maker’s well-conceived great horned owl design.

“The use of an owl to bring Crows within gunshot reverses the principle of all methods of luring or decoying birds.

Every other decoy works on the principle of conveying to approaching birds the promise of congenial associates, food, or safety. The owl is an irritant and, since time began, an enemy of the Crow. Thus the owl decoy occupies a niche all its own.” - William J. Mackey Jr. An outstanding example that saw use in the field. Original paint with minimal wear, including a small chip to backside of right tuft.

PROVENANCE:

Private Collection, Massachusetts

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 198, closely related example illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 78-79, chapter on owl decoys.

$2,000 - $4,000

212

18 in. tall

A decorative wood carving with metal feet. Original paint with artist applied even wear. $400 - $600

427 Flying Harlequin Pair MIKE BORRETT (B. 1960) MADISON, WI, 2006 17 in. long

A pair of harlequin ducks with seventeen-inch-wide wingspans. Both are signed and dated by the maker on the top of one flight feather. Original paint with minor wear. [hen shown] $800 - $1,200

428 Two Flickers

DUFFY LAWSON CRISFIELD, MD, C. 1950 10 in. long

Two flicker carvings resting on metal legs. The smaller flicker has a balsa body. Both in original paint with minimal wear. $600 - $900

429 A Contemporary Flying Geese Weathervane 52 in. long, 34 1/2 in. tall

Two flying geese mounted to an arrow directional. As found.

429

430 Curlew Weathervane C. 1980 46 by 35 by 18 in.

The wooden carved curlew bears an iron bill and measures nine inches tall, thirty-five inches wide, and two inches deep. It is mounted on a metal pole which is embedded in a tree stump. As found.

PROVENANCE:

430

Gil Walsh Collection

$1,000 -$1,500

431 Contemporary Sperm Whale 34 in. long

Carved in wood with aged surface. As found.

431

213

LONG ISLAND, NY

432

432 Running Sandpiper

WILLIAM H. SOUTHARD (1874-1940) SEAFORD, LONG ISLAND, NY, C. 1900 9 in. long

A racy bird from Seaford with S-curve wings and nicely stippled paint. The underside bears the ink stamp of the Adele Earnest Collection. Original paint with gunning wear.

PROVENANCE: Adele Earnest Collection Private Collection LITERATURE: Adele Earnest, Folk Art in America, Exton, PA 1984, p. 163 exact decoy illustrated.

$2,500 - $3,500

433

433 Black-Bellied Plover

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

This boldly fashioned beetle-head displays carved eyes, raised wings, and Verity’s expertly stippled paint.

Original paint with gunning wear, an original age line along left side, gunning touch-up to white, and a replaced bill.

PROVENANCE:

Richard LaFountain Collection

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

$1,000 - $2,000

434

434 Golden Plover

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

Excellent original paint with minimal gunning wear.

PROVENANCE:

214

Richard LaFountain Collection

HARALD THENGS 1893-1974 | BABYLON, NY

435

435 Red-Breasted Merganser Pair HARALD THENGS (1893-1974) BABYLON, NY, C. 1935 18 1/2 in. long

A fine pair of red-breasted mergansers, known as the “Viking Decoys,” made on Long Island by Harald Thengs for his own personal rig. Later in life he moved to Norway with this rig. A 1990 article in Decoy Magazine on Thengs reports, “Until 1983, Thengs’ extraordinary rig of decoys lay hidden in a dusty sea chest in the attic loft of his family’s 350 year old farmhouse in Tengs, Norway.” The sleek lines of the balsa bodies resemble the low profile of Viking long ships.

Each has a “H Thengs” ink stamp on the underside. Original paint with working touch-up by the maker, even gunning wear, a small chip to hen’s crest, and age lines in both necks.

PROVENANCE:

Private Collection LITERATURE: Gene & Linda Kangas and the Thengs family, “Viking Decoys,” Decoy Magazine, Mar/April 1990, cover and p. 12, related examples illustrated.

$5,000 - $7,000

Harold Thengs Rig

215

ROBERT ELLISTON 1847-1925 | BUREAU, IL

436

436 Green-Winged Teal Drake ROBERT ELLISTON (1847-1925) BUREAU, IL, C. 1890 12 1/4 in. long

A rare hollow carving with raised “V” notched bill carving. The underside bears “THE ELLISTON DECOY” lead weight. Original paint with wear, traces of some overpaint, and restoration to one-third of bill tip.

LITERATURE:: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp.

29-37, related drake and blue-winged pair illustrated.

$6,500 - $8,500

216

ROBERT ELLISTON

1847-1925 | BUREAU, IL

437

437 Rare Green-Winged Teal Hen ROBERT ELLISTON (1847-1925) BUREAU, IL, C. 1890 13 in. long

An exceptionally rare carving by Robert Elliston, widely regarded as the father of the Illinois River decoy carving tradition. The underside bears “THE ELLISTON DECOY” lead weight. Original paint with some flaking, mostly along the bottom. Restoration to lower left side of bill.

LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp.

29-37, related drake and blue-winged pair illustrated.

$6,500 - $8,500

217

438 Rare and Important Ohio Gadwall 438

OHIO, C. 1870 13 in. long

An early and exceptional Gadwall decoy. Very few decoys of this species exist making this one of not only one of Ohio’s best carvings, but also one of the finest gadwall from any region.

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. Excellent original paint with minimal gunning wear and minor flaking.

439

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.

$10,000 - $12,000

439 Black Duck

DELAWARE RIVER, C. 1930 15 1/2 in. long

A nicely-carved decoy with a slightly raised head displaying elevated through-carved raised wings above a paddle tail. Stamped “JK CRAMER.” $3,000 - $4,000

218

MARK S. MCNAIR

B. 1950 | CRADDOCKVILLE, VA 440 One-of-a-Kind Passenger Pigeon Pair MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA stump is 24 in. long

440

According to the maker, these are the only passenger pigeons he has ever carved. Signed and dated “2018” in ink. On back, incised “McNair” on underside. Original paint and stand. $5,000 - $8,000

441 Wood Duck

MARK S. MCNAIR (B. 1950) OLD LYME, CT, 1977 14 in. long

441

An early hollow drake with a slightly turned head and raised crest. The underside is incised “M McNAIR” with a 5-point star. Original paint with minimal wear.

PROVENANCE: Jack Marsh Collection Private Collection

$2,500 - $3,500

219

PAT GODIN

B. 1953 | PARIS, ONTARIO, CANADA

442

442 Trillium Woods Drummer PAT GODIN (B. 1953) PARIS, ONTARIO, CANADA, 1998 16 1/2 in. tall on base, 20 in. wide base

This drumming ruffed grouse on a log is a truly exceptional, award-winning work by a living legend of decorative bird carving. Both the bird and the log are carved and painted wood. The exceptional shaping of layered feathers and accuracy in achieving the realistic and complex patterns of this bird reflects the artist’s deep knowledge and respect for the ruffed grouse. While the bird is the centerpiece of this carving, the carved log on which it is perched is a masterful element of the presentation, inspired by the artist’s extensive observations in the forest. Of note is the layering of the bark at the end of the log which echoes the layered feathers of the expanded tail. This thorough design is no accident, as all features of this carving were modeled in clay before sculpting in wood.

The premier event of the annual Ward World Championship Wildfowl Carving Competition is the highly competitive Decorative Life Size class. In 1998 this lot, Trillium Woods Drummer, was judged first runner-up in this elite group. The 220

Ward Museum, the host of the event, acquired the blueribbon carving for its collection, making this the top ranked work available for private ownership.

Pat exhibited at the Waterfowl Festival in Easton, Maryland for thirty years and in 1984 he was inducted into Festival’s Hall of Fame. During the 2015 Ward World Championship in Ocean City, Maryland, Pat was honored as a Living Legend.

The underside of the base is inscribed and signed by the artist “Trillium Woods Drummer / 1998 / by Pat Godin.”

Original condition with minimal wear, one crest feather reset by the artist.

PROVENANCE: Private Collection, Pennsylvania, acquired directly from the artist

Ocean City, Maryland, Ward World Championship Wildfowl Carving Competition, Ward Museum of Waterfowl, 1998, first runner-up.

EXHIBITED:

$10,000 - $20,000

JETT BRUNET

B. 1964 | GALLIANO, LA

443

443 Outstanding Gadwall JETT BRUNET (B. 1964) GALLIANO, LA, 2001 13 1/4 in. long

Jett Brunet was exposed to decorative carving from his early childhood as the son of the pioneering championship carver Andrew “Tan” Brunet (b. 1938). In addition to learning directly from his father, he was exposed to other premier carvers of the twentieth century at the Easton Waterfowl Festival and Ward Foundation World Championship Wildfowl Carving Competition.

Jett was carving and competing before the age of ten and his father retired from competition when his son entered the professional categories. He won the prestigious World Championship Decorative Decoy Pairs competition at the age of twenty-one. This was just a beginning for what has

gone on to be one of the most accomplished contemporary carving careers ever. Indeed, the Ward Museum reports, “Over a period of about five years, Jett won over 35 Best of Show awards.”

Showcasing his abilities, the elaborate plumage of a drake gadwall provided the artist a challenging subject that he represents with a confident mastery. Near-mint original condition. $8,000 - $12,000

“This man, Pat Godin, has already accomplished more than most of us dream of in the world of wildfowl carving...

My advice is this: when you have a chance to question Pat Godin about carving do a lot of listening. I do!”

- Tan Brunet (b. 1938) Five-time World Champion Decorative Decoy Pairs

221

GEORGE STEVENS 1856-1905 | WEEDSPORT, NY

444

444 Pintail Hen

GEORGE STEVENS (1856-1905) WEEDSPORT, NY, C. 1900 17 1/2 in. long

A rare pintail hen with a “G W Stevens” ink stamp on the bottom. In original paint with minor wear, some flaking along an original thin age line on back.

PROVENANCE: Arnold and Lillian Colodny Collection Private Collection LITERATURE: Dr. Peter J. Muller and Peggy Lane Muller, The Stevens Brothers, Lewes, DE, 2009, p. 246, related example illustrated.

$8,000 - $12,000

222

HARVEY STEVENS

1847-1894 | WEEDSPORT, NY

445

445 Blue-Winged Teal

HARVEY STEVENS (1847-1894) WEEDSPORT, NY, C. 1880 13 1/2 in. long

In Newell’s The Essential Guide to Stevens Decoys: Volume One, the author describes this exact bird as “The only known example of a Harvey Stevens Tackeye from the 1880 period.” The author selected a related teal for the cover.

Outstanding original paint with some gunning wear and some minor, original imperfections to wood on each side.

PROVENANCE: Arnold and Lillian Colodny Collection Shane A. Newell Collection Private Collection LITERATURE: Shane A. Newell, The Essential Guide to Stevens Decoys: Volume One, New York, 2004, front cover, similar decoy illustrated, p. 61, exact decoy illustrated.

Dr. Peter J. Muller and Peggy Lane Muller, The Stevens Brothers, Lewes, DE, 2009, p. 213, related decoy illustrated.

$8,000 - $12,000

223

THE STEVENS WEEDSPORT, NY

446

446 Canvasback Drake

HARVEY STEVENS (1847-1894) WEEDSPORT, NY, C. 1880 17 1/2 in. long

A decoy with comb-feather paint detail and a circular poured lead weight on the bottom. As found.

LITERATURE: Guyette and Deeter, North American Decoys at Auction, April 2017, lot 422, exact decoy illustrated.

447

447 Bluebill

GEORGE STEVENS (1856-1905) WEEDSPORT, NY, C. 1880 14 1/2 in. long

A bluebill with a “FLH” brand and two circular poured lead weights on the bottom. As found.

448

448 Redhead

HARVEY STEVENS (1847-1894) WEEDSPORT, NY, C. 1880 14 1/2 in. long

A redhead with a circular poured lead weight on the bottom. As found.

224

THE STEVENS WEEDSPORT, NY

449

450

449 Redhead

450 Canvasback

As found.

A canvasback drake bearing the Mackey ink stamp on the underside. As found.

GEORGE STEVENS (1856-1905) WEEDSPORT, NY, C. 1890 15 1/2 in. long

LITERATURE: Guyette and Deeter, North American Decoys at Auction, April 2015, lot 212, exact decoy illustrated.

$3,000 - $5,000

GEORGE STEVENS (1856-1905) WEEDSPORT, NY, C. 1900 18 in. long

PROVENANCE: William J. Mackey Collection Private 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, 1974, Session III, lot 273, exact decoy illustrated.

Dr. Peter J. Muller and Peggy Lane Muller, The Stevens Brothers, Lewes, DE, 2009, p. 317, related examples illustrated.

$2,000 - $3,000

225

451

451 Bluebill

GEORGE STEVENS (1856-1905) WEEDSPORT, NY, C. 1880 14 in. long

A bluebill with comb-feather paint detail, a white label that reads “Property of Oscar Johnston,” and a circular poured lead weight on the bottom. As found.

452

452 Goldeneye Drake

HARVEY STEVENS (1847-1894) WEEDSPORT, NY, C. 1880 14 in. long

An early decoy with a paddle tail. Mix of original and gunning paint with repair to bill.

453

453 High Head Goldeneye Hen LORNE SMITH (ATTR.) LINDSAY, ONTARIO, C. 1930 14 in. long

A goldeneye hen with a pronounced head, paddle tail, and an inked inscription “M. L. Decker 1930” on the underside. This decoy bears a strong resemblance to the work of Lorne Smith of Lindsay, Ontario, illustrated on page 89 of Ontario Decoys by Bernie Gates. Early gunning paint with even wear, missing eyes, and some age lines in neck which is loose.

PROVENANCE:

Private Collection, Maine

LITERATURE: Bernie Gates, Ontario Decoys, Kingston, ON, 1982, p. 89, related decoys illustrated.

$500 - $800

226

454

454 Pintail Drake

CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1925 15 3/4 in. long

A hollow decoy exhibiting a slightly turned head. In repaint with wear. $300 - $500

455 Slope-Breast Bluebill

455

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1900 13 in. long

An early premier-grade bluebill with a slope breast. Mix of original and repaint. $500 - $700

456

456 Mallard Pair

G. BERT GRAVES (1880-1956) PEORIA, IL, C. 1930 17 1/4 in. long

A hollow gunning pair with both birds retaining their original “G.B. Graves Decoy Co. Peoria, ILL” weights on the bottoms. In mostly original paint with gunning wear.

Drake has a crack in neck. $600 - $800

227

JAMES JOSEPH AHEARN 1904-1963 | STAMFORD, CT

457

457 Flying Turkey

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1950 16 1/2 in. long

228

A rare flying tom with an eighteen-inch wing span and brass mounting brackets on the back side. This carving is one of the finest Ahearn works to ever come on the market. It exhibits head, wing, and tail carving and meticulous feather paint detail.

road. At the onset of World War II, he and his wife moved to Stamford, Connecticut. During the war, Ahearn began to carve birds for the Sporting Gallery and Bookshop in New York City. After the war, he started carving for Crossroads of Sport in New York City as well. In near-mint condition.

In the 1930s, “Joe� Ahearn lived in the New York City area.

He was a salesman for the National Cash Register Company and was known to have whittled small birds while on the

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

$3,000 - $5,000

The Sam and Betty Pierce Collection Lots 457-489

Over the course of five decades, Sam Pierce

appreciation for Ahearns work, the Pierces “once

developed a discerning eye as a passionate collector

drove overnight to a sale in Connecticut” where

of folk art and antiques. He owned an antique

objects from an Ahearn descendant were being

business in Middleboro, Massachusetts, until

offered for sale. Betty reflects, “That trip sparked

1999 when he and his wife Betty, a fellow antiques

our love for his work.”

collector, relocated to Maine. “We moved to Maine without a stick of furniture,” she recounts, “and we

The Pierces cherish the decades they have spent

went to auctions to fill the house.”

collecting folk art together. Betty has also shared the family’s passion with her two sons, Daniel L. and

Together the couple put together one of the finest

Byron N. Bruffee. Both of the Bruffees are carvers and

collections of carvings by James Joseph Ahearn

collectors of decoys and folk art, and Dan credits his

(1904-1963). Regarding the genesis of their

mother with teaching him the art of painting decoys.

458 Black Lab

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1940 3 1/2 in. tall

458

An extremely rare canine carving by the maker.

In original condition.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

229

459 Turkey Lamp

459

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1950

Two wooden carved turkeys mounted on a lamp. The lamp has a hardwood base, a metal stem, a brass bracket for mounting the flying carvings, and a shade. As found.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

460 Pheasant Lamp

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT

460

As found.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

461

461 Two Lamps

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1950

These Ahearn lamps represent the maker’s finer efforts.

One lamp features a pair of flying Canada geese, while the other displays two pintails in flight. Both are constructed with a hardwood base, a metal stem, a brass bracket for mounting the ten-inch-wide flying carvings.

As found.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

230

JAMES JOSEPH AHEARN 1904-1963 | STAMFORD, CT

462

462 Pheasant

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1930 14 1/2 in. long

A rare one-half-sized ring-necked pheasant standing on a carved base. As found.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

463

463 Miniature Turkey

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1940 8 1/2 in. long

Original paint with minimal wear.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

464 Woodcock

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1950 7 1/2 in. long

A turned-head flying woodcock with a thirteen-inchwide wingspan. In original condition.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

$1,000 - $2,000

464

231

465

465 Merganser

AMOS G. WALLACE (1882-1968) WEST POINT, ME, C. 1910 17 1/4 in. long

An oversize Down East decoy with carved eyes, an inletted head, dot-painted feather detail, and a curled-iron-rod weight. The iron bar acted as both as a weight and a grab bar when wrapping the anchor chord. Original paint with gunning wear, including a crack along underside.

PROVENANCE:

The Sam and Betty Pierce Collection

LITERATURE: Quintina Colio, American Decoys, Ephrata, PA, 1972, p.

28, similar decoys illustrated.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 106, pl. 174, related example illustrated.

$3,000 - $5,000

466

466 Ruffed Grouse

GEORGE HUEY (1866-1947) FRIENDSHIP, ME, C. 1890 bird is 9 in. long

A fine piece of Americana with incised wing and head detail mounted on a wooden base. The base has an incised “GR Huey” on the side. In original paint with even wear, a reset neck, and touchup to reset legs.

PROVENANCE:

467

The Sam and Betty Pierce Collection

467 Golden Plover

WILLIAM C. CHIPMAN (1822-1900) AND ISAAC K. CHIPMAN (1826-1901) SANDWICH, MA, C. 1860 9 1/2 in. long

These carvings by the Chipman brothers are truly unique, crafted with a completely hollowed-out shell design. The brothers were carpenters who ran a door, sash, and blind shop and were apparently fine craftsman. Original paint with light gunning wear, some age lines, and reset lower edges.

PROVENANCE: Joseph B. French Collection The Sam and Betty Pierce Collection LITERATURE: Adele Earnest, The Art of The Decoy: American Bird Carvings, New York, NY, 1965, p. 107, pl. 96, related example illustrated.

$1,000 - $1,400

232

468

468 Carved Eagle

THE “NANTUCKETER” ARTIST CARVING CO. BOSTON, MA C. 1950

A wall carving of a bald eagle that measures thirty-four inches wide and ten and one-half inches tall. As found.

PROVENANCE:

The Sam and Betty Pierce Collection

$600 - $900

469 Clock with Mallard Motif 29 1/2 by 10 by 4 in.

A banjo wall clock featuring a round opening for a painted dial, a long-waisted throat, and a rectangular pendulum box with hinged door. Both the throat and door are adorned with reverse-painted (verre églomisé) glass panels, and the case is flanked by curved brass frets. A detachable cast-brass eagle finial mounted atop the case is stored inside the case. As found.

PROVENANCE:

469

The Sam and Betty Pierce Collection

470 Codfish with Removable Fins 43 in. long

A wood-carved and painted cod with eight removable fins and two chains attached to the top of the fish for hanging. As found.

PROVENANCE:

The Sam and Betty Pierce Collection

$600 -$900

470

233

471

473

472

474

471 Three Miniature Baskets

473 Basket, 1903

largest is 4 1/2 in. long

5 1/2 in. tall

Three miniature wooden baskets including two with handles and a third bearing a faded colorful design. As found.

A woven basket bearing “J. W. W. 1903 To M. A. W.” on one side, and “Gone But Not Forgotten / True Love Never Dies” on the other side. In good original condition.

PROVENANCE:

The Sam and Betty Pierce Collection

PROVENANCE:

$600 - $900

Three woven baskets, one has a lid and another has a single handle. As found.

474 Nantucket Basket

largest has a 7 in. diameter

PROVENANCE:

The Sam and Betty Pierce Collection

An open oval basket with the top opening measuring nine by six inches. As found.

PROVENANCE:

234

The Sam and Betty Pierce Collection

472 Three Baskets

The Sam and Betty Pierce Collection

475

477

476

478

476 Child’s Toy Bird MID-18TH CENTURY 21 in. tall

A wooden wall hanging with incised designs. The mechanical bird moves by pulling on stone and cord. As found.

PROVENANCE:

The Sam and Betty Pierce Collection

$600 - $900

477 Bluebird Crock

8 3/4 in. tall and 11 1/2 in. wide

A presentation stoneware crock stamped “NEW YORK STONEWARE CO. / FORT EDWARD, N.Y. / 3.” This cylindrical crock with tooled handles is decorated with a large design of a bluebird and a stylized branch below.

As found.

PROVENANCE:

475 Baltimore Oyster Jar 8 1/4 in. tall and 4 1/2 in. wide

A stoneware jar stamped with “BALTIMORE COVE OYSTERS” on the side. As found.

PROVENANCE:

The Sam and Betty Pierce Collection

The Sam and Betty Pierce Collection

478 Niddy Noddy C. 1850 18 1/2 in. long

A hand-carved niddy-noddy used to make skeins from yarn for knitting. In good original condition.

PROVENANCE:

The Sam and Betty Pierce Collection

235

479

479 Round-Top Painted Chest 10 1/4 by 24 by 11 3/4 in.

As found.

PROVENANCE:

480

The Sam and Betty Pierce Collection

480 Painted Chest with Black and Red Trim 11 by 23 1/2 by 12 in.

As found.

PROVENANCE:

481

The Sam and Betty Pierce Collection

481 Heart Chest 6 by 11 by 6 in.

A miniature lift-top chest with carved detail at the corners and a carved heart on the lid and around the key hole on the front. As found.

PROVENANCE:

482

The Sam and Betty Pierce Collection

482 Small Chest 6 3/4 by 13 by 7 in.

A four-drawer wooden chest. The bottom drawer is larger and has a key hole. As found.

PROVENANCE:

236

The Sam and Betty Pierce Collection

483

483 Blanket Chest 1829 31 by 50 by 23 in.

A grain-painted footed blanket chest with a lift top, two drawers, an interior candle box, and applied molding. The front side bears the painted inscription “Elizabeth Gingrich 1829.� In original paint.

PROVENANCE:

The Sam and Betty Pierce

Collection $3,000 - $5,000

484 Painted Chest 4 1/2 by 29 by 13 1/2 in.

484

As found.

PROVENANCE:

The Sam and Betty Pierce

Collection

237

JAMES JOSEPH AHEARN 1904-1963 | STAMFORD, CT

485

485 Miniature Flying Teal and Mallard JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1950 6 in. long

Two detailed ducks in flight by this carver, whose work was sold through the Crossroads of Sport, New York from the 1940s through the 1960s. Both the teal and mallard are mounted on black rectangular bases. As found.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

486

486 Six Flying Miniatures

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1950 mallard is 7 in. long

A mallard pair (larger), a green-winged teal pair, and a wood duck hen and a green-winged teal drake. As found.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

487

487 Six Flying Miniatures

JAMES JOSEPH AHEARN (1904-1963) STAMFORD, CT, C. 1950 4 1/2 in. long

A gadwall pair with the maker’s white-paper label on the underside of the drake’s wing. A green-winged teal pair with each carving bearing the maker’s white-paper label. The third base holds a black duck and a mallard exhibiting the maker’s white-paper label. As found.

PROVENANCE: The Sam and Betty Pierce Collection, acquired from an Ahearn family estate sale

238

488 Three Miniature Carvings RUSS E. BURR (1887-1955) HINGHAM, MA, C. 1950

488

Two flying Canada geese mounted on a driftwood base, a five-inch-long flying mallard on a six-inch-wide base with the maker’s ink stamp “Russ P. Burr Hingham, Mass.” on the bottom, and a four-inch-tall standing willet carving displaying flared wings on a wooden base with the maker’s ink stamp signature on the bottom. As found.

PROVENANCE:

The Sam and Betty Pierce Collection

489 Great Horned Owl and Quail C. 1960 owl is 5 1/2 in. tall

489

The quail is signed “Bernard Blake / Kennebunkport, ME” on underside of the base. The great horned owl is signed “Dorothy Brown / North Haven, ME” on underside of the base. As found.

PROVENANCE:

The Sam and Betty Pierce Collection

490 Three Miniature Bird Carvings JESSE D. “JESS” BLACKSTONE (1909-1988) CONCORD, NH, C. 1950 3 1/2 in. long

490

A song sparrow, a goldfinch, and a chickadee standing on carved “rock” bases. The underside of the three bases are all signed with his conjoined “JB” initials. The song sparrow is marked “92,” chickadee is marked “2358,” and the goldfinch is marked “518.” Original paint with minimal wear. The song sparrow has touch-up to bill tip. $600 - $900

491 Miniature Canada Goose RUSS E. BURR (1887-1955) HINGHAM, MA, C. 1940

491

A hissing goose carving measuring almost five inches long on a base with the maker’s ink stamp signature on the bottom. Original paint with minimal wear.

239

492

493

494

240

495

492 Ten Duck Calls

494 Nine Duck Calls

Ten calls including a Harry’s Ear-Tuned Duck Call with mallard label, a call bearing an “Oscar Quam Duck Calls & Decoys Minneapolis Minnesota” label, five F. A. Allen Monmouth, ILL. calls, one call with a partially removed gold and red rectangular label, and two unmarked calls.

As found.

Nine duck calls including a Chick Majors, Dixie Mallard Call, Stuttgart, AR, c. 1970, a call stamped “Bean Lake, E. Stofer, Duck Call” for Dr. E. Stanton Stofer (1886-1958), Kansas City, MO, c. 1940, a fancy banded call with hand-etched checkered design work, an Earl Dennison call with a partially removed silver label, a call with reliefcarved flying duck motifs, a call with finely checkered raised panels, and three unmarked calls. As found.

493 Twelve Duck Calls Twelve duck calls including a call stamped “Bean Lake, E. Stofer, Duck Call” for Dr. E. Stanton Stofer (1886-1958), Kansas City, MO, c. 1940, a red cedar crow call stamped “Chas. H. Perdew, Henry, Ill. Pat. Nov. 2, 1909,” a call stamped “Chas. H. Perdew, Henry, Ill.,” two banded calls with checkered design work, a call bearing a “Hambone Calls / 318 Branch / Lonoke / Arkansas” green label, two calls incised with “Trutone / Oak Park, Ill., a call with a partially removed gold and red label, and three unmarked calls. As found.

495 Four Jumbo Duck Calls C. 1955 17 in. long

Four giant duck calls: including one with a yellow stamp which reads: “Faulk’s Duck Call 1954-1955 International Cahpm. Lake Charles, LA.” The other three are Ethertons Handmade Duck & Goose Calls. As found.

241

496

497

498

499

500

501

242

502

503

496 Cane Carved with a Hand, Snake, and Banner 34 1/2 in. long

The banner “earthquake shock 1886” refers to the Charleston, South Carolina, earthquake of 1886 which resulted in sixty deaths and was the most powerful earthquake ever recorded in the southeastern U.S. As found.

497 Cane with a Goose Handle and a Hunting Dog 34 in. long

As found.

498 Cane with a Snake with Nail Eyes 35 in. long

As found.

499 Nautical Cane Made of Vertebrae 34 in. long

As found.

500 Cane with a Cow Handle 39 1/2 in. long

501 Cane with Dogs Attacking a Wild Boar on Handle 37 in. long

As found.

502 Two South Bend Bamboo Fly Rods 1920S

Two three-piece rods with bags. Both rods’ handle pieces bear an incised “South Bend Quality Tackle Bait Company” logo and patent number on the silver bands.

One rod has a 13 1/2 in. handle piece, a tip measuring 43 in., and another tip which measures 42 3/4 in. The other rod has a 13 in. handle piece, a tip measuring 43 in., and another tip which measures 38 in. There are no identifying marks on either bag. As found.

503 Two Bamboo Fly Rods 1920S

Two four-piece bamboo fly rods each stored in blue-felt carrying tubes that fit into a leather case. Both rods have two tip sections measuring 36 1/2 in., handle pieces that are 37 in., and middle sections that are 36 1/2 in. long. No identifying marks on rods or leather case. As found.

As found.

243

504

504 Miniature Soaring Pintail Drake c. 1930 9 3/4 in. long

A well-executed and intricately painted miniature carving mounted on a beveled wooden base. As found.

505

505 Miniature Green-Winged Teal Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1960 8 1/2 in. long

A pair of miniature green-winged teal both displaying the species’ name and gender along with an inked inscription “L. T. Ward. Bro. Crisfield. MD” on the underside of the balsa bodies. Original paint with minimal wear. The hen has a minor rub to wing tips. $1,000 - $1,500

506

506 Miniature Redhead Pair

THE WARD BROTHERS LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1950 8 in. long

A pair of balsa-bodied miniature redhead decoys with “Red Head / L. T. Ward / Crisfield, MD” on the bottom.

Original paint with minimal wear. $800 - $1,200

507

507 Miniature Mallard Pair

THOMAS J. FITZPATRICK (1887-1958) DELANCO, NJ, C. 1940 5 1/2 in. long

Original paint with light wear and a tight age line in drake’s neck.

244

510

508

509

511

508 Iron Wing Duck

510 Three Decoys

A canvasback wing duck believed to be by one of the Upper Bay’s earliest and most well-respected carvers.

As found.

Two bluebill and a blue-winged teal. The teal bears the carver’s name and 1977 on the bottom. Original paint with wear.

BENJAMIN F. DYE (1832-1895) (ATTR.) PERRYVILLE, MD, C. 1900 15 in. long

PROVENANCE:

Private Collection, Massachusetts

509 Two Black Ducks HAVRE DE GRACE, MD 17 in. long

One by R. Madison Mitchell (1901-1993) and the other

by Captain Bob Jobes. Original paint with wear and some white spat. The Jobes carving has a reset bill with touch-up.

R. MADISON MITCHELL (1901-1993) HAVRE DE GRACE, MD, C. 1977 15 in. long

511 Canvasback Pair

HENRY LOCKARD (1868-1944) ELK NECK, MD, C. 1900 15 in. long

In working repaint with even gunning wear.

PROVENANCE:

Dr. Morton D. Kramer Collection

245

512

514

513

515

512 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

513 Canvasback

BEN SCHMIDT (1884-1968) CENTERLINE, MI, C. 1950 17 1/4 in. long

A fine hollow Great Lakes decoy exhibiting carved bill detail and carved wing tips. Original paint with minor wear.

514 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 246

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.

$800 - $1,200

515 Bufflehead

JIM FOOTE (1925-2004) PT. MOUILLE AND GIBRALTOR, MI, C. 1965 10 1/2 in. long

A tucked-head diver with incised wing and tail carving. The underside bears the maker’s inked signature and a white label which reads “2nd Annual Atlantic Flyway Wildfowl Carving & Arts Exhibition, Salisbury, MD.” Original paint with minimal wear including a reset tail chip. $1,000 - $1,500

516 Wood Duck

HAROLD AUGUSTUS WILKINS (1877-1965) ONTARIO, CANADA, C. 1930 14 1/2 in. long

516

Original paint with even wear and minor touch-up to left cheek.

517 Michigan Teal Pair PORT HERON, MI, C. 1920 10 in. long

517

A finely carved rigmate teal pair. Both birds exhibit well executed bill, head, and paddle-tail detail. In original paint with light gunning wear.

PROVENANCE:

Private Collection, Massachusetts

518 Canvasback

HAROLD AUGUSTUS WILKINS (1877-1965) ONTARIO, CANADA, C. 1940 17 in. long

518

“WM” painted on underside. Original paint with even gunning wear and age lines.

519 Miniature Wigeon

JOHN BYRON GARTON (B. 1924) SMITH FALLS, ONTARIO, CANADA, C. 1970 6 in. long

519

In excellent original paint.

247

520

523

526

521

524

527

525

522

520 Preening Black Duck

524 Long-Tailed Duck Pair

A hollow decoy with raised wing tips, exhibiting carved tail and bill detail, signed by the maker on the underside.

Original paint with minimal wear

Scheeler was an award-winning painter and carver, and brother of the renowned carver John Scheeler.

This decorative long-tailed duck pair displays turned heads, the carver’s incised signature, and a “D & J Jenny Collection” ink stamp. In excellent original condition.

CLARENCE FENNIMORE (B. 1935) WRIGHTSTOWN, NJ, C. 2015 14 1/2 in. long

521 Merganser

MASSACHUSETTS, C. 1900 17 in. long

As found with inlayed crest absent.

PROVENANCE:

William J. Butler Jr. Collection

522 Redhead Pair DON ALLEN, C. 1975 13 in. long

Original paint with minimal wear.

PROVENANCE:

William J. Butler Jr. Collection

523 Coot Pair

NORTH CAROLINA 12 in. long

Each is branded “DO.” As found.

248

KENNETH A. SCHEELER (1928-2015) NORTH VINELAND, NJ, 1981 16 in. long

PROVENANCE:

Dennis Jenny Collection

$1,000 - $1,500

525 Cork Bluebill Hen STRATFORD, CT, C. 1945 15 1/2 in. long

As found.

PROVENANCE:

William J. Butler Jr. Collection

526 Bluebill, Redhead, and Canvasback ROCK HALL DECOYS 13 in. long

As found.

PROVENANCE:

William J. Butler Jr. Collection

528

530

529

531

527 Five Miniature Birds

531 Miniature Grouse

Two flyers, a Rock Hall brant, a Rock Hall canvasback, and one turned-head merganser hen bearing the inked inscription “Herb Daisey Jr. Chincoteague, Va. Hooded Merganser Hen.” As found.

Incised “F.” Original paint.

wingspan of flyer is 16 1/2 in.

PROVENANCE:

William J. Butler Jr. Collection

528 Decorative Black-Bellied Plover WILLIAM J. KOELPIN (1938-1996) WAUWATOSA, WI, C. 1975 11 in. long

A black-belled plover with raised wings standing on a driftwood base, signed by the maker on the underside.

Original paint with minimal wear.

529 Decorative Reaching Shorebird LLYOD JOHNSON (1910-1965) BAY HEAD, NJ, 1965 8 in. long

Original paint with some flaking and blunting to bill tip, some minor flaking to wings. $600 - $900

530 Nine Books of State Duck Stamps Collections of State Duck Stamps for the years 1987 through 1998 preserved in laminated sleeves within nine brown albums with golden lettering. As found.

FRANK FINNEY

532 Four Upper Bay Canvasbacks C. 1940 16 in. long

A pair of canvasbacks signed Charlie Joiner and dated 1940. Charlie “Speed” Joiner (1921-2015) was from Chesterfield, MD. The third carving is an oversize drake, c. 1965, believed to have been carved by R. Madison Mitchell (1903-1993), under whom Joiner apprenticed.

The fourth carving is an unsigned drake, c. 1930.

As found. [not illustrated] PROVENANCE:

William J. Butler Jr. Collection

533 Four Books Duck Stamps and Prints: The Complete Federal and State Editions, New York, NY, 1988.

As found. [not illustrated]

534 Six Decoy Books As found. [not illustrated]

535 Twenty Decoy Books As found. [not illustrated]

249

INDEX

BY LOT

250

Ahearn, James Joseph: 457, 459-464, 485-487

Connolly, Jerome: 117

Herr: 57

Coombs, Frank “Goldie”: 396

Herters Manufacturing Inc.: 425

Ahearn, James Joseph: (attr.): 458

Corbin, Peter: 157, 158

Heverin, William: 298

Allen, Don: 522

Crowell, A. Elmer: 220-226, 340, 341, 348-352, 371

Hill, Howard: 96

American School: 104, 105 Audubon, John James: 139-147

Crowell, A. Elmer, (attr.): 372

Holly, James T.: 307

Barnard, Charles N.: 323

Currier, James A. “Jim”: 379

Holmes, Henry: 370

Barnes, Sam: 378

Daly, Thomas Aquinas: 43, 44

Holt, Jack & Bette: 319

Beecham, Greg: 110, 111

Danchin, Leon: 204

Hudson, Ira D.: 208, 296, 412, 413

Beecham, Tom: 108, 109, 118

Darling, Jay Norwood “Ding”: 191

Huey, George: 466

Beer, Andrew: 98

Dawson, John: 356

Hunt, Lynn Bogue: 192, 206

Benson, Frank: W. 167, 169-182, 191

de Groot, Ewoud: 82, 83

Jackson, Scott: 375

Bishop, Richard: E. 66-70, 137, 191, 194, 195, 201, 203

Decker, M.L. (attr.):453

Jacobsen, Antonio: 138

Dilley, John: 283, 285, 286

Bispham, Henry Collins: 102

Jaques, Frances Lee: 193

Dolph, John Henry: 97

Black, Charles: 386

Jester, Doug: 373

Dye, Benjamin F.: 508

Blackstone, Jesse D. “Jess”: 490

Jobes, Capt. Harry R.: 383

Dye, Capt. Benjamin F.: 382

Blinks, Thomas: 54

Johnson, Lloyd: 529

Elliston, Robert:403, 436, 437

Bonheur, Isidore Jules: 131

Joiner, Charlie “Speed”: 313-316

English, John: 353

Borrett, Mike: 427

Kalmbach, Edwin: 193

Fennimore, Clarence: 520

Boyd, George H.: 279

Ketchum, Captain Al: 291

Finney, Frank S.: 424, 531

Bradshaw, Fred: 293

King, Joe: 399

Fitzpatrick, Thomas J.: 507

Brown, Paul Desmond: 148-153

King, Joseph S.: 359

Foote, Jim: 515

Brunet, Jett: 443

Kirmse, Marguerite: 136

Frazier, Luke: 59

Bryan, Charles P.: 317, 318

Knap, Joseph Day: 192

Frost, Arthur Burdett: 205

Burgess, Edward “Ned”: 213-215

Kobald, John: 79

Fuller, Arthur D.: 65

Burr, Russ E.: 488, 491

Koelpin, William J.: 528

Gant, Percy: 312

Caines Brothers: 210

Kuhn, Bob: 114-116

Garton, John Byron: 519

Carlson, Ken: 106

Kuhnert, Wilhelm: 112, 113

Gelston, Thomas: 284

Catesby, Mark: 144

Lapham, James: 321

Godin, Pat: 442

Cawthorne, Neil: 125

Lawrence, William Goadby: 80

Goodspeed, David (attr.): 331

Chapple, David: 154, 155

Lawson, Duffy: 428

Gould, John: 143

Ching, Raymond Harris: 159

Lawson, Oliver “Tuts”: 238-254

Graves, G. Bert: 366, 368, 456

Chipman, Isaac: 467

Lazarus, David: 163

Hacking, Grant: 164

Chipman, William C.: 467

Lear, Edward: 143

Clark, Charles S.: 212

Hagerbaumer, David A.: 45, 46, 60, 62, 63

Lincoln, Joseph W.: 337-339, 347, 392

Clark, Roland: 51, 192

Hanson, Martin: 423

Cobb Jr., Nathan F.: 211

Hardie, Eldridge: 75

Cockey, Frank: 389

Harris, Ken: 309

Coffin Family: 335

Head, John Loren: 165, 166

Conklin, Hurley: 401

Heisler, Jess: 354, 384

Hodges, Dave: 58

Lockard, Henry: 511 Lodge, George Edward: 129, 130 Lohrmann, William: 367 Maass, David A.: 71 Marter, C. Ridgeway: 360

INDEX

BY LOT

264, 266-268, 271-275, 295, 299-305, 390, 505, 506

Martin, A.L.: 103

Quinn, William H.; 358

Mason Decoy Factory: 277, 278, 363, 455

Reinbold, George W.: 310

Matia, Walter T.: 86-91 McAuliffe, John: 99, 101

Ripley, Aiden Lassell: 49, 50, 135, 183190, 193, 198

McGaw, Robert “Bob”: 376, 377

Rock Hall Decoys: 526

Tyler, Lloyd J.: 391

McLaughlin, John: 355, 385

Rosseau, Percival: 53

Ullberg, Kent: 127

McNair, Ian: 311

Rungius, Carl: 132-134, 106

Verity Family: 288, 332

McNair, Mark S.: 227-237, 414-421, 440, 441

Safford, Charles A.: 342

Verity, Obediah: 287, 433

Schaldach, William J.: 47, 61

Vulcani, John: 422

Megargee Jr., S. Edwin: 207

Schatz, Manfred: 107

Walker, Charles: 361

Meldrum, Tobin: 397

Scheeler, Kenneth A.: 524

Wallace, Amos G.: 465

Meltzoff, Stanley: 126

Schmidt, Benjamin: 364, 513

Ward Sr., L. Travis; 308

Menaboni, Athos: 160

Seabury, Lafayette: 434

Ward, Lemuel T.; 261, 265, 269, 270

Mitchell, R. Madison: 510

Seamans, Beverly Benson: 92

Wardle, Arthur: 56

Moigniez, Jules, after: 100

Seerey-Lester, John: 122-124

Waterfield, George S.: 411

Morgan, Joe: 357

Serbousek, Rod; 72

Weeks, John: 381

Morton, W.S.: 334

Shilstone, Arthur; 156

Wheeler, Charles E. “Shang”: 398

Mulliken, Edward “Ted”: 512, 514

Shourds, Harry V.: 281, 282, 387, 404, 405

Whitney, James H. (attr.): 345

Muss-Arnolt, Gustav: 52 Neel, Gary E.: 162

Simmons, William: 161, 197

Wiles, Gill: 120, 121

Neiman, LeRoy: 199

Smith, Brett J.: 73, 74

Wilkins, Harold Augustus: 516, 518

Nichols, Fred M.: 336

Southard, William H.; 432

Nock, Paul: 327

Sterling, Lloyd Aaron: 276

Wilson, Augustus “Gus” Aaron: 343, 388: Wilwerding, Walter Joseph

O’Meara, Rob: 119

Sterling, Noah Bernard: 306

200

Osthaus, Edmund H.: 55

Stevens, George: 444, 447, 449-451

Parsons, Edward T.: 380

Stevens, Harvey: 445, 446, 448, 452

Perdew, Charles H.: 362, 454

Stick, Frank: 95

Phinney Jr., R.: 128

Stidham, Mike: 93, 94

Pleissner, Ogden M.: 48, 84, 85, 202

The “Nantucketer” Artist Carving Co.: 468

Powers, Chris; 369 Pratt, Norris: 294

Reneson, Chet; 76-78, 81

Thengs, Harald: 435 Tilghman, Richard L.: 374 Tuck, Travis: 64

Whittington, Hector “Heck”: 365

The Ward Brothers: 217, 255-260, 262-

251

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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.

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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.

BUYER PRE-REGISTRATION FORM COPLEY FINE ART AUCTIONS | 65 Sharp Street | Hingham, Massachusetts 02043 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | copleyart.com

Name:

Telephone (#1):

Company Name:

Telephone (#2):

Agent acting on behalf of:

Telephone (#3):

Invoice Address:

Email:

(PO Box not sufficient)

Signature:

(required)

City: 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 2020 Winter Sale.

Purchases picked up at the auction will be subject to the South Carolina state and local tax of 9%. Buyers purchasing for resale and claiming exemption from sales tax must present properly executed resale certificate prior to the release of property.

Purchases delivered to South Carolina after the auction will be subject to applicable South Carolina state and local taxes and purchases picked up or delivered to Massachusetts after the sale

will be subject to the 6.25% Massachusetts sales tax unless exempted by applicable law.

To be sure that bids will be accepted and delivery of lots not delayed, bidders who do not have an account with Copley Fine Art Auctions, LLC are requested to supply a bank reference prior to bidding.

I authorize you to contact the references below to provide you with any information in their possession, including any business or credit experience with me, and I further agree to accept the cost of any charges such references may incur providing such information.

FINANCIAL REFERENCES

AUCTION REFERENCES

Name of Bank(s):

1. Name of Company:

Address of Bank(s):

Contact Name:

Account Number(s):

Telephone Number:

Name of Account Officer(s):

2. Name of Company:

Bank Telephone:

Contact Name:

Bank Fax:

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 #

254

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

CATALOG DESCRIPTION

Print Name:

Signature:

(required)

(required)

BID PRICE US$

OUT-OF-STATE DELIVERY AND AUTHORIZED SHIPPING RELEASE FORM Item(s) will not be released without a signed authorization form from the invoiced buyer. You may include this form with your payment or fax it to 617.266.4896. Payments of cash, check, or bank transfer must be posted to your account before property is released.

If Copley Fine Art Auctions, LLC (Copley) is required to deliver the items to a purchaser outside of Massachusetts the sale is exempt from Massachusetts Sales Tax under MGLA 64H ยง6(b) .

1

Copley is obligated to deliver the items out of the Commonwealth of Massachusetts.

2

Copley is obligated to deliver the items to an interstate carrier as noted below.

3

Title will pass upon delivery to the out of state destination.

4

Please be aware that packing and the payment for shipping is the responsibility of the successful Buyer. Upon making the item(s) available for shipping to the Buyer or its Agent, Buyer shall be responsible for the care and packaging of the item(s). The Buyer shall bear the risk of loss from and after Copley making available such item(s) to the interstate carrier, including the insurance of the item(s) against all risks of loss including without limitation, fire, theft or any other damage to the item(s).

5

Shipping can take up to four weeks and is processed in order in which payment is received.

6

At your option, you may contact one of the interstate carriers listed below, or one of your choosing to arrange for shipping.

Carriers pick up frequently at our offices.

SHIPPING OPTIONS: The UPS Store #4423 A.J. Yanakakis, Wakefield, MA 781.224.2500 or store4423@theupsstore.com

The UPS Store #2631 Bryan Cook, Kingston, MA 781.585.0602 or store2631@theupsstore.com

Scott Cousins/North South Art Transfer Hand delivery service 978.491.9353 or scottcousins22@aol.com

Boston Pack and Ship* 781.849.8696 or 1.800.400.7204 or info@bostonpackandship.com

Print name: (as invoiced)

Shipping Address:

U.S. Art* 781.986.6500 or 1.800.872.7826 *Specializing in high-value art, large works, and specialty items

Place and Manner of Delivery: To an Interstate Common Carrier for delivery out of state: I authorize: to pick up my items(s) (Please specify Name of Common Carrier) Sale Date: Lot #s :

Phone: Email:

Signature: (required)

Internal use only Received by: Signature:

Print Name:

Date:

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th

50

WARD WORLD CHAMPIONSHIP Wildfowl Carving Competition and Art Festival

[2020] ANNUAL

APRIL 24-26 Roland E. Powell Convention Center Ocean City, MD

WITH SUPPORT FROM:

PRESENTED BY: SU is an Equal Opportunity/AA/Title IX university and provides reasonable accommodation given sufficient notice to the University office or staff sponsoring the event or program.

WWW.WARDMUSEUM.ORG

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JUST YOUR FRIENDLY NEIGHBORHOOD SCIENTISTS OUT TO HELP YOU CRAZY KIDS

SEE MORE MONSTERS

258

Tom Dorsey

Tom Moran

Troy Jacques

Thomas & Thomas celebrates its 50th year of crafting fly rods in the United States, and with that, reflects on what it takes to make, “The rod you will eventually own.”

Troy Jacques, master bamboo rod maker, learned his craft from Tom Dorsey and Tom Moran, and keeps reminders of his mentors in the bamboo shop. “I still use a lot of Tom Moran’s techniques. I still have and use Tom Moran’s and Tom Dorsey’s tools. Gluing back then took three people. Tom Dorsey ran the binder, I dipped the parts in glue, Tom Moran rolled the parts to set all the strips and lock them in. To this day, I have Tom Moran’s glue shoes [Glue drips off the table and makes quite a mess]. I have Tom Dorsey’s too. Their shoes stand by the rod rack.”

“Thomas & Thomas is not just a brand, it’s a culture”

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19 6 9

TH E RO D YO U WI L L E V ENT UA L LY OW N

www.thomasandthomas.com HANDMADE IN AMERICA