The Winter Sale 2015 | Copley Fine Art Auctions by Copley Fine Art Auctions

THE WINTER SALE 2015 February 12 | Charleston, South Carolina

COPLEY FINE ART AUCTIONS A

inside front cover left side

WELCOME I recently finished reading Richard Rhodes’ superbly written book, J.J. Audubon: The Making of an American. What strikes me the most about Audubon is his seemingly effortless tenacity. Despite constant hardships that included battling ice flows on the Mississippi and extreme heat and mosquitoes in the Florida Keys, Audubon almost invariably remained upbeat. The confidence and drive with which Audubon lived his life is as admirable as his art. Audubon was a true renaissance man possessing skills as a dancer, musician, ice skater, hunter, fisherman, naturalist, and, of course, artist. In his text, Rhodes transports us back in time to the opening up of the Copley Principals Steve and Cinnie O’Brien West and the very origins of American sporting art. He reveals to us a vast country at the end of the 19th century, with a population of only six million citizens. It is a population reliant upon the still-plentiful game to support its growing size. Philadelphia sits as the main hub of the infant United States, what the British still called “The Experiment.” This was a world in which Audubon moved effortlessly. His affable good nature, curiosity, and adept skills in the woods made him a man that drew others in. He mingled with some of the great minds of the day, including fellow artist and naturalist Alexander Wilson, author Sir Walter Scott, and Charleston’s own Reverend John Bachman. Audubon traveled across the United States and in nearly every city, village, or outpost he aligned himself with the brightest and most forwardthinking minds. His grand enthusiasm was infectious and sometimes over the top, like when the great white herons he gave to Bachman ended up attacking the Reverend’s cat and children. In addition to his gifts to friends, Audubon contributed greatly to the Charleston Museum, procuring hundreds of skins and mounts for their growing ornithological collection. After reading Rhodes’ book, which is filled with biographical quotes straight from the artist himself, I gained insight into the endless possibilities and wonder this man saw in everyday life. Audubon possessed the innate skill of living in the moment. His was very much a sporting life, one which demanded great expertise as a marksman and frontiersman to put food on the table, to obtain specimens for his drawing, and which simultaneously provided him with the great satisfaction that comes from “the thrill of the hunt.” Audubon was the epitome of the American Sportsman. Today, Charleston embodies the frontier spirit of the 21st century. It is alive with culture with some of the most innovative chefs, musicians, and art galleries. It is quite fitting that Charleston serves as the post for Copley’s most eclectic auction to date. With a rich history of horseback riding, hunting, fishing, folk art, and of course its connection with Audubon, this progressive town embodies Audubon’s spirit just as Copley’s Winter Sale 2015 embodies the “thrill of the hunt.” Our specialists have canvassed the country in search of unique and exceptional items that celebrate traditions as varied as print- and furniture-making to carving folk art canes and decoys. In the spirit of Audubon, we are excited to share our findings with the world. We hope that each of you will be able to pursue and secure the treasures of your liking and in doing so experience “the thrill of the hunt” as well. With the Winter Sale 2015 fast approaching, we look forward to having you join us in South Carolina. Cheers, Steve

THE WINTER SALE Schedule of Events AUCTION to be held at The American Theater 446 King Street | Charleston, South Carolina WEDNESDAY, FEBRUARY 11 Auction Preview

5pm - 7pm

THURSDAY, FEBRUARY 12 Auction Preview

8am - 10am

Auction

10am

CONTACTS THE DAY OF SALE On Site: 617.536.0030

Cinnie Oâ&#x20AC;&#x2122;Brien: 617.501.7544

ABSENTEE AND TELEPHONE BIDS Please visit copleyart.com to leave absentee or telephone bids or use the bid forms found in the back of this catalog.

ONLINE BIDDING This auction features live online bidding through Invaluable, available on copleyart.com Please review the Terms and Conditions of Sale on page 224 of this catalog. For further information please contact us at 617.536.0030.

Front Cover: Lot 106

CATALOG

Inside Front Cover: Lot 31

Stephen B. O’Brien Jr., President

Left Table of Contents: Lot 324

Cinnie O’Brien, Financial Controller

Page 7: Lot 45

Aimee Stashak-Moore, Auction Coordinator

Page 8: Lot 13 Inside Back Cover: Lot 80 Back Cover: Lots 380 and 381

Printed in the USA on recycled paper

Colin McNair, Decoy Specialist Jim Parker, Decoy Consultant Leah Tharpe, Fine Art Consultant Shawn Plouffe, Photographer Chelsie Olney, Editor

TABLE OF CONTENTS

Presidentâ&#x20AC;&#x2122;s Welcome

Schedule of Events

Important Notices

Paintings, Works on Paper, Bronzes, and Books

110

Decoys, Folk Art, and Fishing

218

Index of Artists and Makers

220

Bibliography

222

Buyer Pre-Registration Form

223

Absentee/Telephone Bid Form

224

Terms and Conditions of Sale

225

Authorized Shipping Release Form

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

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.

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

8 Flat art dimensions Please be aware that all flat art dimensions are approximate and are rounded to the nearest quarter inch. 9 Additional images

3 Consign to our next sale

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

Copley Fine Art Auctions, LLC is accepting consignments for our Sporting Sale 2015. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com.

10 Decoy stands

4 Pre-registration Although you may register at the time of sale, we strongly encourage pre-registration to save you time at check-in. Pre-Registration forms are available online, as well as in the back of this catalog. 5 Absentee and telephone bidding If you plan to place absentee bids or to bid by telephone, please make sure that we receive your Absentee/Telephone Bid form at least 24 hours before the start of the sale. It is possible that any bids received after this time may not be accepted. You will receive confirmation of your absentee bid(s) within 24 hours of receipt. If you do not receive confirmation, please call our office at 617.536.0030.

Please be aware that decoy 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 is to be expected, to an object from handling or use in the field. This may include, but is not limited to, paint wear, flaking, dings, scratches, checks, cracks, craquelure, age lines, dents, chips, rubs, blunts, cracked eyes, shot scars, seam separations, popped grain, rust, and discoloration. 12 Condition description of as found The item is sold with any faults and imperfections that may exist. It is the responsibility of the buyer to determine condition.

6 Sales tax

13 Auction results

Purchases picked up at the auction will be subject to the South Carolina state and local tax of 8.5%. 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 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.

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

7 Inspection of items offered at this auction All items are sold as is and should be inspected either personally or by agent before a bid is placed. Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. Although condition reports may be given on request, such reports are statements of opinion only. Regardless of whether or not a condition report is given, all

14 Pick up and shipping Buyers wishing to pick up items at the sale must do so by 5 PM 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 numbers

On site: 617.536.0030 Cinnie O’Brien: 617.501.7544

South Carolina Auction Firm License #4040

THE WINTER SALE February 12, 2015 CHARLESTON, SOUTH CAROLINA

Properties from A PRIVATE COLLECTION OF ITEMS FROM ABERCROMBIE & FITCH COLLECTION OF AN INDEPENDENT AUDUBON SOCIETY A DESCENDENT OF HILDA RICE AYER, LEDYARD FARM, WENHAM, MASSACHUSETTS AIME AND JANIS BLOUIN COLLECTION A DESCENDENT OF PERCY CHUBB THE ESTATE OF THOMAS W. CONNALLY RICHARD GOVE COLLECTION THE CHARLES “BUDDY” HARRIS DECOY COLLECTION A DESCENDENT OF RALPH T. KING A DESCENDENT OF EBEN BER KNOWLTON WILLIAM H. PURNELL, JR. COLLECTION RICHARD V. STRAWBRIDGE COLLECTION, PHILADELPHIA, PENNSYLVANIA DESCENDANTS OF MILTON C. WEILER PRIVATE COLLECTION, ARIZONA PRIVATE COLLECTION, CALIFORNIA PRIVATE COLLECTION, PALM SPRINGS, CALIFORNIA PRIVATE COLLECTION, MARYLAND PRIVATE COLLECTIONS, MASSACHUSETTS PRIVATE COLLECTIONS, NEW JERSEY PRIVATE COLLECTIONS, NEW YORK PRIVATE COLLECTION, NORTH CAROLINA PRIVATE COLLECTION, HOUSTON, TEXAS VARIOUS PRIVATE COLLECTIONS

The Winter Sale 2015 February 12, 10am

The following twenty-seven lots collectively represent some of the rarest and most important Frank W. Benson works on paper to ever come on the market. Many of the etchings were produced in very limited editions of fifty or less. The majority retain full margins and are in exemplary condition.

1 Frank W. Benson (1862-1951) Salmon, 1922 signed “Frank W. Benson” lower left drypoint, 3 7⁄8 by 4 7⁄8 in. Paff # 212, edition of 63

$2,500 - $3,500

2 Frank W. Benson (1862-1951) Two Crows, 1920 signed “Frank W. Benson” lower left drypoint, 2 by 3 in. Paff # 175, edition of 150

$300 - $500

3 Frank W. Benson (1862-1951) Chickadees, 1919 signed “Frank W. Benson” lower left drypoint, 7 7⁄8 by 5 7⁄8 in. Paff # 168, edition of 150

$600 - $900

4 Frank W. Benson (1862-1951) Plodding Home, 1924 signed “Frank W. Benson” lower left etching, 2 7⁄8 by 2 in. Paff # 234, edition of 150

$1,000 - $1,500

5 Frank W. Benson (1862-1951) Dory Fisherman, 1927

6 Frank W. Benson (1862-1951) Boats at Dawn, 1920

signed “Frank W. Benson” lower left etching, 7 3⁄4 by 9 7⁄8 in. Paff # 267, edition of 150

signed “Frank W. Benson” lower left etching, 7 7⁄8 by 10 7⁄8 in. Paff # 190, edition of 150

$4,000 - $6,000

$1,500 - $2,500

7 Frank W. Benson (1862-1951) Woodcock, 1930 signed “Frank W. Benson” lower left drypoint, 11 7⁄8 by 9 3⁄4 in. Paff # 292, edition of 150

$2,000 - $4,000

8 Frank W. Benson (1862-1951) My Pointer, 1915 signed “Frank W. Benson” lower left etching, 6 by 7 7⁄8 in. numbered “31/50” lower right Paff # 51, edition 31 of 50

$5,000 - $6,000

9 Frank W. Benson (1862-1951) Two Drypoints and an Etching in a Folio each signed “Frank W. Benson” lower left

Marsh Gunner, 1918 etching, 10 7⁄8 by 8 7⁄8 in. Paff # 149, edition 122 of 150

Yellowlegs No. 4, 1928 drypoint, 7 7⁄8 by 9 7⁄8 in. Paff # 284, edition of 150

Three Yellowlegs, 1920 drypoint, 4 1⁄2 by 5 7⁄8 in. Paff # 184, edition of 150 PROVENANCE:

The Estate of Thomas W. Connally

$5,000 - $8,000

10 Frank W. Benson (1862-1951) Man With A Gaff, 1925 signed “Frank W. Benson” lower left drypoint, 11 3⁄4 by 9 3⁄4 in. Paff # 247, edition of 150

$3,000 - $4,000

11 Frank W. Benson (1862-1951) On the Kedgwick, 1923 signed “Frank W. Benson” lower left etching, 7 7⁄8 by 11 7⁄8 in. Paff # 222, edition of 150

$2,500 - $3,500

12 Frank W. Benson (1862-1951) Water Lilies, 1919 signed “Frank W. Benson” lower left drypoint, 7 7⁄8 by 9 7⁄8 in. Paff # 163, trial proof “c” of 5, edition of 89

$2,000 - $2,500

13 Frank W. Benson (1862-1951) Candlelight, 1915 signed “Frank W. Benson” lower left etching, 9 7⁄8 by 7 7⁄8 in. numbered “23/50” lower right Paff # 62, edition 23 of 50 The Guild of Boston Artists label on back

Paff notes, “The subject is Benson’s wife Ellen combing her hair in their bedroom at Wooster Farm, on North Haven Island, Maine.” LITERATURE: Frank W. Benson and Adam E.M. Paff, Etchings and Drypoints by Frank

W. Benson: An Illustrated and Descriptive Catalog, Boston, MA and New York, NY, 1917-1923, p. 99. $20,000 - $30,000

14 Frank W. Benson (1862-1951) Mother and Child, 1913 signed “Frank W. Benson” lower left etching and drypoint, 7 1⁄4 by 6 in. numbered “3/50” lower right Paff # 23, edition 3 of 50

This print, together with Candlelight, form the most intimate and rare of Benson’s etchings and drypoints. Though many of his prints are of waterfowl and hunting settings, these rare works capture the close observations of gentle, family interior scenes. Benson’s dynamic investigation of intaglio print technique is apparent in this work. $20,000 - $30,000

15 Frank W. Benson (1862-1951) Canoeman, 1919 signed “Frank W. Benson” lower left etching, 7 7⁄8 by 6 in. numbered “26” lower right Paff # 161, edition 26 of 150

$3,000 - $4,000

16 Frank W. Benson (1862-1951) The Landing, 1915 signed “Frank W. Benson” lower left etching, 7 1⁄2 by 11 3⁄8 in. numbered “33/50” lower right Paff # 70, edition 33 of 50

$7,000 - $8,000

17 Frank W. Benson (1862-1951) Herons at Rest, 1923 signed “Frank W. Benson” lower left etching, 11 7⁄8 by 7 7⁄8 in. Paff # 219, edition of 150

$2,000 - $3,000

18 Frank W. Benson (1862-1951) Egrets, 1915 signed “Frank W. Benson” lower left drypoint, 7 7⁄8 by 6 in. numbered “9/35” lower right Paff #44, edition 9 of 35

$2,000 - $3,000

19 Frank W. Benson (1862-1951) Yellowlegs in Sunlight, 1928 signed “Frank W. Benson” lower left drypoint, 9 7⁄8 by 7 3⁄4 in. Paff # 285, edition of 150

$1,500 - $2,500

20 Frank W. Benson (1862-1951) Four Etchings and Two Drypoints in a Folio each signed “Frank W. Benson” lower left

Here They Come!, 1928

Winter Yellowlegs, 1918

drypoint, 13 7⁄8 in by 11 3⁄4 in. Paff # 278, edition of 150

drypoint, 6 7⁄8 by 10 7⁄8 in. Paff # 142, edition 103 of 106

The Long Journey, 1926

Flying Ducks, 1919

etching, 9 3⁄4 by 11 3⁄4 in. Paff # 254, edition of 150

etching, 8 7⁄8 by 6 7⁄8 in. Paff # 160, edition of 235

Casting For Salmon, 1929

Riverman, 1920

etching, 7 3⁄4 by 10 in. Paff # 288, edition of 153

etching, 6 by 4 in. Paff # 195, edition of 150

PROVENANCE:

The Estate of Thomas W. Connally

$5,000 - $8,000

21 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

$2,000 - $3,000

22 Frank W. Benson (1862-1951) Old Squaws, 1915 signed “Frank W. Benson” lower left etching, 5 3⁄4 by 7 3⁄4 in. numbered “38/50” lower right Paff # 88, edition 38 of 50

$1,000 - $2,000

23 Frank W. Benson (1862-1951) The Gunners’ Blind, 1921 signed “Frank W. Benson” lower left etching, 7 7⁄8 by 9 3⁄4 in. Paff # 204, edition of 150

$2,500 - $3,500

24 Frank W. Benson (1862-1951) In the Clouds, 1916 signed “Frank W. Benson” lower left etching and drypoint, 4 by 5 in. inscribed “52” lower center Paff # 93, edition 52 of 52

$300 - $500

25 Frank W. Benson (1862-1951) Little Old Squaw, 1912 signed “Frank W. Benson” lower left etching, 2 1⁄2 by 3 1⁄2 in. Paff # 6, edition of 25 Baldwin-Wallace College, Berea, Ohio, Art Department collection label on back PROVENANCE:

Baldwin-Wallace College Collection Private Collection, New Hampshire $500 - $800

26 Frank W. Benson (1862-1951) Snowladen Birches, 1934 signed and dated “F. W. Benson 34” lower left watercolor, 24 by 19 3⁄8 in. Two antique labels affixed to the back with one reading “Frank W. Benson, ‘Snowladen Birches,’ Mrs. Henry P. Benson, 7 Hamilton Street, Salem, Mass.”

This painting was the property of Mrs. Henry P. Benson, who was the sister-in-law of the artist. Her husband, Henry P. Benson (1866-1942) was a successful industrialist and mill owner. PROVENANCE:

Frank W. Benson Collection Mrs. Henry P. Benson Collection Henry B. Whitmore Collection, Marblehead, Massachusetts, by descent in the family Private Collection $6,000 - $9,000

27 Frank W. Benson (1862-1951) Swans in Flight, 1926 signed and dated “F.W. Benson ‘26” lower left watercolor, 14 5⁄8 by 20 in.

Frank Weston Benson, one of the Ten American Painters and a leading influence in the Boston School of American Impressionism, was born in Salem, Massachusetts, on March 24, 1862. In his youth, Benson was a gifted athlete and excelled at boxing, sailing, and tennis. Growing up along the extensive marshes surrounding his native Salem, Benson learned to hunt and fish at an early age.

painters, mostly working in the French Impressionist style, rejected and resigned from the National Academy and the Society of American Artists to exhibit independently and without juries. Benson exhibited in all of the Ten’s annual exhibitions, which were held for twenty years, to critical acclaim. This watercolor of swans displays Benson’s expertise in the medium, as well as in depicting waterfowl. With its classic composition and gentle colors, this work shows the artist as his technique shifts from tighter brushwork to a style that incorporates broader, more expressive strokes. This watercolor captures the artist as he combines his masterly painting technique with his life-long passion for birds and the outdoors.

Benson loved nature and birds in particular. He wanted to combine his love for birds and his love for art by pursuing a career as an ornithological illustrator in the manner of John James Audubon (1785-1851). As a child he spent many hours at the Museum of Comparative Zoology at Harvard and Benson’s mother, who was herself a painter, encouraged him in this pursuit. In 1880, Benson enrolled at the School of the Museum of Fine Arts in Boston. He studied with the school’s founding teachers, Otto Grundmann (1844-1890) and Frederick Crowninshield (1845-1918). Among his classmates were Willard Metcalf (1858-1925), William Bicknell (18601947), Edmund C. Tarbell (1862-1938), and Joseph Lindon Smith (1863-1950). Benson learned quickly and was recognized as a particularly gifted student. In 1882, while still attending classes at the Museum School, Benson began to teach free evening drawing classes in Salem.

The son of a lumber and banking tycoon, Ralph T. King developed his own fortune through real estate investing in Cleveland. He attended Brown University where he graduated with the class of 1879. He was President of Realty Investment Co., served as a trustee of the Western Reserve Historical Society, and was director of the Cleveland School of Art, now the Cleveland Institute of Art. With his brother, Charles Gregory King Jr., he was one of the biggest owners of orange groves in the country through the Monarch Orange Company. King founded and served as the curator of the Cleveland Museum of Art’s Print Department and founded the Print Club of Cleveland in 1919, which awards the Ralph T. King Award for outstanding contributions to printmaking. He and his wife Fanny donated over 870 objects to the museum, including Rodin’s Thinker, which remains on display, and the museum’s library features the Ralph Thrall King study room.

In 1885 Benson rented a painting studio in Salem. He began to exhibit at the Boston Art Club and the National Academy of Design in New York, receiving much critical acclaim and numerous awards. After his marriage to Ellen Peirson in 1888, he taught at the Boston Museum School with his friend Edmund Tarbell intermittently until 1930. The year 1898 was the turning point in Benson’s career. He joined a number of other leading painters from New York and Boston, including Tarbell, Childe Hassam (1859-1935), and J. Alden Weir (1852-1919) to form the Ten American Painters. This group of radical avant-garde

PROVENANCE:

Ralph T. King Collection Private Collection, by descent in the family $25,000 - $35,000

28 Gustav Muss-Arnolt (1858-1927) English Setters, c. 1895 signed “G. Muss Arnolt” lower right oil on canvas, 12 by 16 in.

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 many magazines such as Harper’s Weekly and the American Kennel Club Gazette.

$3,000 - $5,000

29 Wakeman Holberton (1839-1898) Bobwhite Quail and Chicks, 1895 signed and dated “W. Holberton 1895” lower left oil on canvas, 10 by 12 in.

$1,000 - $2,000

30.1

30.2

30 James Brade Sword (1839-1915) Two Paintings, Bobwhite Quail and Woodcock, 1878 each signed and dated “J. B. Sword 78” lower right oil on canvas, 18 by 14 in. each

James Sword studied at the Pennsylvania Academy of Art, was a member of the Philadelphia Society of Artists, and founded the Art Club of Philadelphia during his successful career as an oil painter. PROVENANCE:

Edward P. Roberts Collection Private Collection, acquired from the above $3,000 - $5,000

31 Arthur Burdett Frost (1851-1928) Quail – A Covey Rise, 1895 signed “A.B. Frost” lower right watercolor, 14 by 22 in.

The original owner of this painting, Clarence Otis Bigelow, was born in 1851 in Rhode Island, the youngest son of soap manufacturer William Marlin Bigelow. Bigelow was a member of the Sons of the Revolution as a descendent of John Bigelow, whose marriage was the first recorded in Watertown, Massachusetts, in 1633.

By 1876, he was on Harper’s staff working on many books including Tom Sawyer, Uncle Remus, and Mr. Dooley. He also illustrated Theodore Roosevelt’s sporting book, Hunting Trips of a Ranchman. Frost was an ardent sportsman who spent his summers and autumns fishing, rowing, and hunting ducks and snipe. He completed hundreds of watercolors and oils of the New Jersey seaside and is best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost and Bigelow were both Masons, and they spent significant time in New Jersey, as Bigelow’s summer home was located in Allenhurst and Frost lived at his estate, Moneysunk, in Convent Station.

C.O. Bigelow had a long and successful career as the owner of an eponymous apothecary in Greenwich Village, New York, which still operates from its landmark building today. He served as the president and founder of the West Side Savings Bank, as Treasurer of the College of the Pharmacy of Columbia University, and participated in many professional pharmacy organizations in New York.

This work, Quail – A Covey Rise, is the original watercolor reproduced by Charles Scribner’s Sons in Frost’s Shooting Pictures, a portfolio of twelve chromolithograph prints. It is considered one of the artist’s most iconic and recognized works. Of the thousands of works that Frost is known to have produced, Quail – A Covey Rise, with its excellent composition and superb condition, ranks right at the top. The work reveals Frost as one of the greatest illustrators of his generation. The hunter is perfectly positioned and the pointers are staunch as the covey flushes, a Frost masterwork in every sense.

Bigelow was prominent socially, as a member of the Olde Settlers’ Association of ye West Side in New York, a Member of the New England Society, and was on The Dewey Reception Committee of the City of New York alongside William Cullen Bryant, Daniel Chester French, William Randolph Hearst, Cornelius Vanderbilt, John LaFarge, and others. This was a largely symbolic role welcoming Admiral George Dewey to New York after the Spanish-American War and demonstrating the social importance of its members, which it called “A Notable Body of Representative Citizens.” Bigelow was also a member of the Salmagundi Club, St. Andrew’s Golf Club, and the Union League Club, among others.

PROVENANCE:

Estate of Clarence Otis Bigelow, 1938 Abercrombie & Fitch, New York City Eben Ber Knowlton, acquired from above at auction Private Collection, by descent in the family

A 1910 biography of Bigelow that appeared in The Druggists Circular reports, “It has been said of C.O. Bigelow that he has the largest one-man, one-store drug business in this city...While Mr. Bigelow is a hard worker, he has his large force of assistants so well organized that he finds time for rest and recreation.”

Henry W. Lanier, A.B. Frost: the American Sportsman’s Artist, New York, NY, 1933, p. 168, illustrated. LITERATURE:

The Druggists Circular, Vol. LIV. Number 11, November 1910, p. 594.

A. B. Frost was born in Philadelphia in 1851, but spent his most prolific years in New Jersey. Considered one of the great illustrators of the “Golden Age of American Illustration,” he illustrated more than ninety books and produced thousands of illustrations for Harper’s Weekly, Scribner’s, and Life magazines. Frost’s illustrative work chronicles the mood and details of the daily life of farmers, hunters, and fishermen, as well as barnyards and pastoral motifs.

A.B. Frost, Shooting Pictures, New York, NY, 1895, illustrated. Henry M. Reed, The A.B. Frost Book, Rutland, VT, 1967, p. 88, illustrated. $40,000 - $60,000

ARTHUR BURDETT FROST

32 William J. Schaldach (1896-1982) Covey of Bobwhite Quail

33 Edmund Henry Osthaus (1858-1928) Two English Setters

signed “Wm. J. Schaldach” lower right watercolor, 20 1⁄2 by 29 1⁄2 in.

signed “Edmund Osthaus” lower right watercolor, 21 3⁄4 by 29 1⁄4 in.

This full-sheet watercolor is exceedingly rare for the artist, as Schaldach tended to work with smaller quarter- and half-sheets. Only one other work of comparable size depicting waterfowl has come to auction in the last twenty years.

$5,000 - $8,000

$3,000 - $6,000

1851-1928 30

34 Edmund Henry Osthaus (1858-1928) Three Setters, 1900 signed “Edmund Osthaus” lower left watercolor, 24 by 39 in.

The dog paintings of Edmund Osthaus capture the subjects’, “beauty and integrity as bird dogs, and what they meant to those of us who care. Each Osthaus portrait of a gun dog went beyond even that, capturing the individual dog and making him exist after he is gone.” PROVENANCE:

Wayne Siddins Antiques, Sylvania, Ohio Private Collection, Houston, Texas Kay and George Evans, “Dogs that Live Forever,” Field & Stream, Vol. LXXV, No. 2, June 1970, pp. 234-240. LITERATURE:

$15,000 - $25,000

Edmund Henry Osthaus was born in Hildesheim, Germany in 1858, the son of a prosperous farmer who subsequently emigrated to Toledo, Ohio. Osthaus studied at the Royal Academy of the Arts in Dusseldorf from 1874 to 1882 with Andreas Muller, Peter Jansen, E. von Gebhardt, Ernst Deger, and wildlife and landscape painter Christian Kroner. In 1883, after studying painting for six years, Edmund Osthaus became an instructor at the Toledo Academy of Fine Arts. He served as the director from 1886-1893, refining his painting technique and pursuing his passions: hunting and fishing.

This rare, oil, self-portrait depicts Edmund Osthaus cleaning his double barrel shotgun while three eager setters look on. It is one of only two known self-portraits that have surfaced in the last twenty-five years, and one of only a handful of figurative works by the artist. Painted in 1911, it was likely reproduced by the DuPont Company for a calendar. The painting is accompanied by a signed photograph of the artist, inscribed “To my good friend H.W. Lancashire, Faithfully Yours, Edmund Osthaus.” Herbert W. Lancashire, the grandfather of the current owner, was a prominent businessman in Toledo, Ohio, where Osthaus led the Toledo Academy of Fine Arts and founded the Toledo Art Museum.

In 1893 Osthaus dedicated his full attention to painting, shooting, and field trials. He was a charter member of the National Field Trial Association established in Newton, North Carolina, in 1895. “Edmund Osthaus followed field trials from the fall prairie chicken trials in Canada to the important quail trials in the South in mid-winter, judging, sketching, and sometimes entering his dogs. He was a handsome, powerfully built man,” and his artistic talent combined with his love of dogs enabled him to capture the essence of the focused working dog while depicting them in precise anatomical detail. “Any painter who paints for shooting men had better be a shooting man himself, for no one is more jealously critical of detail than the man who knows guns and dogs and game... Edmund Osthaus, who trained and shot over his own setters and pointers, transformed oil paint into dog flesh quivering under the stress of a point.” PROVENANCE:

A Private Club, Wisconsin Custer Antiques, Toledo, Ohio Private Collection, Houston, Texas LITERATURE:

Kay and George Evans, “Dogs that Live Forever,” Field & Stream, Vol. LXXV, No. 2, June 1970, pp. 234-240. $20,000 - $40,000

36 Pierre Jules Mene (French 1810-1879) Pointer and Hanging Game inscribed and dated “P. J. Mene 1850” on top of base bronze, 12 by 14 1⁄8 by 8 5⁄8 in.

Depicting a pointer seated next to a stump with a hanging rabbit, pheasant, gun bag, and powder horn. Pierre Jules Mene was born in 1810 in Paris to a metal turner. He spent his early years in his father’s foundry and went on to start his own, where he became one of the most successful Animalier artists of the 19th century. Mene was influenced by Edwin Landseer, Carle Vernet, and Antoine-Louis Bayre. He exhibited his sculpture with the Paris Salon from 1838 onwards, as well as at London’s Great Exhibitions in 1851 and 1862. PROVENANCE:

Richard V. Strawbridge Collection, Philadelphia, Pennsylvania $1,000 - $2,000

37 Gerard Rutgers Hardenbergh (1855-1915) Ruffed Grouse, 1888 signed and dated “Gerard R Hardenbergh 1888” lower left pastel, 20 7⁄8 by 27 3⁄8 in.

$3,000 - $5,000

38 John Clinton Spencer (1861-1919) Hanging Quail, c. 1890 signed “J C Spencer” lower left oil on canvas, 20 by 12 in.

John Clinton Spencer was born in 1861 in Providence, Rhode Island. A pupil of Providence artist Edward C. Leavitt, he became a very popular still life and animalist painter. He was a member of the Providence Art Club, where he exhibited in the 1880s. He died in Providence in 1919. $1,000 - $1,500

39 after Arthur Fitzwilliam Tait (1819-1905) The Cares of a Family, 1856 hand-colored lithograph, 18 1⁄2 by 24 in. published and copyrighted in 1856 by N. Currier, 152 Nassau Street, New York, NY

$1,000 - $1,500

40 after Arthur Fitzwilliam Tait (1819-1905) Wild Duck Shooting, 1854 chromolithograph, 21 3⁄4 by 28 1⁄2 in. published and copyrighted in 1854 by N. Currier, 152 Nassau Street, New York PROVENANCE:

The Estate of Thomas W. Connally

$2,000 - $3,000

41 after Arthur Fitzwilliam Tait (1819-1905) A Good Chance, 1863 chromolithograph, 23 by 31 1⁄4 in. published and copyrighted in 1863 by Currier & Ives, 115 Nassau Street, New York PROVENANCE:

The Estate of Thomas W. Connally

$2,000 - $3,000

42 Arthur Fitzwilliam Tait (1819-1905) Deer, 1872 signed and dated “A.F. Tait. NY 1872” lower right oil on canvas, 13 1⁄2 by 21 1⁄2 in.

Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off-limits. While in the employ of the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others.

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

In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the life of American natives through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin’s stories would have captivated the young and talented Tait.

Today Tait’s wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, D.C.; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others.

In 1850, Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondack region, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivalled at the time. His relative freedom to paint wherever he wanted in the woods of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England.

PROVENANCE:

Mr. and Mrs. Gayer Dominick Collection, Wilton, Connecticut Bayard Dominick II Collection Private Collection, Massachusetts, by descent in the family A.F. Tait: Artist in the Adirondacks, The Adirondack Museum, Blue Mountain Lake, NY, 1974.

With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National

LITERATURE:

Warder H. Cadbury, Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, DE, 1986. $35,000 - $45,000

43 Arthur Fitzwilliam Tait (1819-1905) “The Spring” in the Pasture, 1901 signed “A. F. Tait N.A.” lower right oil on canvas, 13 1⁄2 by 22 in. inscribed “1901, ‘The Spring’ in the Pasture, A. F. Tait, N.A., Ludlow Park, Yonkers, NY” on back

$4,000 - $6,000

44 John Gifford (British d. 1900) End of the Hunt signed “John Gifford London” lower left oil on canvas, 29 1⁄2 by 24 1⁄2 in.

Nineteenth century artist John Gifford is known for his equine and canine portraits. $5,000 - $8,000

45 Ogden M. Pleissner (1905-1983) North Woods Camp signed “Pleissner” lower right watercolor, 15 1⁄4 by 21 1⁄2 in.

The rarity of this work cannot be overstated. Though Ogden Pleissner created dozens of depictions of duck hunting and upland bird hunting, this is believed to be the first big game scene to ever come to auction. Back by the tent and fire, the deer or elk hunters have just returned or are preparing to head out in search of their quarry. 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 C-M Ranch in Dubois, Wyoming. Pleissner wanted to be classified as a landscape painter first, 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. While Pleissner’s subjects range from the landscapes of Europe to salmon fishing in Quebec, his style is informed by the classical traditions. He is quoted as saying, “A fine painting is not just the subject... It is the feeling conveyed of form, bulk, space, dimensionality, and sensitivity. The mood of the picture, that is most important.” PROVENANCE:

Private Collection, New York

$18,000 - $24,000

46 Ogden M. Pleissner (1905-1983) Head of the Pool - Fosse au Fer signed “Pleissner” lower left watercolor, 14 by 21 in. The Sporting Gallery and Bookshop Inc., New York, NY label on back

Ogden Pleissner was a family friend of the Chubbs and often fished with them at Camp Hurleux on the St. Anne River located on the Gaspe Peninsula of Canada’s Quebec province. Percy Chubb (b. 1858) was a noted sportsman of the day and also spent time at his Thomasville, Georgia, property. Percy Chubb II, his nephew, was also an accomplished angler who dearly loved fishing the St. Anne. In a letter to his fiancee, Corrine Alsop, written in the 1930s, Percy Chubb II relays the splendor of the St. Anne River, describing a run just upstream from Fosse au Fer, the pool depicted in this watercolor. “The river... across from me swirls up against a great stony cliff like hill which rises about a hundred and fifty feet and is curtained with cedar and aspen. It was one of

the most beautiful days I have ever known, and as I sat there I almost decided that I liked St. Anne better than Thomasville.” Imbued with the vivid greens and blues most commonly seen in Pleissner’s early Wyoming scenes, this vibrant watercolor captures the essence of angling for wild Atlantic salmon on one of North America’s most beautiful salmon rivers. PROVENANCE:

Acquired from The Sporting Gallery and Bookshop, Inc., New York, NY by either Percy Chubb or Percy Chubb II Descended in the Chubb family $18,000 - $24,000

47 Paul Desmond Brown (1893-1958) Misty Morn signed “Paul Brown” and inscribed “Misty Morn” lower left watercolor, 8 3⁄4 by 11 5⁄8 in.

Born in Mapleton, Minnesota, in 1893, Paul Brown soon moved to New York City with his family. At the age of 17, his family relocated again to Garden City on Long Island, where Brown had the opportunity to explore polo grounds, including Meadowbrook Polo Club, and horse shows such as Piping Rock. Fellow artist and close friend Milton Weiler (1910-1974) also lived in Garden City, where he headed the art department of the high school. Though Brown had little formal art training, he spent extensive amounts of time sketching, observing, and studying horses in motion and at rest. Upon graduating high school, Brown supported himself as an advertising and periodical illustrator, thus beginning his artistic career. Brown created fashion and sporting illustrations for Brooks Brothers, including equestrian scenes. He was very involved with Polo magazine, helping to launch it in 1927 and serving on its editorial board. One of Brown’s horses graced the cover of Time magazine in March 1929, and in 1930 he was asked to produce a series of handcolored aquatints of field sports such as steeplechasing and foxhunting for Eugene V. Connett III’s Derrydale Press.

Brown introduced Weiler to Connett, and Weiler went on to illustrate four books himself for Derrydale. In 1959, when Brown passed away, Weiler helped Paul’s wife Sallie organize his estate. The friendship between the two artists is reflected in the inscribed books given from Brown to Weiler, sketch pad pages, and some fine paintings, including a large picture which was prominently displayed in the holiday window display of Brooks Brothers in New York City. As an artist, Brown was known for his quick and confident style as well as his spare use of color and occasional use of tinted paper. He was partial to pencil on paper and his simple lines convey his authority on the anatomy and behavior of horses. Recognized as one of the most accurate equestrian artists of his day, Brown’s drawings, watercolors, and illustrations inspire collectors and horse lovers alike. PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $800 - $1,200

48.1

48 Paul Desmond Brown (1893-1958) Two Watercolors each signed “Paul Brown” lower right

Steeple Chase Riders 5 1⁄8 by 8 3⁄4 in.

Jumping Riders 5 1⁄2 by 10 1⁄2 in. PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $600 - $900

48.2

49 Paul Desmond Brown (1893-1958) Lions of Luck, c. 1950 signed “Paul Brown” lower right watercolor, 8 1⁄2 by 12 in. inscribed “To Bud, Lions of Luck, Uncle Paul” lower left PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $500 - $700

50 Paul Desmond Brown (1893-1958) Steeplechase- Hedgeron Jump, 1935 signed and dated “Paul Brown ‘35” lower right watercolor, 10 1⁄2 by 24 in.

Milton C. Weiler Collection Descended in the Weiler family

PROVENANCE:

Private Collection, Palm Springs, California, by descent in the family $500 - $1,000

signed “Paul Brown” lower right pencil drawing, 11 1⁄2 by 13 3⁄4 in. inscribed “Slice Goal - Boeseke 8th Period 3rd Game East vs. West Chicago ’33 Paul Brown” lower right

53 Paul Desmond Brown (1893–1958) Bounding Ball, 1933

PROVENANCE:

$4,000 - $6,000

51 Paul Desmond Brown (1893–1958) Goal Boeseke, 1934 signed and dated “Paul Brown ‘34” lower right pencil drawing, 11 by 16 1⁄2 in. inscribed “Goal Boeseke 60 yds 45 degrees 4th Period 3rd Game - East vs. West Chicago 1933 Paul Brown ’34” lower right PROVENANCE:

Private Collection, Palm Springs, California, by descent in the family $500 - $1,000

52 Paul Desmond Brown (1893–1958) Finals The Monte Waterbury, 1934 signed and dated “Paul Brown ‘34” lower right pencil drawing, 12 by 14 1⁄4 in. inscribed “Finals The Monte Waterbury. 8th Period International Field ’33. Boeseke hit in on a penalty 3. Balding turned ball back down field. Chum following on turned Red Ace. Parralled Blue Train and put Balding off the line. Boeseke scoring on offside back shot. Greatest play of tournament. Aurora vs. Greuther. Paul Brown ’34” lower right

55 Paul Desmond Brown (1893–1958) Slice Goal, 1933

signed “Paul Brown” lower right pencil drawing, 12 by 14 1⁄4 in. inscribed “Bounding ball. Boeseke put Roark off of it with a terrific bump and in next stride of pony backed ball. Open championship 1933. Aurora vs. Hurricanes International Field. Paul Brown” lower right PROVENANCE:

Private Collection, Palm Springs, California, by descent in the family $500 - $1,000

54 Paul Desmond Brown (1893–1958) Boeseke vs. Winston Guest, 1933 signed and dated “Paul Brown ‘33” lower right pencil drawing, 10 3⁄4 by 15 in. inscribed “Boeseke vs. Winston Guest. Cochane Field. Practice 22. Elmer wanted the ball and he got it. Paul Brown ’33. Aurora vs. Templeton. 3rd Period.” lower right PROVENANCE:

Private Collection, Palm Springs, California, by descent in the family $500 - $1,000

56 Paul Desmond Brown (1893–1958) Boeseke vs. Hitchcock, 1933 signed and dated “Paul Brown ‘33” lower right pencil drawing, 11 3⁄4 by 15 in. inscribed “Boeseke vs. Hitchcock 6th Period 2nd Game. Ball was almost against boards and the stroke was a very difficult one. Raymond Guest knocked it down as it went to centre of field. Paul Brown ’33. Chicago East vs. West ’33” lower right PROVENANCE:

Private Collection, Palm Springs, California, by descent in the family $500 - $1,000

57 Paul Desmond Brown (1893-1958) Four Polo Player Pencil Drawings each 8 1⁄2 by 10 7⁄8 in. inscribed “Goal Harrington vs Lyle 6th Greentree” lower center inscribed “Smith” lower right inscribed “Nice Goal Mills vs. Cook” lower right inscribed “Mr Webb vs. Atkinson” lower right PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $800 - $1,200

58 Paul Desmond Brown (1893-1958) Four Polo Player Pencil Drawings each 8 1⁄2 by 10 7⁄8 in. inscribed “W.B. Starr on Bonito......1st 1932” lower right inscribed “Lacey Saves Safety” lower right inscribed “#1 Knox” lower right inscribed “Goal Jose Hitchcock 5th Greentee” lower right

PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $800 - $1,200

59 Paul Desmond Brown (1893-1958) Two Polo Player Pencil Drawings each 8 1⁄2 by 10 7⁄8 in. one is inscribed “Done 1” lower right PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $400 - $600

60 Paul Desmond Brown (1893-1958) Two Polo Player Pencil Drawings

each 9 by 8 3⁄8 in. PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $400 - $600

61 Paul Desmond Brown (1893-1958) Horse Portrait signed “Paul Brown” lower right pencil drawing, 10 7⁄8 by 8 1⁄4 in. PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $200 - $300

62 Paul Desmond Brown (1893-1958) Horse in Open Range, 1931 signed and dated “Paul Brown ‘31” lower left watercolor, 6 1⁄2 by 7 in. PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $200 - $300

63 Paul Desmond Brown (1893-1958) International Field, Meadowbrook Club, 1939 printed signature “Paul Brown” lower left color print, 18 by 26 in. published by Robert B. Strowbridge, New York, 1939 Garden City Galleries, Garden City, NY label on back PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $200 - $400

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67.2

64 Paul Desmond Brown (1893-1958) Hunt Team, c. 1950 signed “Paul Brown” lower right hand-colored print, 8 by 12 3⁄8 in. PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $100 - $200

65 Paul Desmond Brown (1893-1958) Steeplechase Riders signed “Paul Brown” lower left pen and ink drawing, 9 1⁄2 by 14 in. PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $300 - $500

66 Henry Thomas Alken (English 1785-1851) (attr.) Full Cry (Taking a Fence) pen, ink, and watercolor, 9 by 13 in.

Henry Thomas Alken was an English artist born into a sporting art family in 1785. His father, Samuel, was his first teacher before studying with J.T.B. Beaumont and exhibiting at the Royal Academy. Alken had a successful career spent creating paintings, drawings, and etchings of the wide variety of field and sporting activities popular in England. His works include a set of etchings entitled Humorous Speciments of Riding from 1821 and the illustrations for The National Sports of Great Britain. Alken’s paintings can be found in the Tate

Museum, London, and his illustrations can be found in the British Museum, London. PROVENANCE:

Richard V. Strawbridge Collection, Philadelphia, Pennsylvania $200 - $400

67 Paul Desmond Brown (1893-1958) Two Drawings each signed “P B” lower right each pencil, pen and ink, 8 1⁄4 by 10 1⁄2 in.

Saddled Horse Cowboy on Horse PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $500 - $700

68.2

68.1

69.2

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68 Paul Desmond Brown (1893-1958) Three Etchings Hunters and Dogs 6 by 16 in.

High Ball signed “Paul Brown” lower right 11 by 8 1⁄2 in.

Two Hunters in Woods signed “Paul Brown” lower right 6 1⁄4 by 11 in. PROVENANCE:

Milton C. Weiler Collection Descended in the Weiler family $300 - $500

69 Levon West (1900-1968) Two Etchings each signed “Levon West imp” lower right

Iceberg Lake, 1927 9 1⁄4 by 11 in. edition 19 of 100 (only 56 printed) inscribed “Iceberg Lake” lower left

English Bay Horse, 1927 8 by 11 3⁄4 in. edition of 18 trial proofs inscribed “Trial proof” lower left

$400 - $600

70 Joshua Deighton (1884-1962) Morny on Horseback, c. 1910

71 Amory Hare Hutchinson (1885-1964) Up and Over

watercolor and gouache, 10 1⁄4 by 7 3⁄4 in. inscribed “Mornington Cannon” on back

signed “Amory Hare” upper left oil on canvas, 18 by 14 in.

Herbert Mornington “Morny” Cannon (British 1873-1962) was a six-time British champion jockey in the 1890s. In 1899, he rode Flying Fox to the British Triple Crown and had over eighteen hundred career wins.

Hutchinson, a California artist, lived on a horse breeding farm in the Santa Ynez Valley. Also a writer and a poet, in 1964, she published a book titled Gallant and Game.

PROVENANCE:

The Estate of Thomas W. Connally $300 - $500

$400 - $600

73.1

72 after Pierre Jules Mene (French 1810-1879) L’Accolade inscribed “P J Mene” on top of base bronze, 12 1⁄2 by 19 1⁄2 by 7 1⁄2 in. PROVENANCE:

Richard V. Strawbridge Collection, Philadelphia, Pennsylvania $2,000 - $3,000 73.2

73 John Leech (British 1817-1864) Six Foxhunting Watercolors, c. 1850 each 3 1⁄2 by 8 1⁄2 in. PROVENANCE:

Richard V. Strawbridge Collection, Philadelphia, Pennsylvania $300 - $600

74 Lionel D. R. Edwards (British 1878-1966) Fox Hunt Scene signed “Lionel. Edwards” lower left oil on canvas, 20 by 24 in. Christie’s inventory tag affixed to back

Lionel Edwards was a British artist who specialized in equine art and field sport depictions. He and his wife were avid fox hunters, and Edwards spent much of his childhood in Wales pursuing outdoor sport. He trained at art schools in London, including the Heatherly School of Fine Art. During World War I he served as a remount purchasing officer, acquiring and training horses for the army, as did his contemporary equine artist Sir Alfred Munnings. Edwards illustrated an edition of Anna Sewell’s Black Beauty, and his illustrations appeared in the pages of Punch, Country Life, and other leading British publications. He is best known for his hunting scenes and depictions of British country life, which he knew intimately. PROVENANCE:

Purchased at Christie’s, circa 1994 Private Collection, New York $10,000 - $15,000

75 Set of Abercrombie & Fitch Co. China Abercrombie & Fitch Co. New York, NY c. 1940 12 dinner plates, 12 salad plates, 12 butter plates, and 12 soup bowls with hand-painted fox hunting motifs and gold rim decoration

Almost all the pieces bear the “Abercrombie & Fitch Co., New York” stamp on the bottom. Some bear the “Andover China Co.” mark. Andover China Company started in Andover, New York, in 1946 and closed in 1958. Several of the plates are signed “C. Gorainoff” for the Gorainoff and Vosmansky china makers of New York City. This set is part of an important collection of Abercrombie & Fitch items along with lots 219-238. As found. PROVENANCE:

Private Collection

$2,000 - $4,000

76 Aiden Lassell Ripley (1896-1969) Fox Hunting, 1941 signed and dated “A. Lassell Ripley 1941” lower right watercolor, 19 by 28 1⁄2 in. PROVENANCE:

Private Collection, Massachusetts

$18,000 - $24,000

77 Sir Alfred James Munnings (English 1878-1959) Traveler, 1924 signed “A. J. Munnings” lower left oil on board, 20 by 24 in.

Alfred J. Munnings, who was born in 1878, is considered one of the greatest British equine and sporting painters. He was a great impressionist who depicted every level of the horse and hunt society in which he traveled, from farmhands to the top horses and jockeys of the day.

uncle was Dr. James Ayer, who made a fortune through his patent medicine business, and his sister Beatrice married General George Patton in 1910. Fred’s son Frederick Ayer played polo at Harvard, where the Crimson reported a match as “ably supported by Fred Ayer ‘37,” before going on to be Myopia’s Captain of Polo. He was on the club’s 1938 team that won the New England Championship’s W. Cameron Forbes Trophy, the first year of the trophy’s existence. The Myopia polo team came in second the next two years. Additionally, Ayer is quoted in Horace A. Laffaye’s Polo in the United States: A History.

In 1924, Munnings traveled to America aboard the Berengaria. During this trip he completed a number of high-profile commissions, including this portrait of Traveler for Mrs. Hilda Ayer, as well as works for other prominent horsemen and women in New York, and he served on the jury of the Carnegie International exhibition, then a leading contemporary art show held by the Carnegie Institute in Pittsburgh.

Traveler’s portrait hung at Ledyard Farm until Hilda’s death in 1978, at which point the painting traveled down through the family, hanging at Great Elm Farm in Wenham, Massachusetts, with Hilda and Fred’s son Neil Rice Ayer. Upon his death in 1990, the painting passed to his wife, Helen Harrison Ayer.

Traveler is an example displaying the artist blending colors. This work displays the artist’s classic composition and was painted near the height of Munnings’ career, when prominent commissions and worldwide travel brought him to the country estates of the world’s riding and sporting elite. By 1928 Munnings was a full Academician at the Royal Academy in London. In 1924 he was an associate of the RA, and exhibited a portrait with the Royal Society of Portrait Painters. His works display technical mastery, deft brushwork, commanding colors, and a deep understanding of his subjects.

In 1973, Neil and Helen Ayer were invited to the wedding of fellow equestrians Princess Anne and Capt. Mark Phillips by the Queen of England. Ledyard Farm, where Munnings saw and painted Traveler in 1924, is currently an equestrian cross country riding destination with an emphasis on three day eventing. The first international three day event in the United States was held at Ledyard in 1973, and the farm continues to honor Hilda’s love of horses and horsemanship.

Hilda Rice Ayer, who commissioned the painting from Munnings, brought Traveler to her residence at Ledyard Farm, Wenham, Massachusetts in the late 1910s. She was a strong outdoorswoman with a love for horses who grew up at Turner Hill in Ipswich, Massachusetts. Hilda married Frederick Ayer in 1914, and Fred, a horseman himself, was a member of the Myopia Hunt Club where he also played polo.

PROVENANCE:

Frederick and Hilda Rice Ayer, Ledyard Farm, Wenham, Massachusetts Neil Rice Ayer, Great Elm Farm, Wenham, Massachusetts Helen Harrison Ayer, by descent Horace A. Laffaye, Polo in the United States: A History, Jefferson, NC, 2011. LITERATURE:

Fred was the son of Frederick Ayer, a Boston industrialist whose residence on Commonwealth Avenue was designed by noted American artist Louis Comfort Tiffany. Fred’s

$80,000 - $120,000

SIR ALFRED JAMES MUNNINGS 1878-1959 78

78 Aiden Lassell Ripley (1896-1969) Hunting in New England, 1938 signed and dated “A. Lassell Ripley 1938” lower right watercolor, 17 1⁄2 by 24 3⁄4 in.

Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country’s top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951). Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors “en plein air” in North Africa, France, and Holland. On his return, in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Therefore, following a successful one-man show in 1930 of his sporting art,

Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects. Along with his contemporary, Ogden Pleissner (19051983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art. In this work, Ripley captures the atmosphere and lively colors of Hunting in New England by employing his masterful brushstrokes and deep knowledge of the subject matter. The lone hunter and his dog hike through the rolling hills, in search of their quarry, at one with the landscape. PROVENANCE:

Private Collection, Massachusetts

$14,000 - $18,000

79 Aiden Lassell Ripley (1896-1969) Two Grouse in Snow, 1950 signed and dated “A. Lassell Ripley 1950” lower right watercolor, 20 3⁄4 by 29 in.

$14,000 - $18,000

80 Aiden Lassell Ripley (1896-1969) The Pond Cover, 1947 signed and dated “A. Lassell Ripley © 1947” lower left oil on canvas, 27 3⁄16 by 40 1⁄8 in. inscribed “The Pond Cover by A. Lassell Ripley © 1947” on back

The Pond Cover is a pinnacle work by Ripley in every sense, with the hunters, dogs, bird, and barn blending seamlessly into the bright, crisp fall landscape. This grand oil celebrates the artist’s love for good hunting companions, dogs, guns, and days spent in the field. The Pond Cover is an intimate look into one of the artist’s greatest passions, upland bird shooting. $60,000 - $90,000

AIDEN LASSELL RIPLEY

1896-1969

81 Lynn Bogue Hunt (1878-1960) Leaving in Haste – Mallards, 1949 signed and dated “Lynn Bogue Hunt 1949” lower right oil on canvas, 25 by 21 in.

$5,000 - $7,000

82 Roland H. Clark (1874-1957) Woodcock signed “Roland Clark” lower left oil on celluloid, 4 by 3 in.

$800 - $1,200

83 Richard E. Bishop (1887-1975) Spoonies signed “Richard E. Bishop” lower left oil on board, 12 by 16 in. PROVENANCE:

Private Collection

$2,000 - $4,000

84 Robert K. Abbett (b. 1926) Fast Freddy, The Pheasant signed “Abbett” lower right oil on board, 17 1⁄2 by 31 1⁄8 in. PROVENANCE:

Private Collection

$6,000 - $9,000

85 John Swan (b. 1948) Grouse in Snow, 2008 signed “John Swan” lower right oil on canvas, 24 by 36 in.

John Swan was born and raised in Maine and studied at the University of New Hampshire. In the 1980s Swan was painting local rural landscapes until he completed a fly fishing painting that appeared on the cover of Gray’s Sporting Journal. This early success with a sporting scene ensured that hunting and fishing subjects would be an integral part of Swan’s work in the years to come. Swan is regarded as one of the foremost sporting and wildlife artists of his generation. Among his distinctions are one-man shows at the American

Museum of Fly Fishing, the King Gallery of New York, and the Stephen O’Brien Jr. Fine Arts Gallery of Boston. His awards include being named Artist of the Year three times by the Atlantic Salmon Federation as well as being the Ducks Unlimited International Artist of the Year in 1987. He has illustrated numerous books including Joseph Bate’s classic Atlantic Salmon Fishing and Thomas McGuanes’s anthology Live Water. $6,000 - $9,000

86 David A. Maass (b. 1929) Startled Covey of Quail, 1962

87 David A. Maass (b. 1929) Redheads Landing, c. 1960

signed “Maass” lower left oil on board, 23 1⁄2 by 29 1⁄2 in.

An avid sportsman and ardent contributor to conservation organizations, David Maass has been actively painting game birds for more than thirty years. In the past twenty years he has designed more than thirty conservation stamps and prints, a distinction few artists can claim.

$10,000 - $12,000

Over the last several years, Ducks Unlimited, the National Wild Turkey Federation, and the Minnesota Wildlife Heritage Foundation have each named David Maass their Artist of the Year. Maass’ original paintings and limited edition prints have been exhibited in galleries and shows throughout the country, including the Smithsonian American Art Museum in Washington, D.C., the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and the annual Minnesota Wildlife Heritage Foundation Show in Minneapolis. An original Canada goose painting by David Maass is also part of the permanent collection of the Minneapolis Institute of Art. PROVENANCE:

Purchased from the artist in 1962

$8,000 - $10,000

88 David A. Maass (b. 1929) Mallards Landing, c. 1960 signed “Maass” lower left oil on board, 19 1⁄2 by 23 1⁄2 in.

$8,000 - $10,000

89 Edgar Burke (1889-1950) Black Ducks signed “Edgar Burke” lower right oil on board, 15 1⁄2 by 19 1⁄2 in.

$1,500 - $2,500

90 Edgar Burke (1889-1950) Blue Geese, 1948 signed “Edgar Burke” lower right oil on board, 7 1⁄2 by 9 1⁄2 in. inscribed and dated “Blue Geese, To Jas. M. Davis Jr. Esq., With Compliments of Edgar Burke x11. 25. 1948” on back

$500 - $700

91 Edgar Burke (1889-1950) Canada Geese signed “Edgar Burke” lower right oil on board, 9 1⁄2 by 7 1⁄2 in.

$500 - $700

92 Edgar Burke (1889-1950) Wigeon signed “Edgar Burke” lower left oil on board, 6 1⁄2 by 8 in.

$300 - $500

93 John Whorf (1903-1959) Setting Out Decoys signed “John Whorf” lower right watercolor, 14 1⁄4 by 21 in. PROVENANCE:

Private Collection, New York

$3,000 - $5,000

94 Phillip Brown Parsons (1895-1977) Bird Hunter and English Setter, c. 1960 signed “P. B. Parsons” lower left watercolor, 15 1⁄2 by 21 1⁄2 in.

$500 - $1,000

95 Phillip Brown Parsons (1895-1977) Here’s Your Bird signed “P. B. Parsons” lower left watercolor, 15 1⁄2 by 21 1⁄2 in. original artist’s show label affixed to back

$500 - $1,000

96 Aiden Lassell Ripley (1896-1969) (attr.) Quail Hunting Sketches watercolor and pencil drawing, 13 3⁄4 by 10 5⁄8 in. inscribed “Richardsons Field” on watercolor and “Gibson Field” on pencil drawing PROVENANCE:

The Estate of Thomas W. Connally

$600 - $900

97 Chet Reneson (b. 1934) Setting Out Decoys, 2009

98 Chet Reneson (b. 1934) Quail Hunting

signed and dated “Reneson 09” lower right watercolor, 18 by 28 1⁄2 in.

signed “Reneson” lower right watercolor, 18 by 28 in.

$3,000 - $4,000

$2,000 - $4,000

99 Lynn Bogue Hunt (1878-1960) Black Ducks Rising signed “Lynn Bogue Hunt” lower center oil on canvas, 14 3⁄4 by 17 1⁄2 in. inscribed “To Bob O’Neill, Brother To The Black Duck” lower center

$3,000 - $5,000

100

100 Charles LaSalle (1894-1958) Flying Goose signed “Charles LaSalle” lower right oil on board, 16 3⁄4 by 13 1⁄4 in.

Charles Louis Lassell grew up in Wakefield, Massachusetts, and began signing his works as “Charles LaSalle” in 1931. He was a cousin of Aiden Lassell Ripley. $300 - $500

101

101 George Browne (1918-1958) Woodcock pencil drawing, 8 1⁄2 by 11 in. red encircled “GB” estate stamp lower right

$100 - $200

102

102 after John James Audubon (1785-1851) Little Screech Owl hand-colored engraving, sheet size 36 1⁄4 by 25 in. by Robert Havell “Little Screech Owl (No. 20, Plate XCVII)” “Strix Asio” “Drawn from Nature and Published by John J. Audubon F.R.S.F.L.S.” lower left “Engraved, Printed, & Coloured by R. Havell” lower right on J. Whatman watermarked paper PROVENANCE:

Collection of an independent Audubon Society John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838. LITERATURE:

$3,000 - $6,000

103

103 after John James Audubon (1785-1851) Little Owl, 1834 hand-colored engraving, sheet size 27 3⁄8 by 19 5⁄8 in. by Robert Havell “Little Owl (No. 40, Plate CXCIX)” “Strix Acadica” “Drawn from Nature by J. J. Audubon F.R.S.F.L.S.” lower left “Engraved, Printed, & Coloured by R. Havell, 1834” lower right on J. Whatman watermarked paper PROVENANCE:

Collection of an independent Audubon Society LITERATURE:

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838. $1,000 - $3,000

104

104 after John James Audubon (1785-1851) Hooded Merganser, 1834 hand-colored engraving, sheet size 22 7⁄8 by 27 7⁄8 in. by Robert Havell “Hooded Merganser, (No. 41, Plate CCXXXII)” “Mergus Cucullatus” “Drawn from Nature and Published by John J. Audubon F.R.S.F.L.S.” lower left “Engraved, Printed, & Coloured by R. Havell 1834” lower right on J. Whatman watermarked paper PROVENANCE:

The Estate of Thomas W. Connally LITERATURE: John James Audubon,

Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838. $2,000 - $4,000

105

105 after John James Audubon (1785-1851) Turkey Buzzard, 1832 hand-colored engraving, sheet size 38 1⁄4 by 25 3⁄8 in. by Robert Havell “Turkey Buzzard (No. 31, Plate CLI)” “Cathartes Aura” “Drawn from Nature by J. J. Audubon F.R.S.F.L.S.” lower left “Engraved, Printed, & Colored by R. Havell, London, 1832” lower right on J. Whatman watermarked paper

“As soon as, like me, you shall have seen the Turkey Buzzard follow, with arduous closeness of investigation, the skirts of the forests, the meanders of creeks and rivers, sweeping over the whole of extensive plains, glancing his quick eye in all directions, with as much intentness as ever did the noblest of Falcons, to discover where below him lies the suitable prey...then will you abandon the deeply-rooted notion, that this bird possesses the faculty of discovering, by his sense of smell, his prey at an immense distance.” PROVENANCE:

Collection of an independent Audubon Society

Christoph Irmscher, ed., John James Audubon: Writings & Drawings, New York, NY, 1999, pp. 293-294. LITERATURE:

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838. $1,500 - $2,500

106 after John James Audubon (1785-1851) Snowy Owl hand-colored engraving, sheet size 38 3⁄4 by 25 7⁄8 in. by Robert Havell “Snowy Owl (No. 25, Plate CXXI)” “Strix Nyctea” “Drawn from Nature by J. J. Audubon F.R.S.F.L.S.” lower left “Engraved, Printed, & Coloured by R. Havell, London” lower right on J. Whatman watermarked paper

John James Audubon writes of the Snowy Owl, “This beautiful bird is merely a winter visitor of the United States, where it is seldom seen before the month of November, and whence it retires as early as the beginning of February. It wanders at times along the sea coast, as far as Georgia…”

of which, a male, was alive, having only been touched in the wing. He stood upright, keeping his feathers close, but would not suffer me to approach him. His fine eyes watched every movement I made…In the course of the same winter, I saw one sailing high over the bay along with a number of gulls, which appeared to dislike his company, and chased it at a respectful distance, the owl seeming to pay no regard to them.”

“The Snowy Owl hunts during the day, as well as in the dusk. Its flight is firm and protracted, although smooth and noiseless. It passes swiftly over its hunting ground, seizes its prey by instantaneously falling on it, and generally devours it on the spot. When the objects of its pursuit are on wing, such as ducks, grouse, or pigeons, it gains upon them by urging its speed, and strikes them somewhat in the manner of the Peregrine Falcon. It is fond of the neighbourhood of rivers and small streams, having in their course cataracts or shallow rapids, on the borders of which it seizes on fishes…”

“Several individuals have been procured near Charleston, in South Carolina, one on James’ Island, another, now in the Charleston Museum, on Clarkson’s plantation. A fine one … at Columbia, the seat of government for the State of that name, from the chimney of one of the largest house in that town, and was beautifully preserved by Professor Gibbes of the Columbia College.” PROVENANCE:

“The body of the Snowy Owl appears at first sight compact and very muscular...The male weighs 4 lb, the female 4 3⁄4 lb. avoirdupois...The observations which I have made induce me to believe that the pure and rich light-yellowish whiteness of this species belongs to both sexes after a certain age.”

Collection of an independent Audubon Society

Christoph Irmscher, ed., John James Audubon: Writings & Drawings, New York, NY, 1999, pp. 333-336, plate 28, illustrated. LITERATURE:

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838.

“In the course of a winter spent at Boston, I had some superb specimens of the Snowy Owl brought to me, one

$60,000 - $90,000

106

107

107 after John James Audubon (1785-1851) Great Esquimaux Curlew, 1833 hand-colored engraving, sheet size 25 7⁄8 by 33 in. by Robert Havell “Great Esquimaux Curlew (No. 48, Plate CCXXXVII)” “Numenius Hudsonius” “Drawn from Nature by J. J. Audubon F.R.S.F.L.S.” lower left “Engrav’d, Printed, & Coloured by R. Havell, London 1833” lower right on J. Whatman watermarked paper

In Newfoundland, Audubon writes, “None of my party observed an individual of the species [Numenius longirostris, Long-billed Curlew] in the course of our three months’ stay in the country, although we saw great numbers of the true Esquimaux Curlew, N. borealis...I have never seen them searching for berries on elevated lands, as the Esquimaux Curlews are wont to do.” PROVENANCE:

Collection of an independent Audubon Society

Christoph Irmscher, ed., John James Audubon: Writings & Drawings, New York, NY, 1999, pp. 440-441, 444. LITERATURE:

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838. $2,000 - $4,000

108

108 after John James Audubon (1785-1851) Baltimore Oriole hand-colored engraving, sheet size 30 3⁄4 by 24 3⁄4 in. by Robert Havell “Baltimore Oriole (No. 3, Plate 12)” “Icterus Baltimore” “Drawn from Nature by John J. Audubon F.R.S.E.M.W.S.” lower left “Engraved by R. Havell, Junr” lower right on J. Whatman watermarked paper Goodspeed’s Book Shop, Boston, Massachusetts label on back PROVENANCE:

Collection of an independent Audubon Society

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838. LITERATURE:

$4,000 - $6,000

109

109 after John James Audubon (1785-1851) Canada Jay, 1831 hand-colored engraving, sheet size 30 1⁄8 by 24 in. by Robert Havell “Canada Jay (No. 22, Plate CVII)” “Corvus Canadensis” “Drawn from Nature by J. J. Audubon F.R.S.F.L.S.” lower left “Engraved, Printed, & Coloured by R. Havell. London 1831” lower right on J. Whatman watermarked paper PROVENANCE:

The Estate of Thomas W. Connally

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838. LITERATURE:

$2,000 - $3,000

110

110 after John James Audubon (1785-1851) White-Breasted Black-Capped Nuthatch, 1832 hand-colored engraving, sheet size 34 by 24 in. by Robert Havell “White-Breasted Black-Capped Nuthatch (No. 31, Plate CLII)” “Sitta Carolinensis” “Drawn from Nature by J. J. Audubon F.R.S.F.L.S.” lower left “Engraved, Printed, & Coloured by R. Havell, London 1832” lower right on J. Whatman watermarked paper PROVENANCE:

Collection of an independent Audubon Society

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838. LITERATURE:

$1,000 - $3,000

111 after John James Audubon (1785-1851) Great White Heron, 1835 hand-colored engraving, sheet size 26 1⁄8 by 39 1⁄8 in. by Robert Havell “Great White Heron (No. 57, Plate CCLXXXI)” “Ardea Occidentalis” “Drawn from Nature by J. J. Audubon F.R.S.F.L.S.” lower left “Engraved, Printed, & Coloured by R. Havell, 1835” lower right on J. Whatman watermarked paper

Audubon writes, “I am now about to present you with an account of the habits of the largest species of the Heron tribe hitherto found in the United States, and which is indeed remarkable not only for its great size, but also for the pure white of its plumage at every period of its life.”

“The Great White Heron is a constant resident on the Florida Keys...These Herons are sedate, quiet...they walk majestically, with firmness and great elegance...they flock at their feeding grounds, sometimes a hundred or more being seen together...While on these banks, they stand motionless, rarely moving towards their prey, but waiting until it comes near, when they strike it and swallow it alive... The flight of the Great White Heron is firm, regular, and greatly protracted.”

“We observed a young Heron of this species stalking among the mangroves that bordered the key on which we were, and immediately pursued it. Had you been looking on, good Reader, you might have enjoyed a hearty laugh, although few of us could have joined you. Seven or eight persons were engaged in the pursuit of this single bird, which, with extended neck, wings, and legs, made off among the tangled trees...”

“When I left Key West, on our return towards Charleston, I took with me two young birds...They were taken to my friend John Bachman, who was glad to see them. He kept a pair...They betook themselves to roosting in a beautiful arbour in his garden; where at night they looked with their pure white plumage like beings of another world...At last they began to pursue the younger children of my worthy friend… One of them was beautifully mounted by my assistant Mr. Henry Ward, and is now in the Museum of Charleston.”

“At last we found ourselves in a deep channel beneath the hanging mangroves of a large key, where we had observed the Herons retiring to roost the previous evening. There we lay quietly until day-break. But the mosquitoes and sandflies! Reader, if you have not been in such a place, you cannot easily conceive the torments we endured for a whole hour, when it was absolutely necessary for us to remain perfectly motionless. At length day dawned...A Heron sprung from its perch almost directly over our heads...As the bird sped away, it croaked loudly, and the noise...roused some hundreds of these Herons, which flew from the mangroves, and in the grey light appeared to sail over and around us like so many spectres.”

PROVENANCE:

The Estate of Thomas W. Connally

Christoph Irmscher, ed., John James Audubon: Writings & Drawings, New York, NY, 1999, pp. 457-465, plate 47, illustrated. LITERATURE:

John James Audubon, Birds of America, From Drawings Made in the United States and Their Territories, London, England, 1826-1838.

“Many had alighted on the neighbouring key, and stood perched like so many newly finished statues of the purest alabaster, forming a fine contrast to the deep blue sky.”

$30,000 - $50,000

111

AFTER JOHN JAMES AUDUBON 1785-1851 112

112 after John James Audubon (1785-1851) Orange-Bellied Squirrel, 1845 hand-colored lithograph, sheet size 25 3⁄4 by 20 1⁄2 in. by John T. Bowen “Orange-Bellied Squirrel (No. 12, Plate LVIII)” “Sciurus Sub-Aurus” “Drawn from Nature by J.J. Audubon F.R.S.F.L.S.” lower left “Lith., Printed, & Col’d by J.T. Bowen Philad” lower right from the imperial edition of Viviparous Quadrupeds of North America

$400 - $600

113

113 after John James Audubon (1785-1851) Common Flying Squirrel, 1843 hand-colored lithograph, sheet size 27 by 21 5⁄8 in. by John T. Bowen “Common Flying Squirrel (No. 6, Plate XXVIII)” “Pteromys Volucella” “Drawn from Nature by J.J. Audubon F.R.S.F.L.S.” lower left “Lith., Printed, & Col’d by J.T. Bowen Philad. 1843” lower right from the imperial edition of Viviparous Quadrupeds of North America PROVENANCE:

The Estate of Thomas W. Connally

$400 - $600

114

114 after John James Audubon (1785-1851) Carolina Grey Squirrel, 1843 hand-colored lithograph, sheet size 27 3⁄8 by 21 3⁄8 in. by John T. Bowen “Carolina Grey Squirrel (No. 2, Plate VII)” “Sciurus Carolinensis” “Drawn from Nature by J.J. Audubon F.R.S.F.L.S.” lower left “Lith., Printed, & Col’d by J.T. Bowen Phila 1843” lower right from the imperial edition of Viviparous Quadrupeds of North America PROVENANCE:

The Estate of Thomas W. Connally

$400 - $600

115

115 after John James Audubon (1785-1851) Long-Tailed Deer, 1847 hand-colored lithograph, 21 1⁄2 by 27 in. by John T. Bowen “Long-Tailed Deer (No. 24, Plate CXVIII)” “Cervus Leucurus, Douglass” “Drawn from Nature by J.W. Audubon” lower left “Lith’d., Printed, & Col’d by J.T. Bowen Philad. 1847” lower right from the imperial edition of Viviparous Quadrupeds of North America PROVENANCE:

The Estate of Thomas W. Connally

$600 - $900

116

117

116 after John James Audubon (1785-1851) American Cross Fox, 1843 hand-colored lithograph, sheet size 21 1⁄4 by 27 3⁄8 in. by John T. Bowen “American Cross Fox (No. 2, Plate VI)” “Canis (Vulpes) Fulvus, Desmaret” “Drawn from Nature by J.J. Audubon F.R.S.F.L.S.” lower left “Lith., Printed, & Col’d by J.T. Bowen Philad. 1843” lower right from the imperial edition of Viviparous Quadrupeds of North America PROVENANCE:

118

The Estate of Thomas W. Connally

$200 - $400

117 after John Gould (British 1804-1881) Roseate Terns hand-colored lithograph, sheet size 21 3⁄8 by 14 3⁄8 in. “Sterna Paradisea, Brinn.” with Henry C. Richter (1821-1902) PROVENANCE:

The Estate of Thomas W. Connally

$300 - $400

118 after John Gould (British 1804-1881) Merganser Family hand-colored lithograph, sheet size 15 1⁄8 by 22 in. “Mergus Serrator” with Henry C. Richter (1821-1902) PROVENANCE:

The Estate of Thomas W. Connally

$100 - $200 79

119

119 Mike Stidham (b. 1954) Silver King Circle signed “M Stidham” lower right oil on board, 29 1⁄2 by 39 1⁄2 in.

Mike Stidham is the 2015 Featured Artist for The Bonefish & Tarpon Trust. 50% of the proceeds from the sale of Silver King Circle will go directly to BTT, whose mission is to conserve and enhance global bonefish, tarpon, and permit fisheries and their environments 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. $8,000 - $10,000

120

121

120 Roger S. Cruwys (b. 1938) Bonefish Flats

121 Roger S. Cruwys (b. 1938) Bonefishing

signed “Cruwys” lower right acrylic on board, 17 by 25 in.

signed “Cruwys” lower right acrylic on board, 17 1⁄2 by 23 1⁄2 in.

$2,500 - $3,500

$1,500 - $2,500

122

122 Bill Elliott (b. 1945) Tarpon Fishing signed “B Elliott” lower right watercolor and acrylic, 13 by 19 1⁄2 in. Elliott was the Bonefish & Tarpon Trust’s Artist of the Year in 2008.

$600 - $900

123

123 Mel Smothers (b. 1947) Lake Tahoe Water Colors #23, 2014 signed and dated “Mel Smothers 2014” on back of canvas oil on canvas, 24 by 24 in.

$1,500 - $2,500

124

124 Mel Smothers (b. 1947) Lake Tahoe Water Colors #26, 2014 signed and dated “Mel Smothers 2014” on back of canvas oil on canvas, 24 by 24 in.

$1,500 - $2,500

125

126

125 Roy Grinnell (b. 1933) Water Buffalo and Egrets signed “R. Grinnell” lower right oil on canvas, 17 1⁄2 by 35 3⁄4 in.

$800 - $1,200

126 Julia Noffsinger Rogers (b. 1962) Eland signed “Julia Noffsinger Rogers” lower left oil on board, 15 1⁄2 by 11 1⁄4 in.

$300 - $500

127

127 Grant Hacking (b. 1964) Cheetahs, 1991 signed and dated “Grant Hacking ‘91” lower left oil on canvas, 17 1⁄2 by 23 1⁄2 in.

Grant Hacking was born and raised in South Africa and moved to the United States in 1990. The son of two professional painters, Hacking defines himself as a painter of nature and divides his time between plein air landscapes and wildlife paintings that allow him to recall his time in Africa. He is a member of the Society of Wildlife Artists, Artists for Conservation, and the Oil Painters of America. His work can be found in numerous museums and private collections across the country. He is the Featured Artist at the 2015 Southeastern Wildlife Exhibition in Charleston. $1,500 - $2,500

128

128 Angus H. Shortt (1908-2006) Pintail, 1945 signed and dated “A.H. Shortt. 1945.” lower right watercolor, 19 by 15 in.

$600 - $900

129

129 David Hagerbaumer (1921-2014) Doves signed “David Hagerbaumer” lower right watercolor, 10 1⁄2 by 14 1⁄8 in.

$800 - $1,000

130

130 David Hagerbaumer (1921-2014) Black Ducks signed “David Hagerbaumer” lower left watercolor, 10 3⁄4 by 14 1⁄2 in.

$900 - $1,200

131

131 David Hagerbaumer (1921-2014) Pheasants signed “David Hagerbaumer” lower right watercolor, 3 1⁄4 by 4 in.

$200 - $300

132

132 David Hagerbaumer (1921-2014) Black Ducks signed “David Hagerbaumer” lower right watercolor, 10 3⁄4 by 14 1⁄8 in.

$800 - $1,000

133

133 David Hagerbaumer (1921-2014) Mallard Pair signed “David Hagerbaumer” lower left watercolor, 9 1⁄4 by 11 3⁄8 in.

$400 - $600

134

134 Roy Martell Mason (1886-1972) Mallards Landing signed “Roy M. Mason” lower left watercolor, 21 3⁄4 by 30 in.

$1,500 - $2,500

135

135 Roy Martell Mason (1886-1972) Upland Hunting signed “Roy M. Mason” lower right watercolor, 19 1⁄2 by 28 1⁄2 in.

$1,000 - $2,000

136

136 William J. Koelpin (1938-1996) Le Voyageur, 1991 bronze, 27 by 11 by 12 1⁄2 in. signed and dated “Wm. J. Koelpin © 91” on base inscribed “Le Voyageur” and “1/24” on base edition 1 of 24 together with a charcoal sketch of the same subject signed “WJ Koelpin” lower right, 11 7⁄8 by 18 3⁄8 in.

William Koelpin was an avid hunter and fisherman from Wisconsin. He went on to become a celebrated sporting artist, who excelled in a number of mediums including bronze, paint, and wood. Throughout his career Koelpin displayed his passion for the outdoors in his accurate and detailed works. His first sold-out exhibit was at the Midwest Decoy Collectors’ annual show in the mid-1970s. Koelpin enjoyed many honors in his time, including the “Best in World” award from the Ward Museum in Salisbury, Maryland, and being named “One of America’s Premier Artists” by the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin. $4,000 - $5,000

137

137 William J. Koelpin (1938-1996) The Buffalo Hunter, 1990

138

signed and dated “Wm. J. Koelpin © 90” on base bronze, 12 by 18 by 9 3⁄4 in. inscribed “16/24” on base edition 16 of 24

$4,000 - $5,000

138 William J. Koelpin (1938-1996) The Poacher, 1993 signed and dated “Wm. J. Koelpin © 93” on base bronze, 16 in. high including base inscribed “The Poacher” and numbered “1/24” on base edition 1 of 24

$3,000 - $5,000

139

139 Glenna Goodacre (b. 1939) Victory, c. 2000 signed “G Goodacre” on side of raised foot bronze, 39 by 13 by 12 1⁄2 in. inscribed “24 of 25” on side of foot edition 24 of 25

Goodacre is a noted artist whose contemporary realist work has found acclaim. She trained at Colorado College and the Art Students League in New York before turning to bronze sculpture mid-career. Her monumental bronze depiction of Ronald Reagan stands outside the Reagan Library in California. She is known for her work at the Vietnam Women’s Memorial in Washington, D.C. and the portrait of Sacagawea on the U.S. Mint’s dollar coin. In 2002 Goodacre received the James Earle Fraser Award at the Prix de West Exhibition held by the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma. PROVENANCE:

Private Collection

$4,000 - $6,000

140 David LeRoy Schaefer (1949-2012) Pronghorn, 1985 signed and dated “D. Schaefer ‘85 © “ on base bronze, 14 1⁄2 by 17 by 7 in. with base inscribed “18/50” on base edition 18 of 50

$1,000 - $1,500

140

141

141 Eric Kaposta (b. 1951) Retriever with Goose, 1979

142

inscribed “Eric Kaposta” in top of base bronze, 14 3⁄4 by 19 1⁄2 by 11 in. edition 11 of 20

$1,000 - $1,500

142 Roy Martell Mason (1886-1972) Bringing Home the Turkey, 1904 signed “Roy Martell Mason 04” upper left oil on canvas, 14 by 14 in. Kennedy Gallery, New York, New York label on back

$1,000 - $1,500

143

143 Mike Capser (b. 1952) Flying Ring-Necked Pheasant, 2005 signed “M. Capser” under the wing bronze, 46 by 11 by 36 in. edition of 5

$800 - $1,200

144

144 Ten Hand-Painted Game Bird Plates Tressemanes & Vogt Limoges, France, c. 1880 9 1⁄4 in. diameter

Hand-painted color game bird motifs in the center of the plates and gold painted hunting equipment motifs along the edges. The backs display the T.V red bell mark, the Florence Pat’d T & V France green mark, and a red Davis Collamore & Co., New York importer and seller’s mark. Very good condition with minor wear to gold painted edges. $300 - $500

145

145 Charles P. Appel (1857-1928) Weary Traveler, 1884 signed and dated “C.P. Appel 1884” lower right oil on canvas, 13 1⁄2 by 19 1⁄2 in.

Appel was inspired by artist George Inness and studied with William Merritt Chase in New York. $800 - $1,200

146

146 Antonio Paoletti di Giovanni (Italian 1834-1912) Little Boy Fishing signed “Antonio Paoletti di Giovanni” lower left oil on board, 10 by 17 in. inscribed “Venezia” lower left inscribed “Gold - Seeking Shellfish” on back

This important painting by the artist was printed as a lithograph titled Little Boy Fishing. $5,000 - $7,000

147

147 Richard Plasschaert (b. 1941) Ruffed Grouse, 1987 signed and dated “Plasschaert ‘87” lower right oil on board, 24 by 18 in.

$1,200 - $1,800

148

148 George Edwards (British 1694-1773) Great Horned Owl signed and dated “G Edwards 1744” lower center hand-colored etching, 9 by 7 1⁄2 in.

$200 - $400

149

149 Richard E. Bishop (1887-1975) Mallards in Flight, 1935 signed and dated “Richard E. Bishop ‘35” lower left watercolor and gouache, 15 1⁄2 by 23 1⁄2 in.

A very early and rare work in this medium, as Bishop worked primarily in oils and etchings. $500 - $1,000

150

150 Roger Tory Peterson (1908-1996) Large Owls stamped “Roger Tory Peterson” on back gouache, watercolor, pencil, and ink on paper board with overlay, 17 by 11 1⁄2 in. PROVENANCE:

Estate of Roger Tory and Virginia Marie Peterson Private Collection Roger Tory Peterson, A Field Guide to the Birds of Eastern and Central North America, 5th Edition, Boston, MA, 2002, p. 205, illustrated. LITERATURE:

$2,000 - $4,000

151

151 Roger Tory Peterson (1908-1996) Gulls stamped “Roger Tory Peterson” on back gouache, watercolor, pencil, and ink on paper board with overlay, 20 1⁄2 by 13 1⁄2 in. PROVENANCE:

$2,000 - $4,000

152

152 Louis Agassiz Fuertes (1874-1927) Black-Headed Ducks at Waters Edge signed “Louis Agassiz Fuertes” lower right watercolor, 9 3⁄8 by 12 in.

Louis Agassiz Fuertes was named after the famous Harvard professor Louis Agassiz by his father, himself a professor at Cornell. Though he studied architecture at Cornell, the words of his namesake “Study nature, not books,” prevailed and Fuertes went on to become one of the preeminent American bird artists of all time. The artist was noted for his early talent and eye for detail, joining the American Ornithologists’ Union at the age of seventeen. Through this important group he met ornithologist Elliot Coues, who promoted his work and commissioned the artist to illustrate his 1903 book, Key to North America Birds. Along with Frank W. Benson, Fuertes provided illustrations for John C. Phillips’ A Natural History of the Ducks, published from 1922-1926. He also painted his stunning bird portraits for Edward Howe Forbush’s Birds of Massachusetts and Other New England States, published between 1925-1929. His works can be found in the Cornell University collection and Chicago’s Field Museum among others, and he has two species of birds named after him: Icterus fuertesi and Hapalopsittaca fuertesi. $3,000 - $5,000

153 Louis Agassiz Fuertes (1874-1927) Meadowlark, 1903 signed and dated “L. A F. May 21, 1903” lower center pencil and watercolor, 11 1⁄4 by 7 7⁄8 in. inscribed “For Miss Louise Maillard.” lower center PROVENANCE:

Milton S. Ray Collection

$2,000 - $4,000

153

154

154 William Goadby Lawrence (1913-2002) Bluefin Tuna Off Nova Scotia signed “Wm Goadby Lawrence” lower left watercolor, 20 by 28 in. PROVENANCE:

Private Collection, New York

$1,500 - $2,500

155

155 Adam Peiffer (b. 1985) Decoying Wigeon, 2014 signed and dated “Peiffer 2014” lower right watercolor, 11 1⁄2 by 15 1⁄5 in.

Pfeiffer was classically trained at the Lyme Academy College of Fine Arts in Old Lyme, Connecticut. He now lives and works in New York City. $400 - $600

156

156 Arthur Shilstone (b. 1922) Fly Fishing from a Canoe signed “Arthur Shilstone” lower right watercolor, 7 by 8 7⁄8 in. PROVENANCE:

The Estate of Thomas W. Connally

$100 - $200

157

157 Al Barnes (b. 1937) Second Thoughts signed “Barnes” lower right oil on canvas, 30 by 40 in.

$3,000 - $5,000

158

158 Peter Sheppard (b. 1973) Cat Boat at Mooring signed “Peter Sheppard” lower left oil on canvas, 24 by 30 in.

$2,000 - $3,000

159

159 Arthur Shilstone (b. 1922) Almost There signed “Arthur Shilstone” lower right watercolor, 17 by 24 in.

$800 - $1,200

160

160 Arthur Shilstone (b. 1922) Early Spring Fly Fishing signed “Arthur Shilstone” lower left watercolor, 16 by 25 in.

$800 - $1,200

161

161 Arthur Shilstone (b. 1922) Surf Casting on the Beach signed “Arthur Shilstone” lower right watercolor, 18 by 27 in.

$800 - $1,200

163.1

162.1

162.2 163.2

162 Clarence Boyce Monegar (1910-1968) Two Watercolors

164 David Hagerbaumer (1921-2014) Pheasant in Flight, 1956

each signed and dated “Clarence Boyce Monegar 1959” lower right each 9 1⁄2 by 14 1⁄2 in.

signed and dated “David Hagerbaumer 1956” watercolor, 8 by 10 in.

Autumn Memories, 1959

Painted at the age of twenty-four, this is one of the earliest works by the artist we have seen. This early watercolor by Hagerbaumer shows signs of its age.

inscribed “Autumn Memories” lower right

Bobwhite Quail, 1959 Monegar was a member of the Winnebago tribe from Wisconsin.

164

$200 - $400

$100 - $200

163 Milton C. Weiler (1910-1974) Two Sketches Hunter in Sneakbox signed “M.C.W.” lower right pencil drawing, 4 1⁄8 by 5 1⁄2 in.

165 Carol Lee Thompson (b. 1958) Resting on Red, 1987 signed and dated “Carol Lee Thompson ‘87” on back oil on board, 11 by 14 in.

165

$300 - $500

The Old Guide watercolor, 5 by 6 5⁄8 in.

$150 - $250

166

168

167

169

166 Francis Lee Jaques (1877-1969) Ducks Near Dyke Inlet signed “F. L. Jaques” lower right sketchboard, 6 1⁄4 by 10 1⁄2 in.

“Francis Lee Jaques made a series of scratchboard drawings for Spring in Washington by Louis J. Halle, Jr., published in 1947. Prints from these drawings were published by the Audubon Naturalist Society.” Louis J. Halle, Spring in Washington, New York, 1947, p. 201, illustrated. LITERATURE:

Florence Page Jaques, Francis Lee Jaques: Artist of the Wilderness World, Garden City, NY, 1973, p. 74. $400 - $600

work, as they did upon the elimination of nonessentials and the fidelity to nature, which made them seem almost colorful... Lee left areas blank because of his liking for space, which suggested the freedom that he always wanted to convey.” Louis J. Halle, Spring in Washington, New York, 1947, p. 95, illustrated. LITERATURE:

Florence Page Jaques, Francis Lee Jaques: Artist of the Wilderness World, Garden City, NY, 1973, pp. 243, 245. $400 - $600

168 Francis Lee Jaques (1877-1969) Seneca Aqueduct sketchboard, 6 by 10 1⁄4 in.

Book Store, Washington, D.C. in the late 60s

Florence P. Jaques, Francis Lee Jaques, Garden City, NY, 1973, p. 78, illustrated.

$400 - $600

169 Francis Lee Jaques (1877-1969) Pennyfield Lock House

170 Aiden Lassell Ripley (1896-1969) The Pirate

PROVENANCE: Purchased at the Audubon

167 Francis Lee Jaques (1877-1969) Washington Monument, 1947 sketchboard, 6 by 10 1⁄4 in.

Jaques “worked mostly in oil and in blackand-white scratchboard drawings.” “Lee’s scratchboard drawings in black and white started a revival of the technique, which for a time had been almost forgotten. His book illustrations were widely admired - and copied, sometimes almost exactly. Artists commented upon his confident use of space in scratchboard

170

signed “F. L. Jaques” lower left sketchboard, 6 1⁄4 by 10 1⁄4 in.

Louis J. Halle, Spring in Washington, New York, 1947, p. 192, illustrated. LITERATURE:

signed “A L R” lower right pencil drawing, 19 3⁄4 by 14 in. Ripley estate stamp on back

This pencil drawing is an illustration for a story that appeared in the magazine The Open Road for Boys. $300 - $500

100

171

173

172

174

171 Carl Clemens Moritz Rungius (1869-1959) Goats signed “C. Rungius” lower right etching, 7 3⁄4 by 10 1⁄2 in. Arthur H. Harlow & Co., New York, NY label on back

173 Richard E. Bishop (1887-1975) Federal Duck Stamp Design, 1936 signed “Richard E. Bishop” lower right etching, 5 by 8 in. edition of 1485 with a Federal Duck Stamp

Donald E. Crouch, Carl Rungius: The Complete Prints, Missoula, MT, 1989, p. 84, illustrated. LITERATURE:

$500 - $700

$1,000 - $2,000

174 Churchill Ettinger (1903-1984) Summer Duck signed “Churchill Ettinger” lower right etching, 7 5⁄8 by 10 3⁄4 in. inscribed “Summer Duck” lower left

172 Roland H. Clark (1874-1957) The Blind, 1929 signed “Roland Clark” lower right etching, 8 1⁄2 by 12 in. edition of 75

$100 - $200

$300 - $500

101

175.1

177

175.2 178

176

175 Ogden M. Pleissner (1905-1983) Two Prints October Snow, 1959 signed “Ogden M. Pleissner N.A.” lower right color print, 14 5⁄8 by 23 in. published and copyrighted by the Anglers’ Club of New York in an edition of 350

Downs Gulch, 1957 signed “Ogden M. Pleissner N.A.” lower right color print, 18 1⁄2 by 23 in. published and copyrighted by the Anglers’ Club of New York in an edition of 300

Peter M. Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 108, illustrated. LITERATURE:

$600 - $900

176 Ogden M. Pleissner (1905-1983) Blue Boat on the St. Anne, 1959 signed “Ogden M. Pleissner N.A.” lower right color print, 14 1⁄2 by 22 3⁄4 in. published and copyrighted by the Anglers’ Club of New York in an edition of 300

179

Considered by many to be the most desirable of Pleissner’s prints, the original Blue Boat on the St. Anne resides at the Shelburne Museum in Vermont. Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 108, illustrated. LITERATURE:

$1,000 - $1,500

Dr. Anthony T. Ladd attended Cornell University and lent the watercolor of Boy Fishing to a 1973 exhibition of Winslow Homer’s works organized by the Whitney Museum, New York. $200 - $400

179 after Sherman F. Denton (1856-1937) Twenty-Six Fish Prints

177 Arthur Burdett Frost (1851-1928) Summer Woodcock, 1895 chromolithograph, 12 7⁄8 by 19 7⁄8 in. inscribed “A. B. Frost” in the plate printed by Charles Scribner’s Sons

$100 - $200

chromolithographs, largest measuring 12 in.

Two trout prints are matted with tied flies, several matted, and others wrapped. Prints include trout, bass, salmon, perch, sunfish, shad, minnows, lobster, and oysters. PROVENANCE:

The Estate of Thomas W. Connally

178 after Winslow Homer (1836-1910) Boy Fishing, 1963 color print, 14 1⁄2 by 20 3⁄4 in. inscribed “A T L 1963” lower left published and copyrighted by Anthony T. Ladd

102

$200 - $300

180

180 Seven Antique Prints Arthur Burdett Frost, Deer Hunting, 1890, 19 1⁄2 by 12 5⁄8 in. Arthur Burdett Frost, Autumn Grouse, 1895, 12 1⁄2 by 19 1⁄2 in. Arthur Burdett Frost, The Duffer, 1900, 13 by 8 1⁄4 in. Henry “Hy” Sandham, Trout Fishing, 1889, 18 by 12 in. Alexander Pope, Jr., Pointer, 1880, 9 3⁄8 by 13 1⁄4 in. Edward Knobel, Big Horn Sheep, 1890, 13 1⁄2 by 19 1⁄2 in. A. D. Turner, Trout, 1902, 17 3⁄4 by 27 3⁄4 in. PROVENANCE:

The Estate of Thomas W. Connally

$300 - $500

181

181 Edward W. Kemble (1861-1933) Pepe Lulu, 1888

Ancient Haunt of Pirates,” St. Nicholas Magazine, Vol. XV, No. 5, March 1888.

signed “E.W.K” lower right pen and ink, 11 3⁄4 by 8 3⁄4 in.

$200 - $400

“Pepe Lulu was on hand at the hour he appointed,” illustration art for “An Ancient Haunt of Pirates,” a 1888 short story by Eugene V. Smalley published in St. Nicholas Magazine, a popular children’s title. Kemble also illustrated American classics including Mark Twain’s Huckleberry Finn and Harriet Beecher Stowe’s Uncle Tom’s Cabin. PROVENANCE:

Richard V. Strawbridge Collection, Philadelphia, Pennsylvania LITERATURE:

Eugene V. Smalley, “An

182 Three Federal Duck Stamp Items Framed Federal Duck Stamps from 1935 through 1987 with pen and colored pencil mallard motif by Beebe Hopper (19262014), Chula Vista, CA, 1988, 19 1⁄2 by 37 1⁄2 in. Framed Federal Duck Stamps from 1988 through 1997, 10 1⁄2 by 20 3⁄4 in. Joe McCaddin, Duck Stamp and Prints, The Complete Federal and State Editions, New York, NY, 1988.

$1,000 - $2,000

182

103

183.2 183.1

183.3

184

186.1

188.1

185.1

185.2

186.2

187.1

187.2

189

188.2

104

183 William J. Schaldach (1896-1982) Three Drypoints

185 William J. Schaldach (1896-1982) Two Prints

188 William J. Schaldach (1896-1982) Three Prints

Portrait of an Oriental, 1930

each signed “W. J. Schaldach” lower right

signed “W. J. Schaldach” lower right 5 3⁄8 by 6 1⁄4 in. edition of 50 inscribed “For Ham., Christmas, 1956” lower left

Sunny Run, 1937

Dog and Grouse

aquatint, 6 7⁄8 by 4 7⁄8 in. edition of 50

etching, 7 3⁄4 by 10 3⁄4 in.

Leaping Ouananiche, 1937

drypoint, 6 1⁄2 by 9 3⁄4 in. edition of 50

Bob and Madame White, 1929 signed “W. J. Schaldach” lower right 5 3⁄8 by 6 1⁄4 in. edition of 50 inscribed “For Ham., Christmas, 1956” lower left

Merrill, Bookplate signed “Wm. J. Schaldach” lower right 4 7⁄8 by 3 3⁄8 in.

$200 - $400

184 William J. Schaldach (1896-1982) Blue Jay, 1931 signed and dated “W. J. Schaldach, Xmas 1931” lower left watercolor, 9 by 8 in. inscribed “to Arthur H. Harlow, Xmas 1931” lower left

For many years, Arthur H. Harlow was a prominent and successful art dealer in New York who handled many prints and etchings. He graduated from Harvard with the class of 1896, and changed his name from Arthur H. Hahlo. $200 - $400

etching, 6 3⁄8 by 5 1⁄2 in. edition of 50

John T. Ordeman, William J. Schaldach: Artist, Author, Sportsman, St. Petersburg, FL, 1988, pp. 105-109. LITERATURE:

$200 - $400

Springer Spaniel and Woodcock, 1930

Dog with Birds etching, 3 1⁄8 by 5 3⁄4 in.

John T. Ordeman, William J. Schaldach: Artist, Author, Sportsman, St. Petersburg, FL, 1988, pp. 105-109. LITERATURE:

$200 - $400

186 William J. Schaldach (1896-1982) Two Drypoints each signed “W. J. Schaldach” lower right

A Fresh-Run Fish, 1937 8 3⁄4 by 6 3⁄4 in. edition of 25

Salmon Leaping A Waterfall, 1928 8 7⁄8 by 5 3⁄8 in. edition of 50

John T. Ordeman, William J. Schaldach: Artist, Author, Sportsman, St. Petersburg, FL, 1988, pp. 105-109. LITERATURE:

$200 - $300

189 William J. Schaldach (1896-1982) His First Point, 1929 signed “W. J. Schaldach” lower right etching, 8 3⁄4 by 11 1⁄2 in. edition of 50 inscribed “To Emmy and Bill, with warmest regards from Bill & Jo Schaldach. July 14, 1966” lower left

$100- $200

190 William J. Schaldach (1896-1982) Two Etchings each signed “W. J. Schaldach” lower right

187 William J. Schaldach (1896-1982) Two Etchings

White Water, 1932

each signed “W. J. Schaldach” lower right

6 by 8 in. edition of 50 includes tied fly fishing fly

Woodcock in Flight

Evening on the River

8 7⁄8 by 6 7⁄8 in.

2 by 2 5⁄8 in. edition of 210 includes original metal etching plate

Woodcock Landing 9 7⁄8 by 8 1⁄8 in.

John T. Ordeman, William J. Schaldach: Artist, Author, Sportsman, St. Petersburg, FL, 1988, pp. 105-109. LITERATURE:

$200 - $400

190

191 William J. Schaldach (1896-1982) Two Works

191

Evening on the River signed “Wm. J. Schaldach” lower right etching, 2 by 2 1⁄2 in. edition of 210 inscribed “To Joan, who loves prints and fishing... bless her!” lower left

Woodcock pencil sketch, 5 1⁄4 by 9 1⁄2 in. inscribed “For Bill, just for fun” lower right

$150 - $250

105

192 William J. Schaldach (1896-1982) Two Sketches

195 David A. Maass (b. 1929) Over the Point - Canvasback, c. 1960

each signed “W.J.S.” lower right

signed “Maass” lower right etching, 7 1⁄2 by 9 1⁄4 in. etched by G.W. Scott, edition 53 of 100

Grouse Escaping pen and ink, 6 7⁄8 by 8 5⁄8 in.

Grouse pen and ink, 7 by 8

3⁄8

John T. Ordeman, William J. Schaldach: Artist, Author, Sportsman, St. Petersburg, FL, 1988, pp. 98-99, illustrated. $150 - $250

193 William J. Schaldach (1896-1982) Budding Grouse “WJS” initials etched in lower corner of plate etching, 5 3⁄4 by 3 7⁄8 in. includes the original etched copper plate, 6 by 4 in.

$200 - $300

194 Aiden Lassell Ripley (1896-1969) Three Etchings Grouse on Pine Bough 8 3⁄4 by 12 in.

Woodcock 5 1⁄4 by 7 3⁄4 in.

American Widgeon, 1942 Federal Duck Stamp Design 6 by 8 1⁄4 in. with a 1941-42 Federal Duck Stamp LITERATURE:

A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 32-33, 36-37, 74-75 illustrated. $600 - $900

192

$200 - $400

Alexander Wilson and Charles Lucian Bonaparte, American Ornithology; or, the Natural History of the Birds of the United States, Philadelphia, PA, 1808-1812.

196 Richard E. Bishop (1887-1975) Federal Duck Stamp Design, 1936

$100 - $200

signed “Richard E. Bishop” lower right etching, 5 by 8 in. edition of 1485 inscribed “For Bill- Merry Christmas 1967 from Uncle Rich.” lower center

199 Richard E. Bishop (1887-1975) Canvasback in Flight

in.

LITERATURE:

Whitman Bennet, A Practical Guide to American Nineteenth Century Color Plate Books, New York, NY, 1949. LITERATURE:

$200 - $400

signed “R.E.B” lower right colored pencil, 7 1⁄2 by 9 in.

$100 - $200

197 Stow Wengenroth (1906-1978) Seaside Terns, c. 1960 signed “Stow Wengenroth” lower right etching, 10 by 16 in. edition of 60 PROVENANCE:

Richard V. Strawbridge Collection, Philadelphia, Pennsylvania $200 - $300

198 Alexander Wilson (1766-1813) American Ornithology Plate #59, c. 1810 hand-colored engraving, 9 by 12 1⁄2 in.

This plate was engraved by John G. Warnicke from a drawing from nature by Alexander Wilson for the publication American Ornithology, which is known as, “the first truly great American ornithology book and also the first truly outstanding American color plate book of any type.”

193

106

194.1

196

194.2 197

194.3 198

195

199

107

200.2

200.1

203

205.1

204.1

204.2

205.2

200 Henry Emerson Tuttle (1890-1946) Five Etchings

Strutting Grouse, 1932

Nesting Woodcock, 1930

PROVENANCE:

signed “Tuttle imp” lower center 9 by 10 in. edition of 95

202.2

202.1

201

206

signed “Tuttle imp.” lower center 10 1⁄8 by 9 1⁄8 in.

The Estate of Thomas W. Connally $200 - $400

201 Henry Emerson Tuttle (1890-1946) Startled Wader, 1934

Young Raven, 1937

signed “Tuttle imp.” lower center drypoint, 7 by 9 3⁄4 in. edition of 25

signed “W.E. Tuttle” lower center 9 5⁄8 by 8 5⁄8 in. edition of 70

each etching signed “Roland Clark” lower right

signed “Roland Clark” lower right etching, 8 1⁄8 by 7 3⁄8 in.

Tranquility, 1924

A similar example of this rare etching by Clark is in the collection of the Fine Arts Museums of San Francisco.

Sanctuary No. 1, 1921

signed “Tuttle” lower center 8 5⁄8 by 10 7⁄8 in. edition of 70

Bobwhite, 1928

203 Roland H. Clark (1874-1957) The Woodcock

6 3⁄4 by 10 in. edition of 75

Great Horned Owl, 1941

signed “Tuttle” lower center 9 by 10 in. edition of 60

202 Roland H. Clark (1874-1957) Three Etchings and a Book

7 by 10 in. edition of 75

Redheads 12 1⁄2 by 16 in.

Connett, Eugene V., Roland Clark’s Etchings, New York: NY, 1938, Derrydale Press, 732 of 800, with signed frontispiece etching Morning Flight by Roland Clark.

PROVENANCE:

H. Emerson Tuttle, Fifty Prints, New Haven, CT, 1948, No. 145, illustrated.

$600 - $900

$200 - $400 108

$400 - $600

204 Brett James Smith (b. 1958) Two Etchings

208 Lot of Etchings and Prints

each signed “Brett Smith” lower right

An etching, signed “W. J. Schaldach,” and nine other unsigned, unframed, etchings by various artists.

Sniper 5 1⁄2 by 9 3⁄4 in. inscribed “Sniper” lower left numbered “49/50” lower left edition 49 of 50

Down Bound 5 3⁄4 by 8 3⁄4 in. inscribed “Down Bound” lower left numbered “37/50” lower left edition 37 of 50

$200 - $400

205 Brett James Smith (b. 1958) Two Etchings each signed “Brett Smith” lower right

Goose Gunner 8 3⁄4 by 8 3⁄4 in. inscribed “Goose Gunner” lower left

An unsigned Hans Kleiber etching in a frame.

Several Schaldach trout and book illustration prints.

$100 - $200

209 Paff, Adam Paff, Adam E. M., Etchings and Drypoints by Frank W. Benson: Volume Three. Boston: Houghton Mifflin Co., 1923. No. 417 of 525. Frontispiece is an original signed etching by Frank W. Benson, traditionally referred to as On Set Wings. Paff, Adam E. M., Etchings and Drypoints by Frank W. Benson: Volume Four. Boston: Houghton Mifflin Co., 1929. No. 349 of 600. Frontispiece is an original signed etching by Frank W. Benson titled Flying Pintail.

$800 - $1,200

Time To Go 5 3⁄4 by 8 3⁄4 in. inscribed “Time To Go” lower left numbered “19/50” lower left edition 19 of 50

$200 - $400

206 Lynn Bogue Hunt (1878-1960) Woodcock, 1940 signed and dated “Lynn Bogue Hunt 1940” lower right lithograph, 8 by 11 in.

$100 - $200

207 Roger Tory Peterson (1908-1996) Two Color Prints Ring Neck Pheasant, 1977 signed “Roger Tory Peterson” lower left 25 by 35 in. artist proof of 950

Bald Eagle, 1974 signed “Roger Tory Peterson” lower right edition 19 of 950 31 by 22 1⁄2 in.

210 Weiler, Milton Mackey, William J. and Weiler, Milton C., The Classic Shorebird Decoys. New York: Winchester Press, 1971. No. 908 of 975. Signed by the artist and in original slipcase. Zern, Ed and Weiler, Milton C., The Classic Decoy Series. New York: Winchester Press, 1969. No. 155 of 1000. Signed by the artist and in original slipcase.

$100 - $200

211 Bishop, Richard Bishop, Richard E., Bishop’s Birds. Philadelphia, PA: J. B. Lippincott Company, 1936. No. 41 of 125. Signed by the author. Frontispiece is an original signed etching by Richard Bishop titled Trumpeter Swan.

$400 - $600

212 Eight Original Derrydale Books Smith, E., Tall Tales and Short. 1937 * Connett, E.V., Fishing a Trout Stream. 1934 * Van Dyke, H., The Travel Diary of an Angler. 1929 * White, F., The Spicklefisherman and Others. 1928 * Danielson, R.E., Martha Doyle and Other Sporting Memories. 1938 * Connett, E.V., Random Casts. 1939 * Smith, E.W., A Tomato Can Chronicle: and Other Stories of Fishing and Shooting. 1937 * Bandini, R., Veiled Horizons: Stories of Big Game Fish of the Sea. 1939

209

210

$200 - $300

213 Five Original Derrydale Books (2) Curtis, P.A., Sportsmen All. 1938 * Spiller, B.L., Thoroughbred. 1936 * Lytle, H., Point! A Book About Bird Dogs. 1941 * Foote, J.T., Jing. 1936

211

$100 - $200

214 Eight Original Derrydale Books Williams, B.A., The Happy End. 1930 * Forester, F., My Shooting Box. 1941 * Cox, C.E., John Tobias Sportsman. 1937 * Sheldon, HP., Tranquillity, Tales of Sport with the Gun. 1936 * Parker, E., Colonel Hawker’s Shooting Diaries. 1990 * Connett, E., Feathered Game; From a Sporting Journal. 1929 * Bigelow, H., Gunnerman. 1939 * Forester, F., The Warwick Woodlands. 1934

$200 - $300

215 Six Original Derrydale Books Barber, J.D., Long Shore. 1939 * Buckingham, N., Mark Right! Tales of Shooting. 1936 * Clark, R., Gunner’s Dawn. 1937 * Buckingham, N. Blood Lines: Tales of Shooting and Fishing. 1938 * Buckingham, N., De Shootinest Gent’man & Other Tales. 1934 * Babcock, P.H., Falling Leaves: Tales from a Gun Room. 1937

216 Five Original Derrydale Books Spiller, B.L., More Grouse Feathers. 1938 * Markland, G., Pteryplegia: Or The Art of Shooting-Flying. 1931 * Spiller, B.L., Grouse Feathers. 1935 * Spiller, B.L., Firelight. 1937 * Some Early American Hunters; Being Stories From The Cabinet Of Natural History And American Rural Sports. 1928

$100 - $200

217 Five Original Derrydale Books Jennings, P. J., A Book of Trout Flies. 1935 * Pickering, H.G., Angling of the Test: or True Love Under Stress. 1936 * Smith, J.V.C., Trout and Angling: Being Part Two of the Fisheries of Massachusetts. 1929 * Walden, H.T., Big Stony. 1940 * Walden, H.T., Upstream and Down. 1938

$100 - $200

218 Clark, Roland Clark, Roland, Pot Luck. West Hartford, VT: The Countryman Press, 1945. No. 27 of 150. Signed by the author. Frontispiece is an original signed etching by Roland Clark.

$200 - $400

$200 - $400 109

The following 20 lots, 219-238, are from a private collection of items originating from Abercrombie & Fitch.

219 Seven Signs most measure 8 1⁄2 by 10 1⁄2 by 1⁄8 in.

Seven metal men’s club or bar interior signs made for Abercrombie & Fitch Co. in England. The signs include printed messages such as “Proceed With Caution, Men Drinking,” and “Work Is The Curse Of The Drinking Class.” The signs were designed to hang on a wall; four were also designed to be selfstanding. As found. PROVENANCE: Private Collection 219

$200 - $300

220 Life-Size Duck Andiron Pair 11 1⁄4 by 15 by 20 in.

A pair of cast iron fireplace andirons in the form of halfbodied duck decoys produced by the Wildfowler Decoy Company. As found. PROVENANCE: Private Collection

$600 - $900

220

110

223

221

224

222

221 Golf Clock

223 Zane Grey Fly Fishing Knife and Check

SCHILD COMPANY SWITZERLAND

KA-BAR OLEAN, NY

4 1⁄2 by 4 1⁄2 by 3 in.

4 1⁄2 in. closed

A golf themed, 8-day clock with a brass frame made for Abercrombie & Fitch Co. marked “Schild Co., Swiss” with fifteen jewels and three adjustments. As found.

A “Fly Fisherman: endorsed by Zane Grey” model folding knife and a 1937 bank check made payable to Abercrombie & Fitch Co. signed by Zane Grey. Grey was a famous author of adventure novels and he wrote sporting articles for Outdoor Life magazine. As found.

PROVENANCE: Private Collection

$250 - $350

PROVENANCE: Private Collection

$200 - $300

222 Three Folding Fishing Knives Two knives made for Abercrombie & Fitch Co.: one “A&F Co. Fly Fisherman” model by Case Cutlery of Bradford, Pennsylvania, and one made in England with an “Abercrombie & Fitch Co.” stamped blade. The third is a “Walton’s Thumb” fishing multi-tool pocket knife by Hank Roberts, Longmont, Colorado, in a cardboard A&F Co. box. As found.

224 Five Tobacco Tins ABERCROMBIE & FITCH CO. NEW YORK, NY

“Campfire” brand, “Club Belmont” brand, “Meadowbrook” brand, “Kamp Fire Mixture” brand, and the largest tin contained a “Tobacco Blending Kit.” As found. PROVENANCE: Private Collection

PROVENANCE: Private Collection

$150 - $250

$300 - $600

111

225

228

226

229

227

230

112

225 Demitasse Cups and Saucers ABERCROMBIE & FITCH CO. NEW YORK, NY C. 1930

A set of six demitasse cups and saucers made in cooperation with fellow Madison Avenue merchants Frank Vosmansky and Cyril Gorainoff. The gold-edged cups have game bird scenes and Gorainoff’s signature. The saucers are stamped “Abercrombie & Fitch, New York” under the glaze on the bottom. President Dwight Eisenhower ordered a set of everyday china from Vosmansky and Gorainoff for the White House. As found. PROVENANCE: Private Collection

$300 - $500

226 Two Prohibition Era Flasks in Leather Case 11 1⁄2 by 15 by 3 in.

Two 64-ounce, silver-plated flasks in a leather briefcase made for Abercrombie & Fitch Co. by James Dixon and Sons, Sheffield, England. As found. PROVENANCE: Private Collection

228 Mint Julep Cups and Bar Measures Six tall silver-plated cups with a gimbaled holder, made for Abercrombie & Fitch Co. and three silver-plated shot measurers made by James Dixon & Sons of Sheffield, England. As found. PROVENANCE: Private Collection 231

$200 - $300

229 Two Boxes of Spoons

231 Bobwhite Quail Diorama

Two leather-cased sets of eight silverplated spoons made for Abercrombie & Fitch in England. One set has a lip designed to enable the spoon to rest on top of a demitasse-size cup. The other demitasse-size set has red bakelite bead swizzle stick ends and a sugar shovel spoon bowl. As found.

JOSEPH Q. WHIPPLE (1917-2008) CANTON, OH, C. 1950

PROVENANCE: Private Collection

$100 - $200

$50 - $100

230 Leather Fishing Briefcase

232 Three Miniature Duck Dioramas

11 by 17 by 2 3⁄4 in.

JOSEPH Q. WHIPPLE (1917-2008) CANTON, OH, C. 1940

5 1⁄4 by 5 1⁄4 by 1 3⁄4 in.

The bird is hand painted on sculpted plaster of paris and signed in the lower right corner. These framed Whipple bird boxes were sold through Abercrombie & Fitch Co. Original finish with light wear.

A leather case with several gun cleaning tools made for Abercrombie & Fitch Co. in England. As found.

A leather case made in England for Abercrombie & Fitch Co., New York. Included are two A&F round tins of split-shot line weights, two A&F fishing pliers made in France, and a pair of hemostats made in Germany. As found. In-use wear includes scratches, scrapes, damaged corner and handle attachment, and hinge with handle missing.

PROVENANCE: Private Collection

Three waterfowl shadow boxes including a calling mallard drake, a redhead drake, and a pair of bluebills. The birds are hand painted on sculpted plaster of paris and signed in the lower right corner. These framed Whipple bird boxes were sold through Abercrombie & Fitch Co. in New York City and their label is attached to the back of each. Original finish with minimal wear.

$300 - $500

$200 - $300

PROVENANCE: Private Collection

$200 - $300

227 Leather Shotgun Case 8 1⁄4 by 29 by 3 in.

5 by 5 by 1 5⁄8 in.

$100 - $200

232

113

233

236

234

237

235

238

114

233 Mallard Tobacco Box and Game Calls

235 Tobacco Items humidor measures 5 1⁄4 in. tall

CARL MALMSTROM (1892-1983) LONG COVE, ST. GEORGE, MAINE C. 1930

duck box measures 12 by 5

1⁄2

by 3

1⁄2

in.

A rare two-thirds-size mallard drake decoy lift-back tobacco box displaying carved eyes and bill detail. The carved covert feathers act as a box lid handle and tail feathers have incised detail. The box is signed by the maker with his ink stamp under the box lid and on the bottom. Remnants of an Abercrombie & Fitch paper label are also on the bottom. Five vintage wooden game calls made for Abercrombie & Fitch Co. including a goose call in original box, a predator call in original box, a goose call, and two duck calls, all with A&F Co. paper labels. Original paint with patina, light wear, and a neck crack. One of the calls is missing a part. PROVENANCE: Private Collection

$500 - $800

234 Tobacco Items humidor measures 12 in. wide

A ceramic-lined wooden humidor made for Abercrombie & Fitch Co. and presented as a tournament prize given by The Apawamis Club of Rye, New York, in 1929. An Aonian pottery transferware humidor or tobacco jar with “English Hunting Scenes.” A Cornish Pewter of England safety matchbox hunt scene case, and a pipe made in England. As found. PROVENANCE: Private Collection

$150 - $250

A pewter humidor or tobacco jar made for Abercrombie & Fitch Co. in England, a pewter pipe ashtray by Crown and Rose, London, England, two lighters with Moroccan-style decorative metalwork made in Spain, three Mann of Germany pipe tamper knives, a Trenton Potteries Co. lighter with horse portrait by Cyril Gorainoff, and a featherweight airograte pipe by Yello-Bole. As found. PROVENANCE: Private Collection

$200 - $300

236 Fox Hunting Items horns measure 8 3⁄4 in. and 11 3⁄4 in. long crop measures 38 in. long

Three flat hunting or harking horns made for Abercrombie & Fitch Co. by Acme Whistles of Birmingham, England, and a silver-tipped riding crop in its original cardboard box with an A&F label. As found. PROVENANCE: Private Collection

$500 - $800

wild geese calling and mallard & black duck calling” by Stacy Lewis Records of Cambridge, MD,” and “Squealing Rabbits and Live Crows” by Atco Records for Animal Trap Company, Lititz, Pennsylvania. A leather and steel hook gun rack with brass grommets made for Abercrombie & Fitch Co. by G.G. & B. Co., London, England. As found. PROVENANCE: Private Collection

$200 - $300

238 Four Vintage Folding Fishing Knives Two folding pocket knives made for Abercrombie & Fitch Co. by Butler, Sheffield, England, with stamped blades. One folding knife by Brooks & Crooks, Sheffield, England, with stamped case. One folding knife by Puma, Solingen, Germany, with etched blade. As found. PROVENANCE: Private Collection

$800 - $1000

239 Three Pairs of Binoculars C. 1950

237 Three Books, Gun Rack and Game Calling Records gun rack measures 24 in. long

4 3⁄4 in. Carl Zeiss 7x50 made for Abercrombie & Fitch. 4 in. Carl Zeiss, Jena Sportur, 6x24. 5 1⁄4 in. Gallus, Chasse, 8x32. Each with a used leather case. As found.

Three sporting humor books by Robert Osborne: How to Shoot Ducks, How to Catch Trout, and How to Shoot Quail. CowardMcCann, Inc., New York, NY, 1941.

$100 - $200

A rare “Call of the Wild,” 45 rpm steelcased, battery-operated turntable by the Electronic Engineering Co. of Easton, Maryland, with a metal speaker. One box of four game call 45 rpm records: “Genuine

quail is 2 5⁄8 in. high, lamp is 15 1⁄2 in. high

239

240

115

240 Miniature Bobwhite Quail Lamp C. 1940

A miniature quail on a round base lamp. Original paint and surface with light wear. $100 - $150

241

242

243

244

245

116

246

247

241 Horn Handle Cane

244 Diamond Willow Cane

246 Snake Cane

33 in.

1888

33 1⁄2 in.

A carved hand holding a scroll with a two-piece bird’s eye and curly maple shaft. Original finish with wear, a chip on one end of the carved scroll, and the tip end cap is missing.

34 1⁄2 in.

242 Carved Animal Cane

A superb cane with an inverted carved hand end and raised “GWB” initials. In addition there is foliage, names, and a date written in ink below the original finish. The tip of the cane ends with a brass and steel ferrule. Original finish with wear, craquelure, age lines, and very tight short age cracks.

35 1⁄4 in.

$300 - $500

The cane displays incised foliage, a raised banner, an eagle with a snake in its beak, an alligator, and a snake wrapped around the lower part of the shaft. May be refinished with light wear and a tight age crack. PROVENANCE: Aime and Janis Blouin

Collection $600 - $900

243 Apache Beaded Cane C. 1900

35 3⁄4 in.

An exceptional, fully-beaded walking staff with a brass tack end and a brass rifle shell tip. Original with light wear and some restoration to bead work on handle end of cane.

A two-piece, diamond willow cane with a carved polychrome rattlesnake the length of the shaft. Original finish with wear and flaking to paint on snake, tight age cracks, and the ferrule at the tip of the cane is missing. $300 - $500

247 Ladies Leg Cane LLOYD CARGILE (B. 1938) ESSEX, MD C. 2000

245 Monkey and Snake Cane

34 1⁄8 in.

Displays a woman’s carved leg handle and a carved spiral banner incised with the initials “LC” and the words “Time and Patience turns the Mulberry Leaf to Silk.” Original condition.

3⁄4

in.

An extensively-carved, briar wood cane with a copper end cap engraved with a descending triangular leaf-like motif. The shaft is deeply carved with a snake and monkeys that are nearly threedimensional. They exhibit eyes that appear to be light blue colored beads fastened with fine steel pins. The tip is reinforced with a brass band. Original finish with wear. $600 - $900

$600 - $900

117

$200 - $300

248

251

249

252

250

253

118

248 Terrier Cane

250 Alligator and Snake Cane

252 Carved Head Motif Walking Stick

36 1⁄2 in.

SOUTHERN PINES, NC, 1910

36 1⁄4 in.

The handle end of the cane is a carved terrier head with a three-inch-long, probably burl, shaft marked “Swain & Adeney Ltd London.” This British Company has made some of the finest equestrian leather products and world-famous umbrellas since 1750. The remaining 31 in. of the shaft, may be an old marriage, an umbrella handle with a faux grain painted “tiger maple” hardwood shaft tipped with a heavy copper ferrule which is brass banded. Original finish with wear and a couple tight age cracks in the burl section of the shaft.

36 1⁄2 in.

A raised carved foliage banner is incised “Southern Pines No. Ca” and a carved banner held by a carved monkey reads “1910.” The cane displays a carved harp, a carved fish, two carved raised birds, a carved alligator, and a copper ferrule. Original finish with wear; one bird’s beak is broken off. PROVENANCE: Aime and Janis Blouin

Collection $400 - $600

251 Golf Club Cane

PROVENANCE: Aime and Janis Blouin

C. 1910

Collection

35 1⁄8 in.

$400 - $600

249 Lion Cane 33 1⁄2 in.

A two-piece, carved briarwood cane with a reclined lion handle and a flat chisellike steel ferrule for turning on gas lights. Original finish with wear and a tight crack near the tip, reinforced with an original copper band.

$300 - $500

253 Black Figure Folk Cane 40 1⁄2 in.

A one-piece, probably briarwood, cane with a head carved from the root ball. Original finish with wear and tight age cracks at the tip end. PROVENANCE: Aime and Janis Blouin

Collection $400 - $600

A golf club shaped, brass or bronze handled cane with raised lettering “PAT JUNE 15 1909” and “MADE IN U.S.A.” The flexible narrow shaft is made of metal wire bent and bound in a continuously-smaller tapered pattern with a metal ferrule. The shaft reminds one of a compressed spring of exceedingly fine wire. Original finish with patina and wear. PROVENANCE: Aime and Janis Blouin

$300 - $500

A walking stick with a black painted shaft and a later (c. 1970s) engraved brass oval presentation plaque. Original finish with minor wear and a slightly blunted nose.

254 Articulated Snake GERMANY

59 in. long

A carved wooden snake marked “Made in Germany” on the underside of the head. Original paint with wear and one glass eye missing. PROVENANCE: Aime and Janis Blouin

Collection $200 - $400

254

119

255 Gloves, Pouch, and Belt purse measures 6 in. belt measures 23 3⁄4 in. long

A pair of size 9 1⁄2 buckskin gloves made by H.B.K. of Montreal, Canada, a bead decorated buckskin purse, and a decorative beaded belt with buckskin ends. As found. $150 - $250

255

256 Saddle C. 1970

A leather western saddle. As found. $100 - $200

257 Two Sets of Snowshoes A pair of bearpaw-style snowshoes, 21 1⁄2 by 14 1⁄2 in. A pair of Native American, hand-crafted snowshoes, 42 1⁄2 by 13 3⁄4 in. 256

$200 - $300

257.1

257.2

120

258 Piano Board with Two Hunting Scenes SMITH ATHERTON & COMPANY NEW YORK, NY C. 1870

48 by 5 5⁄8 by 3 in.

258

A mid-nineteenth-century maker’s signature piano fallboard with mother of pearl inlays, gold painted lettering and pin-striping, and stag and hound painted motifs. As found with some loss to inlay items and finish. $50 - $100

259 Swan EASTERN SHORE OF VIRGINIA (ATTR.), C. 1980

A life-size, hollow-bodied decoy with a metal rod head support and large iron pad weight on the bottom. Several coats of original paint with wear and seam shrinkage. $1,000 - $2,000

259

260 Tin Crow 12 3⁄4 by 12 by 4 1⁄4 in.

A nearly life-size, 1 1⁄2 in. thick, tin crow on a tin perch and base. Overall rust surface with traces of original paint. $100 - $200

260

261 Two Cast Iron Dogs HUBLEY MANUFACTURING COMPANY (1894-1965) LANCASTER, PA, C. 1930 AND 1950

A turned-head fox terrier doorstop, 8 3/4 by 8 3/4 by 3 3/4 in. An English setter boot scraper, 15 1/4 by 18 1/2 by 11 1/2 in. The terrier has a rusted surface and the boot scraper has been repainted with light rust. $200 - $400

261

121

262 Figural Doorstop HUBERT L. JUDD & COMPANY WALLINGFORD, CT C. 1900

9 1⁄4 by 7 by 5 in.

A black gentleman with top hat sitting on a cotton bale preparing to strike a match for the stub of a cigar in his mouth. The figure is cast from white metal, which allows for finer definition of features. The cotton bale is made of cast iron. Original paint with wear, some flaking, and the added felt on bottom was removed. PROVENANCE: Aime and Janis Blouin Collection

$600 - $900

262

263

263 Elephant Doorstop

264 Carousel Horse Head

BRADLEY AND HUBBARD MANUFACTURING CO. MERIDEN, CT C. 1900

DANIEL CARL MULLER (1879-1951) PHILADELPHIA, PA, C. 1920

10 3⁄8 by 11 1⁄2 by 3 in.

Bradley and Hubbard became a company in 1854. Famous for making lamps, they also made other metal household accessories including door stops. The elephant is marked with raised cast letters “B. & H 7799” on the back. Original paint with wear and some areas of surface rust.

17 by 17 by 7 in. (not including base)

The head and part of the neck of a turn of the century carved wooden carousel animal. Original paint with craquelure, even wear, flaking, seam shrinkage, and some carved detail loss. $2,000 - $3,000

264

PROVENANCE: Aime and Janis

Blouin Collection $300 - $500

122

265

265 Black Forest Carving BLACK FOREST, GERMANY C. 1900

7 by 14 by 15 in.

Three nine-inch-long carved walnut animals, a bear, a lion, and a lioness, on an intricately carved base. Original surface with some damage mostly along the raised feather tip molding ring of the base. $5,000 - $7,000

266 Articulated Childrens Toy C. 1900

10 1â &#x201E;4 by 14 by 4 1â &#x201E;4 in.

A three-dimensional wooden dancing figure with an applied cast face. Original paint with minor wear.

266

PROVENANCE: Aime and Janis Blouin

Collection $500 - $800

123

267

267 Miniature Bed with Bedding C. 1920

12 3⁄4 by 20 by 13 3⁄8 in.

A walnut bed with turned legs that are joined to the baseboards with wooden pegs. Bedding includes a feather stuffed mattress, two matching pillows with lace-edged pillow covers, and a handstitched, nineteen-inch-square quilt-style coverlet. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania $600 - $900

268 Diminutive Philadelphia Queen Anne Highboy C. 1760

30 1⁄2 by 17 1⁄2 by 9 in.

A rare two-part highboy in walnut with a molded cornice, nine drawers, a scalloped skirt, cabriolet legs, and slipper feet. Repairs throughout. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania, purchased at Pook and Pook Inc. in 2002 $3,000 - $5,000

268

124

269 Miniature Slant Lid Desk C. 1870

17 by 19 by 9 3⁄4 in.

The case frame of the desk is figured maple with maple drawer fronts. The top of the desk and the drawers feature dovetail joinery. As found. PROVENANCE:

Richard V. Strawbridge Collection, Philadelphia, Pennsylvania, purchased at William H. Bunch Auctioneers and Appraisers June 30, 1998 $2,000 - $3,000

269

270 Miniature Bureau with Mirror C. 1930

19 by 12 by 6 3⁄8 in.

A three-drawer walnut chest with mirror. The drawers display mortised construction. As found, one knob is loose and contained in one of the drawers. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania $400 - $600

270

271 Childs Chair and Diminutive Chair Pair A 23 by 12 3⁄4 by 12 in. wooden child’s chair with a rush seat, c. 1890. Two 16 3⁄8 by 8 by 7 in. ladderback chairs with ash splint seats and scribed line detail, c. 1930.

The rush seat on the child’s chair has a couple breaks to rush strands. Original finish with wear and splint seats are recent replacements on the two small chairs. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania $500 - $700

271

125

272

274

276

273

275

277

126

272 Duck Call

277 Duck Call

WILLIAM E. “BUCK” BOYD (1887-1975) PARAGOULD, AK, C. 1920

EZRA B. COCHRAN (1899-1958) PINE BLUFF, AR, C. 1930

5 1⁄2 in.

4 in.

A rare call with raised, hand-checkered panels. Stamped “W. E. BOYD” with two silver stars on the top of the barrel. Original finish with minor wear.

A rare, smaller call with raised checkered panels, signed with lightly incised “E B C” initials on the top of the barrel. Original finish with minor wear.

$2,000 - $3,000

273 Duck Call

278 Two Duck Calls

CHARLES H. PERDEW (1882-1964) HENRY, IL, C. 1920

A 5 3⁄8 in. square-sided call with raised carved initials “TM,” cross-hatching, and a partially carved duck.

6 in.

A 5 5⁄8 in. eight-sided tapered to round call with carved diamond detail. Both are in original finish with wear, the square call is missing its cork and reed.

The maker’s finest turned call with checkered raised panels, V L & A, Chicago, Illinois-style with custom carved raised lettering “W S W.” Original finish with minimal wear.

$400 - $600

$2,000 - $3,000

274 Duck Call CLAUDE C. STONE (1888-1973) HORNERSVILLE, MO, C. 1920

6 3⁄8 in.

A call with finely checkered raised panels and a carved bird-like “S.” Stone was a student of J.T. Beckhart, and took over his business in 1922. Original finish with wear, a chip at the bottom edge of the barrel, tight crack in insert, and a couple small dents. $300 - $500

275 Duck Call DANIEL H. CROOKS (1909-1998) PINEVILLE, LA, C. 1930

6 1⁄2 in.

A call with checkered raised panels and relief carved flying duck motifs. Signed with the maker’s “Crooks” stamp twice on the top of the barrel and once on the insert. Original finish with minimal wear. $300 - $400

276 Duck Call 5 in.

A call with relief carved flying duck motifs. Original finish with wear, insert has old re-carved edge to allow insert to fit deeper in barrel.

278

$200 - $300

127

279

282

280

283

281

284

128

286

285

279 Three Duck Calls Two calls by Dr. E. Stanton Stofer (18861958), Kansas City, MO, c. 1940. A 5 3⁄4 in. call stamped “Bean Lake, E. Stofer, Duck Call” and a rare 5 3⁄4 in. checkered call stamped “E. Stofer, K. C. MO.”

A 6 1⁄4 in. “Johnny Marsh” call with raised checkered panels by Larry W. Hickerson (1935-2006) and John E. Marsh (19141983), Nashville, TN, 2000. Hickerson registered the “Johnny Marsh” name and continued to make his style calls after his passing. In original finish with wear, the plain barreled call has a drip stain on it. $200 - $300

calls with carved mallards in flight and carved crown insert ends. In original finish with minimal wear. $400 - $600

282 Three Calls A 4 1⁄2 in. metal dove call or bird whistle, marked “1A” on the bottom.

Two rare, early 4 1⁄2 in. “tongue pincher” calls attributed to Elam J. Fisher (18231873), Detroit, MI. One metal horn with band and one horn bell design. Fisher is recognized for receiving the first duck call patent in 1870. As found. $200 - $300

A 4 1⁄2 in. call by Thomas E. Condo (b. 1944), Monticello, IN, 1999, with carved crows in a tree motif, signed and dated inside bottom rim of the barrel. The Perdew call has wear; the Condo call has minor wear.

$400 - $600

285 Three Duck Calls A 5 in. call by Thomas E. Condo (b. 1944), Monticello, IN, 1998, exhibiting a carved mallard head with a Winchester shell in the mouth, # 81, signed and dated by the maker on the underside.

A 6 1⁄4 in. call with carved geese in flight on the barrel. A 5 in. call with light checkered triangles. As found.

280 Two Crow Calls A 5 in. call by Charles H. Perdew (18821964) Henry, IL, c. 1910, stamped “Chas. H. Perdew Henry ILL” and “Pat Nov. 2 1909.”

A 6 7⁄8 in. call by James E. Yule (b. 1922), Jena, LA. Features a carved duck with leaves, checkering, and engraved band, signed with the maker’s conjoined initials. In original finish with minimal wear.

283 Two Duck Calls A 5 in. standard model call by Charles W. Grubbs (1848-1933), Chicago, IL, c. 1890. This maker advertised that he made the first commercial calls in 1868.

A 4 in. eureka model call by Charles H. Ditto (1864-1935), Keithsburg, IL c. 1920, with “C. H. Ditto Keithsburg, ILL.” stamped in the metal band. In original finish with wear. 1⁄2

$100 - $200

286 Three Duck Calls A 4 3⁄4 in. call by Mike Fixter (b. 1946), Santa Cruz, CA , 1992, laminated with ebony and inspired by one of his favorite call makers, Bill Clifford. Signed and dated by the maker on the insert.

$200 - $300 THOMAS E. CONDO (B. 1944) (ATTR.) MONTICELLO, IN, C. 1990

A 6 1⁄2 in. mallard head call by Francis J. Muehlstein, St. Paul, MN, c. 1935, with a flapping bill. Stamped under the bill “Pat #1855527. Natural Duck Call Mfg. Co. St. Paul, Minn.”

284 Two Duck Calls

A 5 1⁄2 in. call. As found.

Two calls, 6 and 6 1⁄2 inches, in the style of Charles Perdew’s finest depression-era

A 6 in. chip-carved call with crosshatched raised panels, marked “613” on the sound board.

$400 - $600

281 Two Duck Calls 1⁄2

129

$200 - $400

287 Great White Shark

288 Humpback Whale

CHRIS BOORAS CAPE COD, MA, C. 2000

CLARK VOORHEES (1911-1980) WESTON, VT, C. 1970

31 by 12 by 8 in.

18 in. long

Chris Booras is a woodcarver from Cape Cod. Living near the water and the beautiful landscape of the Cape has influenced Chris in his artwork. His favored subjects are the elusive animals of the sea, including blue fin tuna, white sharks, and humpback whales. He uses a variety of wood for his carvings but is most noted for his hardwood carvings, sanded and polished to achieve a smooth surface.

Clark Voorhees, was the son of Clark Greenwood Voorhees (18711933), one of the founders of the Old Lyme, Connecticut, Art Colony. Voorhees enlisted the help of Wildfowler Decoys’ founder, Ted Mulliken, in nearby Old Saybrook, Connecticut, to initially aid in the carving of his whales. His whale-carving business was later moved to its permanent home in Vermont. Many of his carvings were sold through the Four Winds Shop on Nantucket.

A carved mahogany half model, signed on the back with carved initials “CJB.” Original finish with minimal wear.

Signed on the back by the maker with his stylized “CV” incised signature and with stamped letters “C Voorhees.” Original paint except for lower fluke which has been professionally restored.

$800 - $1,200

$1,500 - $2,000

289 Sperm Whale CLARK VOORHEES (1911-1980) OLD LYME, CT, C. 1950

17 1⁄2 in. long

An early Old Lyme, Connecticut, half-whale wall plaque carving. Signed on the back with an incised “CV” and stamped “C VOORHEES.” Original paint with patina and minimal wear. $2,000 - $3,000

287

130

288

289

290 Miniature Penguin CHARLES HART (1862-1960) GLOUCESTER, MA, C. 1920

7 1⁄4 in. high

Charles Hart penguins have long been favorites amongst collectors of American folk art. As early as 1949, Allen Easton chronicled Hart’s mastery in carving these flightless birds of the Southern Hemisphere. A large Hart penguin carving presented to Admiral Byrd, noted South Pole explorer, was exhibited in a Massachusetts decoy exhibit at the Peabody Essex Museum in Salem, Massachusetts. While Hart is known to have completed hundreds of penguin carvings, this boldly carved seven-inch model is a pinnacle example. Archetypal in every sense, it has all the features that astute collectors look for: an inletted bill, applied shaped wings, grooved feet, and a beautiful rich patina commensurate with the bird’s age. Original paint with craquelure and light wear. PROVENANCE: Aime and Janis Blouin Collection LITERATURE: Robert Bishop, American Folk Sculpture, New York, NY,

1985, p. 177, similar carving illustrated. Allen H. Eaton, Handicrafts of New England, New York, NY, 1949, p. 183. $1,500 - $2,500

290

131

291

293

292

294

291 Black-Footed Penguin

Signed and dated by the maker on the bottom of the base. Original condition.

294 Owl and Crow

15 by 8 1⁄2 by 11 in.

$900 - $1,200

owl is 17 in. high with base

A life-size penguin carving signed on the bottom with the maker’s rectangular stamp and incised “DB” initials. Original paint with minimal wear.

293 Black Forest Bear Container

DANIEL L. BRUFFEE (B. 1970) PLYMOUTH, MA, C. 2000

$600 - $900

292 Bobwhite Quail JACK FRANCO ASSONET, MA, 1979

An early, life-size decorative carving of a male quail. With its intricate feather carving, this pinnacle work was lovingly created by one of Cape Cod’s best artisans of the late 20th century.

BLACK FOREST SCHOOL BLACK FOREST, GERMANY

8 1⁄4 by 5 1⁄2 by 5 1⁄2 in.

A carved wooden tobacco jar hinged at the back. The seated carving exhibits glass eyes, detailed carved mouth and nose, and intricate carving overall. Original finish with light wear and a small tight crack in one leg. PROVENANCE: Aime and Janis Blouin

Collection $300 - $500

132

ELMER A. NELSON (1893-1976) LUDINGTON, MI, C. 1930

An owl and a crow decoy, both display glass eyes, inserted beaks, angle iron legs, and black two-piece beveled edge bases. Original paint with wear, both have tight age cracks. The crow has a cracked eye. The owl has beak and ear chips. $800 - $1,200

295 Miniature Curlew Pair MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 2014

4 7⁄8 and 5 1⁄8 in. long

A very small and rare pair of sicklebills displaying black glass eyes, bone bills, raised wings, and carved primaries. Signed by the maker with a finely incised “McNair” on the underside of each. The running bird measures just over five inches in length. Original paint. $1,200 - $1,800

295

296 Running Curlew MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

22 in. from tip to tail

A two-piece, solid-bodied shorebird decoy in the style of Dr. John Phillip’s shorebird rig. Signed on the underside with the maker’s incised “McNair” signature. Original paint with minor wear. $1,000 - $1,500

296

133

297

298

134

299

297 Pintail Drake

299 Merganser Drake

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

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 1996

23 in. long

19 1⁄2 in. long

A life-size, hollow decoy with a slightly turned head, nice patina, oak tail, and the maker’s incised signature on the bottom. Original paint with minor craquelure on the breast and light wear.

A slightly over-size hollow decoy with carved eyes, an inletted head, carved bill detail, a horse hair crest, lightly raised primaries, and notched tail feathers. The bottom board is signed and dated with the maker’s incised signature. Original paint with minor wear and the weight has been removed.

PROVENANCE: Private Collection, Maryland

$1,800 - $2,400

$1,200 - $1,800

298 Curlew MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

16 in. from tip to tail

A hollow, Bunn/Bowman style shorebird with a two-piece body and black glass eyes. A “1” is carved on the underside in front of the maker’s incised signature. Original paint with minimal wear. $1,000 - $1,500

135

301 303 302 304 300

300 Miniature Woodcock ALLEN J. KING (1878-1963) NORTH SCITUATE, RI, C. 1940

1 1⁄2 in. long

Signed by the maker on the side of the base. Original paint with lower half of bill and one toe missing. $600 - $900

301 Miniature Ruffed Grouse ALLEN J. KING (1878-1963) NORTH SCITUATE, RI, C. 1940

2 1⁄2 in. long

Signed by the maker on the side of the base. Original paint with hairline leg cracks. $800 - $1,200

302 Miniature Flying Bobwhite Quail Pair RUSS P. BURR (1887-1955) HINGHAM, MA, C. 1950

2 1⁄4 by 5 1⁄4 by 3 1⁄2 in.

An exceedingly rare species for this maker. This exquisite pair represents this carver’s finest work. Signed with the maker’s ink stamp on the bottom. Original paint with a professional repair to the hen’s left wing. $400 - $600

303 Miniature Pintail Drake ALLEN J. KING (1878-1963) NORTH SCITUATE, RI, C. 1940

3 in. long

Signed by the maker on the side of the base. Original paint with a reset neck and missing tail tip. $600 - $900

136

304 Miniature Wood Duck Drake ALLEN J. KING (1878-1963) NORTH SCITUATE, RI, C. 1940

2 1⁄4 in. long

Signed by the maker on the side of the base. Original paint with minimal wear. $600 - $900

305 Two Miniature Blue Jays A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930

4 in. long

A miniature songbird by this famed carver with his rectangular stamp on the bottom. ROBERT MORSE (1920-1960) ELLSWORTH, ME, C. 1950

4 1⁄2 in. long

An early unsigned miniature on a driftwood base. In original paint with minor wear. PROVENANCE: Aime and Janis Blouin Collection

$800 - $1,200

305

306 Miniature Cardinal and Chickadee ROBERT MORSE (1920-1960) ELLSWORTH, ME, C. 1950

4 in. long

An early, unsigned, miniature male cardinal on a driftwood base. In original paint with minimal wear. JESS BLACKSTONE (1909-1988) MELROSE, MA, C. 1950

4 in. long

Signed on the bottom by the maker with his conjoined initials, species identified, and #1320. PROVENANCE: Aime and Janis Blouin Collection

$500 - $800 306

307 Miniature Pintail Hen ROBERT MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1930

6 1⁄2 in. long

A miniature decoy with painted eyes, a carved bill, and its original beveled edge base. Original paint with wear, a neck crack, and flaking. PROVENANCE: Aime and Janis Blouin Collection

$300 - $500

308 Miniature Loon RALPH D. LAURIE (1883-1964) HINGHAM, MA, 1937

5 1⁄2 in. high

Signed and dated on the bottom of the base with the maker’s circular red ink stamp and “’37” in ink. Original paint with minor wear.

307

PROVENANCE: Aime and Janis Blouin Collection

$200 - $300 137

308

311 309

312

310

309 Miniature Snowy Owl

311 Miniature Great Blue Heron and Chickadee

WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, C. 1950

6 1⁄4 in. high including base

heron 6 in., chickadee 5 1⁄4 in. high including the base

On an unsigned driftwood base with “SNOWY OWL” printed on the bottom. Original paint with minor wear, carving is loose on base.

A small heron carving signed and dated on the base of the driftwood “Gilley ‘57.” A half-size chickadee signed by the maker on the bottom of the base. In original paint with minor wear, the heron has a reset neck.

$200 - $300

PROVENANCE: Aime and Janis Blouin Collection

$500 - $800

310 Miniature Pintail Pair WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, 1960

drake is 7 in. tall including the base birds measure 12 in. from the hen’s bill to the drake’s tail

312 Miniature Mallard Drake

Both are well-executed, displaying the maker’s finest detail, and are signed on the driftwood base. Original paint.

7 in. high including the base

WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, C. 1970

Faintly signed by the maker on the top of the base. Original paint with minimal wear.

$400 - $800

$200 - $400

138

316

313

317

314

318

315

313 Miniature Canada Goose Pair

315 Miniature Blue-Winged Teal Pair

317 Half-Sized Mallard Pair

WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, C. 1960

ENOCH REINDAHL (1904-2000) (ATTR.) STOUGHTON, WI, C. 1970

WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, C. 1950

alert goose is 10 3⁄4 in. tall including the base which measures 25 1⁄2 in. in length

9 by 5 by 6 in.

drake is 9 in. tall including the base base measures 21 in. in length

Both carvings display glass eyes, carved bill detail, raised wing tips, incised tail feathers, and the maker’s signature on top of the driftwood base. Original paint with minimal wear.

A pair of flying teal with copper wire and hardwood bases, unsigned. In original paint with wear, damage and repairs to feet and wings. The drake is missing an eye. $1,000 - $1,500

$200 - $400

314 Chickadee on a Twig WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, C. 1960

4 1⁄4 in. high

Signed by the maker on the side of the base and his ink stamp is impressed in the bottom. Original paint with minor wear, light flaking on feet, and hen has a tail chip on one side. $150 - $250

316 Miniature Wood Duck Drake WENDELL GILLEY (1904-1983) SOUTHWEST HARBOR, ME, C. 1950

9 in. tall including the base

A life-size carving of Maine’s state bird, signed by the maker on the lower end of the twig. Original paint with minimal wear.

Exhibits raised wing tips, signed on the side of the base. Original paint with minor wear, flaking on feet, a small tail chip has been reset, and minor neck seam shrinkage on one side.

$100 - $200

$200 - $400

318 Two Miniature Pairs JAMES J. AHEARN (1904-1963) STAMFORD, CT, C. 1940

mallards measure 4 and 5 in. long each woodcock measures 3 1⁄2 in. long

Each is signed on the bottom of the base. Original paint with minor wear and flaking on feet. $400 - $600

139

319 Whooping Crane CENTRAL FLYWAY, C. 1900

53 1â &#x201E;4 in. tall, base included

An exceedingly rare whooping crane decoy exhibiting glass eyes, old dry paint, and a steel rod support between the bird and its base. Whooping crane populations are believed to have been naturally low before the arrival of European settlers in North America. Due to hunting pressures and habitat destruction there were an estimated 1,400 birds remaining in the late nineteenth century and only 15 adults by 1938. Due to conservation efforts their population is rebounding and approximately 500 birds are alive today. Very old working paint with craquelure and gunning wear, lower half bill repair, loose neck with minor paint chips, neck paint rub, and lower tarsus chips. $6,000 - $9,000

319

140

322

320

323

321

320 Miniature Old Squaw

322 Miniature Wood Duck and Blue-Winged Teal

GEORGE BOYD (1873-1941) SEABROOK, NH, C. 1920

4 1⁄2 in. long

3 3⁄4 in. long

“Old Squaw” is faintly written on the bottom of this longtailed duck. Original paint with some fading, craquelure, neck reset, and tail feather repair by Gigi Hopkins.

The birds display small “shoe button” eyes and detailed painted feathering. In original paint with some fading, craquelure, neck and bill repairs by Gigi Hopkins.

PROVENANCE: Aime and Janis Blouin Collection

$600 - $900

$1,000 - $1,500

321 Miniature Canada Goose

323 Miniature Mallard Pair

GEORGE BOYD (1873-1941) SEABROOK, NH, C. 1920

5 1⁄2 in. long

4 in. long

A rare miniature hissing or swimming goose. Original paint with some fading, craquelure, a reset neck, and bill touch-up by Gigi Hopkins.

The birds display small “shoe button” eyes and detailed painted feathering. In original paint with some wear, fading, and craquelure. The drake has a reset neck, and both have bill repairs by Gigi Hopkins.

PROVENANCE: Aime and Janis Blouin Collection

$1,000 - $1,500

141

324 Red-Breasted Merganser Drake GEORGE BOYD (1873-1941) SEABROOK, NH, C. 1910

19 in. long

This bold and racy decoy features a long, wide body with a paddle tail. The delicately carved head is slightly turned to the left with a forward-reaching and uplifted posture. The surface features both concise paint patterns and the artistâ&#x20AC;&#x2122;s stippled paint on the breast and along the sides. True to the species, Boyd used red glass eyes for this drake. The pencil-thin upturned bill features a carved nail at the tip. From tip to tail the bird measures nineteen inches. This decoy has been in a private collection since the early 1960s and has never previously been offered for sale. Original paint with even gunning wear, bill scratches, tight neck cracks, a couple tail chips, and original inletted wood strip by the maker in bottom. PROVENANCE: Aime and Janis Blouin Collection, acquired c. 1960 LITERATURE: Jim Cullen, Finely Carved & Nicely Painted: The Life, Art and Decoys of

George H. Boyd, Rye, NH, 2009, p. 36, exact decoy illustrated. Copley Fine Art Auction, The Winter Sale 2014, Charleston, SC, February 2014, front cover and lots 30 and 31, rigmates illustrated. $60,000 - $90,000

142

324

143

325 Three Flying Mallards DELBERT HUDSON (1928-1981) CHINCOTEAGUE, VA, C. 1940

An 11 1/2 by 13 7/8 by 2 3/4 in. flying mallard drake wall plaque, a 9 7/8 by 14 by 2 1â &#x201E;2 in. slightly smaller flying mallard drake plaque, and a 9 7/8 by 13 3/8 by 3 in. flying mallard hen plaque. In original paint with a little craquelure, minor wear, some chips, and repairs.

GEORGE BOYD 1873-1941

PROVENANCE: William H. Purnell, Jr. Collection

$1,000 - $1,500

325

326 Miniature Curlew Pair EDDIE WOZNY (B. 1959) CAMBRIDGE, MD, 2014

7 and 4 1â &#x201E;2 in. long

Both shorebirds have glass eyes, carved bill detail, and raised wings with layered carved feathers. Signed and dated by the maker on the underside. Original paint. $800 - $1,200

326

327 Palm Frond Pintail CALIFORNIA, C. 1930

18 in. long

This decoy displays carved eyes, a delicate curved neck, and stippled and blended paint. Original paint with gunning wear, flaking, small chips around inserted bill, and a tail chip. $300 - $500

327

144

330

328

331

329

328 Preening Black Duck

330 Long-Billed Curlew

EDWARD M. KOCH (B. 1937) PHOENIX, AZ, C. 1970

JAMIE REASON (B. 1947) MASTIC BEACH, NY, C. 2010

10 1⁄4 by 12 by 12 in.

A turned head decoy with its bill tucked under one wing exhibiting raised wing feather and tail carving. Koch carved with John McLoughlin (1911-1985) who retired to Tucson, Arizona, in his later years. Original paint with gunning wear.

An animated, turned-head, life-size shorebird carving signed with the maker’s lightly incised initial on the underside of the tail. Original paint with minimal wear.

$600 - $900

$100 - $200

329 Redhead and King Eider

331 Brant

EDWARD M. KOCH (B. 1937) PHOENIX, AZ, C. 1970

COASTAL SALISH (ATTR.) PACIFIC NORTHWEST

Two, life-size competition birds with carved head, wing, and tail feathers. Original paint with minor gunning wear.

As found. $500 - $800

$400 - $600

145

332 Mallard Drake RANDY TULL (B. 1947) HAYWARD, WI, 1984

Charles “Buddy” Harris was an avid outdoorsman and collector who enjoyed bringing his family and friends along on his adventures. Harris befriended World Champion carver Randy Tull and the two traveled and hunted across the United States and in Mexico together. Harris was a dedicated collector of Tull’s work and purchased some of his finest carvings, including World and National Championship winning pieces. Copley is pleased to offer a number of those carvings along with other fine decoratives from the Harris collection in this catalog.

A preening decoy displaying incredible form that won a first place ribbon at the North American Decoy Championships. Signed and dated on the bottom by the maker. Original paint with minor wear. PROVENANCE: Charles “Buddy” Harris Collection

By descent in the family to the current owner $800 - $1,200

332

333

146

333 Mallard Hen RANDY TULL (B. 1947) HAYWARD, WI, 1982

An outstanding, life-size, decorative mallard hen by this world champion decoy carver. This carving was awarded a second place ribbon at the 1982 world championships. Original paint with minimal wear. PROVENANCE: Charles “Buddy” Harris Collection

By descent in the family to the current owner $400 - $600

334 Pintail Drake RANDY TULL (B. 1947) HAYWARD, WI, 1978

334

An exceptionally executed, life-size decorative decoy carving, signed and dated on the bottom by the maker. Original paint with minor wear and a tip of the sprig tail chip. PROVENANCE: Charles “Buddy” Harris Collection

By descent in the family to the current owner $800 - $1,200

335 Pintail Hen RANDY TULL (B. 1947) HAYWARD, WI, C. 1980

A fine, life-size decorative decoy. Original paint with minor wear. PROVENANCE: Charles “Buddy” Harris Collection

By descent in the family to the current owner $400 - $600 335

336 Swimming Wigeon RANDY TULL (B. 1947) HAYWARD, WI, 1983

An exceptionally carved, life-size decorative decoy that captured several first place ribbons in 1983-1984. Signed and dated on the bottom by the maker. Original paint with minor wear. PROVENANCE: Charles “Buddy” Harris Collection

By descent in the family to the current owner $400 - $600

336

147

339

337

340

338

337 Hooded Merganser Pair KENNETH (1927-1995) AND BEVERLY (1929-2010) BASSETT SUTTONS BAY, MI, C. 1980

A preening hen and a slightly turned head drake, signed by the makers on the bottom of each. Original paint with minor wear. 341

PROVENANCE: Charles “Buddy” Harris Collection

By descent in the family to the current owner $300 - $500

340 Green-Winged Teal Drake CHARL E. GREENE (1925-2005) HOLLAND, MI, 1979

338 Canvasback Hen

A stylized decorative decoy signed and dated on the bottom by the maker. Original paint with minimal wear.

JIM FOOTE (1925-2004) PT. MOUILLE AND GIBRALTAR, MI, 1977

A hollow decorative decoy by the famous Michigan maker, signed and dated on the bottom. Original paint with minor wear.

PROVENANCE: Charles “Buddy” Harris Collection

$200 - $400

By descent in the family to the current owner

By descent in the family to the current owner $300 - $500

341 Ruddy Duck Pair REAGAN DANOS (B. 1958) LAROSE AND LOCKPORT, LA, 1984

339 Canvasback Hen

A hen and drake with slightly turned heads and raised tails. Signed and dated on the bottom by the maker who was twentyseven years old at the time. Original paint with minor wear.

RANDY TULL (B. 1947) HAYWARD, WI, 1975

An early, hollow decorative decoy by Tull, who was a pioneer master carver of competition quality decoys, signed and dated on the bottom. Original paint with minor wear.

PROVENANCE: Charles “Buddy” Harris Collection

By descent in the family to the current owner

PROVENANCE: Charles “Buddy” Harris Collection

$300 - $500

By descent in the family to the current owner $400 - $600

148

344

342

345

343

342 Wood Duck Drake

343 Canvasback Drake

344 Two Black Ducks

AL GLASSFORD (B. 1927) SCARBOROUGH, ONTARIO, CANADA, 1972

JETT BRUNET (B. 1964) GALLIANO, LA, 1984

ANTHONY G. MURRAY (1941-2005) PUNGO, VA, C. 1990

An early, competition-grade decoy, described now as more of a decorative slick, before Tull and others started wood burning feather detail and carving individual feathers and feather groups that stood out from the carvings. This bird is faintly inscribed “Made for Bubba Wood, April 1972, Good Hunting, Al “Glass.”” on the bottom. Original paint with minor wear.

A decoy carved for the “Lem and Steve Ward Shootin’ Stool” competition at the World Championships that placed second. Signed and dated by the maker on the bottom. The older son of World Champion carver Tan Brunet, Jett carved this bird at age twenty. In his first five years as a professional carver his birds won over thirty best of show ribbons. Original paint with minor wear.

A turned-head decoy and a preening black duck decoy. Murray was a prominent San Francisco acoustic guitar maker. Signed with incised “AGM” initials on the underside. Original paint with minimal wear.

PROVENANCE: Bubba Wood Collection

PROVENANCE: Charles “Buddy”

345 Wigeon Pair

Charles “Buddy” Harris Collection By descent in the family to the current owner

Harris Collection By descent in the family to the current owner

ROBERT “BOB” WHITE (B. 1939) TULLYTOWN, PA, C. 1980

$800 - $1,200

PROVENANCE: Richard Gove Collection

$1,000 - $1,500

A pair of swimming hollow decoys with raised primaries, carved tail feathers, and the maker’s impressed signature lead weight on the bottom of each. Original paint with light gunning wear and a tight crack with touch-up to hen’s bill tip. $2,000 - $3,000

149

346 Canada Goose Bookends THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1940

An early and exceedingly rare pair of calling life-size Canada goose busts signed and dated on the base of the breasts. Weighted with felt bottoms and backs. Original paint with tight neck seam separation on one. PROVENANCE: Richard Gove Collection

$800 - $1,200

346

347 Canvasback Pair JAMES “CORB” REED (1897-1987) CHINCOTEAGUE, VA, C. 1970

A superb pair of decoys displaying glass eyes, carved bill detail, his finest painted feathering, and carved raised wings and feet. The drake has eyelids and incised tail feather detail. Both are stamped “J C Reed” by the maker on the bottom. The hen also bears a painted “881” and the drake an “880.” Original paint with minimal wear. PROVENANCE: Private Collection, California

$800 - $1,200

347

348 Preening Canvasback Pair JAMES “CORB” REED (1897-1987) CHINCOTEAGUE, VA, C. 1970

A turned head pair of decoys displaying glass eyes, carved bill detail, his finest painted feathering, and carved raised wings and feet. The drake has eyelids and incised tail feather detail, is stamped “J C Reed 71” by the maker, signed and dated in ink on the bottom, and bears a painted “2323” on the bottom. The hen has a worn ink signature and bears a painted “2323” on the bottom. Original paint with minimal wear. $800 - $1,200 348

150

351

349

352

350

349 Black Duck

351 Redhead Drake

LLOYD J. TYLER (1898-1970) CRISFIELD, MD, C. 1930

EDWARD J. PHILLIPS (1901-1964) TAYLORS ISLAND, MD, C. 1930

A rare and early decoy with a high turned head, original rigging, and the “W.H.P. JR” collection brand on the bottom. Original paint worn to the wood in places, gunning wear, a couple age cracks along the bottom, and shrinkage at neck seam.

A decoy from Maryland’s Eastern Shore with painted, carved wooden eyes, carved bill detail, lightly combed paint, original rigging, a branded “P” for the Purnell collection, and a stamped “SGH” for the Somers Headley collection. Original paint with minor flaking and light gunning wear.

PROVENANCE: William H. Purnell, Jr. Collection LITERATURE: Robert H. Richardson ed., Chesapeake Bay Decoys,

Burtonsville, MD, 1991, p. 146, exact decoy illustrated. $1,000 - $1,500

PROVENANCE: Somers G. Headley Collection

William H. Purnell, Jr. Collection Private Collection $1,500 - $2,000

350 Goldeneye Drake

352 Bluebill Drake

LLOYD J.TYLER (1898-1970) CRISFIELD, MD, C. 1940

EDWARD J. PHILLIPS (1901-1964) TAYLORS ISLAND, MD, C. 1930

An alert, glass-eyed decoy with original rigging and a Purnell collection “P” brand on the bottom. Original paint with some flaking, gunning wear, and a couple tight age cracks. PROVENANCE: William H. Purnell, Jr. Collection

A decoy from Maryland’s Eastern Shore with painted carved wooden eyes, carved bill detail, lightly combed paint, and original rigging. Original paint with fine craquelure and light gunning wear.

$500 - $800

$1,000 - $1,500

151

353 Seagull LEMUEL T. WARD (1896-1984) CRISFIELD, MD, C. 1950

A rare confidence decoy with distinct form and finished with Lem’s excellent paint. This gull features bill carving, a rocked-back head, raised primaries, incised tail feathers, and a weighted keel. The bottom exhibits stamped “SGH” initials and a museum exhibit ink stamp dated “Aug. 91” from the Noyes Museum in Oceanville, New Jersey. Original paint with minor gunning wear. PROVENANCE: Somers G. Headley

Collection Larry Laramy Collection Ronnie Newcomb Collection Richard Gove Collection 353

354 Canvasback Drake THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1936

A Chesapeake Bay canvasback displaying glass eyes, a slightly turned head, and stippled wing paint. In working repaint with areas of original paint and gunning wear. Original tail has been reset and bill is professional replacement. $2,000 - $3,000

354

152

$5,000 - $7,000

355

355 Early Black Duck THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1932

A large, turned-head black duck displaying the animated head and body features associated with the Bishop’s Head Gun Club decoys, including the well-defined bump under the tail. The fine head carving is a bold precursor to the Wards’ ‘36 model, and rests on a high raised neck seat. The decoy has a high back and is augmented by an original bottom board. The surface features blended paint on the head and sharp feather painting on the body. Original paint with even gunning wear. PROVENANCE: David Fannon Collection

Richard Gove Collection LITERATURE: Literature: Ronald J. Gard and Brian J.

McGrath, The Ward Brothers’ Decoys: A Collectors Guide, Wolfe City, TX, 1989, pp. 70-79. $10,000 - $15,000

153

355

356 Pintail Hen DAVE “UMBRELLA” WATSON (1851-1938) CHINCOTEAGUE, VA, C. 1920

A bold, hollow decoy with small black glass eyes, carved bill definition, a sharp brow, and raised primaries. This decoy and its rigmate, the following lot, are both illustrated in Fleckenstein’s Southern Decoys book. Original paint with even gunning wear. PROVENANCE: Private Collection, North Carolina LITERATURE: Henry A. Fleckenstein, Jr., Southern

Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 84, plate 115, exact decoy illustrated. $5,000 - $7,000 356

357 Pintail Drake DAVE “UMBRELLA” WATSON (1851-1938) CHINCOTEAGUE, VA, C. 1920

A bold, hollow decoy with small black glass eyes, carved bill definition, a sharp brow, and raised primaries. Appears to be original paint with gunning wear, repair to bill tip. PROVENANCE: Private Collection, North Carolina LITERATURE: Henry A. Fleckenstein, Jr., Southern

Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 84, plate 114, exact decoy illustrated. $5,000 - $7,000

357

358 Ruddy Duck BACK BAY, VA, C. 1930

A drake ruddy decoy with carved bill detail and a slightly ridged carved tail. Original paint with gunning wear, an age crack along the bottom, and a professionally replaced bill. $1,000 - $1,500

358

154

359

359 Wigeon Pair LEMUEL T. WARD (1896-1984) CRISFIELD, MD, 1963

A pair of decorative wigeons with the drake displaying up-lifted primary and secondary wing feathers and the hen featuring a back-preening head and raised, crossed carved wings. Both have carved speculum and tail feather detail, raised sides, and are signed and dated on the underside “Made by Lem T. Ward, Crisfield, Md., -1963-.” The bottom of the decoys is branded “W.H.P. Jr” for the William Purnell, Jr. collection. Both are in outstanding original paint with minimal wear. The hen shows some minor craquelure and a couple very small dents. PROVENANCE: William H. Purnell, Jr. Collection,

acquired from the maker $8,000 - $12,000

155

360 Brant IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920

A superb example of a tack-eyed brant exhibiting the makers best swirl paint. Original paint with minor flaking, gunning wear, and minor touch-up to bill and right side of base of neck. $4,000 - $6,000

360

361 Canvasback Hen IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920

This classic Hudson decoy exhibits exceptional form, a long body, tack eyes, carved bill detail, original weights, and a branded “P” for the Purnell collection. Original paint with flaking, in-use repair to neck cracks and tight age cracks, along the bottom. PROVENANCE: William H.

Purnell, Jr. Collection $1,500 - $2,500

361

156

362 Black Duck IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1935

An excellent, full-bodied black duck with an ever-so-slightly turned head. The strong head carving features carved bill and nostril detail and tack eyes. The body displays a deep shoulder groove and scratch feather paint with primaries and broad speculums. The plump body tapers down to Hudson’s signature fluted tail. This decoy was hunted off the Eastern Shore of Virginia in the Chesapeake Bay near Parker’s Island. William J. Mackey, Jr., in his pioneering decoy collecting book, American Bird Decoys, writes that Hudson was, “the most prolific and best commercial decoy maker Virginia ever produced.” Original paint with even gunning wear, shot scars, and a few tail chips. PROVENANCE: Brice Davis Rig, purchased directly from Hudson

as part of a rig of twelve decoys By descent in the family to the current owner $5,000 - $7,000

157

362

“Old man Cobb took no part in the new deal; none ever saw him at the hotel. He had a fine a fine plot of ground, and a snug, comfortable house, and there he stayed with his tame brants, as isolated as if her were a lone fisherman on a lone isle, as in days of yore. For many years Cobb’s Island was the most famous resort in America for the combined attraction of hunting and fishing; and a week’s stay at that place was like taking an ocean trip abroad. It possessed a peculiar fascination for the sportsman, and many of us went to the island year after year. We went in the spring for the robinsnipe; in the summer for the bay-birds, and in the winter for that king of salt-water birds, the brant. Cobb’s Island was a favorite rendezvous for the American Yacht squadron, and in the summer all sorts of craft filled with pleasure-seekers would anchor off the place, and there would be feast, fun and frolic.” – Alexander Hunter, 1908

363 Hissing Brant NATHAN COBB, JR. (1825-1905) COBB ISLAND, VA, C. 1890

A rare hissing brant with hollow body construction from Cobb Island, Virginia. This decoy displays an incised and serifed “E” and an “E. B. COBB.” brand on the underside, designating it as part of Elkanah B. Cobb’s (1852-1943) gunning rig. Elkanah was Nathan Cobb, Jr.’s son and a famed Island guide. While demonstrating all of the bold features that define the Cobb style, this prime example demonstrates a refinement not often seen in Southern decoys. This bird features a rare “root-head” in an animated hissing pose. This feature was likely carved from a single twisted branch of the Southern wax myrtle (Myrica cerifera), which is abundant on the island. The thin neck supports a slightly down-turned head with subtle cheek carving and inset German glass eyes within lightly carved eye grooves. The body possesses flowing shoulder carving and diamond-cut raised wingtips. 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. Case in point, Nathan Cobb, Sr. kept a tame flock of brant on the Island that were a local attraction and even once collateral for hotel construction loans. In 1989 this decoy was featured on the cover of the “Year in Review” issue of Decoy Magazine and was illustrated on page 7. Since then the line drawing of this exact bird has appeared in countless Decoy Magazine promotions. This decoy was a cover lot for Guyette & Schmidt, Inc.’s July 30 & 31, 2005 auction catalog. This brant along with a Cobb Canada goose were the top two decoy lots at auction that year.

PROVENANCE: Captain Elkanah B. Cobb Rig

Bud Ward Collection Ron Gard Collection Charles Hunter Collection Private Collection, Maryland LITERATURE: Joe Engers, ed., “1989 Year in Review,” Decoy

Magazine, 1990, front cover and p. 7, exact decoy illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 18, rigmate illustrated. Gary Guyette and Frank Schmidt, Inc., North American Decoys at Auction, Boston, MA, July 2005, lot 92, front cover, exact decoy illustrated.

“...[The Cobbs] were determined to produce the best

Henry A. Fleckenstein, Jr., Southern Decoys, Exton, PA, 1983, pp. 186-187, similar examples illustrated.

decoys possible, and their work excellently served the needs of both the nineteenth-century hunter and the

Grayson Chesser, “Cobb Island, A hunter’s paradise,” Decoy Magazine, Nov/Dec 1998, pp. 8-13.

modern collector.”

Alexander Hunter, The Huntsman in the South, Vol. 1, Virginia and North Carolina, New York, NY, p 145.

– William J. Mackey, Jr., American Bird Decoys Mixture of original paint and old working repaint with gunning wear including age lines and an old chip at base of the neck. Original weight.

$80,000 - $120,000

158

363

159

NATHAN COBB, JR 1825-1905

364 Rare Redhead Drake NATHAN COBB, JR. (1825-1905) COBB ISLAND, VA, C. 1890

A rare hollow decoy with an inletted head, raised wing tips, and eye grooves. An “N” in the bottom may be a later addition. In a mix of original paint and repaint with gunning wear, a reset neck, partial bill repair, and age lines in head. PROVENANCE: Davison Hawthorne Collection

Thomas J. O’Connor III Collection Private Collection, North Carolina $6,000 - $9,000

Cobb Island guide and hunter with Cobb decoys, c. 1880. Photograph courtesy of Thomas J. O’Connor III.

364

160

365

365 Rare Bufflehead Drake NATHAN COBB JR. (1825-1905) (ATTR.) COBB ISLAND, VA, C. 1880

A very rare decoy with an inletted head and raised wing tips. Gary Guyette and Frank Schmidt Inc. wrote, “Very few buffleheads from the Eastern Shore exist, and this is considered one of the top three or four.” Original paint with some old working paint worn to wood, even gunning wear, and a replaced bill. PROVENANCE: Grayson Chesser Collection

Private Collection, North Carolina LITERATURE: Robert H. Richardson, Chesapeake Bay Decoys: The Men Who Made and

Used Them, Burtonsville, MD, 1991, p. 203, exact decoy illustrated. Guyette and Schmidt, Inc., The Hillman Collection: Rare Antique Waterfowl Decoys, St. Charles, IL, April 25-26, 1996, lot 565A, exact decoy illustrated. $18,000 - $24,000

161

368

366

369

367

366 Black Duck

PROVENANCE: William J. Mackey, Jr.

370 Raised-Wing Yellowlegs

DAVE “UMBRELLA” WATSON (1851-1938) CHINCOTEAGUE, VA, C. 1920

Collection Private Collection, acquired from the above

WILLIAM J. MATTHEWS (1855- 1930S) ASSAWOMAN, VA, C. 1890

A hollow decoy with carved bill detail, raised primaries, and outlined tail carving. Repaint possibly by Hudson. In working repaint with even gunning wear and tight crack on one side of head. PROVENANCE: Private Collection,

North Carolina LITERATURE: Henry A. Fleckenstein,

Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 82, plate 108, rigmate illustrated. $3,000 - $5,000

367 Ruddy Duck KNOTT’S ISLAND, NC, C. 1900

8 in. long

A rare and petite cypress knee decoy used off the North Carolina coast at the turn of the century when the rise in price for a ruddy duck at market soared to $1.00. Original paint worn to the wood with gunning wear, tight age cracks, and a bill repair.

$1,000 - $1,500

368 Hooded Merganser Drake CHARLES JESTER (1876-1952) (ATTR.) CHINCOTEAGUE, VA, C. 1930

A slightly turned-head decoy with carved eyes and crest. In working repaint with gunning wear and a neck crack. $400 - $600

369 Mallard Drake LOUISIANA

A traditional Louisiana decoy with raised wings and an elevated tail. Marked “Friloux, circa 1923” on the bottom. Original paint with gunning wear and a reset bill. $500 - $700

162

A plump shorebird decoy with distinct features including elliptical carved eyes, a sharp ridge down the back, and sharp V-cut wing-tips. This rotund bird measures nearly ten inches in circumference. The Matthews rig was used on Assawoman Island located at the southern tip of what is now the Chincoteague National Wildlife Refuge. A 1920 federal census lists a sixty-fiveyear-old William J. Matthews as an oysterman boarding on Chincoteague with Charles W. Purnell and William H. Purnell, the grandfather and father of this decoy’s consignor. When pioneer decoy collector, William Mackey, Jr., purchased the gunning rig from the Matthews’ estate it consisted of shorebird decoys carved by several different talented Virginia makers. William Purnell, Jr. acquired this decoy from Mackey in the 1960s. A “P” is branded on the underside. Original paint with gunning wear, filler applied to back of head and smaller areas of breast, and a replaced bill.

373

370

371

374

372

PROVENANCE: William Matthews Rig

Estate of William Matthews William J. Mackey, Jr. Collection, acquired from the above William H. Purnell, Jr. Collection, acquired from the above

and one-half inches in width. Original paint with an old second coat on the wings mostly worn to the wood, gunning wear, a couple tight age cracks, and the bill appears to be a replacement. PROVENANCE: William H. Purnell, Jr.

LITERATURE: Quintina Colio, American

Collection

Decoys, Ephrata, PA, 1972, p. 60, rigmate decoy illustrated.

$2,000 - $3,000

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 160, plate 133, rigmates illustrated $2,000 - $3,000

371 Curlew ELI DOUGHTY (1844-1923) HOG ISLAND, VA, C. 1870

A full-bodied shorebird decoy displaying classic Northampton County form with a square, inserted splined bill, raised primaries, and a branded “P” on the underside for the Purnell collection. Hog Island is Virginia’s barrier island immediately north of Cobb Island. This bird’s broad shoulders measure three

373 Feeding Plover VIRGINIA, C. 1880

A rare, Southern feeding plover decoy exhibiting four-piece, vertically-laminated body construction fastened with pegs. A Purnell collection “P” brand is on the underside. Original paint and bill worn to the wood in places with gunning wear. PROVENANCE: William H. Purnell, Jr.

372 Yellowlegs VIRGINIA, C. 1900

A shorebird exhibiting fine form, an incised “W,” and a branded “P” for the Purnell collection. Old paint with gunning wear, filler repairs to chips on the head, and bill appears to be replaced. PROVENANCE: William J. Mackey, Jr.

Collection William H. Purnell, Jr. Collection, acquired from the above $600 - $900

Collection $1,000 - $1,500

374 Two Plover C. 1900

Two shorebirds from the same rig, with tack eyes, iron bills, and Purnell collection “P” brands on the undersides. In original paint with dark patina and gunning wear. The slightly shorter one has some staining; the other has a rust crack in top of its head. PROVENANCE: William H. Purnell, Jr.

Collection $400 - $600

163

375

376

164

375 Golden Plover WILLIAM FOLGER (1820-1895) NANTUCKET, MA, C. 1850

A hollow shorebird decoy with incised wing definition and split-tail carving. In the early 1800s Nantucket Island was a stop-over for the seasonal migration of golden plover. The birds were so numerous that early gunners, with primitive black powder firearms, routinely brought down several with a single shot. Later in that century when the number of birds drastically declined, most hunters assumed their flight path had changed with the immense flocks veering further out to sea. These plover were a staple of a coastal New Englander’s spring and fall diet. This decoy originated from the famous Folger rig which consisted of Eskimo curlew and plover decoys. This rig is considered to be the most important group of decoys to have been carved on the island and are an important part of Nantucket’s folk art history. As a testament to the fine craftsmanship of this hollow two-piece decoy, the body seam shows no separation. Original paint with light gunning wear, original wooden bill has flaking at base, and one eye may be an old replacement. PROVENANCE: William Folger Rig

Franklin Folger (1842-1923) Collection, by descent in the family Franklin Folger Webster, by descent in the family Donal C. O’Brien, Jr. Collection, acquired from the above c. 1968 Private Collection LITERATURE: Robert Shaw, Call to the Sky. The

Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 13, rigmate illustrated. James Reginato, “Folk Art’s Old Guard,” Town & Country, January 1990, p. 161, rig illustrated. $10,000 - $15,000

377

376 Dowitcher

377 Black-Bellied Plover

DR. CLARENCE T. GARDNER (1844-1907) AND NEWTON DEXTER (1838-1901) LITTLE COMPTON, RI, C. 1885

NANTUCKET, MA, C. 1890

In the 1930s, Frank D. Lisle purchased the summer home of Dr. Clarence Gardner. The summer home, built in 1883, was perfectly located on the productive shores of Sakonnet Point, ideal for fishing and hunting. Soon after the purchase, Lisle discovered Gardner and Dexter’s rig of shorebirds in an outbuilding on the property. Newton Dexter was a civil engineer and an excellent taxidermist. While both gentlemen carved shorebirds, Dexter painted them. Information regarding this important rig was first published in Hal Sorenson’s 1966-67 Decoy Collector’s Guide. This Rhode Island shorebird decoy exhibits black glass “shoe button” eyes, a sturdy inserted bill, and carved raised wings. The underside of the bird retains the “George R. Starr Collection” wood duck stamp. Original paint with minor flaking, gunning wear, and minor chip out of wing tip.

A finely crafted, very hollow, shorebird decoy with black glass bead eyes, twopiece body construction with the halves vertically joined, and an original paddleshaped stick. Original paint with minor flaking, light gunning wear, and an age crack in original bill. PROVENANCE: Private Collection

$4,000 - $5,000

378 Greater Yellowlegs JOSEPH W. LINCOLN (1859-1938) (ATTR.) ACCORD, MA, C. 1910

A life-size shorebird decoy with a split tail. Original paint with even gunning wear, a bill replacement, and additional stick holes with chipping on the underside. $800 - $1,200

PROVENANCE: Dr. George Ross Starr

Collection Private Collection LITERATURE: Hal Sorensen, ed., Decoy

Collector’s Guide: 1966-67 Annual, Burlington, IA, pp. 63-67, rigmates illustrated. $4,000 - $6,000 378

165

379 Three Shorebird Whistle Calls One 2 7/8 in. wood, one 3 1/4 in. horn, and one 2 in. antler. As found. The horn whistle has a large chip where the lanyard would have been threaded. $100 - $200

379

380 Willet

381 Dowitcher

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

CHARLES SUMNER BUNN (1865-1952) SHINNECOCK, NY OR WILLIAM “BILL” BOWMAN (1824-1906) BANGOR, ME AND LAWRENCE, NY, C. 1900

Bunn/Bowman willet are far less common than the maker’s dowitchers or yellowlegs. Collectors have come to differentiate the maker’s willet in part by their plump round bellies. This classic Long Island shorebird decoy exhibits the maker’s graceful lines with raised wings and carved primaries. The maker’s signature black bead glass eyes are set within recessed eye grooves above the fully rounded cheeks. A rigmate to this bird is illustrated in Fleckenstein’s Shore Bird Decoys book. A nearly identical rigmate is illustrated and identified as a willet in Colio’s book American Decoys. William J. Mackey, Jr., one of the most prolific decoy collectors of all time, wrote of the maker of these birds, “Their origin is not definitely known, but the carver created a replica of the live bird as well as any decoy maker of record.” Original paint with light gunning wear, age line in breast, and touch-up where bill meets face and on lower back. Hairline crack in original bill, typical restoration and touch-up to wing tips.

One of the finest dowitcher decoys known. This richly colored shorebird decoy exhibits pronounced shoulder, cheek, raisedwing, and slightly dropped tail carving. The head has deeplyrecessed, German bead glass eyes, and its original bill. In 1970, pioneer decoy collector William Mackey wrote the text for Weiler’s Classic Shorebird Decoys portfolio. Of the maker’s work, across from plate 3 he writes they “...have the feel of real birds. His knowledge and study of the live bird and his skill with a knife transferred the feel of the wishbone, the unfolded wings and the modeling of the bone structure to blocks of wood. His was a unique talent not given to any other decoy maker.” Mackey also states “nothing finer has been found ever since.” Original paint with light gunning wear, and minor restoration to very tips of wings.

PROVENANCE: Bud Ward Collection

Private Collection LITERATURE: William J. Mackey, Jr., American Bird Decoys,

New York, NY, 1965, p. 103, plate 87 caption. Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 41, fig. 44 and p. 63, plate XXXIII, similar decoy illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 68-69, nearly identical decoys illustrated.

PROVENANCE: Private Collection LITERATURE: Dr. Cynthia Byrd, The Decoys of Long Island, Water

Mill, NY, 2010, p. 39, similar example illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 68 and 69, similar example illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 103, plate 87, similar example illustrated. Milton C. Weiler and William J. Mackey, Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, plate 3. $15,000 - $25,000

Richard E. Cohen and Brandy S. Culp, Preserving the Art of the Decoy, Charleston, SC, 2012, p. 61, similar decoy illustrated. Timothy Sieger, The Decoys of Long Island, Water Mills, NY, 2010, p. 41, similar example illustrated. Guyette and Schmidt, North American Decoys at Auction, Ogunquit, ME, July 29-30, 2004, back cover, related example illustrated. $20,000 - $30,000

166

380

381

167

382

383

382 Curlew LEEDS FAMILY (ATTR.) PLEASANTVILLE, NJ, C. 1880

A full-bodied shorebird with rounded pattern lines, a split tail, and a “Hillman Collection” stamp on the underside. Old paint with even gunning wear, small chips on split tail, and an old replaced bill. PROVENANCE: John Hillman Collection

Private Collection LITERATURE: Henry A. Fleckenstein, Jr., New

Jersey Decoys, Exton, PA, 1983, p. 156, plate 365, exact decoy illustrated. Guyette and Schmidt, Inc., The Hillman Collection: Rare Antique Waterfowl Decoys, St. Charles, IL, April 25-26, 1996, lot 435, exact decoy illustrated. $1,500 - $2,500

383 Sanderling OTIS SEAMAN WILDWOOD AND SOMERS POINT, NJ, C. 1880

A rare, feeding, painted-eye shorebird with a splined bill. Original paint with even gunning wear and a tight age crack on the side of one wing. PROVENANCE: John Hillman Collection

Private Collection LITERATURE: Henry A. Fleckenstein, Jr., New

Jersey Decoys, Exton, PA, 1983, p. 178, plate 431, exact decoy illustrated. $1,500 - $1,800

384

384 Feeding Yellowlegs

PROVENANCE: Private Collection,

GEORGE “WATTS” PENN (1866-1956) FORKED RIVER, NJ, C. 1900

New Jersey

A rare, feeding shorebird decoy with gently raised wings and shoulder carving. It retains its iron bill and stick. This bird is illustrated in Doherty’s book Classic New Jersey Decoys. In the book New Jersey Decoys, Penn is pictured standing next to President Grover Cleveland. This rig of decoys was discovered by John Ackerman in the 1960s. Original paint with light gunning wear.

168

LITERATURE: James R. Doherty,

Classic New Jersey Decoys, Louisville, KY, 2011, p. 172, plate 377, exact decoy illustrated. Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, title page photograph, artist illustrated. $2,000 - $4,000

385 Curlew EPHRAIM HILDRETH (1835-1915) RIO GRANDE, NJ, C. 1870

A rare and outstanding shorebird decoy by Ephraim Hildreth, one of the earliest known New Jersey decoy makers. This life-size, tack-eyed shorebird displays very distinct features including an uplifted head and drop tail. The underside of the bird bears a “E. HILDRETH” brand, the underside of the tail bears a partial brand from the same iron, and there is also a “Hillman Collection” stamp. Original paint with even gunning wear, a tight age crack, age lines, a replaced bill, and an old working neck repair. PROVENANCE: Ephraim Hildreth Rig

James Hand Collection John Hillman Collection Private Collection LITERATURE: Guyette and Schmidt, Inc.,

The Hillman Collection: Rare Antique Waterfowl Decoys, St. Charles, IL, April 25-26, 1996, lot 58, exact decoy illustrated. 385

$2,000 - $3,000

386 Curlew LIBERTY PRICE MANAHAWKIN, NJ, C. 1870

A painted-eye shorebird decoy with deep eye grooves and a “Mackey Collection” stamp on the underside. A mixture of original paint with some in-use paint on the wings, even gunning wear, a replaced bill, and a chip and a tight crack in the head. PROVENANCE: William J. Mackey, Jr.

Collection Private Collection $2,000 - $3,000

387 Hudsonian Curlew LEWIS A. CRANMER (1845-1920) OR JOHN C. CRANMER (1846-1913) CEDAR RUN, NJ, C. 1890

A plump, life-size shorebird with painted eyes, a stringing hole in the tail, and a Hillman Collection stamp. “John Cranmer, Cedar Run, NJ, Hudsonian Curlew” is painted on the underside. This exact decoy is illustrated in Fleckenstein’s New Jersey Decoys. Original paint with some flaking and even gunning wear.

386

PROVENANCE: John Hillman Collection

Private Collection LITERATURE: Henry A. Fleckenstein, Jr., New Jersey

Decoys, Exton, PA, 1983, p. 155, plate 363, exact decoy illustrated. $1,000 - $2,000

169

387

388

Decoy collectors have come to realize both the beauty and the rarity of the ruddy turnstone. Early decoy dealer Bud Ward long held a belief that for every one-hundred shorebird decoys that were carved, only one ruddy turnstone was made. The following four lots represent some of the finest New Jersey turnstones to ever come on the market. These birds hail from three of the countryâ&#x20AC;&#x2122;s top shorebird collections including William J. Mackey, Jr., John A. Hillman, and a private shorebird collector.

388 Ruddy Turnstone HARRY B. BOISE (1880-1966) ABSECON, NJ, C. 1900

A solid two-piece shorebird with a Mackey Collection stamp on the underside. Original paint with light gunning wear, old small chips around splined bill, and minor shrinkage at neck seam. PROVENANCE: William J. Mackey, Jr. Collection

Private Collection Richard A. Bourne Co. Inc., Very Rare and Important American Bird Decoys from the Collection of the Late William J. Mackey, Jr., of Belford, New Jersey, Hyannis, MA, Session VI, 1974, lot 566, exact decoy illustrated. LITERATURE:

John M. Levinson and Somers G. Headley, Shorebirds, Centreville, MD, 1991, p. 90, plate 6-31, rigmate illustrated. $5,000 - $7,000

170

389

389 Ruddy Turnstone DANIEL LAKE LEEDS (1852-1922) PLEASANTVILLE, NJ, C. 1890

In Classic Shorebird Decoys: A Portfolio of Paintings, William J. Mackey, Jr.’s text reads, “Jeremiah Leeds, keeper of the salt flats, left one descendant, Dan Lake Leeds, who carved bird decoys including sanderling, plover, yellowlegs, turnstones, and curlew. His own rig, numbering over fifty snipe, came to light a few years ago. It was probably the greatest single find of its kind in New Jersey decoy history. The Dan Leeds birds have a stylized exaggeration that has an artistic appeal. The black-bellied plover have heads that indicate their local name, “bull heads”; the sanderling have a slimness that suggests their speed before the advancing waves. Paint patterns are bright and adequate, and the technique is unusual; Dan used thick oily paint and

laid it on instead of brushing it out. This viscous coating made a durable finish, and the rig was found in mint condition. The old gentleman lavished great care on his decoys during their years of service. They stand on their own merit and have little in common with their New Jersey contemporaries.” This Leeds is one of the finest New Jersey ruddy turnstone decoys known to exist. This carving exhibits painted eyes, raised wings, alert posture, and Hillman’s small staple on the underside. Original paint with light gunning wear. PROVENANCE: John Hillman 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,

171

Hyannis, MA, Session II, 1973, lot 413, rigmate illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 47, rigmate decoy illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 55, rigmate illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 190, rigmate illustrated. James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 177, rigmates illustrated. Guyette and Schmidt, Inc., Important Waterfowl Decoys & Bird Carvings At Auction, St. Charles, IL, April 27-28, 1995, lot 65, exact decoy illustrated. $25,000 - $35,000

390

Ruddy turnstones by any maker are exceedingly rare. This example out of the Hillman collection and two others from the same hand hailing from the Mackey and McCleery collections are among the very few examples known. A painted-eye shorebird decoy with nice patina and vibrant paint. The underside bears the Hillman collection stamp. Original paint with light gunning wear and original bill. PROVENANCE: John Hillman Collection

390 Early Ruddy Turnstone NEW JERSEY, C. 1890

“Never difficult to identify is a decoy of the ‘busy’ and beautiful Ruddy Turnstone (Plate 26). Even its popular name, ‘Calico-back,’ has a pleasant connotation. It was rather common along the whole coast from Canada on south to Florida, but its decoys are decidedly rare. Why one locality made and used the great majority is hard to explain. Almost all those known in collections today originated along the lower half of the Jersey coast. One reason for this may have been its seasonal diets. Never described as a really tasty bird, it was at times downright

repulsive. Whalers always referred to the Ruddy Turnstone as the ‘Whale Bird,’ because above all else it preferred the vicinity of an old whale carcass on the high side. This association gave it an unappealing aroma for an indefinite time. But this is only a partial explanation for the rarity of the decoy in general and its frequent occurrence in a single area. It obviously had some appeal to those who gunned the marshes of the Atlantic and Cape May counties. Otherwise the decoy would be as rare as that of the Eskimo Curlew.” - William J. Mackey, Jr., American Bird Decoys

391 Ruddy Turnstone CHARLES TURNER (1860-1939) ATLANTIC CITY, NJ, C. 1890

A rare turnstone shorebird decoy from a rig that included plover and yellowlegs by the same maker. A partial rig is illustrated in Doherty’s book Classic New Jersey Decoys. Original paint with even gunning wear, some flaking on bill, body paint rubs, and a small tail chip, which is original to the carving. LITERATURE: James R. Doherty, Classic

New Jersey Decoys, Louisville, KY, 2011, p. 175, rigmates illustrated. $1,000 - $1,500 391

172

Private Collection LITERATURE: William J. Mackey, Jr.,

American Bird Decoys, New York, NY, 1965, p. 47, plate 26, rigmate illustrated. Guyette and Schmidt, Inc., The Hillman Collection: Rare Antique Waterfowl Decoys, St. Charles, IL, April 25-26, 1996, lot 436, exact decoy illustrated. Sotheby’s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, lot 369, rigmate illustrated. $6,000 - $9,000

392 Willet CAPT. JOEL W. BARKALOW (1853-1931) FORKED RIVER, NJ, C. 1890

An old shorebird with painted eyes and an inserted and splined bill. In the summer of 2006, this bird was exhibited at the Ward Museum in Salisbury, Maryland. Capt. Barkalow was a bayman who later in his life became a yachtsman offering sporting excursions. Original paint with areas of craquelure, a little flaking, gunning wear, an age line on one side, and a bill and a tail chip.

PROVENANCE: Dr. James M. McCleery

Collection Private Collection, New Jersey LITERATURE: James R. Doherty, Classic New

Jersey Decoys, Louisville, KY, 2011, p. 171, plate 368, exact decoy illustrated. Sothebyâ&#x20AC;&#x2122;s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, lot 371, exact decoy illustrated. $1,500 - $2,500

393 Peep CAPT. JOEL W. BARKALOW (1853-1931) FORKED RIVER, NJ, C. 1890

In 2010, this shorebird decoy was selected for the Decoys and Gunning Traditions of the New Jersey Shore exhibit by the Ward Museum, in Salisbury, Maryland. This diminutive bird has hard wax eyes, a splined bill, and pleasing patina. Original paint with some wear to primer on head and gunning wear. PROVENANCE: Collectable Old Decoys

Private Collection, New Jersey LITERATURE: James R. Doherty, Classic New

Jersey Decoys, Louisville, KY, 2011, p. 171, rigmate illustrated. $3,000 - $4,000 392

393

394 Yellowlegs Pair LONG PORT, NJ, C. 1900

Two tack-eye shorebird decoys with splined bills, old dry paint, and stippled painted feathering. In original paint with fine craquelure, light gunning wear, and one has a replaced bill with insert chips. PROVENANCE: Private Collection,

New Jersey LITERATURE: Henry A. Fleckenstein,

Jr., New Jersey Decoys, Exton, PA, 1983, p. 169, plate 405, rigmate decoys illustrated. $1,500 - $2,500 394

173

395 Curlew A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930

Anthony Elmer Crowell was born in 1862 in the town of East Harwich, Massachusetts, the son of a Cape Cod mariner and cranberry grower. According to Crowell in his memoires, Anthony S. Crowell, Elmer’s father, though not a hunter, gave his son his first shotgun at the age of twelve. Of the relevance of receiving the new shotgun Crowell wrote, “Then, I was some boy!” The legend of A.E. Crowell and his famous carvings has many of the common threads of the typical artist’s tale. It is the story of a boy of modest means, born at the right time, and befriended by encouraging patrons. Crowell started out in his teens as a market hunter and a pioneering keeper of live waterfowl. These passions helped Crowell to develop an intrinsic knowledge of both waterfowl and other birds. His familiarity with bird anatomy enabled Crowell to create carved wood sculptures that bear exceptional likeness to their species. Young Elmer wasted no time immersing himself into the life of a market hunter. His father owned a small piece of property on nearby Pleasant Lake in East Harwich. By 1876, at the age of fourteen, Elmer had set up his own gunning stand along the lake’s southern shore. Crowell describes the site as having, “a fine sand beach which was ideal for my ducks. I had only six live decoys the first season. I made nine block decoys and put them off about thirty yards in the lake.” Crowell’s description reveals two important aspects regarding his career. The first being his preferred use of live birds as decoys, and the second is the documentation that he began to carve decoys by the age of fourteen. It is often the confidence and enthusiasm of youth that brings forth great experimental breakthroughs. Crowell’s immersion into waterfowl hunting was no different. At a time when market hunters could earn a respectable living if they were able to secure enough game, necessity became the mother of invention. Crowell’s flair for handling live decoys was most certainly born of this mindset. Crowell recounted in his memoir that by 1878, less than two years after starting to hunt, he had increased his flock to, “forty live decoys and tried a new way of handling my ducks. I sank a pole with a ring in the top and ran a line through it back to the blind, which made an endless line. I tied four live ducks to it and pulled them off the pond about thirty five yards. It was about two weeks before they were broken in

so I could pull them out without their making a flutter. After that they were all right.”

flocks, Crowell did the next best thing, creating exceptional sculptures of likeness in wood.

In the third quarter of the 19th century, Cape Cod was a major stop-over for migratory birds and sparsely populated by people. However, with increased access by train and the advent of the automobile, Cape Cod was quickly becoming a destination for sportsmen in pursuit of outdoor recreation. The concept of the American shooting sportsman was beginning to take root. The gunning stands and camps that had once been primarily operated by local market gunners were becoming increasingly sought after by sportsmen from Boston.

The quality of the carvings that Crowell created for his earliest patrons, including this whimbrel for the Hardy family, was often exceptional. Through experimentation he developed and mastered his “wet-on-wet” dry brush feathering technique. While the darker brown feather paint was still wet Crowell applied the lighter feather delineations. Once the two different colored paints became tacky, he took a clean dry brush and gently feathered the two colors together, producing a nicely blended affect. One has the sense that Crowell was either looking right at a real curlew as he painted this carving or he had handled so many that their shapes and feather patterns were etched in his memory.

These newer club owners would often invite their influential and wealthy friends down as guests and they needed managers to run the camps. It was Charles Ashley Hardy of Chatham and Wayland, Massachusetts, along with his partners, G. Herbert Windeler and Loring Underwood, who first approached the enthusiastic young bird handler. It is no small coincidence that they established their camp “The Three Bears Club” on Pleasant Lake, one half mile from Crowell’s gunning stand. The tremendous advantages that Crowell’s inventions and practices provided to the “Three Bears” cannot be overstated. Crowell’s trapdoor invention most closely resembled an automatic garage door. A domesticated flock of honking Canada geese would fly out, circle the pond, and draw the wild geese straight back to the beach like magnets. Crowell stated, “It was a success and we had good shooting for a number of years. At that time we began to bait the small ponds with corn, and two years later we baited in front of our blinds at the lake. It stopped the black ducks from going south, so the ponds were full of ducks; the shooting was great.” Crowell’s own words speak volumes and provide insight into the looming decimation of the migratory bird populations which began to occur at the turn of the century. The refined use of live decoys coupled with baiting waterfowl halted the wild birds from their natural migration patterns. Hunters were quickly becoming so adept at attracting their quarry that wild ducks and geese stood virtually no chance. Federal regulations shortly thereafter banned the use of live decoys and forced Crowell into the world famous carver so revered today. Unable to use live domesticated birds to lure in the

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The special relationships forged through hunting, beginning with Charles Hardy, Dr. Phillips, Harry V. Long and others, opened the world to Crowell’s workshop, and the customers came knocking. Crowell specifically credits Mrs. Alexis Felix DuPont for introducing his work to many of the affluent summer residents of Chatham and other important patrons including Joseph B. Chace, Stuart Crocker, Dr. Mac Cunningham, Henry Ford, Arthur Gould, John D. Rockefeller Jr., and Abby Aldrich Rockefeller. A life-size shorebird mantle carving with a slightly turned head. This decorative exhibits Crowell’s mastery of the carved wooden bird and his finest blended painted surface representing the plumage. Mounted on a carved clam-shell base with the maker’s rectangular stamp on the bottom. The underside also displays the inscription “A. H. Dempsey to J. Ashley Dempsey,” and “CR” for Carolyn Rowland. Original paint with minimal wear, touch-up to the legs, and the lower half of the bill has been professionally restored. PROVENANCE: Alison Hardy Dempsey

Collection Jane Ashley Dempsey Collection Carolyn Rowland Collection Private Collection LITERATURE: Copley Fine Art Auctions, LLC,

The Harry V. Long Collection of A. Elmer Crowell Decoys, The Sporting Sale, Boston, MA, 2009. Brian Cullity, The Songless Aviary, Sandwich, MA, 1992, p. 26, similar example illustrated. $35,000 - $45,000

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395

396 High-Head Merganser FRIENDSHIP, ME, C. 1920

A slightly oversize decoy with carved eyes, a carved crest, inletted head, and possibly an inletted bill. Original paint with even gunning wear and bill repair. $600 - $900

396

397 Merganser Hen LONG ISLAND, NY, C. 1930

A decoy with carved eyes, carved bill detail, and a carved crest. Old paint with minor flaking and gunning wear. $400 - $600

397

398 Bluebill Drake HENRY KEYES CHADWICK (1865-1958) OAK BLUFFS, MA, C. 1940

A Marthaâ&#x20AC;&#x2122;s Vineyard decoy with a flowing paint pattern. In mix of original and working repaint with gunning wear and touch-up to bill. $200 - $400

398

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399 Old Squaw Drake BENJAMIN HOLMES (1843-1912)(ATTR.) STRATFORD, CT, C. 1870

A rare and early hollow long-tailed duck. This decoy was exhibited in 1982 at the American Decorative Bird Carving exhibit presented by the Ward Foundation at the Maryland Historical Society, Baltimore, MD. A rigmate illustrated in Connecticut Decoys is attributed to fellow Stratford maker Charles E. “Shang” Wheeler (1872-1949). Original paint with gunning wear. PROVENANCE: Somers G. Headley Collection

Richard Gove Collection LITERATURE: Henry C. Chitwood, Connecticut Decoys,

West Chester, PA, 1987, p. 51, rigmate illustrated. $1,000 - $1,500

399

400 Swimming Bluebill Drake SEAFORD, LONG ISLAND, NY, C. 1900

A tack-eyed decoy displaying dot feathering and a circular inletted weight. Original paint with gunning wear including a bill repair. $100 - $300

400

401 Canada Goose PATCHOGUE, LONG ISLAND, NY, C. 1900

23 1⁄4 in. long

A goose decoy with a mortised-through bill, and a slight wingtip delineation raised to a ridge. The bottom is weighted and has stick holes for use as a floater or stick-up. Old paint worn to the wood in places, gunning wear, age cracks, replaced bill, and neck joint is loose. $600 - $900

401

177

402

405

403

406

404

407

178

402 Mallard Drake

405 Pintail Hen

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1920

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900

A hollow decoy with tack eyes and original rigging. In working repaint with gunning wear and seam shrinkage.

An exceedingly rare species by this maker. Professionally restored. $600 - $900

$200 - $400

406 Bluebill Drake 403 Black Duck MARK KEARS (1888-1972) LINWOOD, NJ, C. 1920

HARRY M. SHOURDS (1890-1943) OCEAN CITY, NJ

A hollow, tack-eyed decoy with carved bill detail and an inletted weight. In working repaint with gunning wear, body seam shrinkage, and a tight crack along the bottom.

A very hollow, delicately carved decoy with painted eyes, carved bill detail, inletted weight, and “E.B. Becker” rig brands on the bottom. In working repaint with gunning wear, seam shrinkage, and a couple tight age cracks.

$200 - $400

404 Bluebill Drake

407 Brant

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900

A hollow, painted-eye decoy with carved bill detail and original rigging. In old working repaint with heavy gunning wear.

A hollow decoy with bill carving, tack eyes, and original rigging. In working repaint with flaking and gunning wear. $200 - $400

$200 - $400

408

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408 Red-Breasted Merganser Drake NEW JERSEY, C. 1900

A solid-bodied decoy with painted eyes, a carved crest, pleasing patina, and a small circular inletted weight. Stamped on bottom “MR 14,” “SGH” and branded “Kangas.” Original paint with even gunning wear, craquelure, light flaking, a tight bill crack, and lower crest is missing. PROVENANCE: Somers G. Headley

Collection Gene and Linda Kangas Collection Richard Gove Collection LITERATURE: Gene and Linda Kangas,

Decoys A North American Survey, Spanish Fork, UT, 1983, p. 50, plate 83, exact decoy illustrated. $2,000 - $3,000

409

410

409 Goldeneye Pair

410 Merganser Hen

THE HUFF BROTHERS, CHARLES H. (1846-1925) AND GEORGE W. (1859-1945) LONG BRANCH, NJ, C. 1910

A 1912 Long Branch city directory lists C.H. & G.W. Huff Boat Builders as a Liberty Street business. A brand on the bottom of each of these decoys “C.H. & G.W. Huff, Boat Builders, East Long Branch” reflects this turn of the century business venture by these two brothers. Both appear to be in original paint with even gunning wear.

A hollow decoy with round “shoe button” eyes and a boathull-shaped bottom board which bears a “C.H. & G.W. Huff, Boat Builders, East Long Branch” brand. Original paint with even gunning wear. PROVENANCE: Richard Gove Collection

$1,200 - $1,800

PROVENANCE: Richard Gove Collection

$3,000 - $5,000

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411

411 Brant HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900

A classic, hollow Barnegat Bay brant by New Jerseyâ&#x20AC;&#x2122;s most prominent decoy maker. Original paint with gunning wear, age line in bill, tight neck cracks, crazing to back, and a repair to base of the neck. PROVENANCE: James Allen Collection

Private Collection, Maryland $6,000 - $9,000

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412 Swimming Canada Goose SAMUEL SOPER (1863-1943)(ATTR.) BARNEGAT, NJ, C. 1900

A rare, hollow swimming decoy with tack eyes, carved bill detail, and a large inletted weight. Soper, a member of the U.S. Lifesaving Service, was known for carving long-necked geese in animated postures. In old working repaint with gunning wear, a neck repair, and age lines. $400 - $600

412

413 Canada Goose Pair HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1900

Two hollow decoys with carved bills, tack eyes, and inletted rectangular weights. One rare swimming goose and one with the carved initials on the bottom â&#x20AC;&#x153;J.C.W.S.â&#x20AC;? Both are in working repaint with gunning wear. $800 - $1,200

413

414 Canada Goose HENRY GRANT (1860-1924) BARNEGAT, NJ, C. 1900

A hollow decoy with carved bill detail and heavily weighted rigging. In working repaint with gunning wear, a small neck crack, and seam shrinkage. $400 - $600

414

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415 Canada Goose NATHAN ROWLEY HORNER (1882-1942) WEST CREEK, NJ, C. 1920

A hollow decoy displaying carved bill detail, glass eyes, and original rigging. In old working repaint with gunning wear and a bill tip repair. $400 - $600

415

416 Brant BEN MAXWELL (1879-1954) WADING RIVER, NJ, C. 1910

A swimming, hollow Jersey Coast decoy by Ben Maxwell, who was formerly known as “Roy,” with a “H. W. Cain” rig brand on the underside. Harold Cain was from Atlantic City, worked for the Atlantic City Beach Patrol, and gunned with Win Conover. Original paint light craquelure, minor flaking, a couple tight cracks, and working repaint to white. PROVENANCE: Harold W. Cain Rig

Private Collection, New Jersey $400 - $600 416

417 Canada Goose BURL ADAMS SHIP BOTTOM, NJ, C. 1910

A hollow decoy with incised outline detail to bill and eyes. The primary wing feathers are divided and the bottom is branded “LLOYD JOHNSON.” In a mix of original and working paint with gunning wear and neck repairs. $400 - $600

417

183

420

418

421

419

418 Resting Black Duck

420 Green-Winged Teal Hen

JOHN W. MCLOUGHLIN (1911-1985) BORDENTOWN, NJ, 1967

NEW JERSEY, C. 1960

A life-size, turned-head decoy with detailed bill carving, painted eyes, finely painted feathering, and the initials “C.B.” on the bottom. Original paint with light gunning wear and underside of the bill chip.

A hollow, low-head decoy displaying carved bill detail, raised incised primaries, and layered tail feathers. The decoy is signed by the maker along the bottom and is inscribed “Canadian National (Decoy Competition) First Place Marsh (Ducks) 1967.” Original paint with minimal wear.

PROVENANCE: Aime and Janis Blouin Collection

$150 - $250

PROVENANCE: Private Collection, Arizona,

acquired from Ed Koch, c. 1985 $1,000 - $1,500

421 Brant

419 Sleeping Broadbill

A solid-bodied decoy with carved bill detail, glass eyes, and original rigging. Original paint with gunning wear and a reset neck.

LLOYD JOHNSON (1910-1965) BAY HEAD, NJ, C. 1950

JOHN MCLOUGHLIN (1911-1985) BORDENTOWN, NJ, 1968

A hollow, turned-head decoy with carved bill detail. The decoy features raised, carved wing tips and tail feathers. Signed and dated by the maker on the bottom. Original paint with minor wear.

$400 - $600

$500 - $700

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424

422

425

423

422 Red-Breasted Merganser Drake

424 Goldeneye

A. BRADFORD SALMONS (1864-1928) MAYETTA, NJ, C. 1900

AMOS WHEATON (1853-1921) SEAVILLE, CAPE MAY, NJ, C. 1900

A hollow sea duck decoy with carved eyes, carved crest, and original rigging. In working repaint with a repair to the neck.

A solid-bodied decoy with the makerâ&#x20AC;&#x2122;s signature broadly carved head with sharp delineation in the back and square paddle tail. In old working repaint with gunning wear, a tail chip, and age lines.

PROVENANCE: Richard Gove Collection LITERATURE: Henry A. Fleckenstein, Jr., New Jersey Decoys,

PROVENANCE: Richard Gove Collection

Exton, PA, 1983, p. 126, plate 278, rigmate illustrated.

$400 - $600

$500 - $700

425 Bluebill Drake

423 Bluebill Drake

OCEAN CITY, NJ, C. 1900

GEORGE W. HUFF (1859-1945) LONG BRANCH, NJ, C. 1930

A hollow decoy with carved eye grooves, bill detail, and a Mackey collection stamp on the bottom. Old paint worn to the wood in places with gunning wear, a reset neck, and a reset body seam.

A decoy displaying good form and stylized paint by this boatbuilder and decoy carver. Original paint with craquelure, gunning wear, small bill tip chip, and age cracks on the bottom where the keel was removed.

PROVENANCE: William J. Mackey Jr. Collection

Richard Gove Collection

$300 - $500

$200 - $400

185

426

429

427

430

428

431

186

426 Canada Goose

432 Bufflehead Drake

LLOYD PARKER (1858-1921) PARKERTOWN, NJ, C. 1900

PERCY GANT (1895-1965) OSBORNVILLE, NJ, C. 1930

A hollow decoy with carved bill detail, tack eyes, and an inletted weight. In working repaint with gunning wear and a tight neck crack.

A solid-bodied decoy with painted eyes, incised outline carving on the head, and around-the-heartshaped wings. Original paint with light gunning wear, a tight body crack, and minor paint specks.

$400 - $600

$300 - $500

427 Swimming Brant LLOYD PARKER (1859-1921) PARKERTOWN, NJ, C. 1900

A hollow brant with “85” and “F” stenciled on the underside. Original paint with shrinkage to back of neck, restoration to neck, replaced bill, touch-up to left edge of tail, and gunning wear. $400 - $600

433 Black Duck PHILADELPHIA SCHOOL PHILADELPHIA, PA, C. 1920

A hollow, Blair-School decoy with black glass eyes, subtle bill carving, and original weights. Original paint with light flaking on head and gunning wear including a chip to underside of bill. PROVENANCE: Richard Gove Collection

428 Black Duck

$800 - $1,200

JOE TOM CRANMER (1863-1944) MANAHAWKIN, NJ, C. 1920

A hollow, full-bodied decoy with pronounced bill carving. Working repaint with gunning wear, an old bill chip, and a reset head. $100 - $300

429 Brant CHRIS SPRAGUE (1888-1982) BEACH HAVEN, NJ, C. 1920

A hollow decoy in the style of Ellis Parker (1890-1950) from Surf City, NJ, with a carved bill and original rigging. Original paint with gunning wear and a tight bill crack. $200 - $400

430 Swimming Brant

432

HURLEY CONKLIN (1913-1983) MANAHAWKIN, NJ, C. 1970

A hollow decoy with the maker’s “H. Conklin” brand on the underside. Original paint with light wear. $150 - $250

431 Black Duck BRADFORD SALMONS (1864-1928) STAFFORDVILLE, NJ, C. 1910

A hollow decoy with a rounded body, glass eyes, a carved bill, and a rectangular pad weight on the underside. In old working repaint with some flaking, a replaced eye, and gunning wear. $300 - $500 433

187

436

434

437

435

434 Black Duck

436 Black Duck

JOE MORGAN (1924- 2010) HOLLAND, PA, C. 1950

JOHN R. HOLLOWAY (B. 1935) LITTLE EGG HARBOR, NJ, C. 1970

A hollow resting decoy with a carved bill, detailed glass eyes, and raised primaries. Lead weight on bottom is stamped “J & N Morgan, Holland, PA.” “S G H” for the Headley collection is also stamped in the bottom. Original paint with minimal gunning wear.

A hollow, Delaware River decoy displaying a low head, carved bill detail, and raised primaries with incised detail. Original paint with light gunning wear. $300 - $500

PROVENANCE: Somers G. Headley Collection

437 Canvasback

Richard Gove Collection

LAWRENCE MCLAUGHLIN (1911-1984) EDGELY, PA, C. 1940

$800 - $1,200

A hollow, low-head, Delaware River diver decoy with carved bill detail, incised tail feathers, original rigging, and the maker’s engraved copper tag. Original paint with light gunning wear.

435 Black Duck C. RIDGEWAY MARTER (1893-1977) BURLINGTON, NJ, C. 1930

A hollow, low-head, Delaware River decoy exhibiting raised primaries with incised definition and carved tail feather and bill detail. A maker’s metal engraved tag on the bottom reads “C.R. Marter, Burlington, N.J.” Marter was an early 1920s auto mechanic who ran Marter’s Garage on Beverly Road in Burlington and carved decoys between car repairs. In working repaint with gunning wear.

$500 - $700

$400 - $600 188

440

438

441

439

438 Black Duck

440 Goldeneye Pair

TORONTO SCHOOL ONTARIO, CANADA, C. 1920

BILL COOPER (1886-1975) VERDUN, QUEBEC, CANADA, C. 1930

A hollow, St. Clair Flats decoy with glass eyes, carved bill detail, and a one-half-inch bottom board. Original paint with craquelure, gunning wear, a loose neck with chips, touchup to shot scars, and rub on bill.

A pair of hollow, Montreal-area decoys. The decoys exhibit carved bill detail, glass eyes, slightly turned heads, and extensive wing and tail carving that makes birds from this area so desirable. Original paint with even gunning wear.

PROVENANCE: Long Point Company Rig

LITERATURE: Michel Belisle & Francois St-Onge, Waterfowl

Decoys from the shores of Suroit to the region of Sorel: Decoys from the Montreal region, Vaudreuil-Dorion, Quebec, 1998, p. 71, plates 142 and 143, rigmates illustrated.

LITERATURE: Bernard W. Crandell, Decoying: St. Clair to

The St. Lawrence, Erin, Ontario, 1988, p. 95, exact decoy illustrated.

$400 - $600

$100 - $300

441 Goldeneye Drake

439 Black Duck

MONTREAL SCHOOL MONTREAL, QUEBEC, CANADA, C. 1930

HARVE DAVERN (1865-1958) BRIGHTON, ONTARIO, CANADA, C. 1900

This decoy exhibits a stocky bill with carved detail, light rasping on the back of the head, carved raised primary feathers, layered tail feathers, and the bottom retains faintly incised letters which appear to be “A H / JR.” Old paint with in-use touch-up and even gunning wear.

A decoy with a low body profile, carved bill, glass eyes, extensive scratch-painted feathering, and pronounced cheek carving. Incised “H R” rig initials on the bottom. Along the left wing there is a wood patch repair by the maker prior to the original paint application. Original paint with even gunning wear.

$400 - $600

$200 - $400 189

442 Golden Plover E. FRANK ADAMS (1871-1944) WEST TISBURY, MARTHA’S VINEYARD, MA, C. 1910

A tack-eyed shorebird decoy with slight splittail carving and a stringing hole. An excellent example by this talented Vineyard maker. Original paint with minor craquelure, light gunning wear, and possible minor darkening to flaking. $1,500 - $1,800

443 Yellowlegs MORTON FAMILY NANTUCKET, MA, C. 1890

442

A shorebird with a three-piece body, and well defined, raised, primary wing feathers.

443

Original paint with a little flaking, light gunning wear, original bill has been reset with some minor touch-up. LITERATURE: Oliver’s and the Ward Museum of

Wildfowl Art, Auction of Waterfowl Decoys and Related Items, Salisbury, MD, October 1-2, 1994, lot 570, exact decoy illustrated. $3,000 - $5,000

444 Two Shorebirds MASSACHUSETTS

A one-inch-thick “flattie” yellowlegs with painted eyes and an old turned finial base. A two-piece, tack-eyed eskimo curlew with a split tail and traditional South Shore brushed feathering. As found. $400 - $600 444

445 Peep ATLANTIC COAST, C. 1890

A little “Beach Bird” decoy from a rig of a dozen found by William Mackey (1901-1972). This example is illustrated twice in his book American Bird Decoys. This diminutive shorebird measures four and threequarters inches in length. Original paint worn to the wood in places with gunning wear, an old filler repair to head, and break to tip of bill. PROVENANCE: William J. Mackey, Jr. Collection

Private Collection, acquired from the above LITERATURE: William J. Mackey, Jr., American Bird

Decoys, New York, NY, 1965, pp. 10 and 48, plate 28, exact decoy illustrated. $400 - $600

445

190

446.1

446 Rare Feeding Yellowlegs FRANK CRANMER (1866-1923) SURF CITY, NJ, C. 1900

Capt. Frank W. Cranmer (1866-1923) was the father of the well-regarded carver William H. “Bill” Cranmer (1917-2010). This is one of no more than six known yellowlegs made by the elder Cranmer while he was in the U.S. Lifesaving Service in Surf City, New Jersey. One of these examples resides in the Shelburne Museum in Vermont. A very rare, feeding shorebird decoy with eye groove carving and glass eyes. Included with this bird is a 3 1/2 by 13 inch life-size illustration by Joel Barber inscribed “The Cranmer Snipe, Beach Haven, April 7, ‘51, To Somers Headley. JB.” The illustration also bears the Barber library stamp. This exact bird is pictured in Doherty’s Classic New Jersey Decoys book. Original paint on head, neck, and original bill. The body appears to have a second coat by the maker with even gunning wear and small tail edge chips.

“ Dear Somers, When I got home I thought I would make you a little souvenir of my April visit – so I made you a wash drawing of the Cranmer snipe… I’m sending it along as sort of a reminder of our trip across the Bay – Joel” April 12, 1951

446.2

PROVENANCE: Frank Cranmer Rig

William H. “Bill” Cranmer Collection Somers Headley Collection Private Collection, New Jersey LITERATURE: James R. Doherty, Classic New Jersey

Decoys, Louisville, KY, 2011, p. 170, plate 362, exact decoy illustrated. $6,000 - $9,000

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447

447 Black-Bellied Plover OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880

This boldly fashioned beetle-head displays carved eyes, raised S-wings, and Verityâ&#x20AC;&#x2122;s expertly stippled paint. With its warm patina and nice even craquelure, this decoy stands out as an exemplary Verity plover. It measures eleven and one-half inches from tip to tail. Original paint with some flaking, gunning wear with shot scars, and a tight crack in the top of the head. $6,000 - $9,000 Shorebird Shooting c. 1900

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448 Curlew OBEDIAH VERITY (1813-1901) (ATTR.) SEAFORD, LONG ISLAND, NY

A fourteen-and-one-half-inch-long shorebird decoy with carved eyes and raised wings. Appears to be in repaint with gunning wear; bill may be replaced. PROVENANCE: Joseph B. French Collection

Private Collection LITERATURE: Guyette and Schmidt, Inc., North

American Decoys at Auction, St. Charles, IL, April 23-24, 1992, lot 296, exact decoy illustrated. $3,000 - $5,000 448

449 Black-Bellied Plover DANIEL DEMOTT (1847-1930) OCEANSIDE, LONG ISLAND, NY, C. 1890

A plump shorebird decoy with carved eyes, an inserted bill, and a Hillman Collection stamp on the underside. A talented carpenter, cabinetmaker, and family wood mill operator, Demott created some of the finest Long Island decoys. Original paint with minor gunning wear. PROVENANCE: John Hillman Collection

Private Collection LITERATURE: Guyette and Schmidt, Inc., The Hillman

Collection: Rare Antique Waterfowl Decoys, St. Charles, IL, April 25-26, 1996, lot 240, exact decoy illustrated. 449

450 Yellowlegs WILBUR R. CORWIN (1852-1914) BELLPORT, LONG ISLAND, NY, C. 1890

An alert shorebird decoy with a slightly turned head, brass round-head-screw eyes, slightly raised carved wing detail, and the maker’s crisp “WC” rig brand. Original paint with even gunning wear and an old replaced bill. $2,000 - $3,000

450

193

$3,000 - $5,000

451 Wood Duck Pair CHARLES “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1940

An extremely rare, preening wood duck drake and a turned-head hen. The pair exhibit carved bill detail, glass eyes, delicate crests, and raised wing tips.

incised and shoots across the bird’s back, touching down between the raised wings. The bird’s overall proportions and intricate combed paint are spot-on. The hen has a gently turned head and is executed with as much care as the drake, rounding out this impressive pair.

In 1923 Wheeler arrived on the competition carving scene with a bang. A newly formed conservation group led by Joel Barber called the Anti-Dusker Society sponsored one of the first decoy shows in the country in Bellport, Long Island. A carving competition held at the event was aimed at hunters in attendance to further advance the concept of shooting over decoys.

Due to Wheeler’s immense popularity in his own time, his decoys were in high demand and made their way up and down the Atlantic coast. One rig was used on South Carolina’s Cooper River, which flows along the northern shore of Charleston. In original paint with minor wear, the hen has a few tight age lines.

The inaugural event attracted amateur and professional carvers from near and far, and it was Wheeler who took home top amateur honors. Joel Barber stated that Wheeler’s model had demonstrated “the highest development yet reached in the American art of decoy carving.” According to authors Merkt and Lytle, “Wheeler carted off first prize at Bellport because he had introduced a new style to decoy painting.” This preening drake displays many of the elements that top Wheeler collectors look for. The head is artfully and accurately turned around from the right side of the breast and is topped with a pronounced crest. The accurately presented bill is heavily

PROVENANCE: Private Collection, Virginia

Private Collection LITERATURE: Henry C. Chitwood, Connecticut Decoys, West

Chester, PA, 1987, p. 72, exact pair of decoys illustrated. Charles E. Wheeler and Eugene V. Connett, ed., Duck Shooting Along the Atlantic Tidewater, New York, NY, 1947, p. 73. $35,000 - $45,000

451

194

451

“ ... another friend wrote ‘There are plenty of ducks here [Cooper River, South Carolina] but they are wild and if I am to get my measure of them, I’ll have to get some better stools than I am using.’ “The writer [Wheeler] sent him a few good ones to try out and later received a letter saying, ‘I had some bang-up duck shooting, better than the other fellows down here. My neighbor directly across the river... seems to think that I have some special kind of molasses and can’t understand why all the ducks come to me. The real reason is... that I have the right kind of stool (yours) and it didn’t take more than one look at his to know why the ducks pitch into my lot.’ “ - Charles E. “Shang” Wheeler

195

452

455

453

456

454

000

196

457

452 Paddle-Tail Black Duck

455 Mallard Drake

C. 1900

MILES HANCOCK (1888-1974) CHINCOTEAGUE, VA, 1966

A tack-eyed, hollow decoy with bottom board. Similar to the style of John H. Downes of Townsend, Virginia. Working repaint worn to the wood, gunning wear, and old neck crack repairs.

A tack-eyed decoy with scratch-painted feathering. Original paint with minor craquelure and light wear. $300 - $500

$200 - $400

456 Green-Winged Teal Drake JOHN W. “JACK” BRITTINGHAM (1893-1976) MARION STATION, MD, 1965

453 Canada Goose MILES HANCOCK (1888-1974) CHINCOTEAGUE, VA, C. 1950

A full-bodied decoy with tack eyes, carved bill outline, and blended feathering. Original paint with gunning wear.

A Ward Brothers-inspired decoy by Brittingham, who lived just off the road to Crisfield. Unattributed writing on the bottom. Original paint with wear.

$600 - $900

PROVENANCE: Private Collection, New Jersey

$400 - $600

454 Brant IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920

457 Canvasback Pair EDWARD R. “NED” BURGESS (1868-1958) WATERLILY, CHURCHES ISLAND, NC, C. 1920

An early Hudson root-head decoy with tack eyes and a raised neck seat. In working repaint with gunning wear, a crack in neck, age lines, and tight cracks in body.

A pair of classic Carolina decoys with carved bill detail, cast iron weights, and a “Collection of T.J. O’Connor III, Suffolk, VA” stamp on the bottom. Original paint with gunning wear.

$500 - $700

PROVENANCE: Thomas J. O’Connor III Collection

Private Collection $4,000 - $6,000

197

“ The Folk art of America is forever richer because John Williams lived and carved on Cedar Island.” – William J. Mackey, Jr., American Bird Decoys

458 Ruddy Duck Drake JOHN WILLIAMS (1857-1937) CEDAR ISLAND, VA, C. 1890

A very rare ruddy duck decoy, from a rig of only three known to exist by this important Southern maker. One example is in the collection of the American Museum of Folk Art in New York, New York; the other was purchased by a North Carolina collector for $159,000, a world record for the maker. This bird exhibits a full and rounded body with a humped back which measures nine and one-half inches from tail to breast. The head is slightly inset into the back, features a high uplifted posture, very full white cheeks, and sweeping lines from the top of the head to the bill’s tip. Although Williams lived and carved on Cedar Island in Virginia’s Back Bay, his work is inextricably linked to Carolina, as William J. Mackey, Jr. makes a point of clarifying on two occasions in his book, American Bird Decoys. Mackey states: “Since Back Bay’s and Currituck’s physical and ecological unity is obvious, Virginia can well share her claim to this small waterfowl paradise with her sister state of North Carolina. So for our purposes Back Bay and Currituck Sound have a bond that not even a state line can dissolve. Wildfowl fly between the two connecting bodies of water oblivious of man’s jurisdictional problems down below.”

458

This ruddy duck was hunted at the Narrows Island Gun Club in North Carolina’s Currituck Sound. Mix of original and working paint with gunning wear, worn to the wood with good patina. Age crack in the neck with an old in-use repair.

“ ... the overall importance of Carolina’s bays and sounds in the wildfowl picture almost demands that decoy collections contain some example of Carolina origin.” -William J. Mackey, Jr., American Bird Decoys

PROVENANCE: Narrows Island Gun Club Rig

Donal O’Brien Collection Ed Johnston, Jr. Collection, acquired from the above LITERATURE: Joe Engers, The Great Book of

Wildfowl Decoys, San Diego, CA, 1990, p. 176, exact decoy illustrated. Dick McIntyre, “North Carolina Ruddy Ducks,” Decoy Magazine, September/ October 1993, front cover, and pp. 8-11, exact decoy illustrated in reverse on cover. Robert Shaw, Bird decoys of North America, New York, NY, 2010, p. 218 and p. 56, rigmate illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, pp. 165-172. $120,000 - $140,000

198

199

458

461

459

462

461 Ringbill Drake JOEL D. BARBER (1876-1952) WILTON, CT, C. 1920 460

A rare species of decoy by this maker with carved bill detail, glass eyes, and a stream-lined body with comb-painted sides. This decoy was illustrated in the November 1983 issue of National Geographic magazine, which accompanies this decoy. Original paint with minor flaking, gunning wear, and an age line in neck.

459 Two Brant AUGUSTUS A. ROGERS (1892-1938) ALEXANDRIA BAY, NY C. 1920

Two brant from the workshop of Chauncey Wheeler, attributed to his younger assistant and fellow decoy maker, Gus Rogers. Original paint with gunning wear.

PROVENANCE: Private Collection, New Jersey LITERATURE: George Reiger, “Humble Masterpieces:

Decoys,” National Geographic, Washington, D. C., November, 1983, p. 642, exact decoy illustrated.

PROVENANCE: Soper Rig, Long Island, New York

Private Collection

$1,500 - $2,000

$1,000 - $2,000

462 Bluebill Pair

460 Three Decoys

KEN ANGER (1905-1961) DUNNVILLE, ONTARIO, CANADA, C. 1950

KEN HARRIS (1905-1981) WOODVILLE, NY, C. 1970

A hen and drake displaying carved bills, glass eyes, rasping on the heads, comb-painted detail, and incised outline detail to wing tips. Original paint with gunning wear.

A pintail pair and a mallard drake, three decorative decoys with slightly turned heads, raised wings, carved primary and tail feathers. As found.

$600 - $800

$200 - $400

200

466

463

467

464

468

465

463 Pintail Hen

465 Challenge Grade Mallard Drake

467 Standard Grade Bluebill Hen

BENJAMIN SCHMIDT (1884-1968) CENTERLINE, MI, C. 1930

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

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1920

This decoy displays carved primaries and “doubled up” feathering on the body, a feature found on early pintail hens by the maker. Original paint with even gunning wear and a few age lines.

A rare early example of this grade of Mason decoy with defined brushstroke swirls in the paint. Original paint with gunning wear, a replaced eye, loss of neck filler, and a tail chip.

Original paint with gunning wear and some neck filler loss on front of neck.

$600 - $900

$300 - $500

BENJAMIN SCHMIDT (1884-1968) CENTERLINE, MI, 1963

468 Canvasback Hen MIDWEST, C. 1930

466 Two Standard Grade Black Ducks 464 Bluebill Drake

$400 - $600

MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1915

The decoy displays carved bill and feather detail. The maker signed and dated the bottom. Original paint with light gunning wear and age lines.

The decoys have glass eyes and their original rigging. Original paint with light gunning wear and neck filler missing. One has a tail area crack. The other has a crack along one side, a bill chip, and dings along the back.

$200 - $300

201

This high-head decoy exhibits lightly carved bill definition, glass eyes, and finely painted outlined primary and tail feathers. Appears to be original paint with even gunning wear and a couple tight body cracks. PROVENANCE: Aime and Janis Blouin

Collection $300 - $500

469 Willet MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910

A glass-eye grade shorebird decoy. Original paint with light gunning wear, a tight age line on one side, and minor touch-up to the underside of one edge of the tail and two small areas of back. $2,000 - $4,000

469

470 Ruddy Turnstone MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1900

A very rare species of shorebird decoy with glass eyes, a wooden bill, and split tail. Original paint with working repaint along the top side of the decoy, gunning wear, and a tight age crack along the bottom. PROVENANCE: William J. Mackey, Jr.

Collection Private Collection, acquired from the above $1,000 - $1,500 470

471 Green-Winged Teal Pair WILLIAM E. PRATT MANUFACTURING COMPANY JOLIET, IL, C. 1930

A pair of Prattâ&#x20AC;&#x2122;s higher grade, glass-eyed, solidbodied decoys with rare, patented, molded-lead weights with a brass anchor line clip and screws. Pratt purchased the Mason Decoy Factory equipment in 1924. In original paint with minor flaking, neck filler loss, tight age cracks, and gunning wear. $700 - $900

471

202

472

472 Pintail Drake ROBERT ELLISTON (1847-1925) BUREAU, IL, C. 1900

A hollow, Illinois River decoy with glass eyes, carved bill detail, excellent combed paint, and precise primary feathering. It retains the original lead-strip weight stamped “The Elliston Decoy.” Original paint with even gunning wear, repair to bill, and reset neck cracks with touch-up. $2,500 - $3,500

473 Paul Comolera (1818-1897) Hooded Merganser white metal, 16 1⁄2 by 12 1⁄4 by 3 1⁄4 in.

A Victorian waterfowl game plaque. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania $100 - $200

473

203

474

477

475

478

476

479

474 after Joel Barber (1876-1952) Duck Head bronze, 4 3⁄4 by 7 1⁄2 by 1 3⁄4 in.

From a later cast series, the original series was cast at the Gorham Foundry. $100 - $200

475 Powder Cans and Tobacco Tins A “Semi-Smokeless” turquoise green one-pound can by the King Powder Co., Cincinnati, OH, 1899. As found. A “Kentucky Rifle Gunpowder” red onehalf-pound can by the Hazard Powder Co., Hazardville, CT, c. 1870. As found. An old, repainted, red one-quarter-pound can. A “100 No. 6 Blasting Caps” tin by the Atlas Powder Company, Wilmington, DE, c. 1880. As found.

476 Eider Drake

478 Osprey Head

OSCAR F. AMES (1888-1972) MANTINICUS ISLAND, ME, C. 1920

THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1951

A decoy with a slightly turned head and an unusual two-piece body joined by dowels from side to side. The maker’s “O.F. A.” initials are incised in the bottom. In repaint with gunning wear.

A rare, life-size raptor head with an added painted plaque identifying the makers and date. Original paint on the carved head. PROVENANCE: Somers G. Headley

Collection Ron Newcomb Collection Richard Gove Collection

$400 - $600

477 Three Quail

$500 - $700

C. 1930

8 in. long

A trio of Illinois River (attr.) bobwhite quail with painted eyes and wooden legs and feet. In original paint, one in good condition, one with reset legs, and the third with bill and leg damage. $700 - $900

Two tobacco tins, one “Prince Albert- Crimp Cut” and one “Velvet,” each one and one-half ounces. As found.

479 Three Miniature Flying Pheasants C. 1940

6 1⁄2, 8, and 10 1⁄2 in. long

The longest bird measures ten and one-half inches. Original finish with wear, the mid-size bird has a reset wing, and the largest one has a reset wing tip. PROVENANCE: Aime and Janis

Blouin Collection $400 - $600

$150 - $250 204

482

480

483

481

480 Hissing Canada Goose

482 Merganser Hen

IRA D. HUDSON (1875-1949) CHINCOTEAGUE, VA, C. 1940

LONG ISLAND, NY, C. 1920

A traditional South Bay decoy with carved eyes and carved crest and bill detail. Old paint with gunning wear and a replaced head.

Restoration to paint and head with age cracks and age lines. $600 - $900

$400 - $600

481 Yellowlegs HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1890

483 Bluebill Drake

The underside displays the Headley collection “SGH” stamp and a “JB French” collection ink stamp. Original paint with some flaking and gunning wear. The head is a professional replacement.

In working repaint with gunning wear, tight neck and bill cracks.

IRA D. HUDSON (1875-1949) CHINCOTEAGUE, VA, C. 1930

$200 - $300

PROVENANCE: Somers G. Headley Collection

Joseph B. French Collection Private Collection, Georgia LITERATURE: Guyette and Schmidt, Inc., North American

Decoys at Auction, St. Charles, IL, April 27-28, 2006, lot 366, exact decoy illustrated. $600 - $900

205

485

484

484 Wood Duck Pair KEN HARRIS WORKSHOP WOODVILLE, NY, C. 1970

Two decorative decoys with slightly turned heads, raised wings, and carved primary and tail feathers. Both are in original paint. The drake has a clouded coat of sealer. The hen has a tight partial neck seam crack. May not be Harris paint.

486 Lots 487-491 not photographed

$200 - $400

485 Least Sandpipers JIM WHITE, SR. (B. 1930) CAIRO, GA, C. 1980

A pair of life-size peeps by the older brother of Delaware River carver, Bob White. Original paint with a missing bill tip and a leg crack on one bird and a blunted tail and two missing toes on the other.

A turned-head bluebill by a carver from the Dunnville/Pringle School, Ontario, with “WB” stamped in the bottom. Original paint with flaking, mostly on the bill, and gunning wear. $200 - $400

488 Four Decoys

$100 - $200

C. 1970

A Crisfield, Maryland-style, life-size, greenwinged teal drake, a swimming blue-winged teal, a bluebill drake, and a Wildfowler-style mallard. As found.

A hollow bluebill with tack eyes attributed to Dan Bartlett (1839-1936), West Lake, Ontario, c. 1900. In old paint with heavy gunning wear and an old bill repair.

$200 - $400

A balsa-bodied black duck by Wildfowler Decoys (1939-1957), Old Saybrook, CT, c. 1950. In working repaint with heavy gunning wear and neck cracks.

486 Four Decorative Decoys

487 Three Decoys A hollow, mammoth-model canvasback drake by the Evans Duck Decoy Co. (19211932), Ladysmith, WI, c. 1930, with an “Evans Decoy” stamp on bottom. In original paint with gunning wear and a shrunken knot in the back.

DETROIT FACTORY DETROIT, MI, C. 1890

A glass-eyed mallard hen attributed to Dodge, a tack-eyed Mason black duck, two glass-eyed Mason mallards, and a glasseyed Hayes black duck. As found.

An early, low-head bluebill drake by Ken Harris (1905-1981), Woodville, NY, c. 1930, branded “Hefferman C. Co.” on the bottom. In original paint with heavy gunning wear, eyes are missing, and an old bill repair.

$100 - $200

489 Five Decoys

A tack-eyed, Huff Family decoy, Long Branch, NJ, c. 1900. In working repaint with gunning wear.

490 Ten Decoys A hollow bufflehead by Will Kirkpatrick, Hudson, MA; a ring-necked duck by the Decoy Shop, Macomb, IL; a “DAP” canvasback; a bufflehead from the Ralph D. Hatch (1884-1966) rig, Marshfield, MA; a Hayes glass-eyed canvasback; a Mason painted-eye bluebill; a Pratt glass-eyed bluebill; a Gundlefinger bluebill; a mallard attributed to Benz; and a hollow Midwest canvasback. As found. $100 - $200

491 Six Decoys NEW JERSEY

$100 - $200

A redhead hen by John Hamilton, Cedar Run, NJ; a bluebill by Lawrence Newell, Bordentown, NJ; two black ducks; and two redhead drakes. As found.

A hollow goldeneye hen by Sam J. Denney (1874-1953), Clayton, NY, c. 1930. In original paint, worn to the wood, with gunning wear.

$100 - $200 206

495.1

492

495.2

493

496

494

492 Fishing Coat and Cases

494 Two Fly Fishing Bags

495 Two Full Metal Fishing Boxes

rod case measures 47 in. long

ORVIS MANCHESTER, VT

Fall City tackle box with vintage lures, both boxes contain tackle, equipment, three Shakespeare reels: Silent automatic, no. 1845, Russell, no. 1884, Service, no. 1944, three Pflueger reels: Supreme, Nobby no.1963, Progress 80, and an Orvis Battenkill flyweight. As found.

A lined Barbour coat size 42, Barbour scarf, leather rod case, leather fly wallet, and a canvas and leather case. As found. PROVENANCE: The Estate of

Thomas W. Connally $50 - $100

Includes: Orvis C.F.O. III, 50A spin, Hardy Bros. The Princess, spools, equipment, and various flies. As found. PROVENANCE: The Estate of

Thomas W. Connally

PROVENANCE: The Estate of

$200 - $300

Thomas W. Connally

493 Wooden Trunk with Fishing Flies

$100 - $200

12 by 30 7â &#x201E;8 by 14 in.

Three framed fly displays, cased flies, and empty fly cases. As found.

496 Three Eel Spears Three, 19th century, hand-forged eel and fish spears. As found.

PROVENANCE: The Estate of

Thomas W. Connally

$100 - $200

207

497 Bamboo Fly Rod H. L. Leonard, 7 ft., 2/2. As found. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania $300 - $600 497

498 Two Bamboo Fly Rods H. L. Leonard, Special Tournament, 10 1/2 ft., 3/2 plus handle extension. As found. H. L. Leonard, 12 1/4 ft., 3/2 with handle end button. As found. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania 498.1

498.2

499 Bamboo Fly Rod E. F. PAYNE ROD CO. (1894-1968) HIGHLAND MILLS, NY

For Abercrombie & Fitch Co., 8 ft., 3/2. As found. PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania $200 - $400

499

500 Bamboo Fly Rod E. F. PAYNE ROD CO. (1894-1968) HIGHLAND MILLS, NY

12 ft., 3/2 with handle end button. As found. PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania

500

$200 - $400

501 Bamboo Fly Rod E. F. PAYNE ROD CO. (1894-1968) HIGHLAND MILLS, NY

8 ft., 2/2. As found. PROVENANCE: The Estate of

Thomas W. Connally

501

$400 - $600

208

$300 - $600

502 Bamboo Fly Rod E. F. PAYNE ROD CO. (1894-1968) HIGHLAND MILLS, NY

Original tag reads: Model 98, 7 ft., 2 7/8 oz., 4/5 line, serial no. 122. As found. PROVENANCE: The Estate of Thomas W. Connally 502

$1,000 - $1,500

503 Bamboo Fly Rod E. F. PAYNE ROD CO. (1894-1968) HIGHLAND MILLS, NY

7 ft. 6 in., 2/2. As found. PROVENANCE: The Estate of Thomas W. Connally 503

$800 - $1,200

504 Bamboo Fly Rod E. F. PAYNE ROD CO. (1894-1968) HIGHLAND MILLS, NY

Model 205, sold by Abercrombie & Fitch Co., NY, 8 ft 6 in., 3/2. As found. PROVENANCE: The Estate of

Thomas W. Connally $900 - $1,100

504

505 Bamboo Fly Rod HAROLD S. “PINKY” GILLUM (1896-1966) RIDGEFIELD, CT

Trout, 8 ft. 6 in., 2/2, serial no. I 945. As found. PROVENANCE: The Estate of

Thomas W. Connally

505

$800 - $1,200

506 Bamboo Fly Rod HAROLD S. “PINKY” GILLUM (1896-1966) RIDGEFIELD, CT

Salmon, 9 ft., 3/2, serial no. I 944. As found. PROVENANCE: The Estate of Thomas W. Connally 506

$600 - $900

507 Bamboo Fly Rod R.L. WINSTON TWIN BRIDGES, MT

Built for .... by R. L. Winston, 7 ft., 3/2. As found. PROVENANCE: The Estate of Thomas W. Connally

$400 - $800 507

209

508 Bamboo Fly Rod E. EVERETT GARRISON (1893-1976) OSSINGING, NY

Edmund Everett Garrison graduated from Union College in New York with a degree in engineering. He used engineering principles to handcraft some of the finest bamboo rods ever made. He was the co-author of the book, A Masterâ&#x20AC;&#x2122;s Guide to Building a Bamboo Fly Rod, with Hoagy B. Carmichael, which documented his achievement in rod making after his passing. The serial no. is marked on all of the rod sections. Garrison started with A in 1932, so the T would represent 1951. The next number or the next two numbers in his serial no. represent the length of the rod and the last number represents the order the rod was completed in a given year. The 1 indicates that this was the first rod completed in 1951.

508

Garrison, model 201, 7 ft., 2/2, serial no. T 7 1. As found. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania

509

$300 - $600

509 Bamboo Fly Rod

PROVENANCE: Richard V.

E. EVERETT GARRISON (1893-1976) OSSINGING, NY

Strawbridge Collection, Philadelphia, Pennsylvania

Garrison, model 204, 7 1/2 ft., 2/2, serial no. Q 7 6 5. As found. PROVENANCE: Richard V.

Strawbridge Collection, Philadelphia, Pennsylvania

$300 - $600 510

512 Bamboo Fly Rod E. EVERETT GARRISON (1893-1976) OSSINGING, NY 1949

$300 - $600

Garrison, model 228, 9 ft., 3/2, serial no. R 9 0 1. As found.

510 Bamboo Fly Rod

PROVENANCE: Richard V.

E. EVERETT GARRISON (1893-1976) OSSINGING, NY

Strawbridge Collection, Philadelphia, Pennsylvania

Garrison, model 209, 8 ft., 2/2, serial no. O 8 23. As found. PROVENANCE: Richard V.

Strawbridge Collection, Philadelphia, Pennsylvania $300 - $600

511 Bamboo Fly Rod E. EVERETT GARRISON (1893-1976) OSSINGING, NY

Garrison, model 209, 8 ft., 2/2, serial no. Q 8 5. As found.

511

$300 - $600

513 Bamboo Fly Rod E. EVERETT GARRISON (1893-1976) OSSINGING, NY

Garrison, model 232, 10 ft., 3/2, serial no. R 10 0 1, with a 5 in. handle extension. As found.

512

PROVENANCE: Richard V.

Strawbridge Collection, Philadelphia, Pennsylvania $200 - $400 513

210

514 Bamboo Fly Rod 514

E. EVERETT GARRISON (1893-1976) OSSINGING, NY

Garrison, model 206, 7 ft. 9 in., 2/2, serial no. L 7 9 1. As found. PROVENANCE: The Estate of Thomas W. Connally

$800 - $1,200

515 Bamboo Fly Rod 515

E. EVERETT GARRISON (1893-1976) OSSINGING, NY

Garrison, model 228, 10 1/2 ft., 3/2, serial no. U10.5 1, with handle end. As found. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania $200 - $400 516.1

516 Two Bamboo Fly Rods House of Hardy Ltd. Alnwick, England, No. 4 Catskill Regal Trade Mark, 6 ft. 8 in., 2/2, with leather case. As found. Hardy Bros., No. C11738, 9 ft. 4 in. As found. PROVENANCE: The Estate of Thomas W. Connally

$300 - $600

516.2

517 Bamboo Fly Rod THOMAS AND THOMAS GREENFIELD, MA

Beaverkill, 8 ft., 2/2. As found. PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania $200 - $400

517

518 Two Bamboo Fly Rods Thomas and Thomas, Greenfield, MA, Special Trouter, 7 ft., 2/2. As found. Marc Aroner, Greenfield, MA, #4- Spring Creek Special, 7 ft., 3/2. As found. PROVENANCE: The Estate of

518

Thomas W. Connally $400 - $600

211

519 Bamboo Fly Rod ORVIS MANCHESTER, VT

Impregnated, Superfine, 6 1/2 ft., 2/2. As found. 519

PROVENANCE: Richard V.

520 Two Bamboo Fly Rods ORVIS MANCHESTER, VT

Impregnated, Madison, 7 ft., 2/2. As found.

Strawbridge Collection, Philadelphia, Pennsylvania

Impregnated, Madison, 7 1/2 ft., 2/2. As found.

$200 - $400

Strawbridge Collection, Philadelphia, Pennsylvania

PROVENANCE: Richard V.

$200 - $400 520

521 Two Bamboo Fly Rods

522 Two Bamboo Fly Rods

ORVIS MANCHESTER, VT

Impregnated, Maurice Dennock, Manchester Depot, 6 1/2 ft., 2/1. As found.

Impregnated, Flea, 6 1/2 ft., 2/2. As found.

Impregnated, Battenkill, 8 1/2 ft., 2/2, 5 1/8 oz. serial no. 63482. As found. PROVENANCE: Richard V.

Impregnated, Battenkill, 7 ft., 2/2. As found.

521

PROVENANCE: The Estate of

Thomas W. Connally $300 - $600

Strawbridge Collection, Philadelphia, Pennsylvania $300 - $600 522

523 Three Bamboo Fly Rods ORVIS MANCHESTER, VT

523

Impregnated, Wes Jordan, Made for...., 7 1/2 ft., 2/2. As found. Impregnated, Battenkill, 8 ft., 2/1. As found. Impregnated, Battenkill, 8 1/2 ft., 2/2. As found.

ORVIS MANCHESTER, VT

Impregnated, Rocky Mountain Fly / Spin, 6 1/2 ft., 3/2. As found. Impregnated, Pack Rod, 7 ft., 4/2. As found. Full Flex, Fly / Spin, 7 ft., 4/1. As found.

Thomas W. Connally

Full Flex, Pack Rod, 7 ft., 4/1. Leather Case, 27 1/2 in. long. As found.

$400 - $800

PROVENANCE: The Estate of

524

524 Four Travel Rods

Thomas W. Connally $200 - $300

212

Lots 525-538 not photographed

529 Four Graphite Fly Rods

525 Three Fly Rods

H.L. Leonard Rod Co., Midland Park, NJ, three model Graftek I, 8 1/2 ft. rods. As found.

Orvis, T-3, 9 ft., 2/1. As found. Walton Powell, Silver Signature, 9 ft., 2/2. As found. Hardy Bros. Ltd., Alnwick, England, The Glaskona Trout Fly, No. 6, 8 ft., 2/1. As found.

Vince Cummings, Stoney Pt., NY, model VC Graphite, 8 ft. As found. PROVENANCE: The Estate of

Thomas W. Connally

530 Five Graphite Fly Rods Model GFL 8 ft., GFL 8 3/4 ft., Graphite II GFL 9 ft., Graphite IIIe XP 9 ft., and GFL 14 ft. As found.

526 Two Rods Abercrombie and Fitch Co., Favorite 265, 6 1/2 ft., 2 pc., spin. As found.

PROVENANCE: The Estate of

Green Handled Bait Casting, 5 ft. 7in., 2 pc. As found.

$300 - $500

PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania $100 - $150

Model PA 804 8 ft., 2/1 and PA 865 8 1/2 ft., 2/1. As found. PROVENANCE: The Estate of

Thomas W. Connally $200 - $400

535 Six Graphite Fly Rods

SAGE BAINBRIDGE ISLAND, WA

$200 - $300

THOMAS AND THOMAS GREENFIELD, MA

$400 - $600

PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania

534 Two Graphite Fly Rods

Thomas W. Connally

ORVIS MANCHESTER, VT

Model HLS Graphite 8 1/2 ft., PM-10 8 1/2 ft., Trident TL 8 1/2 ft., PM-10 9 ft., PM-10 9ft., and HLS Graphite 9 ft. As found. PROVENANCE: The Estate of

Thomas W. Connally $400 - $600

536 Two Vintage Rods 531 Two Fly Rods HOUSE OF HARDY ALNWICK, ENGLAND

American Fork and Hoe Co., Cleveland, OH, No. M15, 9 ft., 2/1. As found.

Model Carbon Fibre, Deluxe Smuggler Classic, 8 ft., 7/1 with leather case. As found.

South Bend Bait Co., South Bend, IN, no. 4269, 6 1/2 ft. As found.

Ultralite Plus No. 6, 9 ft., 3/1. As found.

Thomas W. Connally

Mills & Son Makers, NY, NY, 8 ft., 3/2 (poor condition). As found.

PROVENANCE: The Estate of

$50 - $100

Horton Mfg., Bristol, CT, Bristol F7, 9 ft., 3/2, (poor condition, handle branded “A T E”). As found.

$400 - $600

537 Four Spinning Rods

532 Three Graphite Fly Rods

Two G. Loomis: Premier, 962, 8 ft. and GL2, CR722, 6 ft. As found.

PROVENANCE: Richard V. Strawbridge

GARY LOOMIS IRVINE, CA

527 Three Bamboo Fly Rods Goodwin Granger Co., Denver, CO, 9 1/2 ft., 3/2 (handle branded “A T E”). As found.

Collection, Philadelphia, Pennsylvania

528 Four Old Bamboo Fly Rods Murta Appleton & Co., Philadelphia, PA, 8 ft. As found. Heddon, Dowagiac, MI, no. 14, 8 ft. As found. H. L. Leonard, Tournament, 7 As found.

1/ 4

ft.

R.W. Wheeler, Hartford, CT, 9 ft. As found. PROVENANCE: The Estate of

Thomas W. Connally $100 - $200

Thomas W. Connally

Two Fuji rods: an 8 ft. and a 9 ft. As found.

Model FR 1085 9 ft., FR 1087 9 ft., and FR 1147 9 1/2 ft. As found.

$100 - $150

PROVENANCE: The Estate of

Thomas W. Connally $50 - $100

Thomas W. Connally

538 Lot of Fishing Equipment

$200 - $400

533 Four Fly Rods R.L. WINSTON ROD CO.

Twin Bridges, MT, Model IM6 8 ft., IM6 8 1/2 ft., LT 8 3/4 ft., and The Winston Rod, San Francisco, CA, 9 ft. As found. PROVENANCE: The Estate of

Thomas W. Connally $200 - $400

213

Two Heddon Pal 5 ft. rods, assorted steel and bamboo rods and rod parts. As found. PROVENANCE: The Estate of

Thomas W. Connally $100 - $200

539

543

540 544

541

542

545

546

539 Fly Reel

542 Two Fly Reels

Redington silver CD 5/6. As found.

HARDY BROS. LTD. ALNWICK, ENGLAND

Peerless 1 1/2 LH. As found.

St. George Jr., 2 1/2 in., with box. As found.

The Lightweight, 3 1/4 in., with box. As found.

PROVENANCE: The Estate of

PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania

The Perfect, 3 7/8 in., with a St. John box. As found.

$200 - $300

$100 - $150

PROVENANCE: Richard V. Strawbridge

540 Two Fly Reels HARDY BROS. LTD. ALNWICK, ENGLAND

The Uniqua, 3 1/8 in. As found. The Uniqua, 3 3/4 in. As found. PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania $200 - $300

541 Fly Reel HARDY BROS. LTD. ALNWICK, ENGLAND

The Uniqua, Duplicated, Mark, II., 2 7/8 in., with original box. As found.

Thomas W. Connally

Collection, Philadelphia, Pennsylvania

545 Fly Reel

$200 - $300

HARDY BROS. LTD. ALNWICK, ENGLAND

St. George Jr., 2 1/2 in. As found.

543 Three Fly Reels and Spools HARDY BROS. LTD. ALNWICK, ENGLAND

PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania

Two The Saint Aidan reels with two spools. As found.

$100- $200

The Zenith Multiplier with two extra spools. As found.

546 Two Fly Reels

PROVENANCE: The Estate of

Thomas W. Connally

HARDY BROS. LTD. ALNWICK, ENGLAND

The Perfect, 2 7/8 in. As found. The Perfect, 3 3/8 in. As found.

$200 - $300

PROVENANCE: Richard V. Strawbridge

544 Three Fly Reels

PROVENANCE: Richard V. Strawbridge

HOUSE OF HARDY

Collection, Philadelphia, Pennsylvania

Bougle. As found.

$100 - $150 214

Collection, Philadelphia, Pennsylvania $200 - $300

549

547

550

548

547 Fly Reel

549 Salmon Fly Reel

EDWARD VOM HOFE PHILADELPHIA, PA C. 1940

STANLEY E. BOGDAN (1918-2011) NASHUA, NH

Vom Hofe 423, Restigouche 2/0, 3 5/8 in., marked “Edward vom Hofe & Co., Maker, Phila., Pat. May 20, 02.” As found.

Model 0 Salmon fly reel, 3 1/4 in. diameter and 1 3/8 in. spool width. “S. E. Bogdan, Nashua, N.H.” engraved name plate. 2 to 1 multiplier, 10. 8 ounces, with Cortland 444 Tropic Plus line. Used, like new.

PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania

$1,500 - $2,500

$800 - $1,200

550 Hand-Made Reel

548 Fly Reel

ARTHUR KOVALOVSKY (1881-1954) HOLLYWOOD, CA, C. 1950

STANLEY E. BOGDAN (1919-2011) NASHUA, NH

A custom reel stamped “6/0- 500 yds. #9” on the foot. The side plate is stamped “ARTHUR KOVALOVSKY PAT PEND, HAND MADE PATENTED 1,958,919 HOLLYWOOD, CAL.” As found.

A baby trout model, 2 3/4 in., with a “S. E. Bogdan, Nashua, NH” maker’s plaque affixed to reel. As found. PROVENANCE: Richard V. Strawbridge Collection,

Philadelphia, Pennsylvania

Kovalovsky began making reels in the 1920s and included Zane Grey and Ernest Hemingway among his customers. His reels are known for their innovation and he received his first patent in 1934.

$800 - $1,200

$1,500 - $2,500

215

551

552

556

553

554

557

555

558

551 Two Fly Reels

554 Two Fly Reels

PROVENANCE: The Estate of Thomas W.

HARDY BROS. LTD. ALNWICK, ENGLAND

Tibor “Ted” Juracsik, Delray Beach, FL, Billy Pate Reel, 3 1⁄2 in. Bonefish, 285 yds. reel, c. 1980. As found.

Connally

The Perfect, 2 7/8 in. As found. The LRH Lightweight, 3 1/8 in. As found. PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania $200 - $300

Fin Nor, Miami, FL, No.3, Since 1933, Anti-reverse, 3 3/4 in. fly reel. As found.

557 Three Fly Reels ABEL CAMARILLO, CA

PROVENANCE: Richard V. Strawbridge

Collection, Philadelphia, Pennsylvania

Super 4, No. 10 of 100, artist-signed brook trout by James Prosek. As found.

$400 - $600

No. 3, serial no. 3711. As found.

552 Two Fly Reels HARDY BROS. LTD. ALNWICK, ENGLAND

The St. George, 3 in. As found. The St. George, 3 in. As found.

555 Three Brass Fly Reels

No. 3N, serial no. 3610. As found.

C. Harlow & Co. Makers, London, 5 in. As found.

PROVENANCE: The Estate of Thomas W.

PROVENANCE: Richard V. Strawbridge

H. Murton, Newcastle, Sunderland, 2 As found.

Collection, Philadelphia, Pennsylvania

Unmarked, 3 3/4 in. reel. As found.

$200 - $300

PROVENANCE: The Estate of Thomas W.

1/ 4

Connally

553 Fly Reel

PROVENANCE: Richard V.

Strawbridge Collection, Philadelphia, Pennsylvania $300 - $500

Connally in.

$600 - $900

558 Two Casting Reels Penn Reels, Philadelphia, PA, No. 85, 30-85. As found, crack in spool.

$100 - $200

Pflueger, Akron, OH, No. 2188, Sea King. As found.

556 Two Saltwater Fly Reels

PROVENANCE: Richard V. Strawbridge

SEAMASTER MIAMI, FL

Collection, Philadelphia, Pennsylvania

Mark II OPH, Left Hand, serial no. 904, in original box. As found.

$50 - $100

DAVID L. ROBICHAUD HUDSON, NH C. 1990

D. L. Robichaud, 3 in. with extra spool. As found.

$500 - $800

Mark III. As found. 216

561

559

562 Lots 563-564 not photographed

560

559 Three Fly Reels in Box

561 Wooden Box with Five Fly Reels

563 Three Spinning Reels

ROSS REELS MONTROSE, CO

ORVIS MANCHESTER, VT

FIN-NOR FT. LAUDERDALE, FL

Limited wooden box set of San Miguel reels, no. 80 of 100. “One, two, three,” “Reel in a Cure,” Komen Foundation Series. As found. PROVENANCE: The Estate of

Thomas W. Connally $200 - $400

box measures 8 by 13 1⁄4 by 7 3⁄8 in.

Orvis DXR 7/8 and C.F.O. IV. Hardy Bros. L.R.H. Lightweight. Lamson 3 WF 7F. The Bedford Sportsman, TBS 312. As found. PROVENANCE: The Estate of

Thomas W. Connally $300 - $400

560 Large Wood Fly Fishing Box ORVIS MANCHESTER, VT

box measures 9 1⁄2 by 16 by 9 1⁄2 in.

Three reels: C.F.O. 123, C.F.O. III, and Battenkill Multiplier 5/6. Richard Wheatley flies, two fly wallets, and three pairs of sunglasses. As found. PROVENANCE: The Estate of

Thomas W. Connally

Three Ahab reels: No. 8A, No. 12A, and No. 16A serial no. 1003907. As found. PROVENANCE: The Estate of

Thomas W. Connally $100 - $200

564 Six Bait Casting Reels

562 Two Fly Boxes and Reel A faux tortoiseshell, celluloid fly box with flies made by Hardy Bros., England, 6 1/8 by 3 3/4 in. A six-compartment, tin, dry fly box with flies, made by R. Wheatley, England, for Abercrombie & Fitch, 3 1/2 by 2 1/2 in. An Orvis, CFO IIIIII, made in England, fly reel. As found. $150 - $250

$300 - $400

217

Pinnacle Vision Limited- VST 10. Two Shimano Calcutta: 250 and 400. Three Abu Garcia Ambassadeur: 6500CI, Pro-Max 3600, and Pro-Max 6600. As found. PROVENANCE: The Estate of

Thomas W. Connally $100 - $200

INDEX Abbett, Robert K.: 84 Abel: 557 Abercrombie & Fitch Co.: 75, 219-238, 526, 562

Bunn, Charles Sumner or William Bowman: 380, 381

di Giovanni, Antonio Paoletti: 146 Ditto, Charles H.: 283

Burgess, Edward R. “Ned”: 457

Doughty, Eli: 371

Burke, Edgar: 89-92

Edwards, George: 148

Abu Garcia: 564

Burr, Russ P.: 302

Adams, Burl: 417

C. Harlow & Co.: 555

Adams, E. Frank: 443

Capser, Mike: 143

Ahearn, James J.: 318

Cargile, Lloyd: 247

Alken, Henry Thomas (attr.): 66

Chadwick, Henry Keyes: 398

American Fork and Hoe Co.: 536

Clark, Roland H.: 82, 172, 202, 203, 218

Fin-Nor: 554, 563

Coastal Salish (attr.): 331

Fixter, Mike: 286

Cobb Jr., Nathan: 363, 364

Folger, William: 375

Cobb Jr., Nathan (attr.): 365

Foote, Jim: 338

Cochran, Ezra B.: 277

Franco, Jack: 293

Comolera, Paul: 473

Frost, Arthur Burdett: 31, 177

Condo, Thomas E.: 280, 285

Fuertes, Louis Agassiz: 152, 153

Condo, Thomas E. (attr.): 281

Fuji: 537

Barnes, Al: 157

Conklin, Hurley: 430

Gant, Percy: 432

Bassett, Kenneth and Beverly: 337

Cooper, Bill: 440

Gardner, Dr. Clarence T. and Newton Dexter: 376

Ames, Oscar F.: 476 Anger, Ken: 462 Appel, Charles P.: 145 Aroner, Marc: 518 Audubon, John James: 102-116 Barber, Joel D.: 461, 474 Barkalow, Capt. Joel W.: 392, 393

Benson, Frank W.: 1-27

Corwin, Wilbur R.: 450

Bishop, Richard E.: 83, 149, 173, 196, 199, 211

Cranmer, Joe Tom: 428

Blackstone, Jess: 306

Cranmer, Lewis A. or John C.: 387

Elliott, Bill: 122

Harris, Ken: 460

Elliston, Robert: 472

Hart, Charles: 290

Ettinger, Churchill: 174

Heddon: 528

Evans Duck Decoy Co.: 487

Hickerson, Larry W. and John E. Marsh: 279

Gifford, John: 44 Gilley, Wendell: 309-314, 316, 317

Crooks, Daniel H.: 275 Crowell, A. Elmer: 305, 395

Glassford, Al: 342

Cruwys, Roger S.: 120, 121

Goodacre, Glenna: 139

Cummings, Vince: 529

Goodwin Grainger Co.: 527

Danos, Reagan: 341

Gould, John: 117, 118

Davern, Harve: 439

Grant, Henry: 414

Brown, Paul Desmond: 47-65, 67, 68

Deighton, Joshua: 70

Greene, Charl E.: 340

Browne, George: 101

Demott, Daniel: 449

Grinnell, Roy: 125

Bruffee, Daniel L.: 291

Denney, Sam J.: 487

Grubbs, Charles W.: 283

Brunet, Jett: 343

Denton, Sherman F.: 179

Hacking, Grant: 127

Boise, Harry B.: 388 Booras, Chris: 287 Boyd, George: 320-324 Boyd, William E. “Buck”: 272 Brittingham, John W. “Jack”: 456

218

Hardenbergh, Gerard Rutgers: 37 Hardy Bros. Ltd.: 525, 539-543, 545, 546, 551, 552, 562

Gillum, Harold S. “Pinky”: 505, 506

Bogdan, Stanley E.: 548, 549

Hancock, Miles: 453, 455

Edwards, Lionel D. R.: 74

Garrison, E. Everett: 508-515

Cranmer, Frank: 446

Hagerbaumer, David: 129-133, 164

Hildreth, Ephraim: 385 Holberton, Wakeman: 29 Holloway, John R.: 436 Holmes, Benjamin (attr.): 399 Homer, Winslow: 178 Horner, Nathan Rowley: 415 Horton Mfg.: 527 House of Hardy: 516, 531, 544 Hubert L. Judd & Company: 262 Hubley Manufacturing Company (1894-1965): 261 Hudson, Delbert: 325 Hudson, Ira D.: 360-362, 454, 480, 483 Huff Brothers, Charles H. and George W.: 409, 410 Huff, George W.: 423 Hunt, Lynn Bogue: 81, 99, 206 Hutchinson, Amory Hare: 71 Jaques, Francis Lee: 166-169 Jester, Charles (attr.): 368 Johnson, Lloyd: 421 Kaposta, Eric: 141 Kears, Mark: 403 Kemble, Edward W.: 181

Ken Harris Workshop: 484

Muehlstein, Francis J.: 286

Ripley, Aiden Lassell (attr.): 95

King, Allen J.: 300, 301, 303, 304

Munnings, Sir Alfred James: 77

Robichaud, David L.: 553

Koch, Edward M.: 328, 329

Murray, Anthony G.: 344

Rogers, Augustus A.: 459

Koelpin, William J.: 136-138

Murta Appleton & Co.: 528

Rogers, Julia Noffsinger: 126

Kovalovsky, Arthur: 550

Murton, H.: 555

Ross Reels: 559

LaSalle, Charles: 100

Muss-Arnolt, Gustav: 28

Laurie, Ralph D.: 308

Nelson, Elmer A.: 294

Rungius, Carl Clemens Moritz: 171

Lawrence, William Goadby: 154

Orvis: 494, 519-525, 535, 560562

Leech, John: 73 Leeds Family (attr.): 382 Leeds, Daniel Lake: 389 Leonard, H. L.: 497, 498, 528, 529 Liberty Price: 386

Tull, Randy: 332-336, 339 Turner, Charles: 391

Tyler, Lloyd J.: 349, 350

Osthaus, Edmund Henry: 33-35

Schaefer, David LeRoy: 140

Verity, Obediah: 447

Paff, Adam E. M.: 209

Schaldach, William J.: 32, 183193

Verity, Obediah (attr.): 448

Parker, Lloyd: 426, 427 Parsons, Phillip Brown: 94, 95

Maass, David A.: 86-88, 195

Penn Reels: 558

Malmstrom, Carl: 233

Penn, George “Watts”: 384

Schmidt, Benjamin: 463, 464 Seaman, Otis: 383

Payne Rod Co.: 499-504

Peiffer, Adam: 155

Peterson, Roger Tory: 150, 151, 207

Mason, Roy Martell: 134, 135, 142

Pflueger: 558 Phillips, Edward J.: 351, 352 Pinnacle Vision Limited: 564 Plasschaert, Richard: 147

Voorhees, Clark: 288, 289 Ward Brothers, Lemuel T. and Stephen: 346, 354, 355, 478

Sheppard, Peter: 158

Ward, Lemuel T.: 353, 359

Shilstone, Arthur: 156, 158-161

Watson, Dave “Umbrella”: 356, 357, 366

Shortt, Angus H.: 128

Perdew, Charles H.: 273, 280

Vom Hofe, Edward: 547

Seamaster: 556

Shimano: 564

Mason Decoy Factory: 465-467, 469, 470

McGaw, Robert: 307

Tressemanes & Vogt: 144

Salmons, Bradford: 422, 431

Loomis, G.: 532, 537

Maxwell, Ben: 416

Tibor: 554

Tuttle, Henry Emerson: 200, 201

Peerless: 544

Matthews, William J.: 370

Thompson, Carol Lee: 165

Sage: 530

Lincoln, Joseph W. (attr.): 378

Marter, C. Ridgeway: 435

Thomas and Thomas: 517, 518, 534

Shourds, Harry M.: 406 Shourds, Harry V.: 402, 404, 405, 407, 411, 413, 481

Weiler, Milton C.: 163, 210 Wengenroth, Stow: 197 West, Levon: 69 Wheaton, Amos: 424

Smith Atherton & Company: 258

Wheeler, Charles “Shang”: 451

Smith, Brett James: 204, 205

Wheeler, R.W.: 528

Smothers, Mel: 123, 124

Whipple, Joseph Q.: 231, 232

Soper, Samuel (attr.): 412

White, Robert “Bob”: 345

South Bend Bait Co.: 536

White, Sr., Jim: 485

McLaughlin, Lawrence: 437

Pleissner, Ogden M.: 45, 46, 175, 176

McLoughlin, John W.: 418, 419

Powell, Walton: 525

Spencer, John Clinton: 38

Whorf, John: 93

McNair, Mark S.: 295-299

Reason, Jamie: 330

Sprague, Chris: 429

Mene, Pierre Jules: 36, 72

Redington: 544

Stidham, Mike: 119

William E. Pratt Manufacturing Company: 471

Mills & Son Makers: 527

Reed, James “Corb”: 347, 348

Stofer, Dr. E. Stanton: 279

Monegar, Clarence Boyce: 162

Reindahl, Enoch (attr.): 315

Stone, Claude C.: 274

Morgan, Joe: 434

Reneson, Chet: 97, 98

Swan, John: 85

Morse, Robert: 305, 306

Ripley, Aiden Lassell: 76, 78-80, 170, 194

Sword, James Brade: 30

Morton Family: 442

219

Tait, Arthur Fitzwilliam: 39-43

Williams, John: 458 Wilson, Alexander: 198 Winston Rod Co.: 507, 533 Wozny, Eddie: 326 Yule, James E.: 284

BIBLIOGRAPHY Audubon, John James. Birds of America, From Drawings Made in the United States and Their Territories. London, England: Robert Havell & Son, 1826-1838. Belisle, Michel and Francois St-Onge. Waterfowl Decoys from the Shores of Suroit to the Region of Sorel: Decoys From the Montreal region. Vaudreuil-Dorion, Quebec: Vaudreull-Dorion, PQ, Canada: Musee Regional de Vaudneuil-Soulanges, 1998. Bennett, Whitman. A Practical Guide to Nineteenth Century American Color Plate Books. New York, NY: Bennett Book Studios, 1949. Bergh, Peter. The Art of Ogden M. Pleissner. Boston, MA: David R. Godine, 1984. Bishop, Robert. American Folk Sculpture. New York, NY: Bonanza Books, 1985 Bourne Co. Inc., Richard A. The Collection of William J. Mackey, Jr. Hyannis, MA: Richard A. Bourne Co. Inc., 1973. Bourne Co. Inc., Richard A. The Collection of William J. Mackey, Jr. Hyannis, MA: Richard A. Bourne Co. Inc., 1974. Byrd, Cynthia and Timothy R. Sieger, The Decoys of Long Island. Water Mill, NY: Long Island Decoy Collectors Association, 2010. Cadbury, Warder H. Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, DE: U. of Delaware Press, 1986. Chesser, Grayson. “Cobb Island, A Hunter’s Paradise.” Decoy Magazine. November/December 1998. Chitwood, Henry C. Connecticut Decoys: Carvers and Gunners. West Chester, PA: Schiffer Publishing Ltd., 1987. Cohen, Richard E. and Brandy S. Culp. Preserving the Art of the Decoy. Charleston, SC: Historic Charleston Foundation, 2012.

Cullity, Brian. The Songless Aviary: The World of A.E. Crowell & Son. Sandwich, MA: Heritage Plantation, 1992. Doherty, James R. Classic New Jersey Decoys. Louisville, KY: Four Colour Print Group, 2001. Eaton, Allen H. Handicrafts of New England. New York, NY: Harper, 1949. Engers, Joe, ed. “1989 Year in Review.” Decoy Magazine. 1990. Engers, Joe, ed. The Great Book of Wildfowl Decoys. San Diego, CA: Thunder Bay Press, 1990. Field and Stream. Vol. LXXV, June, 1970. Fleckenstein, Jr., Henry A. New Jersey Decoys. Exton, PA: Schiffer Publishing Ltd., 1983. Fleckenstein, Jr., Henry A. Shore Bird Decoys. Exton, PA: Schiffer Publishing Ltd., 1980. Fleckenstein, Jr., Henry A. Southern Decoys of Virginia and the Carolinas. Exton, PA: Schiffer Publishing Ltd., 1983. Frost, A.B. Shooting Pictures. New York, NY: Scribner & Sons, 1895. Gard, Ronald J. and Brian J. McGrath. Ward Brothers’ Decoys: A Collector’s Guide. Wolf City, TX: Henington Publishing Co., 1989. Guyette & Schmidt Inc. North American Decoys at Auction, April 2728, 2006. St. Michaels, MD: Guyette & Schmidt, Inc., 2006. Guyette & Schmidt Inc. The Hillman Collection: Rare Antique Waterfowl Decoys. West Farmington, ME: Guyette & Schmidt, Inc., 1996. Guyette and Schmidt, Inc. North American Decoys at Auction, April 23-24, 1992. St. Michaels, MD: Guyette & Schmidt Inc., 1992.

Colio, Quintina. American Decoys. Ephrata, PA: Science Press, 1972.

Guyette and Schmidt, Inc. North American Decoys at Auction, April 27-28, 1995. St. Michaels, MD: Guyette & Schmidt Inc., 1995.

Copley Fine Art Auctions, LLC. The Harry V. Long Collection of A. Elmer Crowell Decoys. July 15, 2009. Boston, MA: Copley Fine Art Auctions, LLC. 2009.

Guyette and Schmidt, Inc. North American Decoys at Auction, July 29-30, 2004. St. Michaels, MD: Guyette & Schmidt Inc., 2004.

Copley Fine Art Auctions, LLC. The Winter Sale 2014. Boston, MA: Copley Fine Art Auctions, LLC, 2014. Crandell, Bernard W. Decoying: The St. Clair to the St. Lawrence. Erin, ON: Boston Mills Press, 1988. Crouch, Donald E. Carl Rungius: The Complete Prints. Missoula, MT: Mountain Press, 1989. Cullen, Jim. Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941. Rye, NH: Jim Cullen, 2009.

Guyette and Schmidt, Inc. North American Decoys at Auction, July 30-31 2005. St. Michaels, MD: Guyette & Schmidt Inc., 2005. Hale, Louis J. Spring in Washington. New York, NY: William Sloane Associates, 1947. Hunter, Alexander. The Huntsman in the South, Vol. 1, Virginia and North Carolina. New York, NY: Neal Publishing Co., 1908. Irmscher, Christoph, ed. John James Audubon: Writings & Drawings. New York, NY: Library of America, 1999.

220

Jaques, Florence P. Francis Lee Jaques: Artist of the Wilderness World. Garden City, NY: Doubleday, 1973.

Sieger, Timothy. The Decoys of Long Island. Water Mill, NY: Long Island Decoy Collectors Association, 2010.

Kangas, Gene and Linda. Decoys: A North American Survey. Spanish Fork, UT: Hillcrest Publication, Inc., 1983.

Smalley, Eugene V. “An Ancient Haunt of Pirates.” St. Nichols Magazine. New York, NY: 1888.

Laffaye, Horace A. Polo in the United States: A History. Jefferson, NC: McFarland, 2011.

Sorenson, Harold. Decoy Collector’s Guide. Burlington, IA: Harold Sorenson, 1966-1967.

Lanier, Henry W. A.B. Frost: The American Sportsman’s Artist. New York, NY: Derrydale Press, 1933.

Sotheby’s and Guyette & Schmidt. American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery. January 22, 2000. New York, NY: Sotheby’s, 2000.

Levinson, John M. and Somers Headley. Shorebirds: the Birds, the Hunters, the Decoys. Centerville, MD: Tidewater Publishers, 1991.

The Adirondack Museum, “A.F. Tait: Artist in the Adirondacks,” Blue Mountain Lake, NY: 1974.

Mackey, Jr., William J. American Bird Decoys. New York, NY: E.P. Dutton & Co., Inc., 1965.

Tuttle, Emerson. Emerson Tuttle: Fifty Prints. Vol. 28. New Haven, CT: Yale University Press, 1948.

McIntyre, Dick. “North Carolina Ruddy Ducks.” Decoy Magazine, September/October 1993.

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

Oliver’s and the Ward Museum of Wildfowl Art. Auction of Waterfowl Decoys and Related Items. October 1-2, 1994. Salisbury, MD, 1994.

Wheeler, Charles E. “Long Island Sound.” Duck Shooting along the Atlantic Tidewater edited by Eugene V. Connett. New York, NY: William Morrow, 1947.

Ordeman, John T. William J. Schaldach: Artist, Author, Sportsman. St. Petersburg, FL: John T. Ordeman, 1988. Ordeman, John T. Frank W. Benson’s Etchings, Drypoints, and Lithographs: An augmented reprint of the five volumes of Etchings and Drypoints by Frank W. Benson, compiled and arranged by Adam E. M. Paff and Arthur W. Heintzelman. Summit, NJ: Hickok‐Bockus, 1994. Peterson, Roger Tory. A Field Guide to the Birds of Eastern and Cenral North America. Boston, MA: Houghton Mifflin Co., 2002. Reed, Henry M. The A.B. Frost Book. Charleston, SC: Wyrick & Co., 1993. Reginato, James, “Folk Art’s Old Guard.” Town and Country. January 1990. Reiger, George. “Humble Masterpieces: Decoys.” National Geographic. November 1993. Richardson, Robert. Chesapeake Bay Decoys. Burtonsville, MD: Decoy Magazine, 1991. Ripley, A. Lassell and Dana S. Lamb. Sporting Etchings. Barre, MA: Barre Publishers, 1970. Shaw, Robert. Bird Decoys of North America. New York, NY: Sterling Publishing Co., 2010. Shaw, Robert. Call to the Sky: The Decoy Collection of James M. McCleery, M.D. Houston, TX: Gulf Publishing Co., 1992.

221

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TERMS AND CONDITIONS OF SALE 1 Your bidding on items indicates your acceptance of the following Terms and Conditions of sale by Copley Fine Art Auctions, LLC. These terms are subject to amendment before or during the sale. Copley Fine Art Auctions, LLC operates as an agent of the seller only, and is not responsible in any way in the event the seller or buyer fails to fulfill their respective agreements. In all instances the auctioneer’s interpretation of these conditions is final and binding on all bidders. 2 All bids are per lot as numbered in the catalog unless otherwise announced by the auctioneer. The sales price shall consist of the final bid price plus the buyer’s premium, plus any applicable sales tax. A buyer’s premium of 20% (23% for online bidding) of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the buyer as part of the purchase price. 3 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot. 4 The auctioneer has the sole right to re-offer a lot and/or settle disputed bids. The record of sale kept by the auction house will be taken as final in the event of dispute. Additionally, items may be withdrawn at any time prior to the offering of each lot. 5 All goods are sold “as is” and all sales are final with no exchanges or refunds. Copley Fine Art Auctions, LLC and its consignors make no representations or warranties as to merchantability, fitness for a particular purpose, the correctness of the catalog or other description of physical condition, quality, size, medium, importance, rarity, provenance or historical relevance of any property, and no statement made at the sale, or in the bill of sale, or invoice, or elsewhere shall be deemed such a warranty or representation or an assumption of liability. The purchaser assumes complete responsibility for items at the fall of the hammer. 6 Successful bidders are to pay for their purchases during or immediately after the sale or upon receipt of an invoice, unless other arrangements have been authorized in writing by the auction house. Payment may be made by cash or good check payable to Copley Fine Art Auctions, LLC. The auction house reserves the right to hold property until checks clear. A monthly service charge of 1.5% will be added to unpaid balances beginning 30 days after the sale date. A $50.00 fee will be added for returned checks. If a check fails to clear after the second deposit, the purchaser will be held responsible for any and all fees incurred until we have collected good funds. Purchases picked up at the auction will be subject to the South Carolina state and local tax of 8.5%. Buyers claiming exemption from sales tax must have the appropriate documentation on file with Copley Fine Art Auctions, LLC 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 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. 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. 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 5 PM 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. 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 999.99 1,000 – 2,499.99 2,500 – 4,999.99 5,000 – 9,999.99 10,000 – 24,999.99 25,000 – 49,999.99 50,000 – 99,999.99 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.

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OUT-OF-STATE DELIVERY AND AUTHORIZED SHIPPING RELEASE FORM COPLEY FINE ART AUCTIONS, LLC SHIPPING: 214 Lincoln Street | Suite 104 | Allston, MA 02134

BILLING: PO Box 1707 | Duxbury, MA 02331

Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com

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) .

Copley is obligated to deliver the items out of the Commonwealth of Massachusetts.

Copley is obligated to deliver the items to an interstate carrier as noted below.

Title will pass upon delivery to the out of state destination.

4 Please be aware that packing and the payment for shipping is the responsibility of the successful Buyer. Upon making the item(s) available for shipping to the Buyer or its Agent, Buyer shall be responsible for the care and packaging of the item(s). The Buyer shall bear the risk of loss from and after Copley making available such item(s) to the interstate carrier, including the insurance of the item(s) against all risks of loss including without limitation, fire, theft or any other damage to the item(s). 5 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: 781.224.2500 or email store4423@theupsstore.com Boston Pack and Ship: 781.849.8696 or 1.800.400.7204 U.S. Art: 781.986.6500 or 1.800.872.7826

6 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. 7

Payments of cash, check or bank transfer must be posted to your account before property is released.

Shipping can take up to four weeks and is processed in order in which payment is received.

Print name:

Place and Manner of Delivery: To an Interstate Common Carrier for delivery out of state:

(as invoiced)

Shipping Address: I authorize:

to pick up my items(s) (Please specify Name of Common Carrier)

Sale Date:

Phone:

Lot #s:

Email: Signature: (required)

Internal use only Received by: Signature:

Print Name: 225

Date:

now accepting consignments

THE SPORTING SALE 2015 July | Plymouth, Massachusetts

copleyart.com | 617.536.0030 | info@copleyart.com | Boston, MA

New from Lydia Inglett Publishing

frank w. benson Etchings, Drypoints, Lithographs and Prints A Catalogue Raisonné of Benson prints in all media by John T. Ordeman, with contributions by Faith Andrews Bedford

W. Benson founded the school of the American sporting print, and he is acknowledged to be the most accomplished artist ever to work in this genre. Furthermore, as a draughtsman, as a designer and as a technician in the use of the etcher’s needle and the drypointist’s burin, he has few equals. Mr. Benson also produced several noteworthy stone lithographs and authorized prints to be made of a number of his wash drawings. Frank W. Benson: Etchings, Drypoints, Lithographs and Prints, a revised and augmented version of Mr. Ordeman’s earlier Benson catalogue, is a completely illustrated catalogue raisonné of Mr. Benson’s works in all of these media. rank

• RegulaR edition

This 520-page volume also conTains: • A critical biography of the artist

• Benson’s instructional essay “What Is an Etching?”

• An essay comparing Benson paintings and prints of similar subjects • Commentary on two previously uncataloged Benson etchings • A bibliography of books on Benson

• A list of catalogs of Benson exhibitions

• A list of books with Benson illustrations

• Alphabetical and chronological lists of all Benson prints

• Original prints by Gordon Allen and Paul Niemiec, printmakers in the Benson tradition, together with their tribute essays to Mr. Benson. • RegulaR edition: Cloth hardcover with dustjacket, $135.00 + $12.00 s&h

• ColleCtoRs’s edition signed & numbered with two signed, limited edition intaglio prints.

• ColleCtoR’s edition: Signed and numbered with two signed, limited edition intaglio prints, leather finish hardcover with tipped-on print on front cover, gold foil stamping and gilt edging housed in a leather finish gold stamped slipcase. Included with this edition are two original signed, limited edition prints: Gordon Allen’s etching Benson and Guide and Paul Niemiec’s drypoint Decoy Spread. $475.00 + $18.00 s&h

• new dVd: The Art of Frank W. Benson, includes The Etcher’s Art, a 1926 film of the artist creating his etching Towering Widgeon, with narration and commentary on 12 Benson prints by John T. Ordeman. • With book purchase: $25 + $5 s&h • Sold separately: $30 + $5 s&h

To place your secure book order: www.starbooks.biz or telephone: 843-217-4683 Lydia Inglett, Ltd. Book Publishing

The place for beautiful, thoughtful gift books

Signature Frames & Mirrors Since 1962

guidoframes.com • (617) 269-0250 • Boston

Cindy House

162 Newbury Street, Boston • haleyandsteele.com Late Afternoon Sky (detail), pastel on paper, 24 x 34 inches, $19,500

Where you fish, Bonefish and Tarpon Trust is at work.

Conserving habitat and protecting fisheries is what we’re all about, so please join our network of anglers and sportsmen just like you. What we do: - Science for conservation - Habitat conservation and restoration - Spawning location protection - Angler education

Florida Keys – Working with anglers / guides to protect and improve fisheries for the future Bahamas – Flats and mangrove conservation Project Permit – Population study, what, when, how they tick Boca Grande, FL – Juvenile tarpon habitat restoration Project Belize – Protecting fishing areas from development and destruction

To donate, join, learn more about us, or identify a project that you’d like to be involved in, visit us on the web at www.btt.org or email us at info@bonefishtarpontrust.org

Ward Museum of Wildfowl Art Glimpse the beauty of wildfowl from around the world

Ira Hudson Duck Family

The Museum features the worldâ&#x20AC;&#x2122;s largest and finest public collection of decorative and antique decoys Join as a member, make a donation or plan a legacy gift today! Contact Executive Director Lora Bottinelli at 410-742-4988, Ext. 111

Gallery Hours: Monday-Saturday 10 a.m.-5 p.m. Sunday: Noon-5 p.m. Members enjoy free admission 909 S. Schumaker Drive, Salisbury, MD 21804 410-742-4988

WARDMUSEUM.ORG

ON VIEW NOW

THROUGH MARCH 8

6000 Shelburne Road, Shelburne, VT • www.ShelburneMuseum.org • 802-985-3346

M u s e u m o f A m e r i ca n B i rd A rt at Mass Audubon

Massachusetts Masterpieces: The Decoy as Art

ANNOUNCING A FORTHCOMING BOOK featuring the exceptional Massachusetts decoys gathered by curator Gigi Hopkins for the unprecedented 2013 exhibition at the Museum of American Bird Art. For sponsorship opportunities, or to be notified when the book is available, please contact Amy Montague, museum director, at amontague@massaudubon.org or 781-821-8853.

Image: Sleeping Plover by Melvin G. Lawrence, collection of Thomas K. Figge. Photograph by David Allen, courtesy of Copley Fine Art Auctions.

963 Washington St

Canton, MA 02021 massaudubon.org/maba 781-821-8853 amontague@massaudubon.org p

Sept 17 + 18, 2015

28th Annual Show & Sale Featuring the Wild 100 Artists

307-733-5771 | Jackson Hole, Wyoming | WesternVisions.org Proceeds benefit the Museumâ&#x20AC;&#x2122;s educational mission to enrich and inspire appreciation and knowledge of humanityâ&#x20AC;&#x2122;s relationship with nature. Images above are representations of art works from past shows, but are not necessarily included in the 2015 Show & Sale. Clockwise from top left: Jennifer Hoffman, Britt Freda, Kent Ullberg, Rob Glen, Theodore Waddell (center).

COPLEYART.COM