The Winter Sale 2016 | Copley Fine Art Auctions by Copley Fine Art Auctions

THE WINTER SALE 2016 February 12 | Charleston, South Carolina

COPLEY FINE ART AUCTIONS 1

PRESIDENT’S WELCOME On occasion I am asked, “What is it like running an auction house?” My wry answer is, ”It is a lot like being a farmer!” This is usually followed by a quizzical look and then, “How so?” Essentially our Winter and Summer auctions can be viewed as two cultivating seasons with the objects of art that we collect being our crops. Just as the farmer has limited foresight into what his or her plantings will look like come harvest time, the auctioneer goes into auction season with cautious optimism. Sure, there are factors that can be controlled: shows to attend, clients to visit, estates to vie for, but it is not until auction time that the auctioneer truly knows the strength of the harvest. With the publication of The Winter Sale 2016 auction catalog, our Copley specialists are predicting a bumper crop. Heirloom paintings from the private collection of Wild Wings founder William B. Webster will be offered alongside major southern paintings by A.B. Frost (1851-1928), Seymour Joseph Guy (1824-1910), and Aiden Lassell Ripley (1896-1969). Acutely hewn paintings by Jack Lorimer Gray (1927-1981), Willard Metcalf (1858-1925), and Andrew Wyeth (1917-2009) were inspired by the sea and the coastal villages from which these important artists hailed. Two “fresh to the market” Francis Lee Jacques (1887-1969) illustrations that I have admired for decades in Patricia Condon Johnston’s stellar book on the artist, The Shape of Things, will be offered for the first time, alongside Jacques’ classic Mallards on the Ice. Lynn Bogue Hunt is represented with four major works including one of his finest Western scenes. The Winter Sale 2016 also includes a major Carl Rungius (1869-1959) bull moose oil that hung in one of the homes at the famed Adirondack League Club. Further inspection of these pages reveals tremendous depth of sporting art from deceased masters, including works by Abbett, Adamson, Benson, Blinks, Brown, Clark, Fuertes, Gromme, Koelpin, Osthaus, Pleissner, Ripley, Schaldach, Scott, and many others. Works by living legends Corbin, Daly, Hagerbaumer, Logé, Maass, Reneson, Smith, and Ullberg are always in season and Winter 2016 is no exception. American bird decoys and carvings arrived in force this season with grand southern strains produced by Burgess, Caines, Clark, Cobb, Dudley, Hudson, Ward, and Watson. Northern varieties by Crowell, Boyd, Burr, Verity, Wheeler, Wilson, and the exceptional Nantucket makers round out the group. Contemporary carvings consigned by Gibian, Hansen, and McNair patrons showcase the talents of our good friends. If you get a chance, take a look at Mark McNair’s latest creation, his miniature yellowlegs (lot 285). My prediction is that this carving will bring more per ounce than any carving in the sale! Whereas a farmer’s harvest can only be consumed once, sporting art has the ability to nourish the senses for generations. We hope you enjoy leafing through these catalog pages. On behalf of everyone at Copley, we look forward to seeing you at our grand “farmers’ market” on February 12th in Charleston.

Steve

THE WINTER SALE Schedule of Events

AUCTION to be held at The American Theater 446 King Street | Charleston, South Carolina

FRIDAY, FEBRUARY 12 Auction Preview

8:30am - 10:30am

Auction

11am

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

Please review the Terms and Conditions of Sale on page 236 of this catalog. For further information please contact us at 617.536.0030.

Front Cover: Lot 18

CATALOG

Inside Front Cover: Lot 22

Stephen B. O’Brien Jr., President

Printed in the USA

Cinnie O’Brien, Financial Controller

Page 4: Lot 363

Aimee Stashak-Moore, Auction Coordinator

Page 7: Lot 283

Colin McNair, Decoy Specialist

Page 8: Lot 39

Jim Parker, Decoy Consultant

Page 231: Lot 111

Leah Tharpe, Fine Art Consultant

Inside Back Cover: Lots 311-314

Shawn Plouffe, Photographer

Back Cover: Lot 113

Molly Quill, Designer, Photographer for inside back cover and page 165

Chelsie Olney, Editor

CALENDAR OF UPCOMING EVENTS Contact our office for more information

FEBRUARY 12-14

Southeastern Wildlife Exposition

APRIL 2

New Jersey Decoy Show, Manahawkin, NJ

FEBRUARY 27

Long Island Decoy Show, Hauppauge, NY

APRIL 7-9

East Coast Decoy Show, St. Michaels, MD

MARCH 8

Painting Appraisal Day, Boston, MA

APRIL 19-23

North American Decoy Show, St. Charles, IL

MARCH 15

Painting Appraisal Day, New York, NY

APRIL 23

Consignment Deadline for The Sporting Sale 2016

MARCH 15

Bonefish and Tarpon Trust Dinner, New York, NY

JULY 21

The Sporting Sale 2016 Preview Party, Plymouth MA

MARCH 17-19

Great Lakes Decoy Show, West Lake, OH

JULY 22

The Sporting Sale 2016, Plymouth, MA

TABLE OF CONTENTS

Presidentâ&#x20AC;&#x2122;s Welcome

Schedule of Events

Important Notices

Paintings, Works on Paper, and Bronzes

138

Decoys and Folk Art

232

Index of Artists and Makers

234

Buyer Pre-Registration Form

235

Absentee/Telephone Bid Form

236

Terms and Conditions of Sale

237

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.

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.

not imply that the property is in good condition. Copley Fine Art Auctions, LLC reserves the right at its sole discretion to refuse condition requests. 8

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

4 Pre-registration

10 Decoy stands Please be aware that decoy stands are not included with items purchased. 11 Condition description of wear or gunning wear

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

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.

Sales tax 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.

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 or replaced eyes, shot scars, seam separations, popped grain, rust, filler loss, sap, discoloration, and altered rigging and stick holes. Varnish may not be mentioned.

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.

13 Auction results Unofficial auction results will be available online approximately one week after the auction at copleyart.com. 14 Pick up and shipping Buyers wishing to pick up items at the sale must do so on the day of the sale. Buyers wishing to pick up items after the auction at our office may do so only by appointment starting five days after the sale. If you would like your items shipped, please complete and return the Authorized Shipping Release form found in the back of this catalog.

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

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

Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for our Sporting Sale 2016. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com.

Flat art dimensions

15 Auction day contact numbers On site: 617.536.0030 Cinnie O’Brien: 617.501.7544 Auctioneer Peter J. Coccoluto South Carolina License #4547

THE WINTER SALE February 12, 2016 CHARLESTON, SOUTH CAROLINA

Properties from PETER BARTLETT COLLECTION DESCENDENT OF HOWARD BATCHELDER THE ESTATE OF GERTRUDE CARTER BULLOCK RICHARD AND LYNN GOVE DECOY COLLECTION DAVISON HAWTHORNE SPORTING ART COLLECTION DESCENDENT OF G. EVERETT HOYT, SR. DESCENDENT OF JANET HURST STEVEN J. ILLING COLLECTION DESCENDENT OF PRENTICE A. LANPHERE DESCENDENT OF J. GRIGSBY MARKHAM DESCENDENT OF JOHN P. NICHOLSON JOHN T. ORDEMAN SPORTING ART COLLECTION DESCENDENT OF DR. WARD MOULD DESCENDENT OF ROGER TORY PETERSON WILLIAM H. PURNELL, JR. DECOY COLLECTION DESCENDENT OF CHARLES SHELDON WILLIAM B. WEBSTER III COLLECTION, FOUNDER OF WILD WINGS PRIVATE COLLECTION, CALIFORNIA PRIVATE COLLECTION, CONNECTICUT PRIVATE COLLECTION, GREENWICH, CONNECTICUT PRIVATE COLLECTION, PALM BEACH, FLORIDA PRIVATE COLLECTION OF SHOREBIRD DECOYS, FLORIDA PRIVATE COLLECTION, MAINE PRIVATE COLLECTION, WELLESLEY, MASSACHUSETTS PRIVATE COLLECTION, MIDWEST PRIVATE COLLECTION, NEW JERSEY PRIVATE COLLECTION, NEW YORK PRIVATE COLLECTION, VIRGINIA

The Winter Sale 2016 February 12, 11am

1 Chet Reneson (b. 1934) Marsh Hunter, 1990 signed and dated "Reneson 90" lower right acrylic on board, 18 by 28 in.

Chet Reneson graduated from the University of Hartford, Connecticut, in 1960. Under the watchful eye of his teacher Henrik Mayer, Reneson learned the value of simplicity, meaning light, dark, and strong. For the past fifty years, Reneson’s painting has remained true to his early mentor’s teaching, encompassing many subjects including wildlife, duck hunting, upland bird shooting, big game fishing, fly fishing, and Bahamian scenes. Reneson’s work has graced the covers of Sporting Classics, Gray’s Sporting Journal, and Sports Afield among others. He is a past member of the

Connecticut Watercolor Association and the Old Lyme Art Association. He was the Ducks Unlimited Artist of the Year in 1982 and the Atlantic Salmon Federation Artist of the Year in 1982 and 2001. Reneson is known to have completed only a few dozen acrylics in his lifetime, making this well-executed dawn on the marsh scene a true gem. PROVENANCE:

Private Collection, Maine

$5,000 - $8,000

2 Chet Reneson (b. 1934) Grouse Hunting signed "Reneson" lower left watercolor, 17 1/2 by 28 in. PROVENANCE:

Private Collection, Maine

$2,000 - $4,000

3 Chet Reneson (b. 1934) Salmon Fishing signed "Reneson" lower left watercolor, 17 1/2 by 18 1/4 in. PROVENANCE:

Private Collection, Maine

$2,000 - $4,000

4 David Hagerbaumer (1921-2014) Canada Geese in Flight, 1961 signed and dated "David Hagerbaumer 1961" lower left watercolor, 16 1/4 by 21 1/4 in. PROVENANCE:

Private Collection, Maine

$400 - $600

5 David Hagerbaumer (1921-2014) Canvasbacks, 1960 signed and dated "David Hagerbaumer 1960" lower right watercolor, 21 by 29 in. PROVENANCE:

Private Collection, Maine

$800 - $1,200

6 Joseph D. Knap (1875-1962) Mallards in Flight Over Marsh signed "J.D. Knap" lower left watercolor, 14 1/2 by 21 in. PROVENANCE:

Private Collection, Maine

$200 - $400

7 Jack Lorimer Gray (1927-1981) Tending the Nets, 1961 signed and dated "Jack L. Gray.61." lower right watercolor, 17 1/2 by 26 1/2 in. PROVENANCE:

Private Collection, Maine

$2,000 - $3,000

8 Thomas Aquinas Daly (b. 1937) Labrador Fish, 1987 signed "TA Daly" lower right watercolor, 12 5/8 by 8 1/4 in.

Grand Central Art Galleries, Inc., New York label on back PROVENANCE:

Private Collection, Maine

$1,000 - $2,000

LYNN BOGUE HUNT 1878-1960 9

9 Lynn Bogue Hunt (1878-1960) Broadbills - The Tenth Bird signed "Lynn Bogue Hunt" lower right oil on canvas, 14 1/4 by 16 in. Studio of Lynn Bogue Hunt, New York label on back Abercrombie & Fitch, New York label on back

Lynn Bogue Hunt was born in rural Honeoye Falls, New York, into a family that ran a small sawmill operation. He grew up with modest means, but spent hours outside exploring the natural surroundings in the woods near his home. He often collected birds and practiced taxidermy, a hobby that led to his accurate portrayal of his wildlife subjects. Hunt contributed illustrations to his own articles, as well as cover illustrations to magazines such as Field & Stream, Sports Afield, and Free Press. In his lifetime he painted for private collectors and companies, such as DuPont, illustrated over forty books, and produced roughly two hundred and fifty magazine covers. Though he spent much of his life far from nature in New York City, Hunt had a strong foundation as a knowledgeable outdoorsman, bird hunter, and fisherman, enabling him to accurately capture the essence of the outdoors. PROVENANCE:

Private Collection, Maine

$5,000 - $7,000

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10 Six Sporting Prints by Various Artists

Edward Knobel (1839-1908)

Sport, or Fishing and Shooting each inscribed "Copyright 1889 Bradlee Whidden" chromolithographs, 12 by 18 in.

A Hunt Above the Timber Line

Sherman Denton (1856-1907)

Catching a Mascalonge

signed "Edward Knobel" in plate lower left Frank H. Taylor (1846-1926)

Fly Fishing for Bass

signed "Frank H. Taylor" in plate lower left

signed and dated "S. Denton 1889" in plate lower left

These six prints are from a rare 19th century portfolio originally consisting of fifteen chromolithographic plates of fishing, bird hunting, and large game hunting. Included were Frederic Remington's first two published prints in color, a rare A.B. Frost image of deer hunting, and nature scenes by other top illustrators of the time. The plates are based on paintings commissioned for the portfolio, which were reviewed by a group of anglers and sportsmen for accuracy.

Henry Sandham (1842-1910) Salmon Fishing signed and dated "H. Sandham 1889" in plate lower right Frederic Remington (1861-1909)

Goose Shooting signed "-Frederic Remington-" in plate lower left Frederic Schiller Cozzens (1846-1928)

Tarpon Fishing

PROVENANCE:

signed and dated "Fred S. Cozzens 89." in plate lower left

Private Collection, Maine

$1,500 - $2,500

11 Lynn Bogue Hunt (1878-1960) Flight of Black-Bellied Plover signed "Lynn Bogue Hunt" lower right gouache, 13 1/2 by 16 in.

Flight of Black-Bellied Plover is a classic illustration piece by the artist. The birds are carefully depicted with great detail, indicating Hunt's familiarity with the species. The artistry of the composition and background are apparent showcasing Hunt at the height of his craft. Of the hundreds of sporting magazine covers and illustrations that Hunt produced very few portray shorebirds. $8,000 - $10,000

12 Lynn Bogue Hunt (1878-1960) Pheasant Pair, 1950 signed and dated "Lynn Bogue Hunt 1950" lower left oil on canvas, 14 by 16 in.

$4,000 - $6,000

13 Lynn Bogue Hunt (1878-1960) The Loafing Place, 1951 signed "Lynn Bogue Hunt 1951" lower left oil on canvas, 10 by 12 in. Abercrombie and Fitch gallery label on back PROVENANCE: Purchased at Abercrombie and Fitch in the 1950s Private Collection, by descent in the family

$2,000 - $4,000

14 Louis Agassiz Fuertes (1874-1927) Scaled Quail, 1901 signed and dated "Louis Agassiz Fuertes 1901" lower right watercolor, 11 by 6 7/8 in.

Charles Alexander Sheldon (1867-1928) was known as the "Father of Denali National Park," as he personally delivered the bill creating the park to Woodrow Wilson to be signed into law. Sheldon was a prominent sporting gentleman, a member of the Boone and Crockett Club, and the Sheldon National Wildlife Reserve in Nevada is named in his honor. PROVENANCE: Charles Sheldon Collection By descent in the family

$1,500 - $2,500

15 Louis Agassiz Fuertes (1874-1927) Red-Winged Blackbird, 1911 signed "L.A.F." lower right ink wash on board, 10 1/4 by 8 1/2 in. inscribed "Aug 1911," "Red-Winged Blackbird," and reproduction notes on back PROVENANCE: Allan Brooks Collection, Canada, gift from the artist Private Collection, New York

$1,500 - $2,500

16 Francis Lee Jaques (1887-1969) Two Orioles signed "F.L. Jaques" lower right watercolor on board, 11 1/2 by 8 1/2 in.

$1,000 - $3,000

17 Hawk and Hoopoe watercolor, 15 3/4 by 9 1/2 in.

In Greek mythology, Tereus, the king of Thrace, is turned into a hoopoe, or hawk, by the gods. Sophocles' lost tragedy Tereus includes the legend, and in Greek legend the hawk turned into the hoopoe during autumn. $400 - $600

FRANCIS LEE JAQUES 1887-1969 The mixed colors in the sky, the translucent light coming through the wings of the flying bird, and the spot on vertical composition work seamlessly; the painting is sheer brilliance. - Stephen B. O’Brien, Jr.

18 Francis Lee Jaques (1887-1969) Wild Turkey, 1945 signed "F.L. Jaques" lower right oil on canvas on masonite, 24 by 20 in.

Both Wild Turkey and Mourning Doves (lot 19) were reproduced as part of a portfolio of thirty-one prints and were included in the book Outdoor Life’s Gallery of North American Game. A Brilliant Collection of Paintings By Francis Lee Jaques, Foremost Artist of the Outdoors, with Descriptive Text By Distinguished Authorities on Wildlife, which was first published in 1946 and reprinted in 1957. Archibald Rutledge commented in Outdoor Life's Gallery of North American Game, "Considering his size, his beauty, his extreme wariness and smartness, and his prize qualities for the table, I believe the wild turkey to be one of the finest game birds in the world... This premier game bird was, in Colonial days, of very wide and prolific distribution in our country. It was especially abundant in New England, whence it has now vanished. There is a close relationship between the integrity of the natural forest and the welfare of the wild turkey." “As is the case with all game birds and animals, it is the hunter who comes to know turkeys best and to appreciate them most...If you understand his nature and his habits; if you have the patience that amounts to persistence; and if you will wait until he gets within fair range, and then shoot him with No. 2’s, you will get your gobbler. And in doing so you will achieve a real wildwood triumph. In fact, when you bear such a trophy home, your domestic standing may be vastly improved.” PROVENANCE:

Private Collection, Connecticut

Patricia Condon Johnston, The Shape of Things: The Art of Francis Lee Jaques, Camden, SC, 1994, p. 64, illustrated.

LITERATURE:

Archibald Rutledge, “The Wild Turkey: Prime Sport -- and Prime Eating!” Outdoor Life's Gallery of North American Game, New York, NY, 1946, pp. 24-27, illustrated. $15,000 - $20,000

19 Francis Lee Jaques (1887-1969) Mourning Doves, 1945 signed "F.L. Jaques" lower right oil on canvas on masonite, 24 by 20 in.

In Outdoor Life's Gallery of North American Game, P.A. Parsons describes the mourning dove: "Most of us, no matter what state we live in, have heard the soft, cooing call of the male mourning dove. These elusive, swift-flying birds are probably the most widely distributed of all our game birds...North or South, East or West, the mourning dove is a lover of open country. Densely forested areas are not for him, although he may take shelter in small and rather open groves." "Skilled dove hunters vow that here is as good a game bird as any. You don't have to go with them all the way to admit that the dove makes mighty sporty shooting." PROVENANCE:

Private Collection, Connecticut

Patricia Condon Johnston, The Shape of Things: The Art of Francis Lee Jaques, Camden, SC, 1994, p. 133, illustrated.

LITERATURE:

P.A. Parsons, "The Mourning Dove -- Gray Ghost of the Fields," Outdoor Life's Gallery of North American Game, New York, NY, 1946, pp. 56-59, illustrated. $15,000 - $20,000

20 Douglas Van Howd (b. 1935) The Departure, c. 2010 signed "Van Howd" on base bronze, 20 by 19 1/2 by 17 in. edition 11 of 75

This bronze exhibits precise feather detail with life-like polychrome finish. Born in Nevada, Douglas Van Howd is known for his highly realistic wildlife and western art sculpture and painting. He studied at the Art Center School in Southern California. His sculpture, Friends of Freedom is displayed in The Roosevelt Room of the White House. $3,000 - $5,000

21 Francis Lee Jaques (1887-1969) Mallards

This painting belonged to G. Everett Hoyt, Sr., who owned Mulberry Plantation in Moncks Corner, South Carolina, about thirty miles from Charleston on the Cooper River. Mulberry Plantation was established around 1714 by Thomas Broughton, the Royal governor of South Carolina. Hoyt purchased the early Georgian-style house and over 1,000 acres in 1953, and the plantation was declared a National Historic Landmark in 1963.

signed "F.L. Jaques" lower right oil on canvas, 30 by 24 in.

Patricia Condon Johnson comments in The Shape of Things: The Art of Francis Lee Jaques, "Jaques was the foremost American bird artist of his era; his genius lay in his keen powers of observation coupled with his truly unusual artistic ability. Brightly colored drake mallards and their less pretentious female counterparts were familiar sights for the Jaques at North Oaks, where Lee and Florence built their house between two ponds. 'They never failed to lift our hearts,' Florence wrote. 'After living in New York for so many years with only a flight of pigeons to see from our small balcony, it was a marvel to have them part of our home surroundings.'"

PROVENANCE: G. Everett Hoyt, Sr., owner of Mulberry Plantation, Moncks Corner, South Carolina By descent to the current owner

Patricia Condon Johnson, The Shape of Things: The Art of Francis Lee Jaques, Camden, SC, 1994, p. 108.

LITERATURE:

$18,000 - $24,000

CARL RUNGIUS 1869-1959

22 Carl Clemens Moritz Rungius (1869-1959) Bull Moose, 1909 signed "C. Rungius" lower right oil on canvas, 23 1/4 by 35 1/2 in.

Carl Clemens Moritz Rungius was born in 1869 in Germany. He was trained classically in the German art tradition in Berlin, including at the Kunstakademie, during his early years. This, coupled with his compulsory military service in the Prussian army, gave him the artistic skills and marksmanship experience which fostered his illustrious career as a big game painter. Rungius had extensive personal experience in the wild. His first trip to the United States in 1894 came at the invitation of an uncle to hunt moose in Maine. The expedition did not bag a moose, so Rungius stayed on for a year to try again the next season. In the course of that year, the artist completed his first substantial painting in the U.S., depicting a bull moose head. This work was displayed at M. Knoedler and Co. in New York and drew Rungius much acclaim. The artist’s German roots and training in the German realist manner defined his early career. Rungius was unable to hunt big game in his native Europe due to the aristocratic restrictions on private game parks, so the wide open spaces of America beckoned strongly. Rungius settled permanently in America in 1897, and the romantic and aristocratic connotations of big game paintings are apparent in his work. His wildlife paintings spring directly from the tradition of Wilhelm Kuhnert and Edwin Landseer.

Bull Moose is related to Hunting the Canada Moose, which can be found in the Glenbow Museum in Calgary, the major repository for Rungius’s works and the contents of his Banff studio. The Glenbow notes, “In later work, Rungius didn't include the hunter in his images, allowing for a more direct encounter with the animal.” This is apparent in Bull Moose, where the subject gazes directly at the viewer. The realistic coloring and shadowing of the moose’s rack across his body emphasize the imposing size of the animal. This classic big game painting by one of the most well-known painters of America’s native wild animals is a commanding centerpiece for any museum or private wildlife art collection. This marks the first time this signature Rungius has been offered for sale in over forty years. PROVENANCE: John P. Nicholson Collection, purchased from The Crossroads of Sport, Inc., New York, January 1975 Private Collection, by descent in the family

The Glenbow Museum, Carl Rungius: Artist and Sportsman, Toronto, Canada, 2001.

LITERATURE:

Samuel Merrill, The Moose Book, Facts and Stories from Northern Forests, New York, NY, 1916. The Crossroads of Sport, Inc. Catalog, New York, NY, 19741975, p. 61, illustrated. $150,000 - $250,000

Theodore Roosevelt owned one of Rungius’s painting of a bull moose titled Lord of the Forest. The Glenbow Museum notes, “Rungius devoted more time to depicting moose than any other big game subject. Rungius's interpretation of the moose changed throughout his career, reflecting both his development as an artist and his changing attitude to wildlife.” Later he would inject more rugged, impressionist style and simplify his planes of color. In 1904 while on an expedition in the Yukon, Rungius took a significant trophy moose. The moose ended up in the British Museum in London, and Rungius’s drawing of the notable specimen was published in Samuel Merrill’s 1916 volume The Moose Book. This commanding painting hung in a prominent residence at the Adirondack League Club on Moose Lake and Moose River near Old Forge, New York. Founded in 1890 and now one of the oldest sporting clubs in the country, the Adirondack League is an over 50,000 acre retreat centered on hunting, fishing, and hiking with strong preservation and conservation principles. Its members have included architect Stanford White, President Warren G. Harding, and Gardiner Green Hubbard, who was the founder and first president of National Geographic Society, which today awards the Hubbard Medal in his honor.

Carl Rungius painting in studio, Green Point, Long Island, New York, Glenbow Archives

LYNN BOGUE HUNT 1878-1960

23 Lynn Bogue Hunt (1878-1960) Big Horn Rams signed "Lynn Bogue Hunt" lower left oil on canvas, 29 by 21 in.

Big Horn Rams shows the artist Hunt literally in his element. It is hard to imagine that Hunt did not see himself in this seminal work. The hunter, perched on the steep rocky cliff, is confident in his footing, using only his feet and legs for balance as he grasps his rifle. Hunt conveys the excitement of the hunterâ&#x20AC;&#x2122;s good fortune while creating an air of anticipation of a shot at a big ram. The figure does not appear to be the type who will succumb to buck fever as he removes his hat from his head and prepares for the shot. Copley Fine Art Auctions, The Sporting Sale, Plymouth, MA, July 24, 2008, lot 60.

LITERATURE:

$35,000 - $45,000

24 William J. Koelpin (1938-1996) Marsh Gunner, 1994 signed and dated "Wm. J. Koelpin '94" on bronze base bronze, 7 1/2 by 12 by 16 in. edition 4 of 45 inscribed "4 of 45," "Marsh Gunner after Benson" on top of base, and "Tribute to Frank W. Benson" on side of base

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. $3,000 - $5,000

24 25

25 William J. Koelpin (1938-1996) Conflict, 1992 signed "Wm. J. Koelpin ÂŠ 92" above base bronze, 20 by 13 by 9 in. edition 1 of 24 (only 2 cast) inscribed "1/24" above base

Although the edition size is stated as twenty-four, according to the Koelpin family only two of these bronzes were ever cast. $3,000 - $4,000

26 William J. Koelpin (1938-1996) Scratch, 1992 signed and dated "Wm. J. Koelpin '92" on base bronze, 21 by 10 1/2 by 6 1/2 in. edition 1 of 24 inscribed "Scratch" and "He lost his Hoss" on base

Included with this bronze is a watercolor on paper, 11 by 8 inches of Scratch, signed "Wm. J. Koelpin" lower right. $2,000 - $3,000

27 Michael Coleman (b. 1946) Buffalo Meat, 1977 signed and dated "Michael Coleman-1.9.7.7. VIII" lower right gouache, 12 by 16 in. Kennedy Galleries, New York, NY label on back PROVENANCE: Private Collection, Greenwich, Connecticut

$1,000 - $1,500

28 William J. Schaldach (1896-1982) Quail on a Branch signed "Wm J. Schaldach" lower right watercolor, 16 by 12 in. PROVENANCE:

Davison Hawthorne Collection

$800 - $1,200

29 Lynn Bogue Hunt (1878-1960) Turkeys signed "Lynn Bogue Hunt" lower left pencil drawing, 15 by 14 1/2 in.

$600 - $900

30 Walter Matia (b. 1953) Timber Dancer, 1993 signed "Matia" on lower side of base bronze, 9 1/2 by 7 by 3 1/2 in. edition 2 of 36

Walter Matia discusses this bronze in his book A Question of Balance: â&#x20AC;&#x153;There were two different foundries that did the work over the edition of 36. Cutrone until about 1998...The Cutrone patinas were a beautiful transparent french brown which showed green...The piece sold out very quickly...It is still one of my favorite pieces, in fact I bought back one. I know one copy is in the collection of Brookgreen Gardens, and a second, I believe, is owned by the Leigh Yawkey Woodson Art Museum.â&#x20AC;? LITERATURE:

Walter T. Matia, A Question of Balance, Albany, GA, 2000, p. 9,

illustrated. $1,500 - $2,500

31 Robert K. Abbett (1926-2015) Wild Covey, 1979

attributed to allowing his subjects to remain individuals. In his dog images, for example, he incorporates a pose, or an expression, that makes the animal appear real and endearing. Abbett also spends significant time creating the "right" background for his images. By setting the perimeters of the story, the background supplies much of the narrative. Using his impressionistic style, Abbett often suggests time and space without giving all of the details. The intention is to draw viewers in and give them the opportunity to complete the picture with their own experiences. Wild Covey is one of the most recognized and published Abbett works of all time, and widely considered to be one of the artist’s master works.

Robert Abbett, born in Indiana in 1926, is best known for his depictions of sporting dogs, fly-fishing, and western life. He began his career as an advertising illustrator, attending night and weekend classes at both the Chicago Academy of Fine Art and the American Academy of Art where he found himself drawn to editorial and advertising art. In 1953 he moved from Chicago to Connecticut to be closer to the editorial markets. There he illustrated for Argosy, The Woman's Home Companion, Sports Afield, Reader's Digest, and True magazines. He also worked with several West Coast motion picture studios and drew covers for many of the leading paperback publishers. Robert Abbett was commissioned to paint his first animal portrait of Luke in 1970. It was with this painting that he transitioned from working as an illustrator to a full-time gallery artist. Abbett is recognized as a master in the field of sporting dog portraiture. His popularity and appeal have been

This painting was published in 1979 by Sportsman’s Edge in a limited edition of 750 prints. PROVENANCE:

Private Collection, New Jersey

LITERATURE:

The Crossroads of Sport, Inc. Catalog, New York, NY, 1979-80, p. 73, print illustrated. Robert K. Abbett, A Season for Painting: The Outdoor Art of Robert K. Abbett, Dallas, TX, 2001, p. 176, print illustrated. $20,000 - $30,000

THE WILLIAM B. WEBSTER III SPORTING ART COLLECTION LOTS 32-88, 441, 456

William B. Webster III (1925-2015) was born in St. Paul, Minnesota. He was in the US Army-Air Corps from 1943 until 1946, and afterwards attended St. Thomas College in St. Paul. Webster married Elizabeth “Betty” Reding of Lake City, Minnesota, in 1952, and the couple had seven children. Webster spent twenty-five years as a representative for Master Lock Co., and in 1968 he founded Wild Wings, Inc. in Frontenac, Minnesota. According to a company profile, “Wild Wings founder and chairman, William B. Webster, was born and raised in Minnesota on the banks of the Mississippi River. Like many people growing up in the rugged bluff lands of the Hiawatha Valley, nature and wildlife played a dramatic role in Webster’s childhood. Enjoying the outdoors, Bill went to great lengths to observe the wide variety of area wildlife. His favorite subjects, however, were often the easiest to find... he needed only look toward the sky and nearby backwaters. Webster was filled with awe and wonder when he watched the many species of waterfowl as they took flight. Their migrations twice a year were especially intriguing. The massive fall exodus and spring return were exciting and highly anticipated events.” “Wild Wings opened its doors as one of the first American publishing houses of wildlife and sporting art. Wild Wings has been fortunate to work with some of the most talented artists in the history of the genre.” These artists include David A. Maass, David Hagerbaumer, Owen Gromme, Chet Reneson, and Harry Curieux Adamson, among many others. Hagerbaumer and Maass came to be close friends with Webster, and indeed were central to the formation of Wild Wings.

Maass recalled, “Bill had seen some paintings of mine, I think in New York, and he came to visit me … We struck up a quick friendship and remained very close for over 60 years. We hunted all over together. He was as good a friend as I’ve had.” Minnesota outdoor journalist Dennis Anderson writes of the two, “Like Bill, Maass was fascinated not only by the beauty of ducks and their featherings, species by species, but by their profiles in flight. A drake mallard backpedaling over decoys at sunrise is a singularly magnificent sight. But so is a bluebill banking against a snowy squall and, similarly, a wood duck perched on a marsh log.” Webster was an avid proponent of conservation, along with his hunting and wildlife art passions. Anderson notes, “A past national trustee of Ducks Unlimited, Delta Waterfowl, and the Bell Museum of Natural History, Bill was a dedicated conservationist who had as much to do with the public’s appreciation of wildlife as anyone.” Webster filled his family home and office with the wildlife art he loved so much and helped to popularize. It is our pleasure to offer the William B. Webster III Collection, along with personal recollections from the Webster family about Bill and the artists, within these pages. LITERATURE:

Dennis Anderson, “Webster is master of realistic wildlife art,” Minneapolis Star Tribune, Minneapolis, MN, April 16, 2015. “William Byron Webster 1925-2015,” Pioneer Press, Minneapolis and St. Paul, MN, April 15-16, 2015.

William B. Webster III, 2014, Photo courtesy of the Webster Family

DAVID HAGERBAUMER 1921-2014

32 David Hagerbaumer (1921-2014) Shagbark Hickory - Bobwhite signed "David Hagerbaumer" lower right watercolor, 25 1/2 by 37 1/2 in.

In John Orrelle's book, The Art of a Sporting Life: The Wildlife Art of David Hagerbaumer, Bill Webster recalled, “My association with Dave Hagerbaumer goes back to the early sixties, and while we always seemed to be half a continent apart, there were many lengthy letters, notes and telephone conversations that were carried out between us. What I most remember was an unforgettable woodcock hunt in October, 1967. Along with my friend John Dill, David Hagerbaumer and David Maass had been invited, both yet to experience their first hunt for woodcock.” “Later, back at John Dill’s cabin in front of a warm fire our talk naturally turned to art and I told them my idea for publishing art. We kicked it around for two days, and by the time I got home I was more convinced than ever that it could work. As I recall, it was Dave Hagerbaumer who was first to say to me that I should go into the wildlife art business. From that evening’s discussion, Wild Wings ‘took flight’.” PROVENANCE:

William B. Webster III Collection

John Orrelle, The Art of a Sporting Life: The Wildlife Art of David Hagerbaumer, LaConner, WA, 2009, pp. 44-45.

LITERATURE:

John Orrelle, "Reflections on a Sporting Life: David Hagerbaumer's paintings unite gamebirds, landscape, and viewer in a tapestry of perfect harmony," Sporting Classics, May/June 2015, pp. 132-133, illustrated. $2,500 - $3,500 36

33 David Hagerbaumer (1921-2014) Apache Country - Turkeys, 1985 signed "David Hagerbaumer" lower left watercolor, 21 by 29 1/4 in. PROVENANCE:

William B. Webster III Collection

John Orrelle, The Art of a Sporting Life: The Wildlife Art of David Hagerbaumer, LaConner, WA, 2009, p. 183, illustrated.

LITERATURE:

William B. Webster, III with David Hagerbaumer, Photo courtesy of the Webster family

$2,500 - $3,500

DAVID A. MAASS B. 1929

34 David A. Maass (b. 1929) Cautious Trio - Turkeys signed "Maass" lower right oil on board, 23 1/2 by 35 1/2 in.

This painting was reproduced as a color print in a limited edition of 850, a copy of which accompanies the lot. PROVENANCE:

William B. Webster III Collection

$8,000 - $10,000

37 David A. Maass (b. 1929) Canvasbacks signed "Maass" lower right pencil drawing, 6 1/4 by 8 in.

35 David A. Maass (b. 1929) Woodcock

PROVENANCE:

signed "Maass" lower right pencil drawing, 9 1/2 by 7 in. PROVENANCE:

$200 - $300

William B. Webster III Collection

38 David A. Maass (b. 1929) Wood Ducks, 1975

$200 - $300

signed "Maass" lower right pencil on paper, 6 by 8 3/4 in.

36 David A. Maass (b. 1929) Bobwhite Quail

This drawing is the original pencil drawing done for the 1974 Migratory Bird Hunting Stamp. Framed with thirty state and federal bird conservation stamps by David A. Maass, including 1975 and 1983 Federal duck stamps.

signed "Maass" lower right pencil drawing, 6 1/2 by 7 in. PROVENANCE:

William B. Webster III Collection

$200 - $300

PROVENANCE:

William B. Webster III Collection

$1,000 - $1,500

39 David A. Maass (b. 1929) Winter Wonder Ruffed Grouse signed "Maass" lower left oil on board, 31 1/2 by 26 1/2 in.

Bill Webster handled dozens of paintings by Maass throughout his life, and this work was a personal favorite. The family recounts, â&#x20AC;&#x153;This painting sat in our sun porch in which our dad retired each evening after dinner. From his favorite chair he could look out the window and see his beloved Lake Pepin as well as view one of the best ruffed grouse paintings by one of his best friends, David Maass.â&#x20AC;? This painting was reproduced as a color print in a limited edition of 2500, a copy of which accompanies the lot. PROVENANCE:

William B. Webster III Collection

$8,000 - $10,000

OWEN GROMME 1896-1991

40 Owen Gromme (1896-1991) Brittany on Point, 1970

EXHIBITED: Milwaukee, Wisconsin, A Retrospective Exhibition, The Wildlife Art of Owen J. Gromme, The Milwaukee Public Museum, June 6-16, 1980

signed and dated “O.J. Gromme 1970” lower left oil on canvas, 22 1/2 by 32 1/2 in.

The Webster family recounts, “Our family dog, Freckles, was Dad’s favorite Brittany. Dad asked Owen to paint her in a scene he had witnessed so many times, during a beautiful fall day. Here she is locked on point to a 'Timberdoodle' (as he used to call Woodcock).” Dad liked to watch people look at this painting as the dog is center of attention and it seemed to take more than a few seconds for them to see the woodcock.”

LITERATURE: Roger Tory Peterson, Judith R. Coopey, Michael Mentzer, The World of Owen Gromme, Madison, WI, 1983, p. 149, illustrated.

Fred Ott, The Milwaukee Public Museum Presents a Retrospective Exhibition, The Wildlife Art of Owen J. Gromme, Milwaukee, WI, 1980, p. 18, illustrated. $8,000 - $10,000

Indeed, the back of the painting bears the inscription: “The American woodcock in this painting is difficult to see at first, but that is the way they are in the wild - their protective coloration makes it possible for them to remain undetected until the dog or the hunter is within a few feet. Then suddenly they will take off like a whirlwind, setting dry leaves aswirl as they rise. Their rapid wing beats make a whistling sound, and they fly straight up until they get above the lower brush, then they level off and go on their own way." Freckles’ dog identification tag is attached to the frame. This painting was reproduced as a color print in a limited edition of 450, a copy of which accompanies the lot. PROVENANCE: William B. Webster III Collection, commissioned from the artist

William B. Webster III with Owen Gromme, 1973, Photo courtesy of the Webster family

41 Owen Gromme (1896-1991) Doves in the Long Leaf Pine, 1958 signed and dated "O.J. Gromme '58" lower left oil on canvas, 15 3/4 by 19 3/4 in.

Original painting for the 1982 American Bird Art Heritage Stamp issued as a fundraiser by the American Museum of Wildlife Art. Includes three sheets of ten unused stamps. This painting was reproduced as a color print in a limited edition of 950, a copy of which accompanies the lot. PROVENANCE:

William B. Webster III Collection

LITERATURE:

The Crossroads of Sport, Inc. Catalog, New York, NY, year unknown, p. 20, illustrated. The Crossroads of Sport, Inc. Catalog, New York, NY, 1963-64, p. 23, related example illustrated. $5,000 - $7,000

AIDEN LASSELL RIPLEY 1896-1969

"When I first saw Ruffed Grouse and Apples my immediate reaction was: 'This is as good as Ripley gets.'" -Stephen B. O'Brien, Jr., author of The Art of Aiden Lassell Ripley

42 Aiden Lassell Ripley (1896-1969) Ruffed Grouse and Apples signed "A. Lassell Ripley" lower left watercolor, 18 1/2 by 29 in.

According to the Webster family, "this painting hung in a prominent place of our living room for years." PROVENANCE: LITERATURE:

William B. Webster III Collection

The Crossroads of Sport, Inc. Catalog, New York, NY, 1967-1968, p. 80,

illustrated. $15,000 - $20,000

43 Aiden Lassell Ripley (1896-1969) Quail Country, c. 1960 signed "A. Lassell Ripley" lower right watercolor, 18 3/4 by 29 in.

By the 1930s and 40s, Aiden Lassell Ripley had established himself as the most sought-after painter of southern plantation scenes. Business executives and political leaders traveled to estates during the dreary northern winters to hunt for wild turkey and quail. Plantation owners and their guests commissioned Ripley to paint family members while hunting. In Quail Country, Ripley has included all the characteristics of a good southern hunting scene. The action is framed by tall pine trees, and the distant cabin and fields add a stirring beauty to the setting. The moment is immediate as the dogs point a covey of quail. The handlers, with their horses, stand at attention, as the birds flush. The hunters, in sporting coats and hats, swing on the birds hoping for a successful outcome. This painting closely relates to Covey by the Cabin, which was reproduced as a popular color print. PROVENANCE: LITERATURE:

William B. Webster III Collection

The Crossroads of Sport, Inc. Catalog, New York, NY, 1967-68, p. 80, illustrated.

$30,000 - $40,000

44 Aiden Lassell Ripley (1896-1969) Driven Turkeys signed "A. Lassell Ripley" lower left watercolor, 25 1/2 by 21 in. PROVENANCE:

William B. Webster III Collection

$18,000 - $24,000

AIDEN LASSELL RIPLEY 1896-1969

In my twenty-five years in the field, I have come across very few Ripley oils that match the quality and complexity of this important work. The composition, published history, condition, and Webster provenance all combine to make this Ripley top shelf. -Stephen B. O'Brien, Jr., author of The Art of Aiden Lassell Ripley

45 Aiden Lassell Ripley (1896-1969) Woodcock by the Brook, c. 1948 signed "A. Lassell Ripley" lower left oil on canvas, 26 1/2 by 39 1/2 in.

“This colorful New England scene hung in Dad’s office for most of his lifetime, taking him afield even when he couldn’t be out there. The hunter’s aim at the bird in flight filled Dad with the excitement of that moment just before a difficult, successful shot. (It was) the only painting in his office at home, and probably his most prized.”

birds,' early migrants from upper New England or Canada, have joined 'natives' still lingering in relative warmth. For a brief time these hunters can comb the coverts, accompanied by a zealous setter and armed with light, short shotguns for fast shooting at erratic targets. Abruptly the dog checks his trot and sets his body in a firm point - then a button-eyed, neckless ball of feathers, patently incapable of flight, rockets upward with a twittering whistle of air through its stubby primaries."

This signature work by Ripley is in great company. It was selected, along with A.F. Tait's A Good Time Coming, Thomas Eakins' Whistling for Plover, and Andrew Wyeth's Coot Hunter, as one of the "Great American Shooting Prints" in Robert Elman's 1972 book. Elman describes the scene of the painting: "Where alder bottoms, aspen groves, and willow swales wander alongside a stream through rolling farmland, the damp earth may be drilled and spattered by woodcock probing for worms, employing sensitive bills nearly as long as their bodies. They are inland sandpipers, related to snipe, shorebirds of the uplands with the strong migratory urge of most shore birds."

This painting was reproduced as a color print for a fundraiser in a limited edition of 950, a copy of which accompanies the lot. PROVENANCE:

William B. Webster, III Collection

LITERATURE:

Stephen B. O'Brien, Jr. and Julie Carlson Wildfeuer, The Art of Aiden Lassell Ripley, Boston, MA, 2009, p. 108, plate 95, illustrated. The Crossroads of Sport, Inc. Catalog, New York, NY, 197071, p. 34, illustrated.

"A. Lassell Ripley was fascinated by these unique game birds. One of his last major endeavors before his death in 1969 was the completion of the fine etchings and watercolor frontispiece for William G. Sheldon's noteworthy treatise, The Book of the American Woodcock.

Robert Elman, The Great American Shooting Prints, New York, NY, 1972, pl. 56, illustrated. $60,000 - $90,000

“Woodcock by the Brook depicts a "setting where 'flight

45 45

In his notes on Horicon Marsh - Canada Geese, Bill Webster discusses how he acquired the painting, saying, “In the Late 1960’s, exact date unknown, but probably before founding Wild Wings in 1967, I received a phone call from an elderly Mrs. Nick Kahler. She explained that someone told her I buy paintings by Owen J. Gromme. Her husband, the owner of the two largest Sports Shows in the country, Minneapolis and Kansas City, had recently passed away, and she had moved from a large home in the suburbs to a high rise condominium in downtown Minneapolis; and in the closet taking up a lot of room was a large painting of ducks or geese by Owen J. Gromme that her husband bought from Mr. Gromme in 1947 or 1948. It was a good fit in their big house, but she didn’t want it nor had any room to hang it in her new apartment.

Then pulled the painting out of the closet, and much to my surprise was the Horicon Marsh-Canada Geese original oil that on one of my visits with Owen earlier he told me about the painting he literally worked on all one summer, 30” x 40” with over 120 geese some standing some flying. At the time he didn’t tell me who it was painted for but the minute I saw it I knew this was the painting, which he had sold for $500. And would never do another one with that many birds in it, nor he said would any other artist as it was far too much work for what he sold it for.

I arranged to stop within a few days and look at it. Which I did, as having met Owen via the WBW “knock on the door” introduction, a few years earlier, I was anxious to see the painting. Up on the 17th floor and this time a knock on Mrs. Kahler’s door which she promptly opened and ushered me in.

I’m sure that in a lifetime of buying and selling, this 10 minutes was by far the quickest to “seal a deal” for a painting. I had it cleaned and varnished, and have spent 40 plus years thoroughly enjoying it hanging on the wall and seeing the painting every time I walk in my office.”

I asked Mrs. Kahler what the price was, and she said, “Nick probably paid $500 for it, and if you’ll haul it out of here right now for that, it’s all yours.”

Owen Gromme painting Horicon Marsh - Canada Geese, 1949, Photo courtesy of the Webster family

46 Owen Gromme (1896-1991) Horicon Marsh - Canada Geese, 1949 signed and dated "Owen J. Gromme. '49." lower right oil on canvas, 29 3/4 by 39 3/4 in.

The painting is accompanied by three paper cutouts of Canada geese made by Gromme in an envelope inscribed, "These Canada Geese cut-outs by Owen were used to paste or lightly tape (pre Post-It notes) on the canvas when working on the painting. In this case, it was on this Horicon Marsh painting done in 194[9]. He could move them around to see where they fit best." According to the Webster family, “The Horicon Marsh was fairly close to where Owen lived, and he was a big supporter of conservation efforts there. Each fall upwards of 200,000 Canada geese migrate through, and Owen was fond of telling stories of his painting research outings, and the clouds of geese that darkened the skies." Bill Webster, “was amazed at all the Canada geese in one

painting and the different attitudes of the birds. Owen had built a wooden goose model with wire between the wooden pieces. Dad thought that was amazing because Owen could manipulate the model to show the bird in different stages of flight.” PROVENANCE: Collection of Mr. and Mrs. F. W. Kahler William B. Webster III Collection, purchased from the above in 1971

Milwaukee, Wisconsin, Wisconsin Outdoor Exposition, Sept. 10-18, 1949.

EXHIBITED:

Milwaukee, Wisconsin, A Retrospective Exhibition, The Wildlife Art of Owen J. Gromme, The Milwaukee Public Museum, June 6-16, 1980. Fred Ott, The Milwaukee Public Museum Presents a Retrospective Exhibition, The Wildlife Art of Owen J. Gromme, Milwaukee, WI, 1980, p. 11, illustrated.

LITERATURE:

$5,000 - $7,000

47 Owen Gromme (1896-1991) Tamarack Lake - Canada Geese, 1974 signed and dated "O.J. Gromme 3-12-74" lower right pencil drawing, 16 3/4 by 33 1/2 in. inscribed "Tamarack Lake Canada Geese sketch for original" lower right PROVENANCE:

William B. Webster III Collection

Wild Wings, The Wildlife Sporting Collection, 1976-77, p. 12, related print illustrated.

LITERATURE:

$200 - $400

48 Owen Gromme (1896-1991) Mourning Doves, 1974 signed and dated “Owen J. Gromme 6-26-’74” lower right pencil drawing, 21 3/4 by 24 in. PROVENANCE:

William B. Webster III Collection

$200 - $400

49 Owen Gromme (1896-1991) Two Owl Drawings, 1974 each signed and dated “O.J. Gromme 1974” lower right each pencil drawing 20 by 15 in. 7 1/2 by 10 in.

PROVENANCE:

William B. Webster III Collection

$200 - $400

50 Allan Brooks (1869-1945) Mallards signed "Allan Brooks" lower right watercolor, 11 1/2 by 18 1/4 in. The Sporting Gallery and Bookshop, Inc., New York, NY label on back American Wildlife Art Galleries, Minneapolis, MN stamp on back PROVENANCE:

William B. Webster III

Collection $1,000 - $1,500

51 Allan Brooks (1869-1945) Wood Ducks, 1944 signed and dated "Allan Brooks 1944" lower right watercolor, 10 1/2 by 14 in. PROVENANCE:

William B. Webster III

Collection $1,000 - $1,500

52 Gary Moss (b. 1946) Family of Snows, 1977 signed and dated "Gary W Moss 1977" lower left oil on canvas, 26 3/4 by 41 in.

“This serene painting was one of Mom’s favorites. Dad hung it prominently in our family house for all to enjoy,” recalls a member of the Webster family. PROVENANCE:

William B. Webster III

Collection $2,000 - $4,000

53 David A. Maass (b. 1929) North Shore Buffalo Lake signed "Maass" lower left oil on board, 23 1/2 by 31 in.

According to the Minnesota Waterfowler, published by the Minnesota Waterfowler Association, "Since the (Minnesota Waterfowl Association) was organized in 1965, many positive changes have taken place relating to wetland and upland conservation. The MWA has played an integral role in many local, state and national accomplishments affecting important fish and wildlife resources. Following the MWA's inception, its habitat, education and legislative programs have had a significant impact on Minnesota's environment." This painting was reproduced as a color print in a limited edition of 1000 as the 2001-2002 Sponsor Print for the Minnesota Waterfowl Association. PROVENANCE:

William B. Webster III Collection

$8,000 - $12,000

54 David A. Maass (b. 1929) Birch Bogland - Woodcock signed "Maass" lower left oil on board, 23 1/2 by 19 1/2 in. Wild Wings, Inc. label on back PROVENANCE:

William B. Webster III

Collection $3,000 - $5,000

55 Francis Golden (1916-2008) Canadas in Flight signed "Francis Golden" lower right watercolor, 22 1/4 by 15 3/4 in.

Golden graduated from the School of the Museum of Fine Art in Boston in 1939 and shortly thereafter was hired to paint the background for Salvador Dali’s work The Dream of Venus for the World’s Fair in New York. He worked steadily for many years, creating commissions for magazines such as Collier’s, The Saturday Evening Post, Gray’s Sporting Journal, and many

56 David Hagerbaumer (1921-2014) Cackling Geese, 1974

signed "David Hagerbaumer" lower right watercolor, 17 3/4 by 24 1/2 in. inscribed "To all of the Websters with our best wishes - Dave and Gladys 1974" lower left with a hand-written letter from the artist and notes on the bird species

The letter states, "Dear Websters, Under separate cover we're sending a little something as a gallery warming present. With it comes our wishes for the continued success and growth of Wild Wings. Hope you like it - Our very best, Dave and Gladys" PROVENANCE:

William B. Webster III Collection

John Orrelle, The Art of a Sporting Life: The Wildlife Art of David Hagerbaumer, LaConner, WA, 2009, p. 134, illustrated.

LITERATURE:

$1,000 - $1,500

others. Golden’s exuberant, colorful paintings appeared on the cover of Sports Illustrated, and he was voted one of their top ten artists of all time. A member of the Webster family writes, “I remember when the first batch of Frank Golden paintings arrived for my dad to look at. Golden had illustrated articles in Sports Illustrated magazine. Being a sports nut, I thought that was pretty cool.” PROVENANCE:

William B. Webster III

Collection $500 - $700

57 Chet Reneson (b. 1934) Early Visit, 1974 signed and dated "Reneson 74" lower right watercolor, 16 1/2 by 27 in.

The Webster family recounts, “This original was one of the early Wild Wings prints published. I really liked this painting because of the nasty weather it depicted. Mom didn’t. I don’t believe it made it into our house.” “I remember many hunts with Dad late in the season on Lake Pepin. We dug a pit on a sandy point that jutted out into the lake and set up what seemed like an endless amount of decoys on the lee side. Always there were some divers moving before shooting time and I know this painting took Dad right back to some of the best mornings.” 58

This painting was reproduced as a signed and numbered print in an edition of 600, a copy of which accompanies the lot. PROVENANCE:

William B. Webster III

Collection LITERATURE:

The Crossroads of Sport, Inc. Catalog, New York, NY, 1977-78, p. 59, print illustrated. $2,000 - $3,000

58 Chet Reneson (b. 1934) Burnt Timber Shallows, 1975 signed and dated "Reneson 75" lower left watercolor, 15 1/2 by 26 in. Wild Wings, Inc. label on back PROVENANCE:

William B. Webster III Collection

$2,000 - $3,000

59 Harry Curieux Adamson (1916-2012) Wild Bounty - Black Ducks, 1972 signed "Harry Curieux Adamson" lower right oil on canvas, 23 3/4 by 35 1/2 in.

According to Diane Inman in her book, From Marsh to Mountain: The Art of Harry Curieux Adamson, "In 1972 Wild Wings reproduced a second canvas, the very popular Wild Bounty - Black Ducks, again in an edition of 450. This time the setting is a partially frozen pond, in the midst of a dense but nearly leafless copse, a few evergreen pines reminding one of December on the Eastern flyway. Reeds in the foreground are limp and bent. Two birds in the upper right hand corner, considerably further back from the primary group, seem just to have emerged from the misty background. Several bare trees are reflected in the still waters of the glazed pond. It looks cold. It feels cold. Bill Webster retains the original to this day, as it brings back memories of his youthful hunting days in the back waters of the Mississippi River in Southeastern Minnesota." A copy of the print accompanies the lot. PROVENANCE:

William B. Webster III Collection

Oakland, California, Wild Wings: The Waterfowl Art of Harry Curieux Adamson, Oakland Museum of California Natural Sciences, November 9, 2002 March 30, 2003.

EXHIBITED:

Diane K. Inman, From Marsh to Mountain: The Art of Harry Curieux Adamson, San Francisco, CA, 1991, pp. 109-110, illustrated.

LITERATURE:

$6,000 - $9,000

60 Michael Sieve (b. 1951) Elk, 1976

signed and dated "Michael Sieve 1976" lower right acrylic on board, 17 1/2 by 27 in.

Southeast Minnesota artist Michael Sieve is known for his large game paintings, particularly those depicting deer. “That's Michael's strength, and he's recognized as a mammal artist," said Bill Webster. Webster recalled, “I remember when he walked in to see me, a kid out of school, with five paintings. I think he was about 23. You could see already that his art was good.” Sieve’s success as an artist was also due to his time spent in nature, “He's a student of the woods," said Webster. PROVENANCE:

William B. Webster III

Collection LITERATURE:

Ron Schara, “Drawing on his experience, wildlife artist Sieve, a natural when it comes to outdoors,” Minneapolis Star Tribune, Minneapolis, MN, February 18, 1990, p. 13C. $1,000 - $2,000

61 Michael Sieve (b. 1951) Defended Territory - Wolf Pack, 1980 signed and dated "Michael Sieve 1980" lower left oil on canvas, 21 1/2 by 37 1/2 in.

Regarding this painting, the Webster family recollects, “An early painting by Michael Sieve, Dad loved this vivid bluesnow mountain scene and the looser brush work of a young painter who would go on to be one of Wild Wings’ key artists.” PROVENANCE:

William B. Webster III

Collection $1,000 - $2,000

62 Michael Sieve (b. 1951) Timberline Elk, 1978 signed and dated "Michael Sieve 1978" lower right acrylic on board, 30 by 48 in. PROVENANCE: William B. Webster III Collection

$1,500 - $2,500

63 Michael Sieve (b. 1951) Cornfield Buck Whitetail, 1976 signed and dated "Michael Sieve 1976" lower right acrylic on board, 17 by 25 1/2 in. PROVENANCE: William B. Webster III Collection

$800 - $1,200

64 Gary Sorrels (b. 1964) Early Winter - Whitetail Deer signed "Gary Sorrels" lower left acrylic on board, 23 by 35 in.

The artist describes his first Wild Wings painting in the catalog: "Flanked by aspen, these two beautiful creatures, wide eyed and alert, stand majestically on a carpet of soft snow. The white-tail, unknown outside our continent, is truly the aristocrat of American big game." According to the Webster family, “In an era when most wildlife art prints depicted waterfowl and upland game birds, Gary Sorrels’ deer paintings early on allowed Dad to begin to expand Wild Wings’ print offerings to many other species. (Additionally,) Dad was also fascinated by Gary’s dry brush technique. Different from everyone else. It is one of the first prints from Wild Wings depicting deer.” Another member of the family recounts, “Even though our dad wasn’t a deer hunter he really liked this painting. It hung in our sun porch while we were growing up." This painting was reproduced as a color print in a limited edition of 600, a copy of which accompanies the lot. PROVENANCE:

The Crossroads of Sport, Inc. Catalog, New York, NY, 1975-76, p. 26, print illustrated.

66 Fred Sweney (1912-1996) Two Paintings

Wild Wings, The Wildlife Sporting Collection, 1976-77, p. 21, print illustrated.

signed “Sweney” lower right watercolor and gouache, 9 1/2 by 14 1/2 in.

LITERATURE:

Bobwhite

Canada Goose

$1,000 - $2,000

65 Marc R. Hanson (b. 1955) Foraging White Breasted Nuthatch, 1989 signed and dated "Marc R. Hanson '89" lower right acrylic on canvas, 17 1/4 by 23 in.

The artist describes his painting, "The dead, decaying remnants of a tree are actually a 'supermarket' of insect life for the energetic little nuthatch, and a means of survival during frigid winters." The Webster family recalls, "Mark was from southern Minnesota not too far away from us. He had a painterly style that Dad really liked. This hung in our living room."

signed “Sweney” lower right watercolor and gouache, 9 1/2 by 14 1/2 in. inscribed “Sketch for the painting - “The Fall Guys” Canada Geese & Decoys size 24” H x 36” W” on back PROVENANCE:

William B. Webster III

Collection $500 - $800

67 Gary Sorrels (b. 1964) Two Watercolors Double Take - Whitetail Deer signed “Gary Sorrels” lower center 9 1/2 by 14 in.

This painting was reproduced as a color print in a limited edition.

The artist describes his painting: “The crackling of an aspen branch disturbs the serene silence alerting the imposing pair to caution.”

PROVENANCE:

Mule Deer

William B. Webster III

Collection $1,000 - $1,500

signed “Gary Sorrels” lower right 8 by 9 1/2 in. PROVENANCE:

William B. Webster III

Collection

$600 - $900 58

66.1

67.1

66.2

67.2

68 Persis Clayton Weirs (20th/21st Century) Mobbing Owl and Crows, 1986 signed and dated "Persis Clayton Weirs 1986" lower right acrylic on board, 20 by 30 in. PROVENANCE:

William B. Webster III Collection

$1,000 - $2,000

69 Persis Clayton Weirs (20th/21st Century) Sunlight Pine Ruffed Grouse, 1990

signed and dated "Persis Clayton Weirs 1990" lower right acrylic on board, 23 1/2 by 29 1/4 in.

According to the Webster family, “Dad enjoyed visiting with Persis about painting ideas, and he was extremely proud of her as she was self-taught. He especially liked the classic composition and perspective of this painting, portraying a Ruffed Grouse camouflaged in its natural habitat. The white pine in the painting is right outside our sun porch. I’m sure Dad sent Persis a photo and suggested a future painting. When it came, it was perfect. He loved it.” This painting was reproduced as a color print in a limited edition, a copy of which accompanies the lot. PROVENANCE:

William B. Webster III Collection

$1,000 - $2,000

70 David Noll (20th Century) Marsh Veterans, 1979 signed and dated "David Noll 1979" lower center oil on canvas, 24 1/2 by 34 1/4 in.

This painting depicts a decoy bench at the Delta Marsh Lodge. The Webster family recalls, "That marsh was a special place for Dad." This painting was reproduced as a color print in a limited edition of 2,400 for Ducks Unlimited fundraising in 1981-82. PROVENANCE:

William B. Webster III Collection

Ducks Unlimited, Volume XLV, No. 2, March/April 1981, illustrated on cover.

LITERATURE:

$1,000 - $2,000

71 David Noll (20th Century) Pintails signed "D. Noll" lower left oil on board, 7 1/4 by 11 1/2 in. PROVENANCE:

William B. Webster III

Collection $1,000 - $1,500

72 Francis Lee Jaques (1887-1969) Pintails, 1939 signed "F.L. Jaques" lower right scratchboard print, 13 3/4 by 10 in. PROVENANCE:

William B. Webster III Collection

Florence Page Jaques, The Geese Fly High, Minneapolis, MN, 1939.

LITERATURE:

$200 - $300

73 Richard E. Bishop (1887-1975) Map of the Surface Feeding Ducks Swans and Geese of North America, 1934 color print, 30 by 25 in. edition of 2000 PROVENANCE:

William B. Webster III

Collection $100 - $200

74.1

74.2

74.3

74.5

74.4

74.6

74.7

74 David Hagerbaumer (1921-2014) Seven Artist Proof Etchings, 1981 Pair of Woodcock

Mixed Double or Mixed Company

signed "David Hagerbaumer" lower right 8 3/4 by 10 3/4 in. inscribed "Trail Proof 1/2" lower left

signed "David Hagerbaumer" lower right 8 3/4 by 11 3/4 in. inscribed "Trial Proof" lower left and "Mixed Company" lower left edge

California Quail signed "David Hagerbaumer" lower right 8 3/4 by 11 3/4 in. inscribed "Trial Proof" lower left

Mallards signed "David Hagerbaumer" lower right 8 3/4 by 11 1/2 in. inscribed "Trial Proof" lower left

Flushing Pheasants signed "David Hagerbaumer" lower right 8 3/4 by 11 1/2 in. inscribed "Trial Proof 1/2" lower left

Ruffed Grouse signed "David Hagerbaumer" lower right 8 3/4 by 12 in. inscribed "Trial Proof" lower left

Sacramento Valley Pintails 7 3/4 by 14 in. inscribed "Bill, this is a poor proof - the prints will have much better contrast." lower right PROVENANCE:

William B. Webster III Collection

John Orrelle, David Hagerbaumer Sporting Images: Etchings, Drypoints, & Drawings, LaConner, WA, 2008, pp. 72, 56, 24, 113, 76, 22, illustrated.

LITERATURE:

John T. Ordeman, The American Sporting Print, Ringwood, NJ, 2007, pp. 138-141, illustrated. $300 - $500

75 Ogden M. Pleissner (1905-1983) The Quail Hunters, 1973

77 Ogden M. Pleissner (1905-1983) Clove Valley, 1981

signed "Ogden M. Pleissner" lower right color print, 18 1/4 by 27 1/4 in. published and copyrighted in 1973 by the Crossroads of Sport, New York, NY, in an edition of 425

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

PROVENANCE:

William B. Webster III

PROVENANCE:

William B. Webster III

Collection

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107-8, illustrated.

LITERATURE:

$400 - $600

76 Ogden M. Pleissner (1905-1983) Woodcock Cover, 1977

78 Ogden M. Pleissner (1905-1983) Dawn on The Duck Marsh, 1978

signed "Ogden M. Pleissner" lower right color print, 15 by 24 in. published and copyrighted by the Crossroads of Sport, New York, NY, in an edition of 270

signed "Ogden M. Pleissner" lower right color print, 15 by 24 1/4 in. published and copyrighted in 1978 by the Crossroads of Sport, New York, NY, in an edition of 270

LITERATURE:

Peter Bergh,The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107110, illustrated.

79 Ogden M. Pleissner (1905-1983) Setting Up on Horseshoe Pond Delta Man, 1981 signed "Ogden M. Pleissner" lower right color print, 17 1/2 by 26 3/4 in. inscribed "12/20 Artist Proof" lower left published in 1981 by North American Wildlife Foundation - Delta Project edition of 275 PROVENANCE:

William B. Webster III

Collection Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107, 109, illustrated.

LITERATURE:

$400 - $600

PROVENANCE:

William B. Webster III

PROVENANCE:

William B. Webster III

Collection

Peter Bergh,The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107, 109, illustrated.

LITERATURE:

$400 - $600

LITERATURE:

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107, 109, illustrated.

80 Ogden M. Pleissner (1905-1983) Hendrickson's Pool - Beaverkill, 1980 signed "Ogden M. Pleissner" lower right color print, 15 by 23 in. published and copyrighted in 1980 by the Crossroads of Sport and the Orvis Company edition of 290 PROVENANCE:

William B. Webster III

Collection Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107, 109, illustrated.

LITERATURE:

$400 - $600 63

81 Ogden M. Pleissner (1905-1983) The Battenkill at Benedict's Crossing, 1978

82 Ogden M. Pleissner (1905-1983) The Marsh Gunners, 1982 signed "Ogden M. Pleissner N.A." lower right color print, 16 by 24 1/2 in. inscribed "Artist Proof 17/30" lower left published and copyrighted by Wild Wings in an edition of 300

signed "Ogden M. Pleissner" lower right color print, 16 1/4 by 22 3/4 in. published and copyrighted in 1978 by Crossroads of Sport and Orvis in an edition of 290 PROVENANCE:

PROVENANCE:

William B. Webster III

Collection

LITERATURE:

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107, 109, illustrated.

LITERATURE:

$400 - $600

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107, 110, illustrated.

83 Richard E. Bishop (1887-1975) Two Drypoints, 1927

84.1

each signed "RE Bishop" lower right

Sprig 10 7/8 by 7 3/4 in. inscribed “Sprig” lower left edition of 65

83.1

Salt Marshes, 1927 9 1/4 by 6 3/4 in. inscribed "Salt Marshes" lower left and "imp. 1927" lower right edition of 65 PROVENANCE:

William B. Webster III Collection

Russell A. Fink, Richard E. Bishop: Etchings, Drypoints, and Aquatints, St. Paul, 2008, pp. 98, 101, each illustrated.

LITERATURE:

84.2

$200 - $400 83.2

84 Richard E. Bishop (1887-1975) Two Drypoints each signed "Richard E. Bishop" lower right

Evening, 1935 13 3/4 by 11 in. inscribed "Evening" lower left edition of 75

Wood Duck, 1941 10 1/4 by 9 1/8 in. inscribed "Wood Duck" lower left edition of 100 PROVENANCE:

William B. Webster III Collection

Russell A. Fink, Richard E. Bishop: Etchings, Drypoints, and Aquatints, St. Paul, MN, 2008, pp. 160, 215, each illustrated.

LITERATURE:

$200 - $400 64

85 Richard E. Bishop (1887-1975) Two Etchings with Aquatint

85.1 86.1

each signed "Richard E Bishop" lower right

Twilight, 1939 7 3/4 by 5 5/8 in. inscribed "Twilight" lower left

This image was also used for the cover of the menu for the annual dinner at the Wilderness Club on March 4, 1939.

Geese at Dawn, 1933 6 1/4 by 8 1/2 in. inscribed "Geese at Dawn" lower left

86.2

LITERATURE: Russell A. Fink, Richard E. Bishop: Drypoints, Etchings, and Aquatints, St. Paul, MN, 2008, p. 195, 147, each illustrated. PROVENANCE:

85.2

William B. Webster III Collection

$200 - $400

86 Richard E. Bishop (1887-1975) Two Drypoints

88.1

each signed “Richard E. Bishop” lower right

Three Pintails, 1939

87.1

10 by 12 1/4 in. inscribed “Three Pintails” lower left edition of 75

Overflow Mallards, 1955 9 3/4 by 12 in. inscribed “Overflow Mallards” lower left edition of 100

Russell A. Fink, Richard E. Bishop: Drypoints, Etchings, and Aquatints, St Paul, MN, 2008, p. 248,198, each illustrated.

88.2

LITERATURE:

PROVENANCE:

87.2

William B. Webster III Collection

$200 - $400

87 Richard E. Bishop (1887-1975) Two Prints each signed “Richard E Bishop” lower right

Pitching Geese, 1938 drypoint, 11 by 14 in. inscribed “Pitching Geese” lower left edition of 75 1/4

3/4

Over the Willows, 1958 etching, 10 by 13 in. inscribed “Over the Willows” lower left 1/4

PROVENANCE:

3/4

William B. Webster III Collection

Russell A. Fink, Richard E. Bishop: Etchings, Drypoints and Aquatints, St. Paul, MN, 2008, p. 194, illustrated.

LITERATURE:

Richard E. Bishop, Bishop’s Wildfowl, St. Paul, MN, 1948, pp. 227-231, illustrated. $200 - $400

88 Richard E. Bishop (1887-1975) Two Etchings each signed “RE Bishop” lower right

On the Eastern Shore, 1928 10 3/4 by 14 3/4 in. inscribed “On the Eastern Shore” lower left edition of 65

Marsh Pond, 1926 7 3/4 by 12 3/4 in. inscribed “Marsh Pont” lower left edition of 65 PROVENANCE:

William B. Webster III Collection

Russell A. Fink, Richard E. Bishop: Etchings, Drypoints, and Aquatints, St. Paul, MN, 2008, pp. 92, 110, each illustrated.

LITERATURE:

$200 - $400

KENT ULLBERG B 1945

89 Kent Ullberg (b. 1945) Silver Ghosts signed "© Ullberg" on base stainless steel, 14 by 7 by 17 in. edition 10 of 50

Kent Ullberg is the 2016 Featured Artist for The Bonefish and Tarpon Trust. 50% of the proceeds from the sale of Silver Ghosts 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. A native of Sweden, Kent Ullberg is recognized as one of the world’s foremost wildlife sculptors. He studied at the Swedish University College of Art in Stockholm and worked at museums in Germany, the Netherlands, France, Africa, and Denver, Colorado. After living in Botswana, Africa, for seven years, he has made his home permanently in the United States where he now lives on Padre Island, Corpus Christi, Texas. He also maintains a studio in Loveland, Colorado. Ullberg is a member of numerous art organizations and has been honored with many prestigious awards. In 1990 his peers elected him a Full Academician. A selection of his memberships include the National Sculpture Society, the American Society of Marine Art, the Allied Artists of America, Nature in Art, Sandhurst, UK, and the National Academy of Western Art in Oklahoma City, Oklahoma, which awarded him the Prix de West, the foremost recognition in Western Art. In 2010 he received the Briscoe Legacy Award.

In October 2008, Kent Ullberg’s work Silver Ghosts was awarded the 2008 Environmental Wildlife Award at the 29th Annual Mystic International Marine Art Exhibit at the Maritime Gallery at Mystic Seaport, Connecticut. This award acknowledges the importance of preserving the fragile balance within the world’s ecosystem. Silver Ghosts was recognized as the work that best depicts marine wildlife in their native habitat. Kent Ullberg has been a fisherman all his life. Over the years he has had the privilege of exploring the fishing and diving grounds of Cocos Island, Panama, and the Great Barrier Reef, amongst others, with his good friend Dr. Guy Harvey. Ullberg writes, "I will always be attracted to the sea, both as a fisherman and an artist; of all the works I have created at least half of them are marine related.” Known for his monumental works executed for museums and municipalities across the globe, his Fort Lauderdale, Florida, and his Omaha, Nebraska, installations are the largest bronze wildlife compositions ever done, spanning several city blocks. Both earned him the coveted Henry Hering Medal Award from the National Sculpture Society, New York City. His most recent monumental installation is Snow-Mastodon, a life-size bronze Mastodon placed outside the Denver Museum of Nature and Science last September. $6,000 - $8,000

90 Chet Reneson (b. 1934) Bonefishing signed "Reneson" lower left watercolor, 14 by 20 in.

$2,000 - $3,000

91 Peter Corbin (b. 1945) Tarpon's Tempest, 1989 signed and dated "Peter Corbin 1989" lower left acrylic on canvas, 24 by 36 in.

Peter Corbin discusses his painting: "This painting was done in 1989 in the Islamorada area of the Florida Keys. Stu Apte was teaching me the finer points of tarpon fishing so I would paint them correctly. He is the angler and Jose Wejebe, then a young guide starting out, was on the stern. Stu was adamant that I painted things correctly, like the angler bowing to the fish as it leapt. I did several paintings of the two of them. Jose is gone but I still see Stu once in a while and I still fish and paint this wonderful fish." PROVENANCE:

Private Collection, New Jersey

Tom Davis, Peter Corbin, An Artist's Creel, Manchester, VT, 2005, p. 176, print illustrated.

LITERATURE:

$12,000 - $18,000

92 Peter Corbin (b. 1945) Out of the Morning Mist, 1981 signed and dated "Peter Corbin 1981" lower right acrylic on canvas, 30 1/4 by 42 in.

The artist recalls, "I painted this in 1981 for the Easton Waterfowl Festival. The canvas portrays an early foggy morning when you can hear the geese long before you can see them. Suddenly they come looming out of the mist in easy range. Back in those days we got by with simple shell and silhouette decoys which we made and painted ourselves. One is in the foreground." PROVENANCE: LITERATURE:

Private Collection, New Jersey

Tom Davis, Peter Corbin, An Artist's Creel, Manchester, VT, 2005, p. 130,

illustrated. $5,000 - $10,000

93 Daniel Logé (b. 1954) Woodcock, 2015 signed "D. Logé" lower right oil on canvasboard, 14 by 18 in. inscribed "Woodcock" on back

$900 - $1,200

94 Daniel Logé (b. 1954) Hunting the Stumps, 2015 signed "D. Logé" lower right oil on canvasboard, 16 by 20 in.

$900 - $1,200

95 Ogden M. Pleissner (1905-1983) Study for Upper Malbaie, Grande River, 1958 watercolor, 6 3/4 by 9 5/8 in. inscribed and dated “To Martha 1966 Pleissner” lower left inscribed on artist label on back “Merry Christmas to Martha from Ogden. This watercolor is the original study for the large painting Upper Malbaie, Grande River, from which a color reproduction was made by Frost & Reed, of Bristol, England – OMP” PROVENANCE:

Private Collection

$3,000 - $6,000

96 Brett J. Smith (b. 1958) Creek Bottom Grouse signed "Brett J. Smith ©" lower right oil on canvas, 16 by 20 in.

$2,000 - $4,000

97 Roland H. Clark (1874-1957) Ducks in Flight Over Marshes signed "Roland Clark" lower right oil on canvas, 20 by 28 in. inscribed "Ducks in Flight Over Marshes" on back

Roland Clark is known as a premier wildlife etcher and painter. He was born in New Rochelle, New York, and studied at the Art Students League in Manhattan. After living in the Tidewater region of Virginia for several years where he enjoyed hunting and other outdoor pursuits, Clark returned to New York City and devoted himself to painting and illustrating full time. Beginning in 1937, the Derrydale Press reproduced two of Clarkâ&#x20AC;&#x2122;s watercolors of wildfowl every year in limited edition prints. In addition, he submitted illustrations to Ducks Unlimited, a booklet that was published by the More Game Birds in America Foundation. In 1938 one of Clarkâ&#x20AC;&#x2122;s paintings of pintail ducks was chosen as the fifth Federal Duck Stamp design. This composition relates closely to the famous Clark work Tranquility published by Frank Lowe in 1946. PROVENANCE: Prentice A. Lanphere Collection Private Collection by decent in the family LITERATURE:

The Crossroads of Sport, Inc. Catalog, New York, NY, 1980-81, p. 67, related image illustrated. $6,000 - $9,000

98 David A. Maass (b. 1929) Ducks in Flight signed "Maass" lower left oil on Masonite, 24 by 35 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. 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, Minnesota. An original Canada goose painting by David Maass is part of the permanent collection of the Minneapolis Institute of Art. $8,000 - $10,000 74

99 Robert K. Abbett (1926-2015) Changing Patterns on the Shoshone signed "Abbett" lower left oil on canvas, 23 1/2 by 29 1/2 in.

$3,000 - $5,000

100

100 William J. Schaldach (1896-1982) Mayfly Diet or After the Mayfly signed "Wm J. Schaldach" lower left watercolor, 12 1/2 by 18 in.

101

William Joseph Schaldach was born in Elkhart, Indiana, in 1896. From a young age, he showed great interest in hunting and fishing. Schaldach moved to Michigan with his family in 1908. As a teenager he spent much of his time writing, drawing, and exploring the countryside. An ambitious young man, Schaldach published an article of his own illustrations at the age of nineteen. After high school and a stint in the Navy, William Schaldach attended the Art Students League in New York. He studied the techniques of painting, drypoint, and etching with revered professors: John Sloan, George Bridgman, and Harry Wickey. Many of Schaldach’s paintings and etchings reflect his background as a sportsman. His favorite subjects were wildfowl, anglers with fly rods in rivers, streams and lakes, and game fish in the water. Schaldach was employed by the magazine Forest and Stream as a managing editor until the late 1930s. He returned to the magazine, then renamed Field and Stream, after World War II. In addition to writing many magazine articles about sporting art, Schaldach wrote and illustrated a number of books, including Fish by Schaldach, Currents and Eddies, Coverts and Casts, Upland Gunning, and Path to Enchantment: An Artist in the Sonora Desert, a book about his own paintings of the Sonora Desert that he had completed between 1948 and 1956. He was also the author of a biography of the well-known wildlife artist, Carl Rungius. Schaldach was a member of the Society of American Etchers, the Independent Society of Printmakers, and the Salmagundi Club of New York. His work has been exhibited at the Chicago Society of Etchers, the Artists for Victory at the New York Metropolitan Museum of Art, the 1939 New York World’s Fair, the National Academy of Design, the American Watercolor Society in New York, and in numerous other galleries and museums throughout the country. $1,500 - $2,500

101 William J. Schaldach (1896-1982) Rainbow Trout signed “Wm J. Schaldach” lower right watercolor, 12 by 16 in. PROVENANCE: Purchased from The Crossroads of Sport, Inc., New York, New York, 1960 J. Grigsby Markham Collection, Milwaukee, Wisconsin By descent to the present owner LITERATURE:

The Crossroads of Sport, Inc. Catalog, New York, NY, 1959-1960, p. 7, illustrated. $1,500 - $2,500 76

102

102 Edmund H. Osthaus (1858-1928) (attr.) Setter with Quail charcoal, 12 1/4 by 17 1/2 in. inscribed "Chas. H. Carr, 1436 Florencedale Ave., Youngstown, Ohio" on back PROVENANCE: Charles H. Carr, Youngstown, Ohio Davison Hawthorne Collection

$800 - $1,200

103

103 Bob Kuhn (1920-2007) Grouse Hunters Lunch Break signed "Kuhn" lower left watercolor and gouache, 9 1/2 by 10 in.

Born and raised in Buffalo, New York, Bob Kuhn enjoyed visiting the Buffalo Zoo and sketching its inhabitants as a child. After studying design, anatomy, and life drawing at the Pratt Institute in New York City, Kuhn made his living working as an illustrator for various wildlife and outdoor magazines. In the early 1970s Kuhn switched to painting full time. Kuhnâ&#x20AC;&#x2122;s work is featured in the permanent collections of the National Museum of Wildlife Art in Jackson, Wyoming, the National Cowboy Hall of Fame in Oklahoma City, Oklahoma, and the John L. Wehle Gallery of Sporting Art at the Genesee Country Village and Museum in Mumford, New York. $3,000 - $5,000 104

104 William Harnden Foster (1886-1941) A Brace of Black Game signed "W. Foster." lower right watercolor, 9 3/4 by 15 in. inscribed "No. 8/ A brace of Black Game/ William Foster/ 39, Colville Gardens. Bayswater, London. W." on label on back

$600 - $900

105

105 Aiden Lassell Ripley (1896-1969) Downward Flight, 1935

show in 1930 of his sporting art, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects.

signed and dated "A. Lassell Ripley 1935" lower right watercolor, 24 1/2 by 19 in. inscribed "Downward Flight" on back and "Quail in Flight - Pine Trees" on J.N. Bartfield Galleries label on back Coe Kerr Gallery, New York label on back

Along with his contemporary, Ogden Pleissner (19051983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripleyâ&#x20AC;&#x2122;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 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Following a successful one-man

$10,000 - $14,000

OGDEN M. PLEISSNER 1905-1983

106

106 Ogden M. Pleissner (1905-1983) Grouse Shooting in Vermont

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.

signed "Pleissner" lower left watercolor, 17 1/4 by 27 1/4 in.

Ogden Minton Pleissner was born in Brooklyn, New York, and studied figure painting and portraiture with Frank DuMond and Frederick J. Boston at the Art Students League of New York. Despite growing up in the city, Pleissner was attracted to the outdoors and as a teen he visited dude ranches in Wyoming, where he sketched from life. In later years, Pleissner and his first wife Mary were regular guests at the CM Ranch in Dubois, Wyoming.

Pleissner’s subjects range from the landscapes of Europe to salmon fishing in Quebec and his style is informed by the classical traditions. He is quoted as saying, “A fine painting is not just the subject...It is the feeling conveyed of form, bulk, space, dimensionality, and sensitivity. The mood of the picture, that is most important.”

Pleissner wanted to be classified primarily as a landscape painter, who also loved to hunt and fish. During World War II, Pleissner painted for the United States Air Force and Life magazine. During his years in the service, he primarily completed watercolors as the portability and immediacy of

PROVENANCE: Private Collection, acquired from Scottsdale Art Auction, April 4, 2009, lot 156

$25,000 - $35,000

107

107 Ogden M. Pleissner (1905-1983) Fading Light signed "Pleissner" lower right watercolor, 14 by 21 in. Harlow, McDonald & Co., 667 Fifth Ave., New York, NY label on back

With its focus on the guide and angler, Fading Light gives the viewer an intimate view of angling for wild Atlantic salmon during the last part of the day, the magic hour. PROVENANCE:

The Estate of Gertrude Carter Bullock

$25,000 - $35,000

108

108 Aiden Lassell Ripley (1896-1969) Riverside Farm watercolor, 9 3/4 by 13 1/2 in.

This watercolor is a study for a painting titled A New Brunswick Farm, which is reproduced in the book A. Lassell Ripley A.N.A. Paintings, plate 6, published 1972. PROVENANCE: Collection of Robert and Nathalie Nordstrand, acquired from the Estate of Aiden Lassell Ripley Peter Bartlett Collection

Boston, Massachusetts, Aiden Lassell Ripley Retrospective, Guild of Boston Artists, Sept. 10-26, 1996.

EXHIBITED:

$600 - $900

109

109 Aiden Lassell Ripley (1896-1969) Dog Meets Bear and Cubs, 1930 pen and ink, 14 1/2 by 9 1/2 in. inscribed "Chap. XXVI" lower right

Includes a copy of the book by Arthur T. Walden, Leading a Dog's Life. Arthur T. Walden, Leading a Dog's Life, Boston, MA, 1931, p. 190 A, illustrated.

LITERATURE:

$200 - $400

110

110 Robert Verity Clem (1933-2010) Snipe, 1969 signed "RVC" lower right watercolor, 9 by 16 in. inscribed "Snipe - at the edge of the golf course pond. Chatham. October 17, 1969" lower left

$1,500 - $2,500

ANDREW NEWELL WYETH 1917-2009

111 Andrew Newell Wyeth (1917-2009) Pot Buoys, 1954 signed “Andrew Wyeth” upper right watercolor, 8 1/2 by 15 in. M. Knoedler & Co., New York label on back

Andrew Newell Wyeth was born in 1917 in Chadds Ford, Pennsylvania, to Carolyn Bockius Wyeth and the wellknown American artist N.C. Wyeth. Andrew was the youngest of five siblings, and after years of home tutoring and art instruction from his father, Wyeth achieved his own extraordinary fame and success for his paintings. Wyeth drew heavily from his personal experience for the subjects of his works, focusing intensely on the individuals and environments around him and depicting them in the realist tradition. Two families and two locations influenced him in particular: the Kuerners in Pennsylvania and the Olsons in Maine. Wyeth’s paintings of Maine lent the artist his earliest commercial success. He recalled, “When I was eighteen or nineteen, he [N.C. Wyeth] showed some of my watercolors, primarily of Maine, to William Macbeth who had the only gallery in New York that exclusively handled American paintings. And Macbeth put on an exhibition and the show was a big success. Sold out.” Wyeth also noted, “I loved the works of Winslow Homer, his watercolors...which I studied intently so I could assimilate his various watercolor technique.” The fast-drying quality of watercolor compelled Wyeth to paint quickly. As Beth Venn, curator of Modern and Contemporary Art at the Newark Museum in New Jersey, writes, “it is Wyeth’s work in watercolor that most clearly demonstrates the astonishing depth and range of his technical and expressive capacity.”

Wyeth’s works can be found in major museum collections across the country, including the Museum of Modern Art, New York, the Metropolitan Museum, New York, the National Gallery of Art, Washington, DC, and the Whitney Museum of American Art, New York. He received the National Medal of Arts in 2007 and died in 2009 at the age of ninety-one. According to sale records, on November 25, 1959, Mr. Richard L. Hatch of Cundy’s Harbor, Maine, consigned this painting to M. Knoedler & Co., New York. Cundy’s Harbor is located thirty-five miles from Cushing, Maine, where Wyeth had his summer house. Hatch, who went to Hotchkiss and Yale, lived in Maine for fifty-five years. The Hatch home overlooks Cundy’s Harbor, and he and his wife Rakia were generous benefactors in the Maine area, sponsoring the Hatch Science Library at Bowdoin College and donating thousands of acres of land to the Nature Conservancy to create the Basin Preserve near Phippsburg, Maine, off Hatch Road. Hatch was the Maine Benefactor of the Year in 2007. Three months after the painting was consigned, on January 7, 1960, Mrs. Anthony B. Cudahy of Omaha, Nebraska purchased the work from Knoedler. Anthony Cudahy worked for the Cudahy Packing Company, a meatpacking business that was one of the original stocks listed in the S&P 500 when it began in 1957. Cudahy also owned the Nebraska National Bank in Omaha and was a member of the Jupiter Island Club in Florida. His wife, Bettina Taber Cudahy, was a Rye, New York socialite who, along with her husband, would go on to be an influential art collecting couple in the Omaha community. This watercolor will be included in Betsy James Wyeth’s forthcoming catalogue raisonné of the artist’s work.

This 1954 watercolor is a study for a larger tempera painting, done in the same year, titled Tomorrow The Outer Shoals. A catalog entry from a Pennsylvania Academy of the Fine Arts exhibit that included the tempera painting states, “These white, newly painted lobster buoys hanging in the darkness, like ghosts in a dark room, make an interesting composition. It is questionable if Wyeth would have painted them, however, if they had not belonged to Betsy’s brother-in-law who, after a career in business in New York City, and service with the Navy in the South Seas, returned to manage the family lobster fishing business in Maine. In other words, these too belong to Wyeth’s own life and form part of his inner experience. Painted in Sherwood Cook’s fishhouse, Martinsville, Maine.” Often, Wyeth’s aim was to capture “the spirit of the object, which, if you sit long enough, will finally creep in through the back door and grab you.” The careful observation and technical virtuosity on display in Pot Buoys make this work a classic Maine scene by one of America’s best-known artists.

PROVENANCE: Private Collection, Orleans, Massachusetts, 1955 Private Collection Mr. Richard L. Hatch, Cundy’s Harbor, Maine, 1956 Mrs. Anthony B. Cudahy, Omaha, Nebraska, purchased from M. Knoedler & Co., New York, January 7, 1960 Private Collection, Wellesley, Massachusetts, purchased from Grogan & Co., Dedham, Massachusetts, April 10, 2005 LITERATURE: Two Worlds of Andrew Wyeth: Kuerners and Olsons, The Metropolitan Museum of Art Bulletin, New York, NY, Autumn 1976, Volume XXXIV, Number 2, pp. 13-17, 22, 165.

Beth Venn, Unknown Terrain: The Landscapes of Andrew Wyeth, New York, NY, 1998. Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings, 1938 Into 1966, Pennsylvania Academy of the Fine Arts,

Philadelphia, PA, 1966, p. 51. $70,000 - $80,000

111

ARTHUR BURDETT FROST 1887-1917

112 Arthur Burdett Frost (1887-1917) The Music for the Dance, 1891 signed and dated “A.B. Frost. 1891.” lower left watercolor and gouache, 15 by 23 in.

This painting served as the two-page centerfold for the December 12, 1891 issue of Harper’s Weekly magazine. It depicts a festive scene of four musicians traveling through a winter landscape. The bundled-up musicians carry their instruments and joyously interact with one another, recounting the last stop while on their way to the next show. A photogravure version of the watercolor also appeared in F. Hopkinson Smith’s 1892 book American Illustrators, alongside prints by Winslow Homer and Frederic Remington. A contemporary review of the book notes Frost’s print as, “among the best plates.” This famous work has been reproduced multiple times in scholarly books such as The Music of Black Americans: A History. The artist 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. 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. Frost is best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost lived at his estate, Moneysunk, in Convent Station, New Jersey. PROVENANCE:

Private Collection, New York, purchased from Henry M. Reed

LITERATURE: Harper’s Weekly,

December 12, 1891, illustrated.

F. Hopkinson Smith, American Illustrators, New York, NY, 1893, plate, illustrated. “Three Works on the Arts,” New York Times, December 18, 1892. Eileen J. Southern, The Music of Black Americans: A History, Third Edition, New York, NY, 1997, p. 176, illustrated. $20,000 - $30,000

112

SEYMOUR JOSEPH GUY 1824-1910

113 Seymour Joseph Guy (1824-1910) Little Girl in White Dress with Parrot, 1886 signed and dated “SJ Guy 1886” upper right oil on canvas, 40 by 35 1/2 in.

Seymour Joseph Guy was born in 1824 in Greenwich, England, to an innkeeper and commercial landowner and his wife. Guy was educated in nearby schools and was drawn to sketching and art at an early age. Against the wishes of his guardian, Guy found work as a sign painter in order to afford his art materials. He likely studied with Thomas Buttersworth, the marine painter, in the mid-1830s. By 1839 Guy had taken an apprenticeship with an oil and color maker, where he learned the technical underpinnings of paint that would go on to define his career. He studied avidly at the British Museum and in the studio of Ambrosini Jerôme (1810-1883). Guy married in 1852, and in 1854 he and his family moved to New York to further pursue his art career. His family would go on to include nine children, who frequently served as his models and as inspiration for playful genre paintings. Guy set up in Brooklyn and made a circle of artist friends. By 1863, he established himself in the Tenth Street Studio Building in Manhattan. The building also housed the studios of Sanford Robinson Gifford, Albert Bierstadt, Frederic Edwin Church, and William Merritt Chase over the course of Guy’s forty-seven-year tenure in his studio. Guy achieved success over the course of his American career and was known for the technique, charm, and precision he brought to each of his canvases. At the end of his career, he was a popular mentor for younger artists and was a much-loved member of the Century Association in New York. This painting presents a clever scene, in which a surprised young girl appears interrupted in the middle of an opulent setting. An exotic African grey parrot perches on the back of a chair, holding a shuttlecock, and a “battledore” or badminton racquet lies on the floor. Guy depicts the colors of the oriental carpet, with its texture and decorative lines flattened for perspective, and shows the tassels flipped over giving the sense of an interrupted, active scene. The cherubic young girl dressed in white leads the viewer to wonder what event has taken place. Not just a charming genre scene, this painting is also a symbol of status, luxury, and nineteenth century opulence by a classic American artist. PROVENANCE:

Private Collection, Vermont

LITERATURE:

Bruce Weber, “Seymour Joseph Guy: ‘Little Master’ of American genre painting,” The Magazine Antiques, November 2009. $40,000 - $60,000

113

WILLARD LEROY METCALF 1858-1925

114 Willard Leroy Metcalf (1858-1925) Dory and Lobster Traps, 1881 signed “W. L. Metcalf ‘81” lower right oil on canvas, 14 by 18 in. Gill & Lagodich, Ltd label on frame, inventory #1880, incised “R365” on stretcher

Willard Metcalf, one of the most important American Impressionists, was born in Lowell, Massachusetts, in 1858. His early art training took place at the Massachusetts Normal School and the Lowell Institute. In 1876 he was one of the initial students at the School of the Museum of Fine Arts in Boston, where Metcalf studied under Thomas Wilmer Dewing (1851-1938) and alongside Frank W. Benson (1862-1951) and others until 1879. He went on to become a member of the Ten American Painters and a leading influence in the Boston School of American Impressionism, as well as the Old Lyme Art Colony. In 1881, the same year Metcalf painted this work, he travelled to the Zuni Pueblo in New Mexico with a journalist for Harper’s Magazine. The next year, in 1882, the artist had his first solo exhibition. He displayed seventy-six paintings at the gallery of J. Eastman Chase in Boston. Robust sales from the show and his illustrations helped fund his further study in Europe, which included time at the Académie Julian in Paris. It is likely that this painting was part of the exhibition, which included, “studies and finished pictures of New England subjects from Manchester, Plymouth, and Longwood, Massachusetts, along with Vermont, and Vinalhaven, Maine.” The present work, Dory and Lobster Traps, demonstrates the artist’s sensitivity to light and landscape which would allow him to flourish as an impressionist. He became known for his studies on shore and the sea, and particularly his accuracy in depicting specific places. PROVENANCE: Private Collection, Maine Private Collection, Wellesley, Massachusetts, acquired from John G. Hagan Fine Art

Richard J. Boyle, “Willard Metcalf,” Ten American Painters, New York, 1990, pp. 109-11.

LITERATURE:

Ulrich W. Hiesinger, Impressionism in America: The Ten American Painters, Munich, 1991, p. 241. $80,000 - $120,000

114

JACK LORIMER GRAY 1927-1981

115 Jack Lorimer Gray (1927-1981) In the Southern Ocean signed “Jack L Gray JD” lower left oil on canvas, 30 by 50 in. inscribed “(4 masted barque based on “Parma”)” on back Quester Gallery, Connecticut label on back

Jack Lorimer Gray was one of America’s premier marine artists. Born in 1927 in Halifax, Gray was drawn to art early in life and grew up sketching the local boats. He studied at the Nova Scotia College of Art and at the Montreal Museum of Fine Art, but was consistently pulled to the sea. He worked on fishing fleets during his summers, and frequently lived on boats until he moved to New York in the mid1950s. In New York, Gray found representation at the Kennedy Galleries. For the next thirty years of his career, the peripatetic artist moved between Maine, Nova Scotia, and Palm Beach, finding significant success and commission work in the seaside communities. Today, Gray’s paintings can be found in many prominent museums and collections, including the Peabody Essex Museum in Salem, Massachusetts, the U.S. Marine Corps Museum, and the Museum of the City of New York. A related painting, Dressing Down the Gully, was a gift to President John F. Kennedy in 1962 and is now in the John F. Kennedy Presidential Library and Museum in Boston. In the Southern Ocean is among Gray’s best, classic large-scale maritime scenes. Painted from the perspective of being on the deck looking aft, the artist shows three sailors on deck boldly navigating the expansive seas of the Southern Ocean. The thick impasto of the waves and the detailed ropes of the rigging mark Gray as a modern master. PROVENANCE: Private Collection, Greenwich, Connecticut, acquired from Quester Gallery, Greenwich, Connecticut, c. 2005

$30,000 - $40,000

115

116

116 Frank Butler (20th Century) Charleston Churchyard signed "Frank Butler" lower right watercolor, 19 by 14 in.

$300 - $500

117

117 American School Boy Eating Bread unsigned oil on panel, 8 by 6 in.

A well-executed oil on panel by an accomplished portrait painter. $1,200 - $1,800

FRANK W. BENSON 1862-1951

The following twenty-six lots collectively represent some of the rarest and most important Frank W. Benson works on paper to ever come on the market. Several of these pieces were produced in very limited editions. The majority retain full margins and are in exemplary condition.

118

118 Frank W. Benson (1862-1951) Blue Herons, 1931 signed "Frank W. Benson." lower left stone lithograph, 9 1/2 by 13 in. inscribed "Lithograph Blue Herons - 50" in margin lower left Paff Litho #5, edition of less than 50 LITERATURE: John T. Ordeman, Frank W. Benson: Etchings, Drypoints, Lithographs and Prints, Prescott, WI, 2012, p. 427, illustrated.

$4,000 - $5,000

119

119 Frank W. Benson (1862-1951) Yellowlegs, 1931 signed "Frank W. Benson." lower left stone lithograph, 11 3/4 by 9 in. edition of less than 50

"Yellowlegs depicts one of Mr. Benson's favorite birds, the subject of thirteen of his intaglio prints. This lithograph is very similar to his 1928 drypoint Lone Yellowlegs (Paff 280)...Yellowlegs was to be issued in an edition of 50, but only 15 are listed in Mr. Benson's business records as having been sold, and two copies are owned by family members. Each copy was signed by Mr. Benson, who probably pulled these prints from the stone himself." John T. Ordeman, Frank W. Benson: Etchings, Drypoints, Lithographs and Prints, Prescott, WI, 2012, pp. 475, 482, illustrated.

LITERATURE:

$4,000 - $5,000

120

120 Frank W. Benson (1862-1951) Still Life, 1927 stone lithograph, 15 1/8 by 12 in. inscribed "1st pull off the stone-" lower left Paff Litho #1, edition less than 10

John T. Ordeman, Frank W. Benson: Etchings, Drypoints, Lithographs and Prints, Prescott, WI, 2012, p. 423, illustrated.

LITERATURE:

$4,000 - $5,000

121

121 Frank W. Benson (1862-1951) Log Jam, 1915 signed "Frank W. Benson." lower left etching, 9 7/8 by 7 7/8 in. inscribed "To Gerrit A. Beucker 1921" lower center and "2/50" lower right Paff #73, edition of 30

$8,000 - $10,000

122

122 Frank W. Benson (1862-1951) The Retriever, 1916 signed "Frank W. Benson." lower left etching, 7 7/8 by 6 in. initialed in plate F.W. B. and numbered "45" in margin lower right Paff #99, edition of 80

$5,000 - $7,000

123

123 Frank W. Benson (1862-1951) Grouse on a Pine Bough, 1920 signed "Frank W. Benson." lower left drypoint, 3 by 2 in. Kennedy & Co Rare Prints label on back Paff #176, edition of 150

$500 - $700

124

124 Frank W. Benson (1862-1951) Frightened Ducks, 1915 signed "Frank W. Benson." lower left etching and drypoint, 4 by 5 7/8 in. numbered "21/50" lower right W.B. Simpson, Glasgow label on back Paff #53, edition of 50

$400 - $600

125

125 Frank W. Benson (1862-1951) Sunset, 1914 signed "Frank W. Benson." lower left etching and drypoint, 8 7/8 by 7 in. initialed "F.W.B." in plate lower left and inscribed "32/50" lower right Paff #26, edition of 50

$3,500 - $4,500

126

126 Frank W. Benson (1862-1951) River Drifters, 1914 signed "Frank W. Benson." lower left etching, 8 7/8 by 7 in. inscribed "29/50" lower right Paff #36, edition of 50

$3,500 - $4,500

127

127 Frank W. Benson (1862-1951) Two Canoes, 1927 signed "Frank W. Benson." lower left etching, 5 7/8 by 7 3/4 in. inscribed "B-3 #266 Two Canoes" lower left margin Paff #266, edition of 150

$2,500 - $3,500

128

128 Frank W. Benson (1862-1951) Blackbirds and Rushes, 1920 signed "Frank W. Benson." lower left drypoint, 9 3/4 by 13 7/8 in. signed with initials and dated "F.W.B. 1920" in plate lower left Paff #170, edition of 150

$1,500 - $2,500

129

129 Frank W. Benson (1862-1951) Black Breast Plover, 1915 signed "Frank W. Benson." lower left etching, 6 7/8 by 10 7/8 in. inscribed "16/50" lower right and "71. Black Breast Plover" bottom left Paff #71, edition of 50

$2,000 - $2,500

130

130 Frank W. Benson (1862-1951) Old Tom, 1926 signed "Frank W. Benson." lower left etching, 14 3/4 by 9 3/4 in. inscribed in margin "246 Old Tom / EBL" lower left Paff #246, edition of 150

$5,000 - $6,000

131

131 Frank W. Benson (1862-1951) My Pointer, 1915 signed "Frank W. Benson." lower left etching, 6 by 7 7/8 in. inscribed "34/50" lower right Paff #51, edition of 50

$4,000 - $5,000

132

133

132 Frank W. Benson (1862-1951) Early Gunners, 1920 signed "Frank W. Benson." lower left etching, 1 5/8 by 5 in. Paff #177, edition of 150

$800 - $1,000

133 Frank W. Benson (1862-1951) Setting Decoys, 1923 signed "Frank W. Benson." lower left etching, 7 7/8 by 10 7/8 in. pencil inscriptions on back Paff #228, edition of 150

$4,000 - $5,000

134

134 Frank W. Benson (1862-1951) Dory Fisherman, 1927 signed "Frank W. Benson." lower left etching, 7 3/4 by 9 7/8 in. Paff #267, edition of 150

$4,000 - $6,000

100

135

135 Frank W. Benson (1862-1951) Duck Blind, 1925 signed "Frank W. Benson." lower left etching, 7 7/8 by 10 7/8 in. Paff #245, edition of 150

$3,500 - $4,500

136

136 Frank W. Benson (1862-1951) Duck Hunter, 1914 signed "Frank W. Benson." lower left etching, 6 by 7 7/8 in. inscribed "17/50" lower right Paff #27, edition of 50

$3,500 - $4,500

101

137

137 Frank W. Benson (1862-1951) Canoeman, 1919 signed "Frank W. Benson." lower left etching, 7 7/8 by 6 in. numbered "78" lower right Paff #161, edition of 150

$2,500 - $3,000

138

138 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

$2,500 - $3,000

139

139 Frank W. Benson (1862-1951) Nascaupee Indian, 1921 signed "Frank W. Benson." lower left etching, 8 by 6 in. Paff #210, edition of 150 $1,200 - $1,800

102

140

140 Frank W. Benson (1862-1951) Lone Goose, 1915 signed "Frank W. Benson." lower left etching, 4 by 6 in. numbered "38/50" lower right W. B. Simpson, Glasgow label on back Paff #42, edition of 50

$400 - $600

141

141 Frank W. Benson (1862-1951) Canada River, 1920 signed "Frank W. Benson." lower left drypoint, 6 by 7 7/8 in. Paff #179, edition of 150

$300 - $500

142

142 Frank W. Benson (1862-1951) Yellowlegs No. 4, 1928 signed "Frank W. Benson." lower left drypoint, 7 7/8 by 9 7/8 in. Paff #284, edition of 150

$400 - $600

143

143 Frank W. Benson (1862-1951) Two Drypoints (one shown) each signed "Frank W. Benson." lower left

Here They Come!, 1928 13 7/8 by 11 3/4 in. Paff #278, edition of 150

Pair of Pintails, 1930 8 by 10 in. Paff #294, edition of 150

$600 - $900

103

JOHN FREDERICK HERRING, SR. 1795-1865

144 John Frederick Herring, Sr. (English, 1795-1865) Foigh-a-Ballagh, 1844 signed "J.F. Herring Sen'." lower right oil on canvas, 15 by 20 in. inscribed "Foigh-a-Ballagh. 1844" center right "Mr. Irwin's brown colt 'Faugh-a-Ballagh' by Sir Hercules out of Guiccioli, in a stable" on Richard Green, London label on back

John Frederick Herring, Sr. was an eminent animal painter of the Victorian era, along with Sir Edwin Landseer (1802-1873). Herring was particularly known for his depictions of racehorses and sporting scenes. The artist was born in London, but at the age of eighteen moved north to Doncaster in 1814, where he primarily painted signs and logos for inns and coaches. It is thought he studied with Abraham Cooper (1787-1868), a prominent animal painter of the day, in London in the 1830s. By 1845, the year after the present painting was completed, Herring received royal patronage. In 1846, Queen Victoria commissioned a birthday gift for Prince Albert depicting a favorite horse, Bagdad. Herring exhibited at the Royal Academy for most of his career, from 1818 until his death 1865. Today the artist’s paintings can be found in the Tate Gallery, London, the Royal Collection, London, and the Yale Center for British Art, New Haven, among other prominent collections. In 1844, the year this painting was created, the horse named Foigh-A-Ballagh won the St. Leger Stakes at Doncaster. Dating to 1776, St. Leger is the oldest of Britain’s Classic races and is the final leg of the English Triple Crown. Herring’s depictions of the winners of St. Leger Stakes and other important races were widely distributed in print form during the Nineteenth Century. Foigh-A-Ballagh, who was bred in Ireland, belonged to Sir E.J. Irwin. The horse’s name derives from an Irish battle cry meaning “Clear the way!”, and is also recorded as “Foig-A-Ballagh” and “Faugh-A-Ballagh.” The horse would go on to influence American thoroughbred stock. PROVENANCE: Turner Reuter Fine Art Private Collection, Palm Beach, Florida

$10,000 - $20,000

104

144

105

THOMAS BLINKS 1860-1912

148

Thomas Blinks was a self-taught English artist who flourished during the Victorian era. He was popular during his lifetime, exhibiting twenty-nine paintings at the Royal Academy in London between 1883 and 1910, and many of his dynamic hunt scenes and dog portraits were made into prints. Blinks studied horses and their characteristic movements on the grounds of Tattersalls, a horse auction company dating from 1766, and his highly realistic paintings display keen observation and a skilled hand. His works can be found in the Royal Collection, London, among others. In this rare offering of four hunt scenes, Blinks illustrates different angles of the fox hunt. He captures the individual personality of the horses and foxhounds, particularly the interaction between the hunter and the hounds. The artist shows the fox slyly slinking over a stone wall, and depicts accurate, carefully observed anatomy of the horses and the motions and behavior of the riders as they course through bucolic fields of the countryside.

145 Thomas Blinks (English, 1860-1912) Master of the Hunt signed "TBlinks" lower right oil on board, 26 by 20 in. inscribed "Thomas Blinks." and "No. 1." on label on back PROVENANCE: Janet Hurst Collection By descent to the current owner

$8,000 - $12,000

106

146

148

147

146 Thomas Blinks (English, 1860-1912) Over the Hedge

147 Thomas Blinks (English, 1860-1912) Fox Hunting

148 Thomas Blinks (English, 1860-1912) After the Fox

signed "TBlinks" lower right oil on board, 26 by 20 in. inscribed "Thomas Blinks." and "No. 3." on label on back

signed "TBlinks" lower right oil on board, 26 by 20 in. inscribed "No. 4." on label on back Charles Roberson & Co., London label on back

signed "TBlinks" lower right oil on board, 26 by 20 in. inscribed "2" on label on back Charles Roberson & Co., London label on back

PROVENANCE: Janet Hurst Collection By descent to the current owner

$8,000 - $12,000

107

149

149 W. Klinkenberg Fox Hunting signed "W. Klinkenberg" lower right oil on canvas, 16 by 20 in. $800 - $1,200

150

150 H. Wheeler (English, 19/20th Century) "The Start of the Hunt " signed "H. Wheeler" lower left oil on canvas, 17 by 21 in. PROVENANCE: Janet Hurst Collection By descent to the current owner

$600 - $900

151

151 William MacRae Gillies (1896-1976) The Hunt, 1930 signed and dated "W. MacRae Gillies 30" lower right mixed media, 15 1/2 by 15 1/4 in.

The Sportsman, November 1930, Volume VIII, No. II, cover illustration.

LITERATURE:

$1,500 - $2,500

108

152 154

153

155

152 Denis Aldridge (British, 1898-1985) Fox in Leicestershire Hunt County, 1968 signed and dated "Denis Aldridge 1968" lower right watercolor, 15 by 21 in. inscribed "And all is silent where of late/the eager hounds fair tongue" lower center Haley & Steele Gallery label on back $200 - $400

153 Gustav Muss-Arnolt (1858-1927) On the Scent signed "G. Muss-Arnolt" lower left two-sided ink drawing, 3 1/2 by 5 3/4 in. with a small ink sketch of a fence and a dog on back $300 - $600

154 Alfred James Munnings (English, 1878-1959) A Little Piece of England, 1929 signed "AJ Munnings" in pencil lower right color print, 12 3/4 by 21 3/4 in. inscribed "'A Little Piece of England' Proof" lower right margin published and copyrighted in 1929 by Frost & Reed, Bristol and London PROVENANCE: Janet Hurst Collection By descent to the current owner

$200 - $400

155 Francis Luis Mora (1874-1940) The Hunt pencil drawing, 7 7/8 by 10 5/8 in. Far Gallery, New York label on back

$300 - $500

109

156

156 Horse and Jockey Weathervane J. W. Fiske Ironworks New York, NY, c. 1900 15 1/2 by 32 by 5 in.

As found. $3,000 - $5,000 157

157 Horse Towel Rack c. 1920 14 by 8 by 9 in.

A carved wooden horse head mounted on a cast metal horseshoe plaque with a metal bell-shaped towel holder from a Kentucky race track ladies room. As found. $300 - $500

110

158 Silver Plated Horse and Jockey Germany, c. 1910 16 by 19 by 5 1/2 in.

A large hollow cast metal sculpture with superb detail, stamped "Made in Germany" under one of the stirrups, and a "5" etched under each boot. Original surface with wear, jockey's riding crop is broken off, may have originally been mounted on a base. $400 - $600

158

159

159 Eugene Pechaubes (French, 1890-1967) Polo Players signed "Eug Pechaubes" lower right mixed media, 10 by 13 in.

$150 - $300

160

160 Paul Desmond Brown (1893-1958) Three Lithographs (one shown) each 7 by 12 in.

Challenge Fox Hunters' over Bechers Hunt Team $100 - $200

111

161.1

163

166.1

161.2

164

162.1

165.1

162.2

165.2

166.2

167.1

168.1

168.2

112

167.2

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

164 Paul Desmond Brown (1893-1958) Two Horses

167 Paul Desmond Brown (1893-1958) Two Horse Drawings

7 1/2 by 7 1/2 in. and 8 by 6 1/2 in. one is inscribed "Elmer vs Hoffing sort of play that made Chicago dangerous" lower right

signed "Paul Brown" middle left and lower center pencil drawing, 10 1/2 by 8 in.

each 8 by 10 1/2 in. one is inscribed "Talkin' Horse" lower right

$300 - $500

162 Paul Desmond Brown (1893-1958) Two Polo Pencil Drawings each 8 by 10 1/2 in. one is inscribed "Aurora vs. Hurricanes" lower center and "Post length of field Sands Point 5th period Ches OHW WF" lower right

165 Paul Desmond Brown (1893-1958) Two Polo Pencil Drawings each 8 1/4 by 10 1/2 in. inscribed "Anchada saves two N.F. Laddie 1st Period" lower right inscribed "Billy Park vs. Sanford 6th v." lower right

$300 - $500

163 Paul Desmond Brown (1893-1958) Horses and Riders

$300 - $500

$100 - $200

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

pencil drawing, 8 1/2 by 11 in.

7 by 10 1/2 in. and 7 1/2 by 10 1/4 in. one is inscribed "Smith 3rd period" lower right

$150 - $300

$300 - $500

113

168 Paul Desmond Brown (1893-1958) Two Equestrian Pencil Drawings 6 by 7 in. and 6 by 8 in. one is inscribed "Time of May" lower right

$300 - $500

170.1

169 Paul Desmond Brown (1893-1958) Three Equestrian Pencil Drawings 7 by 10 in., 5 by 9 1/2 in., and 4 1/2 by 7 1/2 in. one is inscribed "Tan Bark. Done" lower right 169.1

$450 - $600

170 Paul Desmond Brown (1893-1958) Three Polo Pencil Drawings 10 1/2 by 6 3/4 in., 9 by 7 1/2 in., and 9 3/4 by 7 1/2 in. one is inscribed "Done 1" lower center one is inscribed "4294 Brompton" center right $450 - $600

170.2 169.2

169.3

170.3

114

171.2

171.3

171.4

171 after Basil Bradley (English, 1842-1904) Set of Four Hunting Prints, 1880 each engraved by William Summers, published by G. P. McQueen, London each color aquatint, 17 by 25 1/4 in.

Woodcock Shooting. Grouse Shooting. Wild Duck Shooting. Partridge Shooting. $1,000 - $1,500 172

172 Caleb William Wing (English, 1801-1875) Hunter and Dogs, 1831 signed and dated "C. W. Wing 1831" lower left watercolor, 9 3/4 by 13 in.

Caleb William Wing was a Victorian artist who is remembered as a talented miniaturist and copyist, especially in the field of illuminated manuscripts and Renaissance-era miniatures. He turned to imitation in 1846 when commissioned by manuscript collector John Boykett Jarman to repair, and enhance, some water-damaged items. Wing also created many lithographs, portraits, and illustrations for zoological publications during his career. This folky watercolor predates his illumination career, when Wing was active as a portrait miniaturist and painter in London on King Street and in Dorset Square. $300 - $500

115

173

173 Ray Ellis (1921-2013) Trout Fishermen in Canoe signed "Ray G. Ellis A.W.S." lower right watercolor, 23 by 37 in. inscribed "Trout Fishermen in Canoe" on Morris & Whiteside Galleries label on back

$1,000 - $2,000

174

174 Olaus J. Murie (1889-1963) Ptarmigans signed "O J Murie" lower right oil on canvas on board, 18 by 24 in.

Olaus J. Murie was an influential naturalist and wildlife biologist who did groundbreaking fieldwork. He was also an important conservationist who successfully campaigned on behalf of Olympic National Park, Jackson Hole National Monument, and the Arctic National Wildlife Refuge. He served as the president of the Wilderness Society and the Wildlife Society, among other influential service positions, and Murie was personal friends with Charles Sheldon, to whom he gave this painting. PROVENANCE: Charles Sheldon Collection, acquired from the artist By descent in the family

$400 - $500

175

175 Milton C. Weiler (1910-1974) Striper..! signed "M.C. Weiler" lower right watercolor, 8 by 9 in. inscribed "striper...!" inscribed "Many thanks for keeping us in sight! Milt" on back

This work was a gift from Weiler to his ophthalmologist, Dr. Ward Mould. PROVENANCE: Dr. Ward Mould Collection, acquired from the artist By descent in the family

$400 - $600

116

176

176 Roy Martell Mason (1886-1972) Off Hatteras signed "Roy M. Mason" lower center watercolor, 22 by 30 in. American Watercolor Society label on back EXHIBITED:

American Watercolor Society, Members' Exhibition, 1946 $1,500 - $2,500

177

177 Roy Martell Mason (1886-1972) Shore Dinner signed "Roy M. Mason" lower left gouache and pencil, 8 by 11 in. inscribed "Shore Dinner by Ganonoque [Canada] rough color" on back

$600 - $900

178

178 Milton C. Weiler (1910-1974) The Scout signed and inscribed "To: Ward Mould Very Sincerely - M.C. Weiler" lower right watercolor, 7 3/8 by 10 1/4 in.

This work was a gift from Weiler to his ophthalmologist, Dr. Ward Mould. PROVENANCE: The artist Dr. Ward Mould Collection By descent in the family

$400 - $600

117

179

179 Roger Tory Peterson (1908-1996) Waders in Flight stamped "Roger Tory Peterson" on the reverse gouache on vellum, 15 by 10 in. inscribed "Eastern Field Guide 5th edition 2002 Pg. 161" on back PROVENANCE: Roger Tory Peterson The Estate of Virginia Peterson By descent to the present owner

Roger T. Peterson, Birds of Eastern and Central North America, Boston, MA, 2002, 5th Edition, p. 161, illustrated.

LITERATURE:

$3,000 - $5,000

180

180 Roger Tory Peterson (1908-1996) Diving Ducks, 1993 stamped "Roger Tory Peterson" on the reverse gouache on paper, 17 by 12 in. inscribed "Plate #13 Birds of Great Britain & Europe 1993 edit. RTP" on back PROVENANCE: Roger Tory Peterson The Estate of Virginia Peterson By descent to the present owner

Roger T. Peterson, Birds of Great Britain and Europe, Boston, MA, 1993, plate 13, illustrated.

LITERATURE:

$3,000 - $5,000

181

181 Peter Corbin (b. 1945) African Cheetah, or Tall Grass Cheetah, 1975 signed and dated "Peter Corbin 1975" lower right acrylic on canvas, 19 by 28 in. titled on Crossroads of Sport, New York label on back

"I painted this in 1975 when I started painting full time. I had gone to Africa in 1966 and this was done from that trip. It was midday heat and this cheetah had laid up in the tall grass after an unsuccessful morning hunt." - Peter Corbin PROVENANCE: The Crossroads of Sport, Inc., New York Steven J. Illing Collection

$1,000 - $2,000

118

182 184

183

185

182 Ogden M. Pleissner (1905-1983) June Trout Fishing, 1967 signed "Ogden M. Pleissner" lower right color print, 16 1/4 by 23 3/4 in. published by Theodore Gordon Flyfishers in an edition of 350

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107-8, illustrated.

LITERATURE:

184 Ogden M. Pleissner (1905-1983) St. Georges color print, 15 1/2 by 24 in. published by Masterworks Museum of Bermuda Art in 1988 in an edition of 350

$600 - $900

$150 - $250

183 Ogden M. Pleissner (1905-1983) Grand River - Upper Malbaie, 1959

185 Ogden M. Pleissner (1905-1983) Monday Morning, 1944

signed "Ogden M. Pleissner N.A." lower right color print, 17 by 27 in. published and copyrighted in 1959 by Frost & Reed in an edition of 300

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, pp. 107-8, illustrated.

signed "Ogden M. Pleissner" lower right color print, 14 1/2 by 18 in. published by Samuel T. Shaw in 1944 in an edition of 275 signed by 44 additional members of the Salmagundi Club

$600 - $900

LITERATURE:

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 107, illustrated. $400 - $600

119

186

186 Walter L. Steward (20th Century) Leaping Brook Trout, 1909 signed and dated "W.L. Steward '09" lower right oil on board, 18 1/2 by 24 1/2 in. inscribed "J.W. Simmonds" on back

$2,000 - $3,000

187

187 Dwight W. Huntington (1860-1906) Man in Sneakboat, 1906 signed and dated "D. Huntington 1906" lower right watercolor, 12 1/4 by 18 3/4 in.

$400 - $600

188.1

188.2

188 John Philip Robitzer (1837-1913) Two Nature Morte Paintings, 1901 each signed and dated "JRobitzer 1901" lower left

Mallards and Game Birds oil on canvas, 36 by 18 in.

Hare and Teal oil on canvas, 36 by 18 in.

John Philip Robitzer was a Pennsylvania artist who fought in the Civil War, rising from private in 1861 to sergeant in 1865. By the 1880s he was listed as an artist with a studio at 373 Glenarm in Denver, Colorado. Robitzer died in 1913 in Seattle, Washington. His career as an artist tracked the expansion of the country. $600 - $900

120

189 Six Federal Duck Stamps and Prints Robert W. Hines (1912-1994) Redheads, 1946 signed and dated “Bob Hines 1946” lower right lithograph, 8 by 11 in. titled lower right

Richard E. Bishop (1887-1975) 1937 Federal Duck Stamp Design

189.4

signed “Richard E. Bishop” lower right drypoint, 5 by 8 in. titled lower right stamp has faint indiscernible signature

189.1

Francis Lee Jaques (1887-1969) 1940 Duck Stamp Design signed “F.L. Jaques” lower right lithograph, 9 1/4 by 10 1/2 in. titled and dated lower left

Jay Norwood "Ding" Darling (1876-1962) 1935 Design for First Federal Duck Stamp signed "by Ding Darling" lower right drypoint, 6 by 8 3/4 in. titled lower left

Aiden Lassell Ripley (1896-1969) American Widgeon, 1943 189.5 189.2

etching, 5 3/4 by 8 1/4 in. titled lower left stamp signed “Albert Germain”

Roland Clark (1874-1957) 1938 Duck Stamp Design signed "Roland Clark" lower right etching, 6 3/4 by 10 3/4 in. titled and dated lower left

$2,000 - $4,000

189.6

189.3

121

190

192

191

193

190 Stanley Stearns (b. 1926) Nene Geese, 1964

192 Stanley Stearns (b. 1926) Whistling Swans, 1966

signed and dated "Stanley Stearns 1964" lower right watercolor and gouache, 5 by 7 in. inscribed "This is an original copy of the Federal duck stamp art submitted by Stearns for the contest." on back framed with 1964-65 Federal Duck Stamp

signed and dated “Stanley Stearns 1966” lower right mixed media, 5 by 7 in. inscribed “This is a copy painted by Stanley Stearns of the original Federal duck stamp submission by Stearns painted in polymer with a wash and gouache technique.” on back framed with 1966-1967 Federal Duck Stamp

$800 - $1,200

191 Clayton B. Seagears (1897-1983) Early Express - Blue-winged Teal, 1953

$800 - $1,200

signed "Clayt Seagears" lower right ink wash, 6 1/2 by 8 3/4 in. inscribed ""Early Express" - Blue-winged Teal" lower left framed with 1953-54 Federal Duck Stamp

193 Maynard Reece (b. 1920) Two Duck Stamp Prints each signed “Maynard Reece” lower right and numbered lower left

$800 - $1,200

Autumn Wings - Mallards, Second Annual Conservation Stamp, 1988 offset lithograph, edition 2732 of 5143

Cinnamon Teal, Migratory Bird Hunting Stamp, 1978 color lithograph, edition 57 of 950 inscribed “Duck Stamp Design - 1979-1st ed” lower left

$100 - $200

122

194

194 Ogden M. Pleissner (1905-1983) Passing Pintails, 1942 signed "Ogden M. Pleissner" lower right drypoint, 7 3/4 by 11 5/8 in. edition of 60

Ogden M. Pleissner, The Sporting Grand Tour, Manchester, VT, 2008, p. 41, illustrated.

LITERATURE:

Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, 1984, p. 106, illustrated. $1,000 - $1,500

195

195 Aiden Lassell Ripley (1896-1969) Snipe at Dawn, 1940 signed “A. Lassell Ripley” lower right etching, 9 by 11 3/4 in. inscribed “Snipe at Dawn” lower left

$200 - $400

196

196 Roland H. Clark (1874-1957) Hawk and Ducks signed "Roland Clark" lower right etching, 10 by 7 3/4 in.

$200 - $400

197

197 Richard E. Bishop (1887-1975) Bog Sprites, 1931 signed "Richard E. Bishop" lower right drypoint, 7 3/4 by 12 1/8 in. titled lower left edition of 65 PROVENANCE: J. Grigsby Markham Collection, Milwaukee, Wisconsin By descent to the present owner

$200 - $400

123

198.1 198.3

198.2 198.4

199.1 199.2

198 Aiden Lassell Ripley (18961969) Four Etchings each signed "A. Lassell Ripley" lower right and titled lower left 9 by 13 3/4 in.

Quail Shooting Pheasant Shooting After Grouse Duck Shooting A. Lassell Ripley, Sporting Etchings, Barre, MA, 1970, pp. 19, 31, 39, and 80, illustrated.

LITERATURE:

$400 - $600

199 Chet Reneson (b. 1934) Two Limited Edition Prints Cedar Point signed and numbered “Chet Reneson 3/300” lower right offset lithograph, 16 1/2 by 25 1/2 in.

Early Season

265/400” lower right offset lithograph, 16 1/2 by 25 1/4 in. PROVENANCE: Provenance: J. Grigsby Markham Collection, Milwaukee, Wisconsin By descent to the present owner

PROVENANCE: Provenance: J. Grigsby Markham Collection, Milwaukee, Wisconsin By descent to the present owner

$300 - $500

201 Richard E. Bishop (1887-1975) Trumpeter Swans, 1936

$60 - $80

200 Richard E. Bishop (1887-1975) Three Etchings each signed “RE Bishop” lower right and titled lower left

signed “Richard E. Bishop” lower right aquatint, 8 7/8 by 6 7/8 in. inscribed “Trumpeter Swans” lower left edition of 135

$100 - $150

Geese Overhead, 1934 etching and aquatint, 11 7/8 by 14 7/8 in. edition of 75

Willow Pond at Kinloch, 1928 9 7/8 by 7 in. edition of 65

From a Battery/Friend or Enemy, 1924 6 by 8 7/8 in. edition of 65

signed and numbered “Chet Reneson

124

202 Levon West (1900-1968) Duck Hunting, 1933 signed “Levon West imp-” lower right etching, 13 by 8 7/8 in. inscribed and dated “Levon West 1933” in plate lower right

$200 - $300

200.2

200.1

201

202

203

205

204.1

206

203 Richard E. Bishop (1887-1975) Two Sporting Etchings (one shown)

Sneakboat and Gunner

each signed “RE Bishop” lower right and titled lower left

Trapper and Ice

Burst of Teal, 1930 drypoint, 14 by 10 1/4 in.

6 1/4 by 9 1/2 in. numbered “40/60” lower center 6 by 9 3/4 in. numbered “42/60” lower center

$100 - $200

206 Churchill Ettinger (1903-1984) Two Etchings (one shown) each signed “Churchill Ettinger” lower right and titled lower left each with American Associated Artist label on back 8 by 5 7/8 in.

The Right Fly

etching and aquatint, 10 3/4 by 9 in.

J. Grigsby Markham Collection, Milwaukee, Wisconsin By descent to the present owner

207

Grouse

$50 - $100

Whizzing, 1931 PROVENANCE:

200.3

205 Churchill Ettinger (1903-1984) Two Etchings (one shown) each signed “Churchill Ettinger” lower right and titled lower left each with American Associated Artists label on back

Over the Marsh 8 3/4 by 11 3/4 in.

204 Thomas Aquinas Daly (b. 1937) Three Aquatints (two shown)

Dropping Broadbill

each signed “TA Daly” lower right and titled lower left

$200 - $300

9 3/4 by 7 7/8 in.

9 by 11 1/2 in.

$200 - $300

207 Walter E. Bohl (1907-1990) Nor’Easter signed “Walter E. Bohl.” lower right etching, 5 3/4 by 7 3/4 in. inscribed “Nor’Easter” lower left and numbered “37/75” PROVENANCE: J. Grigsby Markham Collection, Milwaukee, Wisconsin

Georgia Pines

By descent to the present owner

10 by 6 3/4 in. numbered “35/60” lower center

$100 - $200

125

204.2

SELECTIONS FROM THE JOHN T. ORDEMAN SPORTING ART COLLECTION LOTS 208-249 I am a retired school master—40 years teaching English and art history, 28 of them as headmaster of several independent schools—a New Englander who is a happy “come here” to the Eastern Shore of Virginia. My principal avocation for the past 35 years has been researching and writing about American sporting artists. Among my publications are: Frank W. Benson: Master of the Sporting Print, William J. Schaldach: Artist/ Author/ Sportsman, To Keep a Tryst with the Dawn: An Appreciation of Roland Clark, George and Belmore Browne: Artists of the North American Wilderness, The Derrydale Print, The Art of Milton C. Weiler: A Sportsman’s World, The American Sporting Print and Frank W. Benson: Etchings, Drypoints, Lithographs and Prints. For many years I spent the summer vacation months on an island in the St. Lawrence River, and one July day thirty-five years ago I happened to stop by Ernie Hickok’s table at the Clayton Decoy Show to look over his display of sporting art. Ernie’s love of the etchings and drypoints of Frank W. Benson was contagious, and having been infected, I left that day with a Benson print and with the intention of learning more about this extraordinary artist. By the time I saw Ernie the next summer in Clayton, I had read everything that was available on Frank Benson, and, with Ernie’s support and with invaluable cooperation from members of the Benson family, I was prepared to turn my research into the monograph Frank W. Benson: Master of the Sporting Print, which we published in 1983.

John T. Ordeman is a graduate of Williams College with graduate degrees from Columbia and Johns Hopkins. He and his wife Mary live in retirement on the Eastern Shore of Virginia, where he has served as president of Citizens for a Better Eastern Shore, Eastern Shore’s Own Arts Center and Virginia Eastern Shorekeeper.

The favorable reception of the Benson book encouraged Ernie and me to publish two similar monographs on sporting artists whose work we admired, William Schaldach and Roland Clark; and my interest in American sporting artists, in particular those who produced intaglio prints, broadened and deepened. I have been pleased, therefore, to be have been given commissions for books and assignments for articles during the past two decades that enabled me to continue to research and write for the purpose and pleasure of passing on what I have learned about sporting art to others who share my interests.

sportsmen and artists, however, tell us something of what we would have experienced had we been there. I can, furthermore, go to a Benson print that I’ve owned for decades and have looked at hundreds of times and get the same measure of pleasure that I did the first time I saw it. That’s what makes me glad to own that etching. If a picture doesn’t do that for you, it’s not worth having. I have bought pictures so that I would be able to enjoy them long term, and that I have. Now, however, as a mid-octogenarian, it’s time for me to return some—but by all means, not all—of the pictures I have enjoyed owning back to the market and to give others the opportunity to enjoy them.

We can only imagine the pleasure it would have been to share a stretch of the Beaverkill or the Neversink with Bill Schaldach or Milt Weiler or to sit companionably in a blind on Nauset Marsh or Mobjack Bay with Frank Benson or Roland Clark. The etchings and drypoints of these great

John T. Ordeman

126

208

208 Frank W. Benson (1862-1951) Marsh Gunner, 1918 signed “Frank W. Benson” lower left etching, 10 7/8 by 81/4 in. inscribed “51” lower right Paff #149, edition of 150

Along with The Gunner, Old Tom, and Winter Wildfowler, Marsh Gunner is considered one of Benson’s “Big Four” hunting portraits. PROVENANCE:

John T. Ordeman Collection

$4,000 - $6,000

209

209 Frank W. Benson (1862-1951) Flying Pintail, 1927 signed “Frank W. Benson.” lower right etching, 4 7/8 by 6 3/4 in. Paff #275, 600 proofs Frontispiece for Volume IV of the Paff Catalogue PROVENANCE:

John T. Ordeman Collection

$300 - $500

127

210 212

211 213

210 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

212 Frank W. Benson (1862-1951) Two Etchings (one shown)

PROVENANCE:

Going North, 1919

John T. Ordeman Collection

$2,000 - $3,000

211 Frank W. Benson (1862-1951) Three Yellowlegs, 1920 signed "Frank W. Benson." lower left drypoint, 4 1/2 by 5 7/8 in. Paff #184, edition of 150 PROVENANCE:

John T. Ordeman Collection

each signed "Frank W. Benson." lower left 3 1/2 by 5 1/2 in. Paff #169, edition of 150

On Set Wings, 1923 4 1/2 by 5 3/4 in. Paff #223, edition of 525 Frontispiece for Volume III of Paff Catalogue PROVENANCE:

John T. Ordeman Collection

$400 - $600

$300 - $500

213 Frank W. Benson (1862-1951) Pointer Dog, 1925 signed "Frank W. Benson." lower left etching, 5 7/8 by 7 3/4 in. Paff #251, edition of 150 PROVENANCE:

John T. Ordeman Collection

$1,000 - $2,000

128

214

214 Frank W. Benson (1862-1951) Dawn, 1924 signed "Frank W. Benson." lower left etching, 6 7/8 by 9 7/8 in. Paff #232, edition of 271, 250 of which were distributed to the members of the Cleveland Print Club PROVENANCE:

John T. Ordeman Collection

$600 - $900 215

215 Frank W. Benson (1862-1951) Tired Geese, 1933 signed "Frank W. Benson." lower left etching, 6 by 8 in. Paff #332, edition of 135, 125 of which were sent to the College Print Collectors Society PROVENANCE:

John T. Ordeman Collection

$600 - $900

216.1

216 Frank W. Benson (1862-1951) Study of Geese, Three Works (two shown) Two works framed together

Study of Geese Sketch signed with initials and inscribed "F.W.B. Long Plate D.P. [dry point] I.E.S.L." lower left pencil drawing, 6 by 7 in.

Study of Geese, 1917 signed "Frank W. Benson." lower left drypoint, 3 7/8 by 5 7/8 in. Paff #117, 5 trial proofs and edition of 57

216.2

Geese, 1917 signed "Frank W. Benson." lower left drypoint, 10 by 15 1/8 in. inscribed "31" lower right Paff #124, edition of 31 PROVENANCE:

John T. Ordeman Collection

John Ordeman, Frank W. Benson's Etchings, Drypoints and Lithographs, Prescott, WI, 2012, p. 152.

LITERATURE:

$3,000 - $4,000 217

217 Frank W. Benson (1862-1951) Yellowlegs at Dusk, 1928 signed “Frank W. Benson.” lower left etching, 7 7/8 by 11 3/4 in. Paff #279, edition of 150 PROVENANCE:

John T. Ordeman Collection

$600 - $900

129

219

218

220

221

224

222

223

225

227

226

228

229

130

218 Frank W. Benson (1862-1951) In Island Pond, 1925

224 Churchill Ettinger (1903-1984) Four Etchings (one shown)

signed "Frank W. Benson." lower left etching, 9 3/4 by 7 3/4 in. Paff #252, edition of 150

On Guard

PROVENANCE:

Bear and Salmon

John T. Ordeman Collection

$300 - $500

230

7 3/4 by 8 3/4 in. 7 3/4 by 8 3/4 in.

Bighorn in the Mountains 219 Frank W. Benson (1862-1951) Summer Yellowlegs, 1920 signed "Frank W. Benson." lower left drypoint, 5 by 3 3/4 in. Paff #186, edition of 150 PROVENANCE:

John T. Ordeman Collection

7 3/4 by 8 3/4 in.

The Hunter Observed 9 1/8 by 6 3/4 in. PROVENANCE:

John T. Ordeman Collection

$200 - $400

The Lone Fisherman, large plate 11 3/4 by 8 3/4 in.

$300 - $500

220 Frank W. Benson (1862-1951) The Darkening Sky, 1925 signed "Frank W. Benson." lower left drypoint, 4 7/8 by 6 3/4 in. Paff #253, edition of 150 PROVENANCE:

John T. Ordeman Collection

$300 - $500

221 Henry Emerson Tuttle (1890-1946) Two Etchings (one shown) Cock Grouse, artist’s proof signed “HE Tuttle imp.” lower center 9 3/4 by 7 3/4 in. Arthur Ackermann & Son, Inc. label on back Artist’s Proof

Raven on Stump, 1945 inscribed “Emerson Tuttle per Isabelle Tuttle” lower left 11 7/8 by 8 3/4 in. inscribed “4791 yluj elttut nosreme” in matrix posthumous edition

225 Churchill Ettinger (1903-1984) Five Etchings and Two Prints (one shown) each signed “Churchill Ettinger” and inscribed with title on back

PROVENANCE:

etching, 8 by 8 3/4 in. etching, 8 by 8 3/4 in.

229 Thomas Aquinas Daly (b. 1937) Two Etching and Aquatints (one shown)

In the Surf etching, 7 3/4 by 11 3/4 in.

each signed “tadaly” lower right

Picking Up etching, 7 3/4 by 8 3/4 in.

Pool and Rifle

Trout Stream

8 3/8 by 5 7/8 in. inscribed “Pool and Rifle” lower left and “AP 5/5” lower center

photogravure, 9 by 11

3/4

in.

Untitled photogravure, 12 1/2 by 9 in. PROVENANCE: John T. Ordeman Collection LITERATURE:

226 Reinhold Palenske (1884-1954) Fighting Mad signed “R. H. Palenske” lower right etching, 9 by 10 1/8 in. inscribed “Fighting Mad” lower left PROVENANCE:

John T. Ordeman Collection

$200 - $300

223 Edgar Sherman Sewell (19/20th Century) Phoebe’s Squeeze Girl

227 Herb Booth (b. 1942) Two Quail in Flight, 1990

PROVENANCE:

John T. Ordeman Collection

$200 - $300

Sneakboat and Gunner 6 1/4 by 9 1/2 in. inscribed “Sneakboat and Gunner” lower left and “T.P.” lower center PROVENANCE:

John T. Ordeman Collection

$300 - $500

230 Stanley Stearns (b. 1926) Minima signed “Stanley Stearns” lower left gouache, 5 by 7 in. inscribed “Four cackling geese with a Western Canada High over a California slough Unsuccessful duck stamp entry - personally, I feel it was one of my bests- ST” on the reverse PROVENANCE:

$100 - $200

signed “Edgar Sherman Sewell” lower right etching, 9 3/4 by 7 3/4 in. inscribed with title lower left

John T. Ordeman Collection

$100 - $200

Surfcasting Fisherman

$200 - $300

John T. Ordeman Collection

Along the Rockies

Hooked

$200 - $400

PROVENANCE:

7 3/8 by 5 3/8 in.

etching, 9 by 6 3/4 in.

PROVENANCE: John T. Ordeman Collection

signed and dated “Will Simmons 1921” lower right etching, 6 1/4 by 3 3/4 in. inscribed “George A. Bradshaw from Will Simmons” lower right

The Lone Fisherman, small plate

signed “Hans Kleiber” in plate lower right 4 3/4 by 6 3/4 in. inscribed “Along the Rockies” in plate lower left

Sneakboat Heading Out

John T. Ordeman, The American Sporting Print: 20th Century Etchers and Drypointists, Ringwood, NJ, 2007, p. 84, Picking Up illustrated.

222 Will Simmons (1884-1949) Bison on the Trail, 1921

228 Hans Kleiber (1887-1967) Three Etchings (one shown)

John T. Ordeman Collection

$300 - $500

signed “H. Booth” lower left pencil, 8 by 7 in. inscribed with a letter to John Ordeman from the artist PROVENANCE:

John T. Ordeman Collection

$100 - $200 131

231

232

234

233

235

237

236

238

240

239

241

242

132

231 Roland H. Clark (1874-1957) Up and Away, 1947

237 Roland H. Clark (1874-1957) Silhouette

241 Richard E. Bishop (1887-1975) Timber Mallards, 1931

signed "Roland Clark" lower right chromolithograph, 18 3/4 by 15 1/2 in. edition #89 of 300 Published and copyrighted by Frank Lowe in 1947, continuing the series of prints published by the Derrydale Press from 1937 to 1942.

signed "Roland Clark" lower right aquatint, 3 7/8 by 4 7/8 in.

signed "RE Bishop" lower right etching and drypoint, 12 by 10 in. inscribed "Timber Mallards" lower left edition of 65

$100 - $200

$150 - $250

PROVENANCE: John T. Ordeman Collection

238 Milton C. Weiler (1910-1974) Mark Left!

242 Richard E. Bishop (1887-1975) Four Christmas Greetings (one shown)

$300 - $500

PROVENANCE: John T. Ordeman Collection

signed "M.C. W." lower right watercolor en grisaille, 4 by 4 3/4 in. PROVENANCE: John T. Ordeman Collection

each inscribed "MERRY CHRISTMAS" lower center etchings, each 5 3/4 x 3 7/8 in.

signed "Roland Clark" lower right drypoint, 14 3/4 by 11 3/4 in.

$100 - $150

Mallards, 1960

PROVENANCE: John T. Ordeman Collection

239 Richard E. Bishop (1887-1975) Cape Road Pond, 1961

232 Roland H. Clark (1874-1957) Lowering Geese, 1929

$200 - $400

233 Roland H. Clark (1874-1957) Two Drypoints (one shown) each signed "Roland Clark" lower right

The Broken Wing, 1925 7 1/4 by 11 in. initialed and dated "CR 1925" lower left edition of 65

Mallard Trio 5 7/8 by 4 7/8 in. PROVENANCE: John T. Ordeman Collection

$200 - $300

234 Roland H. Clark (1874-1957) Peconic Bay (Osprey), 1925 signed "Roland Clark" lower right etching with drypoint, 7 1/2 by 5 1/8 in. inscribed "Peconic Bay Aug 1 1925" lower center dedicated "For Frank ... - with best wishes of the artist - " lower left PROVENANCE: John T. Ordeman Collection

$200 - $400

235 Roland H. Clark (1874-1957) Pintail Drake, 1928 signed "Roland Clark" lower right drypoint, 8 5/8 by 11 5/8 in. edition of 65 PROVENANCE: John T. Ordeman Collection

$200 - $300

236 Roland H. Clark (1874-1957) Three Grouse over a Dune

signed and inscribed "Richard E. Bishop / From DINKS and BRANNAN '60”

Flying Canvasbacks, 1961

signed "Richard E. Bishop" lower right etching, 9 by 10 1/4 in. inscribed "Cape Road Pond/For Ducks Unlimited - 1967" lower left dedicated "To Willis Brown with best wishes" lower center edition of 100 PROVENANCE: John T. Ordeman Collection

inscribed "from HELEN AND DICK BISHOP '61" lower right

Flying Geese, 1970 signed "Richard E. Bishop" lower right

Flying Redheads, 1973 signed and dated "Dick Bishop '73" lower right PROVENANCE: John T. Ordeman Collection

$150 - $250

$100 - $200

240 Richard E. Bishop (1887-1975) Three Etchings (one shown) Jack Pot, 1949 signed "Richard E. Bishop" lower right 11 3/4 by 9 3/4 in. signed and dated in the plate "Richard E. Bishop © '49" inscribed "Jack Pot" lower left edition of 100

The Wise One, 1925 signed and dated "R.E. Bishop '25" lower right 10 by 8 1/2 in. inscribed "The Wise One 75" lower left edition of 75

Early Morning, 1940

243 Vanity Fair Cartoons (English, 19th Century) Men of the Day, 1890 each signed "Spy" in matrix lithographs in color, 13 3/4 by 8 1/2 in. Published by Vincent Brooks, Day & Son, Lith., London, 1890

Sir Ralph Payne-Gallaway/Letters to Young Shooters, 1893 No. 571 (Big Game #646-A) The Earl de Grey/The Best Game Shot in England, 1890 No. 460 (Game Hunt #625) PROVENANCE: John T. Ordeman Collection

signed "Richard E. Bishop" lower right 9 3/4 by 13 3/4 in. inscribed "Early Morning" lower left edition of 100 PROVENANCE: John T. Ordeman Collection LITERATURE: Sportsman's Edge, Ltd.

Catalog, Jack Pot, etching, New York, NY, 1977, p. 31. $400 - $600

signed "Roland Clark" lower right drypoint, 3 by 3 7/8 in. This print is accompanied by a Christmas Greeting from Roland Clark. PROVENANCE: John T. Ordeman Collection

$100 - $200 133

$100 - $200 243.1

243.2

244

247

245

248

246

249

134

244 Paul W. Niemiec, Jr. (b. 1948) Two Drypoints (one shown) Zephyr, 1993

Pete and Butch

signed and dated "Paul W. Niemiec Jr. 1993" lower right 3 7/8 by 5 3/4 in. inscribed "Zephyr" lower left edition 38 of 120

signed “BN” lower right 1 by 1 7/8 in. inscribed “Pete E. Butch” lower center numbered “16/20” edition 16 of 20

Decoy Spread signed "Paul W. Niemiec Jr." lower left 5 1/4 by 7 1/2 in. inscribed "Trial Proof" lower left and "Decoy Spread" lower right PROVENANCE:

John T. Ordeman Collection

PROVENANCE:

John T. Ordeman Collection

$100 - $200

247 Fritz Bade (20th Century) On Point, 1946 signed and dated "Fritz Bade 1946" lower right etching, 7 3/4 by 9 1/2 in. inscribed "On Point" lower left

$300 - $400

John T. Ordeman Collection

245 American 20th Century Sporting Prints Three Etchings (one shown)

PROVENANCE:

John Templeman Coolidge, Jr. (1888-1945)

248 Walter E. Bohl (1907-1990) Wary Mallards

Ducks in a Marsh, 1920 signed "J.T. Coolidge" lower right etching, 5 by 5 1/2 in.

signed "Walter E. Bohl" lower right drypoint and aquatint, 6 3/4 by 8 3/4 in. inscribed and numbered "Wary Mallards 13/75" edition of 75

Anthony Thieme (1888-1954)

Flock of Ducks signed "A.Thieme" lower right etching, 6 3/4 by 8 3/4 in.

PROVENANCE:

John T. Ordeman Collection

$100 - $200

Arthur North

The Swans

249 Edward King (1886-1962) Two Etchings (one shown)

signed "Arthur North" lower right etching, 5 7/8 by 9 7/8 in. F. Denks, Inc., New York label on back PROVENANCE:

$100 - $200

The Master's Daughter, 1926

John T. Ordeman Collection

signed and dated "Edward King '26" lower right 6 3/4 by 10 1/4 in. inscribed "The Masters Daughter" lower left

$200 - $400

Master of Fox Hounds, 1923

246 Bruce North (b. 1940) Two Etchings (one shown) Canal Fisherman signed "Bruce A. North" lower right 5 3/4 by 8 1/4 in. inscribed "Canal Fisherman" lower center and "State II AP" lower left inscribed "For John, Many Thanks, Bruce" on back

signed and dated "Edward King '23" lower left 3 7/8 by 4 3/4 in. engraved "Master of Fox Hounds Dinner/given by/John McEntee Bowman/February 27th, 1923" lower center in margin

This etching was on the cover of the event program for the Master of Fox Hounds Dinner and has the dinner menu on back. PROVENANCE:

John T. Ordeman Collection

$100 - $200

135

SESSION II Decoys and Folk Art

136

137

250

251

252

253

254

255

256

257

138

250

253

251

252

254

255

256

257

250 Setter Head Cane

253 Southern Sportsmen's Cane

256 Horn Cane

C. 1910 34 1/2 in.

35 1/2 in.

1893 33 1/2 in.

A walking stick with a carved glasseyed dog head and a tapered shaft with a black paint finish. As found. $600 - $900

251 Alligator Cane 40 in.

A dark hardwood walking stick with carved alligators, turtles, snakes and crabs. There are decorative mother of pearl inlays and mother of pearl in the eyes of the figures and the teeth of the alligators. As found. A couple of the carved crabs have missing claws. $800 - $1,200

252 Horse Head Cane 33 1/2 in.

A walking stick exhibiting the following items carved in relief: a gun, dogs, fish, birds, a fox, a rabbit, a pheasant, an otter, knives, a comb, a bottle, a glass, and a couple coiled snakes. As found. There are some short age cracks and age lines.

A cane with sterling silver goat hornshaped handle. An engraved name is unreadable; the date appears to be '93. As found. The handle has some dents. $600 - $900

$500 - $800

257 Terrier Head Cane 254 Rattle Snake Cane

34 in.

33 in.

A mushroom-top walking stick with a carved coiled rattle snake, providing up to three inches in width. As found.

A walking stick with a small carved glass-eyed dog head and a brass collar-like ring. As found. Wear and flaking along the shaft.

$500 - $800

$300 - $500

255 Gambler's Cane 33 in.

A one-piece walking stick. Original finish with a chip missing and an 8 1/2 in. repair to the lower portion.

A walking stick with the following carved shapes: triangles, diamonds, crosses, acorns, shields, stars, and clubs. As found.

$600 - $900

$500 - $800

139

260

258

261

259

258 Miniature Sheraton-Style Side Table 12 by 14 by 9 1/2 in.

A two-drawer stand in figured maple and walnut with pine and poplar secondary woods. The drawers are cockbeaded with walnut over a pine front with figured maple veneer and turned walnut knobs. Original surface with a reset drawer front, a couple small leg chips, and a reset leg. $800 - $1,200

259 Victorian Doll 10 3/4 by 8 in.

A molded figure of a young woman. As found.

260 Stoneware Jug

262 Pig Wind Vane

9 by 6 1/2 in.

JONES LIGHTNING ROD CO. C. 1900 5 1/2 BY 20 3/4 IN.

Displays a blue floral motif on one side and a couple blue raindrops on the reverse. As found. $600 - $800

261 Black Figure Terracotta Jar UTZSCHNEIDER & CIE (1800-1919) LORRAINE, GERMANY, C. 1900 6 BY 7 BY 5 1/2 IN.

A terracotta figural jar marked "U & C," with a model # "448." Appears to be original paint with light wear, flaking, an age line, and a small chip. $500 - $800

$200 - $300

A hollow zinc pig mounted on a cast iron directional arrow which was originally made, as an optional accessory, to be mounted on a copper lightning rod on top of a building. As found. $200 - $300

263 Stagecoach Weathervane 15 1/2 by 19 in.

A Western stagecoach silhouette weathervane of stamped steel with lead added to form an arrow. As found. $600 - $900

140

262 263

141

266

264

267

266 Three Glass Shell-Shaped Flasks WILLIAM T. MURPHY NEW YORK, NY, C. 1890 clam 5 1/4 in., scallop 4 3/4 in., oyster 6 in.

265

A clam-shaped flask marked "Pat. Apl. For," a scallop-shaped flask, and a "Tony Faust" oystershaped flask. Other oyster flasks like this have "Faust" engraved on the top of the metal cap, this one does not have its cap, so the Faust is attributed. In the second half of the 19th century, in St. Louis, Tony Faust had the largest oyster house and saloon in the Midwest. This flask could have contained liquor or his famous oyster sauce. As found.

264 Needlepoint of Avocets 8 by 9 1/2 in.

A hand-stitched needlepoint of an avocet shorebird feeding with another in the distance. As found. $200 - $400

265 Lynn Bogue Hunt (1878-1960) EIGHT PLATES, C. 1960 10 1/4 in.

PROVENANCE:

Richard and Lynn Gove Collection

$500 - $800

Silver-edged dinner plates with wildfowl scenes designed by Lynn Bogue Hunt. Plates include scenes of grouse, canvasbacks, mallards, broadbills, quail, pheasants, pintails, and Canada geese. In very good used condition.

267 Nantucket Boat Model model is 23 in. long case is 8 1/4 by 29 1/2 by 9 3/4 in.

A contemporary wooden model of a 19th century whaleboat, including oars, tools, and equipment. Original paint and finish.

$400 - $600

$300 - $500

142

268 Wood Duck Andirons LIBERTY FOUNDRY (1910-1947) ST. LOUIS, MO, C. 1940 12 by 13 by 14 in.

A pair of rare, cast iron, half-model wood duck andirons, signed with raised cast letters on the back of the ducks and the fire dogs. As found, good working condition.

268

$500 - $1,000

269 Two Cast Iron Black Duck Doorstops RICHARD F. W. CLANCEY NEEDHAM, MA, C. 1930 5 3/4 by 24 5/8 by 3 in.

As found. $200 - $300

270 Two Leaping Salmon Metal Sculptures steel, 21 1/4 by 16 3/4 by 5 in. C. 1980

269

$1,000 - $2,000

271 Richard Stiers (20th Century) Whale Tail, 1988 signed and dated "'88 Stiers" on top of base of tail bronze, 14 3/4 by 14 3/4 by 8 in. edition 53 of 250

$200 - $400

270

271

143

272

272 Atlantic Salmon

273 Atlantic Salmon

JOHN TULLY (1862-1931) FOCHABERS, SCOTLAND, 1913 plaque is 19 1/4 by 56 1/2 in.

plaque is 13 by 44 in.

A thirty-three-inch-long, half-model fish carving, with the following painted inscription: “Ct. (Caught) by Wm. Smith, Manasquan, River Spey, March 25th, 1946, 15 lbs 3 oz.” on a rectangular wooden plaque. Upper section of pectoral fin has been reset. Plaque has an age crack and craquelure.

John Tully learned his trade as John Russell’s (18191893) assistant and gradually became a master carver in his own right. His wife Dhuie (1862-1950), who was John Russell’s daughter, painted nearly all of his carvings. Their work closely resembles that of Russell; however, their carvings are typically fuller, measuring two inches in thickness. Tully’s intricately carved fins coupled with Dhuie’s realistic use of paint (note the scales and black spots above the lateral line) combined to make their trophy carvings the most sought after in Scotland. Today their works are cherished by anglers and folk art collectors around the globe.

$800 - $1,200

274 Brook Trout LAWRENCE IRVINE (1918-1998) WINTHROP, ME, C. 1950 plaque is 12 by 28 in.

A trophy nineteen-and-one-half-inch-long brook trout carving on a faux-birchbark, beveled-edge plaque. Signed on the back. Original paint with minimal wear.

Inscribed along the bottom of the oak plaque with black lettering: “40 1/2 lbs. Caught by B.A.T. Sand River, 1913. Length 48 inches. Girth 26 1/2 - (inches).” Original paint with wear, reset pectoral and pelvic fins with some small chips, pectoral has wash, and a chip to the upper end of the caudal fin.

$1,000 - $2,000

275 Birch Bark Canoe C. 1910 9 by 42 by 9 1/2 in.

Ronald Swanson, Fish Models: An Exhibition, Salisbury, MD, 1997, pp. 2-3. LITERATURE:

An early birchbark canoe model with painted decoration and inscribed “Warre Kwi Chich.” A couple of wooden ribs have separated from the model. As found.

$6,000 - $9,000

$2,000 - $3,000

144

273

274

275

276

280

279

278

277

281

282

276 Pheasant Doorstop

278 Quail Pair Doorstop

280 Stag’s Head

HUBLEY MANUFACTURING COMPANY (1894-1965) LANCASTER, PA, C. 1950

HUBLEY MANUFACTURING COMPANY (1894-1965) LANCASTER, PA, C. 1930 7 1/2 by 6 1/4 by 3 in.

32 by 17 by 12 in.

8 3/8 BY 7 1/4 BY 3 1/4 IN.

A cast iron, male, ring-necked pheasant doorstop designed by Fred Everett. Cast signature appears to read “© Everett” on the front under the tail. The model number 458 appears along the bottom edge of the back. Original paint with wear.

A cast iron, pair of bobwhite quail doorstop, model 459, designed by Fred Everett. Cast signature appears to read “© Everett, ‘34” on the front under the male’s tail. Original paint with wear. $300 - $500

$200 - $400

279 Four Eagle Snow Birds 277 Parrot Doorstop ALBANY FOUNDRY COMPANY (1897-1932) VOORHEESVILLE, NY, C. 1900 12 1/4 by 8 by 3 1/4 in.

A cast iron doorstop displaying pronounced feather detail with an “81” on the back of the base. Original paint with even wear.

NEW ENGLAND, C. 1880 5 1/4 by 6 1/2 by 2 1/4 in.

Antique cast iron snow birds or ice dogs which prevented large amounts of ice and snow from falling from a roof in winter. As found.

An intricately carved deer head with trophy antlers on a detailed plaque exhibiting raised carved moldings. As found. $300 - $500

281 Penguin 16 1/2 by 8 by 6 1/4 in.

A chip-carved bird with raised wings. Original paint with light wear and patina. $500 - $800

282 Alligator Vase 1920 11 3/4 by 4 1/2 by 3 3/4 in.

A natural wood vase with one side exhibiting a carved reptile with exceptional incised and handcheckered detail. The lower portion of the vase is inscribed “Lookout Mt., Tenn. 1920.” Original finish with patina, wear, a couple tight age cracks, and a couple chips along edge of base.

$100 - $200

$500 - $800

$1,000 - $1,500 146

283

283 Swan MARTY HANSON (B. 1965) PRIOR LAKE, MN, 2015 30 in. long

Marty Hanson started his career by carving rigs of decoys for hunting clubs around age thirteen. Since that early beginning, he has established himself as one of the nation’s top carvers. A testament to his craftsmanship, a few discriminating duck hunters still use his hand carved wood decoys today. Hanson’s rounded approach to decoy making starts as far back as picking out the right tree to carve a specific decoy. His intimate knowledge of vintage decoys and the live bird are evidenced in this impressive work. A superbly carved and painted hollow whistling swan decoy with the maker’s incised “M H” initials in the bottom. Original paint with minimal wear. $3,000 - $5,000

147

MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

284

284 Loon MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 2014

A rare and stylish loon decoy. The uplifted head is slightly turned and made from a single twisted branch commonly referred to as a “roothead.” It is finished with fine detail carving to the bill and eyes. The sleek body features raised wing tips on top and fore and aft rigging on the underside. This large bird measures twenty-six-and-three-quarter inches from tip to tip, creating an extensive canvas for the artist to execute interpretations of the loon’s intriguing plumage. “McNair” is incised on the underside. Original paint. $3,000 - $5,000

148

actual size

285

285 Miniature Yellowlegs

286 Turkey

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, 2013 2 1⁄2 in. high including the stand

GRAYSON C. CHESSER (B. 1947) SANFORD, VA, C. 1980 17 by 30 by 11 in.

A split-tail shorebird with glass eyes and the maker’s half-inch-long, lightly incised signature on the underside. The base is a weighted brass head of a 12-gauge shotgun shell. This is believed to be the smallest bird carving by the maker. Original paint.

An exceedingly rare, life-size turkey decoy with bill, raised wing, and carved tail detail. Signed with the maker’s incised “C” on the underside. Original paint with light wear, age lines, and a bill chip.

$600 - $900

PROVENANCE:

William H. Purnell, Jr.

Collection $500 - $700

286

149

287 Miniature Merganser Pair GEORGE BOYD (1873-1941) SEABROOK, NH, C. 1930 1 3/4 by 4 in. long

With their incredibly delicate bills and wonderful patina, this pair ranks among the finest ever offered by the maker. The pair was collected by William V. Tripp III, one of the top miniature decoy collectors, who surveyed dozens of Boyd miniatures before acquiring these fine early examples. The drake is identified in pencil on the bottom. Original paint with light overall craquelure and minimal touch-up to craquelure on the left side of the drake. The hen has minor touch-up to the sides and head, with the bill possibly replaced or reset.

287

PROVENANCE: William V. Tripp III Collection. Private Collection LITERATURE: Jim Cullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941, Rye, NH, 2009, p. 61, similar miniatures illustrated.

Joseph H. Ellis, Birds in Wood and Paint: American Miniature Bird Carvings and Their Carvers, 1900-1970, Lebanon, NH, 2009, p. 85, fig. 8.3, similar miniature illustrated. $4,000 - $6,000

288 Miniature Pheasant Pair ALLEN J. KING (1878-1963) NORTH SCITUATE, RI, C. 1920 2 1/4 by 5 1/2 in. long

An exceptional and early pair of ring-necked pheasants, the male standing and the female resting. Original paint with minimal wear, the cock has minor restoration to tail tip. $2,500 - $3,500

288

289

289 Miniature Flying Grouse GEORGE WINTERS C. 1930 4 1/4 by 11 by 6 1/2 in.

The back of the base reads â&#x20AC;&#x153;Made for Abercrombie and Fitch, New York, Winters.â&#x20AC;? Original paint with wear, wing tip chips, re-set wings, and a re-mounted base. $300 - $500

150

290 Miniature Flying Green-Winged Teal A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920

5 3/8 in. long

A rare, half-model wall plaque of a miniature green-winged teal drake. This carving displays fine paint detail, an outstretched carved wing, a metal leg, and a number “4” written in pencil on the back. Original paint with minimal wear, a few minute paint chips, and a few paint rubs. PROVENANCE:

Private Collection

$1,500 - $2,500

290

291 Miniature Wilsons’s Tern A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1940 6 1/4 in. long

This carving is slightly larger than the maker’s typical miniatures. Displays tack-eyed pupils, a carved split tail, and a driftwood base with Crowell’s blue paper label on the bottom. Original paint with minimal wear. $1,500 - $2,500

291

292 Miniature Oriole A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1940 2 1/4 by 3 in. long

A bird carving with Crowell’s blue paper label on the bottom of the base. Original paint with minor wear and a slightly blunted beak tip. $500 - $700

292

151

295

293

296

294

293 Miniature Downy Woodpecker

295 Miniature Ovenbird

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1940 1 3/4 by 2 1/2 in. long

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1940 22 1⁄2 in. long

A delicate bird carving with Crowell’s blue paper label on the bottom of the base. Original paint with minor wear on the base.

An oversize hollow decoy with a slightly turned head, raised primaries, and carved tail feathers. Signed on the bottom by the maker. Original paint with minimal wear.

$500 - $700

294 Miniature Tennessee Warbler

296 Miniature Tree Swallow

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1940 1 3/4 by 2 3/4 in. long

A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920 1 3/4 by 2 1/2 in. long

A bird carving with Crowell’s blue paper label on the bottom of the base. Original paint with minimal wear.

A bird carving with Crowell’s blue paper label on the bottom of the base. Original paint.

$500 - $700

152

297 Goldeneye Drake A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1940

A full-bodied bird with carved bill detail, glass eyes, rasping on back of head, and Crowellâ&#x20AC;&#x2122;s rectangular stamp. A heavy circular round weight is inletted on the bottom. Original paint. $2,000 - $3,000

297

298 Goldeneye Drake A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1940

A slightly turned-head decoy with carved bill detail, glass eyes, and rasping to the head. Original paint with gunning wear, a small tail chip, and a tight age crack along the bottom. $1,000 - $2,000

298

299 Swimming Merganser A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930

A swimming red-breasted merganser with carved bill detail, glass eyes, carved tail feathers, and Crowellâ&#x20AC;&#x2122;s oval brand on the bottom. Taken down to mostly original paint with gunning wear. $2,500 - $3,500

299

153

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

Photograph courtesy of Jim Parker

300 Bobwhite Quail A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1930 9 1/2 by 7 by 4 1/2 in.

A finely detailed life-size quail carving completed at the height of Elmer Crowell’s decorative period. Crowell’s dry brush technique applied to the still wet oil paint creates a realistic quality in his birds that sets his work apart from all other makers. The bill features incised detail. Anatomically correct, Crowell demonstrates why he is considered the "Father of American bird carving." Very few examples of quail of this quality have ever come to market.

Today only remnant quail populations exist on Cape Cod, but during Crowell's lifetime there was a quail season well into the 1950s. Crowell carvings were masterfully crafted from direct observation and handling of the birds. The underside retains maker’s rectangular stamp. Near mint original paint with good patina, minimal touchup to top of beak, and minor touch-up to thighs and feet. LITERATURE: Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Sandwich, MA, 1992, p. 85, plate 51, similar bird illustrated.

$25,000 - $35,000

154

300

155

301 Ruffed Grouse A. ELMER CROWELL (1862-1952) EAST HARWICH, MA, C. 1920

An exceedingly rare, life-size, upland game bird with carved bill detail, a carved crest, raised neck ruff feathers, and outstanding blended feather detail. One of only a handful of ruffed grouse that Crowell is believed to have carved in his lifetime. Of Crowell’s three most commonly carved upland and lowland gatme birds, the quail, woodcock, and ruffed grouse, the grouse is by far the hardest to come by from this maker. This intricate chip-carved base has a root burl with small pine cones on the top and the maker’s oval brand lightly burned in the bottom. A similar ruffed grouse carving mounted on a burl root was made for Dr. John Cunningham, one of Crowell’s earliest patrons. In original paint with touch-up to tail feathers, ruff, tip of crest, and bill. PROVENANCE: Private Collection, Chatham, Massachusetts Private Collection, New Jersey

Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, p. 86, plate 53, similar bird illustrated.

LITERATURE:

$35,000 - $45,000

156

157

301

304

302

305

303

302 Canada Goose

304 Wigeon Paperweight

JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900

E. FRANK ADAMS (1871-1944) WEST TISBURY, MARTHA’S VINEYARD, MA, C. 1920

A classic goose decoy by Lincoln made for the rig of Plymouth County resident Leon Hatch with his brand along the bottom. In working repaint with gunning wear and an age crack along the bottom.

A large-size paperweight, measuring almost ten inches long with painted eyes, raised wings, and a partial original label on the bottom. Original paint with wear, scrapes, and a reset head with neck chip.

PROVENANCE: Leon Hatch Rig Private Collection

$300 - $500

$400 - $600

305 Long-Tailed Duck MASSACHUSETTS, C. 1890

An old sea duck decoy with tack eyes and a bottom board. Old, possibly original, paint with crazing and flaking, a shortened bill, and gunning wear.

303 Widgeon Drake JOSEPH W. LINCOLN (1859-1938) ACCORD, MA, C. 1900

A glass-eyed decoy with a faint “F.B. RICE” brand on the bottom. Lincoln made a rig of wigeon for Francis B. Rice of Bridgewater, Massachusetts. Repainted with gunning wear and a bill tip chip.

$500 - $800

PROVENANCE: Francis B. Rice Rig Private Collection

$300 - $500

158

306

306 Goldeneye Drake MASSACHUSETTS, C. 1920

This folky tucked-head decoy displays a stream-lined body with bill detail, glass eyes, and stippled paint. Original paint with gunning wear, white paint on left side, neck seam separation, and a crack in the original bill. $3,000 - $5,000

159

307 Black-Bellied Plover SOUTH SHORE, MA, C. 1880

A shorebird decoy exhibiting split-tail carving with raised and divided wing tips, a stringing hole through tail, and a “HILLMAN collection” auction stamp on the underside. Original paint with gunning wear, both wing tips have hair-line cracks. PROVENANCE:

John Hillman Collection Private Collection, Florida $1,500 - $2,500

307

308 Lesser Yellowlegs MASSACHUSETTS, C. 1890

A classic shorebird decoy exhibiting the skills of an accomplished woodworker. The head and bill are carved from one piece of wood, and the neck is inletted into the body with a cabinetmaker’s quality joint. Original paint with patina and light gunning wear. PROVENANCE:

Private Collection, Florida

$1,400 - $1,800

308

309 Greater Yellowlegs THOMAS A. PAINE (1852-1927) TRURO, MA, C. 1890

A feeding shorebird decoy with glass eyes and split-tail carving. Extended family members Josiah Paine (1836-1917) and his wife Phoebe are mentioned in William Mackey’s decoy book as makers of shorebird decoys on Cape Cod. Original paint with gunning wear, wing tip chip, bill appears replaced, and touch-up around bill insertion. PROVENANCE:

Private Collection, Florida

$1,500 - $2,500

309

160

310 Running Plover ELISHA BURR (1839-1909) HINGHAM, MA, C. 1880

John and Shirley Delph, New England Decoys, Exton, PA, 2007, p. 111, exact decoy illustrated.

The Burrs were masters of capturing the postures of live birds. Their decoys were carved in animated poses with complex wing and tail treatments and lively brush strokes. When Adele Earnest curated the World’s Fair in 1967, she selected a nearly identical example which now resides in the collection of the American Folk Art Museum in New York.

LITERATURE:

John Delph, referring to this Burr decoy along with two others, described them as, “Rare feeding positions with dropped tail carving. In near mint condition, these shorebirds are among the finest folk art extant.” This is one of the best Burr shorebird examples to ever come to market. In near mint original paint with minimal gunning wear.

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, Boston, MA, 1973, Session II, lot 481, similar decoy illustrated.

Hal Sorenson, ed., Decoy Collector’s Guide: 1968 Annual, Burlington, IA, pp. 113-114, similar decoy illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 72, similar decoy illustrated.

$8,000 - $10,000

PROVENANCE: John Delph Collection Private Collection

310

161

THE ART OF

THE GOOSE

The goose has long been an intriguing species to artists, decoy makers, hunters, and collectors alike. Their grand size, animated characters, adaptability, ubiquity across North America, and dynamic poses have led to a myriad of interpretations over the years. No other species has been represented with such variation. Makers have been compelled to address a number of challenges before designing a Canada goose decoy, such as the selection of materials and construction techniques for the body, head, and neck. As a result, Canada goose decoy permutations are extensive. Additionally, many poses can be represented in a rig, and these can be contingent on whether the decoys will be used as floaters, stick-ups, or even flyers. Representations of plumage on geese also vary tremendously from the spartan three-color paint application of Walter Brady, to the detailed feathering of Lem Ward (fig. 9, lots 382, 384 & 388), to the meticulously blended feathering of A. Elmer Crowell as seen in the Long Collection geese (fig. 2). As anyone who has spent time observing geese knows, a gaggle on the water or on land will nearly always display multiple head positions simultaneously, for instance when one sentinel's head goes down to eat, a feederâ&#x20AC;&#x2122;s head comes up to lookout. Both the individuals and groupings remain perpetually dynamic. It is no surprise that some of the finest and most captivating goose decoys came from makers who were known to keep live geese, among these were the Cobbs (fig. 7) and A. Elmer Crowell. It is plausible that other accomplished goose makers also had extensive exposure to the live bird as well; for instance, Ira Hudsonâ&#x20AC;&#x2122;s island home of Chincoteague was known to have been populated by them during his life (fig. 1, lot 376). Some of the impressive and celebrated solutions to constructing the goose's head and neck include rootheads, laminations, metal or hardwood reinforcements, and dovetailed or mortise-and-tenon joints. The massive bodies have been created from a variety of approaches including the standard one-or-two-piece wooden block, laminations, slats, and stretched canvas. George Boyd famously applied his specialized skills and tools as a shoemaker when crafting his intricate canvas-and-slat geese (fig. 3, lots 311-314).

after John James Audubon (1785-1851) Canada Goose (detail)

One frequently hears the peculiar resonant ‘hank’ of the wild geese, and, looking in the direction from which it came, sees the black head and neck of a bird stretching above the surrounding sedge… The last thing to be heard in the evening and at intervals during the night is the cackling of geese, and when one wakes in the morning the geese are cackling still. Howard Pyle, Chincoteague, The Island of Ponies, 1877

fig. 1, lot 367

fig. 2

fig. 3, lot 311

fig. 4

fig. 5

fig. 6

fig. 7

fig. 8

fig. 9, lot 384

163

...the

canvas-covered goose decoy by George Boyd

ranks with his

best work. The craftmanship is excellent. The

design is unique, artistic, durable, and practical. -Jim Cullen, Finely Carved & Nicely Painted

164

165

GEORGE BOYD 1873-1941 | SEABROOK, NH

311 Swimming Canada Goose GEORGE BOYD (1873-1941) SEABROOK, NH, C. 1920

The Batchelder Collection of Boyd Canada geese presents collectors with a rare opportunity to view and obtain a rig from one of New England’s master carvers that has never before been offered at auction. This highly refined canvas-covered Canada goose is portrayed in a rare swimming pose by New Hampshire’s most revered decoy maker. Boyd was a cobbler and the canvas-over-slat construction seen in this bird demonstrates his skills in this field. Revered for their mastery of form, unbridled craftsmanship, paint detail, and rarity, few goose decoy forms resonate with collectors more than the swimming examples produced by George Boyd. Constructed with wooden heads and inserted eyes, the bodies are made of canvas stretched over wooden slat frames with shaped paddle tails. The canvas is meticulously folded over and fastened to the bottom board with over one hundred small cobbler’s tacks. While a number of Boyd’s straight-head decoys in original paint have come to market over the decades, only five of his geese with heads outstretched have ever surfaced. The Batchelder Boyd swimming goose resides near the top of this illustrious group.

311

166

311

The innovative and captivating forms of Boyd swimming geese have been featured in numerous articles, catalogs, books, and exhibitions. A Boyd swimming goose decoy appeared on the cover of Moore and Harmon’s November 1988 catalog Decoys at Auction. That decoy set a new world record for the maker and was acquired by an important Southern decoy, sporting, and folk art collector. This same collector also owned the hissing goose (figure 6) by Joseph Lincoln (1859-1938) which, in 1986, set the world record for the highest price paid for any decoy at auction. Both of these decoys were subsequently acquired by one of the world’s leading folk art collectors in a private sale brokered by Stephen B. O’Brien Jr. Fine Arts, LLC. Both of these decoys were prominently featured in Loy Harrell Jr.’s Decoy’s North America’s One Hundred Greatest, and the Boyd was also published in the major folk art treatise American Vernacular by Roger Ricco and Frank Maresca.

forms of American folk art. Strong original paint with fine craquelure, even gunning wear, worn to wood in one small area, and minor filler loss on left breast. PROVENANCE: Howard Batchelder Rig, acquired directly from George Boyd By descent in the family to present owner

Jim Cullen, Finely Carved & Nicely Painted: The Life, Art and Decoys of George H. Boyd, Rye, NH, 2009, dust jacket cover and p. 28, similar example illustrated.

LITERATURE:

Loy S. Harrel, Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 106 - 107, similar decoy illustrated. Frank Maresca and Roger Ricco, American Vernacular, Boston, MA, 2002, p. 46, similar decoy illustrated. Moore and Harmon, Decoys at Auction, Hyannis, MA, November 9, 1988, catalog, cover, and lot 231, similar decoy illustrated.

Copley is pleased to offer the Batchelder swimming goose at auction for the very first time. This modern “find” offers collectors the opportunity to own one of the iconic

$50,000 - $70,000

167

312

313

168

314

312 Canada Goose

313 Canada Goose

314 Canada Goose

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

A canvas-covered Canada goose with its head turned slightly to the left. Original paint with craquelure, gunning wear, and age cracks in breast. Wear to wood in a couple spots and bill tip.

A canvas-covered Canada goose with its head turned slightly to the right. Original paint with craquelure, wear to wood in places, even gunning wear, tight age lines in breast, and wear at bill tip.

PROVENANCE: Howard Batchelder Rig, acquired directly from George Boyd By descent in the family to present owner

A canvas-covered Canada goose with its head turned approximately forty-five degrees to the right. Original paint with craquelure, even gunning wear, tight age lines in breast, and wear at bill tip. Original paint shows through to wood in places.

Jim Cullen, Finely Carved & Nicely Painted: The Life, Art and Decoys of George H. Boyd, Rye, NH, 2009, pp. 29 and 30, similar examples illustrated.

LITERATURE:

$10,000 - $15,000

LITERATURE:

Jim Cullen, Finely Carved & Nicely Painted: The Life, Art and Decoys of George H. Boyd, Rye, NH, 2009, pp. 29 and 30, similar examples illustrated.

PROVENANCE: Howard Batchelder Rig, acquired directly from George Boyd By descent in the family to present owner

Jim Cullen, Finely Carved & Nicely Painted: The Life, Art and Decoys of George H. Boyd, Rye, NH, 2009, pp. 29 and 30, similar examples illustrated.

LITERATURE:

$10,000 - $15,000

169

315 Golden Plover NANTUCKET, MA, C. 1890

A shorebird with round, stamped eyes and two side-by-side stick holes. Original paint with gunning wear, and flaking in neck. $800 - $1,000

316 Feeding Golden Plover NANTUCKET, MA, C. 1890

An early and exceptionally rare feeding shorebird with an iron bill. While some of the greatest shorebird decoys ever carved came from this small island, very few are found with heads in a feeding position. Original paint with gunning wear, age lines, and a chip near bill. $3,000 - $5,000

315

316

317 Golden Plover NANTUCKET, MA, C. 1890

A tack-eyed shorebird decoy with thick painted feather detail. Old, possibly original, paint with gunning wear, a second later stick hole, a repair to the bill tip, and considerable restoration to head and body seam areas. $500 - $800

318 Golden Plover E. FRANK ADAMS (1871-1944)(attr.) WEST TISBURY, MA, C. 1900

An early plump shorebird from the Vineyard with tight stippling. Early decoy mastersâ&#x20AC;&#x2122; patterns were often created with the wood at hand. Adamsâ&#x20AC;&#x2122; later decoys were thinner and flat sided. Original paint with even gunning wear and roughness to tail. $600 - $800

170 317

318

319 Golden Plover MASSACHUSETTS, C. 1880

A classic hollow Nantucket shorebird decoy in fall plumage with black glass eyes and carved raised shoulders and wings. Original paint with even gunning wear and a reattached bill. PROVENANCE: Joseph B. French Collection Private Collection, Florida

$4,000 - $5,000

319

320

320 Golden Plover MASSACHUSETTS, C. 1880

A shorebird decoy with hard wax eyes, carved wings, and carving between the wing tips. Stamped â&#x20AC;&#x153;J.B. FRENCHâ&#x20AC;? on the underside. Original paint with patina, even gunning wear, restoration to tail, and old stick hole repairs. PROVENANCE: Joseph B. French Collection Private Collection, Florida

$2,000 - $2,500

321

321 Hollow Golden Plover NANTUCKET, MA, C. 1850

An expertly crafted shorebird decoy from Nantucket with hollow four-piece construction, relief-carved shoulders and wings, divided and extended primaries, and incised tail feather detail. â&#x20AC;&#x153;J.B. FRENCHâ&#x20AC;? stamped under tail. Original paint with flaking, gunning wear, minor touch-up, and a tail chip. Possible bill replacement. PROVENANCE: Joseph B. French Collection Private Collection, Florida

$3,000 - $5,000

172

322 Golden Plover CHARLES GARDNER NANTUCKET, MA, C. 1880

This shorebird decoy displays green copper tack eyes, split-tail carving, and greenish paint specks on the back. Faintly branded “C. GARDNER.” This bird is from the rig of, or possibly made by, Charles Gardner, and was used at the Gardner’s gunning stand on Hummock Pond. In the 1850s four Gardner families lived and farmed along Hummock

Pond Road. One of the island’s earliest families, at least a dozen Charles Gardners have lived on Nantucket since the early 1700s. Original paint with some flaking, even gunning wear, and touch-up to wing tips. PROVENANCE: Joseph B. French Collection Private Collection, Florida, purchased from the above in 1995

$500 - $800 322

323 Golden Plover NANTUCKET, MA, C. 1870

A plover decoy with iron tack eyes and wire legs attached to its underside; the bird also has a stick hole. Appears to be in old in-use repaint with gunning wear. Bill may be an early replacement held in with a wedged nail. PROVENANCE:

Private Collection, Florida

$400 - $600

323

324 Feeding Plover ATLANTIC COAST, C. 1890

A tack-eyed shorebird decoy in a curvedback feeding position, with a “HILLMAN collection” stamp on the underside. This shorebird carving has elements similar to decoys from New Jersey and Nantucket. Original paint with minor flaking, even gunning wear, and a replaced bill. PROVENANCE: John Hillman Collection Private Collection, Florida

$1,000 - $1,500

324

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

Two hollow decoys with slightly turned heads, rectangular weights, and the maker’s incised “AGM” initial signature on the bottom of each. Murray was a prominent San Francisco acoustic guitar maker prior to moving to the Virginia. Original paint with minimal wear. PROVENANCE:

Richard and Lynn Gove Collection

$1,000 - $1,500

325

326 Two Black Ducks ANTHONY G. MURRAY (1941-2005) PUNGO, VA, C. 2000 miniature is 2 1/2 by 6 in. long

One hollow life-size decoy and one miniature decoy with slightly turned heads, detailed painted feathering, rectangular weights, and the maker’s incised “AGM” initial signature on the bottom of each. Both are in original paint. PROVENANCE: Richard and Lynn Gove Collection

$1,000 - $1,500

326

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

A hollow swimming decoy, inspired by “Shang” Wheeler, with a slightly turned head and the maker’s incised “AGM” initial signature on the bottom. Original paint with minimal wear. PROVENANCE:

Richard and Lynn Gove Collection

$500 - $800

327

174

328 Swimming Canada Goose MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

An exceptional Cobb-style hollow swimming decoy with black glass eyes, raised wing tips, rigging, and the maker’s incised signature on the underside. Original paint with wear. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$2,000 - $3,000

328

329 Brant MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

A hollow, Cobb-style swimming decoy with glass eyes, raised wing tips, rigging, and the maker’s incised signature on the underside. Original paint and wear. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$1,000 - $1,500

329

330 Merganser Pair MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

The decoys exhibit carved eyes, bill detail, raised crests, and the maker’s incised “McNair” signature on the underside. Fashioned after a famous Cape May, New Jersey, merganser pair. Original paint with wear. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$2,000 - $3,000

330

175

331

334

332

335

333

331 Feeding Yellowlegs

333 Black Bellied Plover

335 Sandpiper

MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2000

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

A shorebird decoy with black glass eyes, a through-splined bill, raised wings, carved primary feathers, and the maker’s incised signature on the underside. Original paint.

A Virginia-style shorebird decoy in eclipse plumage with tack eyes, a through-splined bill, a string hole in the tail, and the maker’s incised “McNair” signature on the underside. Original paint and wear.

A Bunn/Bowman-style shorebird decoy with glass eyes, a through-splined bill, raised wings, split primaries, and the maker’s incised signature on the underside. Original paint.

PROVENANCE: Private Collection, Connecticut, acquired from the artist

$1,000 - $1,500

PROVENANCE:

Private Collection, Connecticut, acquired from the artist $400 - $600

332 Black Bellied Plover MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

A Virginia-style shorebird decoy with carved eyes, a through-splined bill, raised wings, and the maker’s incised signature on the underside. Original paint and wear. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$400 - $600

334 Black Bellied Plover MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2000

A hollow shorebird decoy with black glass eyes, a through-splined bill, raised wings, and the maker’s incised signature on the underside. Original paint. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$800 - $1,000

176

PROVENANCE: Private Collection, Connecticut, acquired from the artist

$600 - $900

338

336

339

337

336 Long-Tailed Duck MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1995

A hollow decoy rigged for use with black glass eyes, carved bill detail, carved tail, and the maker’s incised signature on the underside. A framed conceptual pencil sketch of the decoy is included with this lot measuring three-and-one-half by five inches. Original paint. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$800 - $1,000

337 Common Merganser MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

A hollow decoy with carved eyes, carved bill detail, an inletted head, raised wings, and a rigged bottom board with the maker’s incised signature. Original paint. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$1,000 - $1,500

340

338 Dove MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

A hollow decoy with carved eyes, a splined bill, split and raised wings, and wire legs. The maker’s incised signature is on the underside. Original finish with minor wear. Private Collection, Connecticut, acquired from the artist PROVENANCE:

$800 - $1,000

339 Eskimo Curlew MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 2000

A hollow shorebird decoy with tack eyes, a bone bill, raised wings, a stringing hole in the tail, and the

177

maker’s incised signature on the underside. Original paint. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$800 - $1,000

340 Semipalmated Plover Pair MARK S. MCNAIR (B. 1950) CRADDOCKVILLE, VA, C. 1990

Two shorebird carvings with tack eyes, scratch-painted feather detail, wire legs, and the maker’s incised signature on the underside of each bird. Original paint. PROVENANCE: Private Collection,

Connecticut, acquired from the artist. $800 - $1,000

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

Two shorebird decoys with carved eyes, through-splined bills, and the maker’s signature lightly incised in the underside of each. Carved in the style of the Rodgers Rig shorebirds from Long Island, New York. Original paint with deep patinated surface and wear. PROVENANCE: Private Collection, Connecticut, acquired from the artist

$600 - $900

341

342 Swan and Crow JAMES P. ”JAMIE” HAND (B. 1953) CAPE MAY COURT HOUSE, NJ, C. 1990

A full-bodied, life-size trumpeter swan with a turned head, branded by the maker “J.P. HAND CMCH NJ” on the underside. A crow carving with black glass eyes and raised wings. Original paint with wear. $500 - $700

342

343 Mallard Drake DAVID B. WARD (B. 1947) ESSEX, CT, C. 1990

A puddle duck decoy with glass eyes, carved bill detail, raised wing tips, rigging, and the maker’s “DBW” stamped signature on the bottom. Original paint. $200 - $300

343

178

344 Flying Pintail Drake WILLIAM GIBIAN (B. 1946) ONANCOCK, VA, 1997 22 by 23 by 12 in.

A calling pintail in flight attached to a walnut plaque with the maker’s signed business card affixed to the back. Gibian flying decoys of this quality rarely come to market. Original paint. $1,500 - $2,000

344

345 Wood Duck Drake WILLIAM GIBIAN (B. 1946) ONANCOCK, VA, C. 1990 13 by 15 by 8 in.

A standing life-size carving of a wood duck with two carved shells on the base. The maker’s card is affixed to the bottom of the base. Original paint with minimal wear. $800 - $1,000

346 Mandarin Duck WILLIAM GIBIAN (B. 1946) ONANCOCK, VA, C. 1990

A standing life-size carving with extensive carved detail, raised feather groups, and a signed and dated maker’s card affixed to the bottom of the rock base. Original paint. $800 - $1,000 345

346

179

349

347

350

348

347 Tri-Color Heron with Newt

349 Red-Breasted Merganser Drake

WILLIAM GIBIAN (B. 1946) ONANCOCK, VA, 1996 17 by 25 1/2 by 8 in.

WILLIAM GIBIAN (B. 1946) ONANCOCK, VA, C. 1980

A standing life-size carving with extensive bill and crest carving, raised wing tips, and incised tail feathers. Signed on the underside with the maker’s incised “Gibian” signature. The maker’s card, affixed to the bottom of the base, is inscribed “My 1st Full Body Red Breasted Merganser Drake.” Original paint with minor wear.

A life-size heron carving with extensive painted feather and carved shell detail on the top of the base. The heron is depicted chasing a carved spotted newt. The bird has an incised signature on the underside by the maker and his card is affixed to the bottom. Original paint with minor wear, flaking to toes.

$800 - $1,000

$1,200 - $1,800

350 Long-Tailed Duck

348 Yellowlegs Pair

WILLIAM GIBIAN (B. 1946) ONANCOCK, VA, C. 2000

WILLIAM GIBIAN (B. 1946) ONANCOCK, VA, C. 1990

A hollow decoy with carved bill detail, wing tips, and inserted tail sprigs. The maker’s incised signature and framed card are on the bottom. Original paint.

Two life-size shorebird carvings with extensive detail and painted feathering, signed by the maker on the bottom of each base. The feeding bird also has an incised signature on its underside. Original paint with minor wear.

$600 - $900

$800 - $1,200

180

351

352

351 Flying Goldeneye Hen

PROVENANCE: Massey Collection Towner Collection Private Collection

CHAUNCEY WHEELER (1888-1945) ALEXANDRIA BAY, NY, C. 1920 3 1/4 by 16 by 6 in.

This half-bodied duck model displays a glass eye in a gentle eye groove, exceptional blended painted feather detail, a gracefully curved wing, and incised bill and tail carving. On the back is a handcrafted copper hanger and “Chauncey Wheeler” script signature. Wheeler was a master carver from the St. Lawrence River area. He was regarded as the “Dean of the Holland Street decoy makers,” a group which included Clovis LeFebvre, Frank Coombs, and Roy Conklin. Wheeler is credited with starting several carving trends in his region, such as the carved horizontal eye groove and half-model flying wall mounts. In 1934, with Wheeler’s permission, Roy Conklin received a patent from the United States government to manufacture these decorative carvings. One of Wheeler’s famous patrons was American composer and conductor John Philip Sousa (1854-1932). Sousa not only bought many decorative carvings and decoys from Wheeler, but also took carving lessons from him. This goldeneye, with its intricately blended stippled paint and graceful lines, epitomizes the classic design of the Holland Street school. Original paint with wear, minor chip to wing tip, and a re-set foot edge.

181

Harold W. Reiser III, Chance, A Man of Great Talent, Strength and Mystery, Lewes, DE, 2002, p. 87, exact bird illustrated.

LITERATURE:

$8,000 - $12,000

352 Flying Goldeneye Drake CHAUNCEY WHEELER (1888-1945) ALEXANDRIA BAY, NY, C. 1920 3 1/4 by 16 by 5 1/2 in.

This half-bodied duck model displays a glass eye in a gentle eye groove, a gracefully curved wing, and incised bill and tail carving. On the back is a handcrafted copper hanger and “Chauncey Wheeler” script signature. Original paint with wear, seam separation at neck, minor chip to wing and tail tips, and reset edge of foot. PROVENANCE: Massey Collection Towner Collection Private Collection LITERATURE: Harold W. Reiser III, Chance, A Man of Great Talent,

Strength and Mystery, Lewes, DE, 2002, p. 87, exact bird illustrated. $8,000 - $12,000

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

353

353 Black-Bellied Plover NATHAN F. COBB, JR. (1825-1905) COBB ISLAND, VA, C. 1880

A plump shorebird decoy with an incised serifed "N" signature, shoe button eyes, a through-splined bill, and a branded "P" for the Purnell Collection. This classic Cobb Island plover comes complete with Nathanâ&#x20AC;&#x2122;s identifying mark and well documented provenance hailing from two decoy collecting sages. Original paint with some old working touch-up, worn to the wood in places, even gunning wear, shot scars with traces of filler, and a couple age lines. PROVENANCE: William J. Mackey, Jr. Collection William H. Purnell, Jr. Collection, acquired from the above, c. 1968

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, page 128, plate VII, rigmate illustrated.

LITERATURE:

Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 68, plate 70, similar decoy illustrated. Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 210, plate 448, similar decoy illustrated. $10,000 - $15,000 182

354

355

356 Plover Cobb Island, VA, c. 1880 A shorebird with a through-splined bill and classic Cobb Island raised wing tips. Incised “J J” initials, a Mackey Collection ink stamp, and a “P” for the Purnell Collection brand are on the underside. Original paint worn to the wood with gunning wear, a replaced bill, thin wash around spline hole, and an age line. PROVENANCE: William J. Mackey, Jr. Collection William H. Purnell, Jr. Collection

Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of William J. Mackey, Jr., of Belford, NJ, Session IV, July 10, 1974, lot 304, exact decoy described.

LITERATURE:

$1,000 - $2,000 356

357

357 Red Knot 354 Golden Plover COBB ISLAND, VA, C. 1890

A feeding shorebird decoy with carved eyes and uniquely carved raised wings. Dr. Starr (1915-1985) of Duxbury, Massachusetts, had two rigmate plovers in his collection. Branded “W.H.P. JR”. Original paint with gunning wear and a top of bill chip at insertion. Possible touch-up on back of head around bill spline. PROVENANCE:

William J. Mackey, Jr.

Collection William H. Purnell, Jr. Collection, acquired from the above Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 65, plates 66 and 67, exact decoy illustrated.

LITERATURE:

George Ross Starr, Jr. M.D., Decoys of the Atlantic Flyway, Tulsa, OK, 1974, p. 74, figure 25, rigmate decoy illustrated. $2,000 - $4,000

355 Curlew LUTHER L. NOTTINGHAM (1852-1942)(attr.) CAPEVILLE, VA, C. 1890

A carved eye curlew with raised wings and a “P” brand on the underside for the Purnell Collection. Staple holes in back indicate curlew wings were likely applied during use. Original paint with even gunning wear, chips to bill and tail. PROVENANCE: William H. Purnell, Jr. Collection, acquired in Oyster, Virginia

$2,000 - $3,000 183

HOG ISLAND, VA, C. 1880 6 1/2 in.

The underside has a faint Mackey Collection stamp. Original paint with even gunning wear and four pins stabilizing original separation on left side. PROVENANCE: William J. Mackey, Jr. Collection Bud Ward Collection William H. Purnell, Jr. Collection

Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of William J. Mackey, Jr., of Belford, NJ, Session II, July 18, 1973, lot 423, exact decoy illustrated.

LITERATURE:

$2,000 - $3,000

358 Curlew HOG ISLAND, VA, C. 1880

A long-billed curlew decoy. Ship salvage was a major source of income on Virginia’s Barrier Islands and this bird appears to be made from salvaged wood. Appears to be original paint with gunning wear, original bungs and filler in wood imperfections with some filler loss, restoration to areas on top of head, and a replaced bill. PROVENANCE: Private Collection, Florida, purchased from Grayson Chesser in St. Charles, April 1992 LITERATURE:

Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 127, plate 139, rigmate illustrated. $800 - $1,000

358

359 Dowitcher CAPT. ELKANAH B. COBB (1852-1943) COBB ISLAND, VA, C. 1880

A two-piece shorebird decoy with the signature Cobb V-cut wing tips and a large serified “E” carved under tail. Mackey gave his friend Harold Haertel the choice of any decoy from an August 1964 article in The Magazine Antiques as a gift; Haertel picked this decoy. Traces of paint mostly worn to the wood with heavy gunning wear, numerous shot scars, spots of filler at neck, and bill is a replacement. PROVENANCE: William J. Mackey, Jr. Collection Harold Haertel Collection, received as a gift from the above John Levinson Collection Private Collection, Florida

359

LITERATURE:

John M. Levinson and Somers G. Headley, Shorebirds: The Birds, The Hunters, The Decoys, Centreville, MD, 1991, p. 106 and 134, x-ray and exact decoy illustrated. William J. Mackey, Jr., The Magazine Antiques, August 1964 article, exact bird illustrated. $1,000 - $1,500

184

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

A slightly turned-head shorebird decoy with elliptical painted eyes and sharp V-cut wing tips. The Matthews rig was used on Assawoman Island located just below Chincoteague. The 1920 U.S. Federal Census lists a sixty-five-year-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. A “P” for the Purnell Collection is branded on the underside along with the Mackey Collection ink stamp. Original paint with even gunning wear. 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

360

361

Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of William J. Mackey, Jr., of Belford, NJ, Session IV, October 20, 1973, lot 267, exact decoy illustrated.

LITERATURE:

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 60, rigmate decoy illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 160, plate 133, rigmates illustrated. $3,000 - $5,000

361 Robin Snipe ACCOMAC, VA, C. 1890

A feeding shorebird with carved eyes, raised wings, and a “P” brand on the underside. Mackey acquired a rig of shorebirds by this unknown maker in Accomac and illustrated a half dozen of them in his 1965 book American Bird Decoys. Original paint with even gunning wear, small area of staining on underside, and bill appears to be replaced. PROVENANCE: William J. Mackey, Jr. Collection William H. Purnell, Jr. Collection, acquired from the above

William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 158, plate 131, exact bird illustrated.

LITERATURE:

Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 55, color plate XXIV, rigmate illustrated. $3,000 - $5,000

362

362 Black-Bellied Plover CHARLES S. CLARK (1869-1947) CHINCOTEAGUE, VA, C. 1900

A painted-eye, two-piece shorebird decoy with a through-splined bill and a Purnell Collection "P" brand on the underside. This folky bird displays a dropped tail and slightly turned head. This is the only two-piece example known by Mackey or Purnell. Excellent original paint with minor flaking, mostly along the back, and even gunning wear. 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, c. 1968 Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 76, plate 80, rigmate decoy illustrated.

LITERATURE:

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 60, rigmate decoy illustrated. $6,000 - $9,000 185

363

186

LEE DUDLEY 1860-1942 | KNOTTS ISLAND, NC

363 Canvasback Drake LEE DUDLEY (1860-1942) KNOTTS ISLAND, NC, C. 1900

Dudley decoys have been held in the highest regard by collectors from the earliest days of decoy collecting. Two seminal books on decoy collecting, William J. Mackey’s American Bird Decoys and Joel Barber’s Wild Fowl Decoys both begin their first chapters with stories of Dudley decoys and the authors' reverence for them. Barber's particular love of Dudley decoys is illustrated in the first three plates of his book; the first of which depicts two Dudley decoys prominently displayed top and center on a collection wall. In 1981 a panel of experts reviewing the decoy collection at the Shelburne Museum declared a Dudley decoy of Barber's to be the best of the collection.

carving style consistently depicts both the head and body forms as a totality, resulting in a fine sculptural portrait…” The form, execution, rarity, condition, and provenance of this canvasback place it among the finest North Carolina decoys to ever be offered for sale at auction. A mix of original and working paint with heavy gunning wear and a reset neck with some putty and touch-up. PROVENANCE: William J. Mackey, Jr. Collection Donal C. O'Brien, Jr. Collection, acquired from the above Private Collection, acquired from the above, c. 1983

William J. Mackey, Jr., American Bird Decoys, New York, 1965, pp. 168-170.

This canvasback decoy has never before been offered for sale and is one of the finest examples of a Dudley canvasback ever to be offered at auction. It is believed to have been made as part of a rig for the Dudley’s Island Club which was owned by Lee’s twin brother, Leonard V. Dudley (1860-1932). The body is long and graceful and the raised wingtips are carved in a sharp V-shape. This bird has sophisticated head carving with a refined bill, pronounced crown, full cheeks, and glass eyes. William J. Mackey, Jr., in his book American Bird Decoys, was so impressed with Dudley's work that he wrote, “the heads on Dudley’s decoys are the finest the writer has ever seen.”

LITERATURE:

This rare example carries excellent provenance and is in very good condition by Dudley standards. These two points cannot be overstated when considering Dudley decoys. The provenance leads directly from the William J. Mackey, Jr. Collection to the Donal C. O’Brien, Jr. Collection to the consignor.

Joe French, “Early Decoy Days: Traveling Man,” Decoy Magazine, Lewes, DE, March/April 2005, p. 25, related example illustrated.

Though it is likely that Lee Dudley made hundreds of decoys over the course of his career, very few unadulterated carvings are known to remain today. Due to their popularity among collectors, misleading representations of Dudley decoys have occurred through various means since the earliest days of decoy collecting. The most common alterations come in the forms of Dudley decoys with replaced bills, heads, and bodies. Because of their early origins and refined features, most Dudley decoys lost their bills, heads, or were destroyed entirely. The Dudley decoy has always been known for its bold, singular form and this carving exemplifies all of the desirable attributes one looks for. To draw from Gene and Linda Kangas’ Decoys: A North American Survey, "A visual study of the complete Dudley bird form, whatever the species, reveals an uninterrupted flow from bill tip to tail’s end. The successful manner in which the bill fits into the lower cheeks, the cut of the neck-base, sweeping powerful chest, and smooth, curved body combine into one of the finer sculptural solutions in the decoy world...The Dudley

187

Dick McIntyre, “The Dudley Decoy,” Decoy Magazine, Burtonsville, MD, March/April 1994, cover story, pp. 8-14. Henry A Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, pp. 215-219. Joel Barber, Wild Fowl Decoys, New York, NY, 1954, pp. 1-5, plates 1-3. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, pp. 3-4.

Copley Fine Art Auctions, The Sporting Sale 2009, Plymouth, MA, July 2011, lot 629, related example illustrated. $40,000 - $60,000

Dudley’s Island Club Brochure , c. 1920 Photo courtesy of Dick McIntyre, Collectable Old Decoys

364

364 Bluebill Drake NATHAN F. COBB JR. (1825-1905) COBB ISLAND, VA, C. 1880

A hollow bluebill decoy with an inletted head, carved bill detail, glass eyes, the Cobb's classic raised wing tips, and a bottom board. The bottom displays Nathan Cobb's incised serifed "N", a branded "P" for the Purnell Collection, and rigging. This decoy has never before come to market and is one of the finest Cobb bluebills known. Original and working paint with gunning wear and age lines, filler in small tail chip. PROVENANCE: William J. Mackey, Jr. Collection William H. Purnell, Jr. Collection, acquired from the above in 1966

Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, pp. 192 and 193, plates 390, 391, 393, and 394, rigmates illustrated.

LITERATURE:

Cobb Island Decoys by Thelma Peterson, Lot 364 illustrated lower right

Gene and Linda Kangas, Decoys, Paducah, KY, 1992, p. 120, plate 179, rigmate illustrated. Print: William H. Purnell, Jr. and Thelma Peterson, Cobb Island Decoys, Eastern Shore of Virginia, Nathan F. Cobb, Jr., September 27, 1825 - January 25, 1905, Cape Charles, VA, 1985, exact decoy illustrated. $12,000 - $18,000

188

365 Rare Mallard Drake CAINES BROTHERS GEORGETOWN, SC, C. 1900

The Caines brothers were: Joseph J. “Hucks” (1876-1944), Edmund A. “Ball” (1851-1914), R. Randolph “Sawney” (18601938), Moultrie J. L. “Pluty” (1870-1912), and Robert J. “Bob” (1879-1923), Hobcaw Barony is located on the lower end of Waccamaw Neck and it is there that Richard Caines (1813-1881) raised his children. Five of his sons lived to adulthood and carved decoys. Caines family decoys are the most sought after South Carolina decoys and very few are known to have survived. This mallard is oversized and features black glass “hat-pin” eyes, carved bill detail, an upswept tail, and raised wings. In Caines working re-paint with craquelure and flaking, gunning wear, and an old neck repair. Bill is repainted and one half replaced by Ken DeLong. Even darkening to flaking throughout. PROVENANCE: Private Collection, Virginia Private Collection

Richard W. Oliver, Rare and Important American Bird Decoys, Charleston, SC, February 1989, front cover and lot 64, exact bird illustrated.

LITERATURE:

Guyette and Schmidt, Inc., North American Decoys at Auction, St. Charles, IL, April 2006, lot 652, exact decoy illustrated. $10,000 - $15,000

365

189

366

366 Ruddy Duck EDWARD "NED" BURGESS (1868-1958) WATERLILY, CHURCHES ISLAND, NC, C. 1920

A very rare North Carolina ruddy duck with carved bill detail, an extended tail, and a lead pad weight. This little decoy is not only one of the finest Burgess ruddy ducks, but also among the best Carolina ruddy ducks to come to auction in recent memory. Excellent original paint with light grey, a possible Burgess addition. Touch-up to age line on back and to top and tip of bill. PROVENANCE: Henry A. Fleckenstein, Jr. Collection Private Collection, acquired from above

Midwest Decoy Collectors Association, Fifth Exhibition of Classic Antique Waterfowl Decoys, April 1983, p. 10, exact decoy illustrated.

LITERATURE:

Kroghie Andresen, Gunnin' Birds, Charlotte, NC, 2008, pp. 156-168. $6,000 - $9,000

190

367 Hissing Canada Goose IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1920 10 1/4 by 28 by 8 in.

A solid decoy exhibiting a dry surface and Hudson's best form with an extended, reaching neck. The body is reported to have been made from the mast of a schooner. Original paint with gunning wear and neck and tight body cracks. Along the bottom is an old age check secured with the original rectangular lead weights. PROVENANCE: William H. Purnell, Jr. Collection, acquired in Rumbley, Maryland LITERATURE: Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas, Exton, PA, 1983, p. 32, plate 39, exact decoy illustrated.

$6,000 - $9,000 367

368 Bufflehead Drake IRA D. HUDSON (1873-1949) CHINCOTEAGUE, VA, C. 1940

A rare Hudson bufflehead with a balsa body. The underside has a Purnell Collection "P" brand. Original paint with craquelure, gunning wear, age lines, imperfection on left side, and chips. PROVENANCE: William H. Purnell, Jr. Collection, acquired on Fenwick Island, Delaware

$1,000 - $1,500

368

369 Bluebill Hen EDSON G. GRAY (1891-1982) OCEAN VIEW, DE, C. 1930

A full-bodied decoy with glass eyes, carved bill detail, an oak keel, and a Purnell Collection "P" brand. Named maker decoys from this state are hard to come by. Gray sits atop the list of desirable makers from Delaware. Original paint with even gunning wear, a neck crack, and age lines. PROVENANCE:

William H. Purnell, Jr. Collection

$500 - $800 369

191

372

370

373

371

370 Canada Goose

372 Wigeon Pair

MILES HANCOCK (1888-1974) CHINCOTEAGUE, VA, C. 1940

MILES HANCOCK (1888-1974) CHINCOTEAGUE, VA, C. 1930

A tack-eyed goose decoy with carved bill detail and original rigging. Original paint with gunning wear, a small bill chip, paint rubs, and an old in-use neck repair.

A pair of tack-eyed decoys with a Purnell “WHP” brand and original rigging on the bottom. Original paint with wear and age lines.

PROVENANCE:

William H. Purnell, Jr. Collection

WHP

$400 - $600

$600 - $900

371 Bufflehead Pair

373 Coot

MILES HANCOCK (1888-1974) CHINCOTEAGUE, VA, C. 1940

Two decoys with copper tack eyes, carved bill outlines, and original rigging. Original paint with gunning wear and age lines.

A tack-eyed decoy with original rigging. Original paint with gunning wear, a small bill chip, and chips on body.

PROVENANCE:

William H. Purnell, Jr. Collection

$300 - $500

$400 - $600

192

376

374

377

375

374 Hutchins Canada Goose

376 Swimming Canada Goose

DAVE “UMBRELLA” WATSON (1851-1938) CHINCOTEAGUE, VA, C. 1920 9 3/4 by 17 1/4 in.

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

In old repaint with flaking and gunning wear to the wood, loose neck crack, a fractured tail, and a check along the bottom.

A rare hollow goose decoy with glass eyes, carved bill detail, raised wing tips, and “P” and “WHP JR” brands on the bottom for the Purnell Collection. Old paint by Ira Hudson with flaking, gunning wear, and half of bill replaced.

$800 - $1,200

377 Brant

PROVENANCE: William H. Purnell, Jr. Collection, acquired in Ocean City, Maryland

$1,500 - $2,500

WHP

CHARLES BIRCH (1868-1956) WILLIS WHARF, VA, C. 1920

A classic hollow tack-eyed decoy with old rigging and two “Mackey Collection” stamps. Original paint with working repaint to black, even gunning wear, and a crack in neck.

375 Black Duck DAVE “UMBRELLA” WATSON (1851-1939) CHINCOTEAGUE, VA, C. 1920

PROVENANCE: William J. Mackey, Jr. Collection Private Collection

A hollow decoy with glass eyes in deep eye grooves, bill detail, raised wing tips, original rigging, and a “WHP JR” Purnell Collection brand on the bottom. In old repaint with flaking and gunning wear.

$1,000 - $1,200

Provenance: William H. Purnell, Jr. Collection, acquired in Ocean City, Maryland $600 - $800

WHP

193

380

378

381

379

378 Miniature Hooded Merganser Pair THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1950 4 by 7 1/2 by 3 1/4 in.

A pair of balsa-bodied miniature decoys with “SGH” collection stamps on the bottom. Original paint with hen’s bill reset. PROVENANCE:

Somers G. Headley Collection Richard and Lynn Gove Collection $1,000 - $1,500

379 Miniature Mallard Pair THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, 1957 4 by 8 1/2 by 3 1/2 in.

A pair of balsa-bodied miniature decoys signed on the bottom with “SGH” collection stamps. Hen identified as “Best Grade” on bottom. Original paint. PROVENANCE:

Somers G. Headley Collection Richard and Lynn Gove Collection

382

PROVENANCE: Dr. George R. Starr Collection Richard and Lynn Gove Collection

$800 - $1,200

George R. ST STARR

381 Miniature Long-Tailed Duck THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1940 3 3/4 by 9 3/4 by 3 1/2 in.

A carved cedar miniature decoy with painted tack eyes, extensive bill carving, textured paint, and a long sprig tail. Original paint with minor wear and age lines in the neck. PROVENANCE:

Richard and Lynn Gove Collection

$500 - $700

$800 - $1,200

382 Canada Goose 380 Miniature Shoveler Pair THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1940 3 3/4 by 7 1/2 by 3 in.

A pair of painted-eye, balsa-bodied miniature decoys with an oval “George R. STARR Collection” stamp on the bottom. Original paint with minor wear; the drake has a tight age crack in the body.

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

A slightly turned-head, solid cedar, carved decoy with Lem’s fine painted feather detail. Faintly signed and dated on the bottom “L.T. Ward Bro., Crisfield, MD, Lem Ward, 1970.” Under the tail the bird is also faintly stamped “L. T. Ward ..., Crisfield, ...” Original paint with even wear, flaking around neck to putty and paint, crack in bill appears to be original. $1,500 - $2,500 194

DELBERT “CIGAR” DAISEY B. 1924 | CHINCOTEAGUE, VA

383

383 Hooded Merganser Hen DELBERT "CIGAR" DAISEY (B. 1924) CHINCOTEAGUE, VA, 1971

This hollow competition-grade decoy is one of the finest Daisey carvings known. It features life-like bill and feather carving. Signed and dated faintly in ink and branded "CIGAR" twice on the bottom. Original paint with minimal wear. $3,000 - $5,000

195

THE WARD BROTHERS LEMUEL T. 1896-1984 AND STEPHEN 1895-1976 | CRISFIELD, MD

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

384 Canada Goose THE WARD BROTHERS, LEMUEL T. (1896-1984) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1936

In the 1930s the Ward Brothers received a custom order for goose decoys from Colonel Albanus Phillips for his gun club just south of Cambridge, Maryland. Phillips was widely known throughout the Eastern Shore and Presidents Teddy and Franklin Roosevelt were believed to have been guests at his lodge. Historically, Phillips used dozens of live goose decoys at his Bishops Head Gun Club in Dorchester County; however, in 1935 the federal government banned the use of live decoys. Following this announcement Lem, Steve, and the Colonel met to design and create the Wards’ very best gunning model for his club. Bishops Head was a two-story lodge with its own manmade tidal pool. Phillips originally purchased the eight square mile property in 1921 for the sole purpose of using it as a private game preserve. The lodge had a large great room with a fireplace, a locker room, and bedrooms on the second level. There was also a caretaker’s house, live decoy pens, kennels, and a boat dock. The boat dock was often used by members of the Cambridge Yacht Club, which Phillips also founded. An avid hunter, this camp provided Phillips, his brother Levi, and W. Grayson Winterbottom (their business partner) with a place of respite from their booming food canning business. At the time Bishops Head was considered one of the Eastern Shore’s great hunting clubs. Of the numerous goose patterns designed by the Ward brothers, the Bishops Head Gun Club model is the most coveted. It exhibits a long reaching neck that gracefully moves the head forward in an appealing swimming position. This example with its bold body possesses Lem’s deep-cut wing delineation and highly defined carving under the tail. With its full cheek carving, articulated bill profile, and crescent-shaped cheek

delineation, this bird exemplifies the finest of the Bishops Head style. The decoy displays an appealing dry surface with Lem’s detailed feather paint which echoes Steve’s distinct carving style. This decoy has impressive provenance coming from the collections of William J. Mackey and Dr. James M. McCleery. The underside bears the “MCCLEERY” stamp, is inscribed “Made by L. T. Ward, Crisfield, MD, -1936-,” and is signed “Steve Ward, Lem Ward.” Original paint with light even gunning wear, some working touch-up possible, tight neck crack, age lines in breast and body, and original wood fill in check along bottom. One of the finest Ward Brothers decoys known to exist. PROVENANCE: William J. Mackey, Jr. Collection Dr. James M. McCleery Collection Private Collection

Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Wolfe City, TX, 1989, plate 100, pp. 107-108, exact decoy illustrated.

LITERATURE:

Sotheby’s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, lot 489, exact decoy illustrated. Robert H. Richardson, Chesapeake Bay Decoys: The Men Who Made and Used Them, Burtonsville, MD, 1991, dust jacket and p. 119. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 148-149, rigmate illustrated. C. John Sullivan, Waterfowling on the Chesapeake, 18191936, Baltimore, MD, 2003. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 76-77, exact decoy illustrated. $60,000 - $80,000

196

384

197

385

385 Redhead Drake THE WARD BROTHERS, LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1929

A rare decoy showing a transition between the Ward Brothers' early hump-back and classic 1936 designs. It is from the rig of the Excelsior Brass Gun Club. The Club was located on Deal Island, Maryland, on the southern edge of the Dames Quarter Marsh. The club was simply referred to as the Deal Island Club. The Club was started in the early years of the 20th century, when the lure of wildfowl shooting reached its peak of popularity. The bottom of the decoy displays "L.T. Ward- Bro. Crisfield, MD., Lem Ward, Steve Ward, -1929- .," "Made for Deal Island Club, Lem Ward (signature)," and "P" and "WHP JR" brands for the Purnell Collection. Original paint with even gunning wear to the wood in places, head paint appears to be taken down, and neck has a crack. PROVENANCE: Deal Island Club Rig Amos Waterfield Collection William H. Purnell, Jr. Collection, acquired from the above, c. 1970

Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Wolfe City, TX, 1989, plate 43, pp 50-53, rigmate illustrated.

LITERATURE:

Byron Cheever, Ward Bros., Spanish Fork, UT, 1966, center pictorial insert, plate 46, rigmate illustrated. Adele Earnest, The Art of the Decoy, New York, NY, 1965, plate 160, p. 184, rigmate illustrated. $3,000 - $5,000

WHP

198

386 Bluebill Hen THE WARD BROTHERS, LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, 1929

This decoy was made for the rig of the Excelsior Brass Gun Club, also known as the Deal Island Club. This bluebill was illustrated in the 1966 book Ward Bros. and sold to William H. Purnell by Lem Ward. The bottom of the decoy displays "1929, L.T. Ward- Bro. Crisfield, MD., See Ward Bros book, plate 46, Made for Deal Island Club, Lem Ward (signature)," and a "WHP JR" brand for the Purnell Collection. Original paint with even gunning wear to the wood in places, a neck crack, possible Ward touchup, and one eye appears to be replaced. PROVENANCE: Deal Island Club Rig William H. Purnell, Jr. Collection, acquired from Lem Ward, c. 1970

Ronald J. Gard and Brian J. McGrath, The Ward Brothers' Decoys: A Collector's Guide, Wolfe City, TX, 1989, plate 43, pp 50-53, rigmate illustrated.

LITERATURE:

Byron Cheever, Ward Bros., Spanish Fork, UT, 1966, center pictorial insert, plate 46, exact decoy illustrated. Adele Earnest, The Art of the Decoy, New York, NY, 1965, plate 160, p. 184, rigmate illustrated. $3,000 - $5,000

WHP

386

199

387 No Lot 388 Canada Goose THE WARD BROTHERS, LEMUEL T. (1896-1983) AND STEPHEN (1895-1976) CRISFIELD, MD, C. 1936

A solid cedar-bodied decoy with detailed bill carving. The bottom of the decoy displays “Lem - Steve, Ward Bro., Crisfield, MD.-1936-.” and “P” and “WHP JR” brands for the Purnell Collection. This bird was the first pick out of a rig of a dozen. Original paint with even gunning wear, a neck crack and age lines in back and underside have touch-up, and bill has tight crack. PROVENANCE: Dr. Price Wilson Rig William H. Purnell, Jr. Collection, acquired from the above’s estate via Lem Ward, c. 1970

388

$2,500 - $3,500

WHP

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

Appears to be original paint with some touchup and gunning wear, missing eyes and several cracks. $400 - $600

389

390 Goldeneye Drake LLOYD AARON STERLING (1880-1964) CRISFIELD, MD, C. 1918

An early Crisfield diver, in a swimming posture with a broad eight-inch-wide body. Very few goldeneye decoys by this maker are known. Original paint with gunning wear to wood and some age lines. Very minor touch-up including neck seam. PROVENANCE: Collins Collection Gregory Collection Private Collection

$2,500 - $3,500

390

200

391

391 High-Head Canvasback Drake

PROVENANCE: Robert H. Richardson Collection Private Collection

TAYLOR BOYD (1856-1944) NORTHEAST, MD, C. 1895

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 196, color plate 8, exact decoy illustrated.

LITERATURE:

An early and fine form from the upper Chesapeake Bay with a distinctly high head. The underside retains a Richardson collection stamp. Original paint with gunning wear. Left side has age cracks in neck and body with stabilizing nails.

$2,000 - $4,000

392 Redhead Drake JOHN "DADDY" HOLLY (1819-1892) HAVRE DE GRACE, MD, C. 1870

An early Susquehanna Flats decoy with painted eyes, carved bill detail, and its original weight. In old re-paint, worn to the wood in places, heavy gunning wear, and cracks in neck. $800 - $1,200

392

201

393

393 Canada Goose

394 Canvasback Drake

ROBERT "BOB" MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1940

JAMES T. HOLLY (1855-1935) HAVRE DE GRACE, MD, C. 1890

A full-size decoy with a thirteen-inch-long, dogbone lead weight on the bottom. Original paint with gunning wear, imprint in original filler on underside, and a crack in breast and in the neck.

A classic high-head Havre de Grace decoy by one of the areaâ&#x20AC;&#x2122;s earliest makers. Appears to be old working paint with craquelure, gunning wear, rub to back, old chip to top of head, a crack in neck, and small nails added to either side of weight on bottom.

$2,000 - $3,000

$400 - $600

394

202

397

395

398

396

395 Bluebill Hen

397 Black Duck

ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1940

Original paint with even gunning wear and an age crack along the bottom.

A scratch-painted decoy with original dog-bone weight. Original paint with gunning wear, an age line in neck, and chips to original putty along top of head.

$400 - $600

$600 - $900

396 Canvasback Drake ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1940

398 Redhead Hen ROBERT “BOB” MCGAW (1879-1958) HAVRE DE GRACE, MD, C. 1940

Original paint with light, even gunning wear.

Original paint with gunning wear, a short age line along the back, and a tight crack along the bottom.

$600 - $900

203

399 Miniature Canada Goose JAY C. PARKER (1881-1967) PARKERTOWN, NJ, C. 1920 3 3/4 by 7 by 3 in.

An important and early glass-eyed miniature goose decoy with carved bill detail, shoulder carving, and a lightly etched "From Jay" on the bottom. The handwriting matches that found on the maker's WWI registration card. Original paint with minor wear, shallow tail chips, a tight age crack along the bottom, and reset neck with touch-up. PROVENANCE:

Richard and Lynn Gove Collection

$1,500 - $2,500 399

400

400 Miniature Bluebill and Redhead JOHN L. DORSETT (1830-1910) POINT PLEASANT, NJ C. 1900 2 3/4 by 6 3/4 in. long

A rare miniature redhead drake decoy with raised wings, deep eye grooves, and a faint signature on the bottom. In 1880 John L. Dorsett was a boatbuilder and neighbor of J. Taylor Johnson (1853-1929). ABRAM “ABE” JOHNSON (1877-1949) PT. PLEASANT, NJ C. 1900 4 by 8 1/4 in. long

A miniature decoy with a distinct eye groove, raised wings, and “Abe Johnson” written on the bottom. Abe Johnson was the son of the aforementioned Taylor Johnson. Both are in original paint. The redhead has even wear, a hairline bill crack, and broken wing tips. The bluebill has even wear, a tight age crack along the bottom, and broken wing tips. PROVENANCE:

Richard and Lynn Gove Collection

$1,000 - $1,500

204

401

401 High-Head Swimming Black Duck GIDEON LIPPINCOTT (1817-1889) WADING RIVER, NJ, C. 1880

One of the first documented New Jersey decoy carvers was ship carpenter Gideon Lippincott who created finely crafted decoys that inspired the next generation of local makers, including John McAnney and later John Updike. A hollow decoy with carved bill detail, a well-sculpted head with a delicate neck, finely executed scratch-painted feathering, and a gently rounded body with a wide ridged tail. This is one of the finest decoys to be offered by this early and influential New Jersey maker. Original paint with even gunning wear and a professional repair to the neck. Touch-up to two small scars on back. PROVENANCE:

Richard and Lynn Gove

Collection D. Webster and W. Kehoe, Shelburne Museum Decoys, Shelburne, VT, 1961, p. 19, related example illustrated.

402

LITERATURE:

$2,000 - $4,000

402 Merganser Drake LEVI RHODES TRUEX (1860-1934) ATLANTIC CITY, NJ, C. 1910

A superb example of the maker's work with a pronounced crest and crisp lines. This hollow decoy displays carved eyes and an inletted weight. Original paint with light gunning wear and a professionally restored bill. PROVENANCE:

Richard and Lynn Gove Collection

Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, p. 131, plate 61, similar decoy illustrated.

LITERATURE:

$2,000 - $4,000

205

403

206

404

405

403 Yellowlegs

404 Yellowlegs

405 Black-Bellied Plover

HARRY V. SHOURDS (1861-1920) TUCKERTON, NJ, C. 1910

CHARLES W. TURNER (1860-1939) ATLANTIC CITY, NJ, C. 1890

One of two known Shourds mantle birds. The two-legged stand gives the bird a life-like appearance. Original paint with light wear and flaking around leg insertion.

Decoys by Charles Turner are very hard to find; this yellowlegs and the following plover represent a rare opportunity to acquire two fine examples by this early New Jersey maker. An finely crafted shorebird decoy with good form and painted feather detail. Original paint with light gunning wear.

A full-bodied shorebird decoy with imaginative feather painting. Original paint with gunning wear and a cracked bill. Original fill by stick hole has some flaking.

PROVENANCE:

Richard and Lynn Gove

Collection $8,000 - $10,000

PROVENANCE:

Charles Turner Rig Dave Grable Collection Richard and Lynn Gove Collection James R. Doherty, Classic New Jersey Decoys, Philadelphia, PA, 2011, p. 175, plate 391, rigmates illustrated.

LITERATURE:

$2,500 - $3,500

207

PROVENANCE: Charles Turner Rig Dave Grable Collection Richard and Lynn Gove Collection

James R. Doherty, Classic New Jersey Decoys, Philadelphia, PA, 2011, p. 175, plate 391, rigmates illustrated.

LITERATURE:

$3,500 - $4,500

406

406 Hook-Bill Curlew WILLIAM ROBERTS (D. C. 1910) CAPE MAY, NJ, C. 1880

A large tack-eyed shorebird decoy with a "HILLMAN collection" stamp on the underside. Original paint with craquelure, minor flaking, and even gunning wear. Bill may be original. PROVENANCE: Roberts Family John Hillman Collection, acquired from the above, c. 1965 Private Collection, Florida LITERATURE: William J. Mackey, Jr., American

Bird Decoys, New York, NY, 1965, p. 135, plate 112, rigmate illustrated. Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 154, similar decoy illustrated. Guyette and Schmidt, Inc., The Hillman Collection: Rare Antique Waterfowl Decoys, W. Farmington, ME, April 1996, lot 645, exact decoy illustrated. $3,000 - $5,000

407

407 Curlew CAPT. JONAS SPRAGUE (a. 1880-1920) BEACH HAVEN, NJ, C. 1890

A full-bodied shorebird decoy with carved eyes. Original paint with flaking, even gunning wear, age lines, a scrape on lower breast, touchup on top of head, and a replaced bill. PROVENANCE: Jack Toothill Collection Private Collection, Florida

$600 - $900

208

408

408 Tern

PROVENANCE:

OBEDIAH VERITY (1813-1901) SEAFORD, LONG ISLAND, NY, C. 1880

LITERATURE:

There was a time when a hat decorated with tern feathers and wings was considered the height of couture and led to the large reductions in tern populations. However, conservation efforts and legislation in the late 19th century forced a change in the millinery industry. While once popular for fashion, terns were evidently never considered a culinary delight. As a result, market hunters received only ten dollars per hundred birds and terns were not widely hunted after use of their feathers was outlawed. For this reason, old working tern decoys are extremely rare, with Long Island being one of the few areas where rigs have been found. Two of this bird’s rigmates are illustrated on page thirty-one of Henry Fleckenstein’s book, Shore Bird Decoys. The caption states that they, “were made by Obediah Verity of Seaford, Long Island, New York - c. 1880.” This Verity tern was passed down through the extended family to Nelson Verity (1854-1947). Nelson Verity is known to have guided Yankee baseball greats, Babe Ruth and Lou Gehrig, in South Oyster Bay. Old in-use repaint, with some flaking, gunning wear, and some restoration to top of head. 209

Private Collection, Florida

Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 103, rigmate illustrated. Joe Engers, ed., “1999 Year In Review,” Decoy Magazine, Lewes, DE, 1999, front cover, and p. 9, rigmate illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 131, similar decoy illustrated (caption reversed). Henry A. Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, p. 31, plate 34 and color plate 72, rigmates illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 58, plate 38, related example illustrated. Timothy Sieger, The Decoys of Long Island, Water Mills, NY, 2010, pp. 32 and 36, similar examples illustrated. Richard P. Baldwin, The Verity Family of Long Island, New York, Southold, NY, 2000, p. 126. $7,000 - $10,000

409

409 Long-Billed Dowitcher THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1880

A full-bodied shorebird decoy with black glass bead eyes, raised wing tips, and a ruddy breast depicting breeding plumage. Original paint with areas of crazing and paint loss and light gunning wear. PROVENANCE:

Private Collection, Florida

$2,000 - $3,000

410 Black-Bellied Plover Pair THOMAS GELSTON (1851-1924) QUOGUE, LONG ISLAND, NY, C. 1890

Original paint with light gunning wear. $600 - $900

410

210

411 Dowitcher JAMAICA BAY, LONG ISLAND, NY, C. 1870

This shorebird is an exceptional example from this famous rig, branded “T. ROGERS” on the underside. Original paint with light, even gunning wear. PROVENANCE: Theodore Rogers Rig Kirk Whaley Collection Private Collection, Florida

Adele Earnest, The Art of the Decoy, New York, NY, 1965, p. 56, plate 35, rigmates illustrated.

LITERATURE:

$1,000 - $1,400 411

412 Sandpiper JAMAICA BAY, LONG ISLAND, NY, C. 1910

A rare decoy species from this rig. Branded “T. ROGERS.” Also appears to have a doublestruck brand for John Sheldon Fosdick of Jamaica and Massapequa, New York. Original paint with gunning wear to wood on left side, reattached bill may be original. PROVENANCE: Private Collection, Florida, purchased from Bud Ward in 1995

$500 - $700

413 Yellowlegs NORWALK, CT, C. 1890

A feeding shorebird decoy displaying threepiece construction and raised wing tips. This decoy hails from one of the most important shorebird decoy rigs ever found in the state of Connecticut. Original paint with gunning wear, one replaced eye, restoration to front of head, and a later bill. PROVENANCE:

412

Private Collection, Florida

Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, pp. 80, 182, and dust jacket, rigmates illustrated.

LITERATURE:

$400 - $600

413

211

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

414

414 Goldeneye Pair CHARLES E. "SHANG" WHEELER (1872-1949) STRATFORD, CT, C. 1935

Charles Edward "Shang" Wheeler is recognized as the most famous bird carver from Connecticut. While his predecessors Albert Laing (1811-1886) and Benjamin Holmes (1843-1912) made early gunning decoys of exceptional quality, it was Wheeler who took the craft to the next level. He introduced innovative carving and painting techniques and created everything from sandhill cranes to sailfish. Shang, as everyone called him, was an enigmatic figure: oysterman, politician, boxer, cartoonist, public speaker, conservationist, and world-renowned decoy carver. Author Dixon Merkt remarked on Wheeler’s life: "Wheeler’s concern with the conservation of nature eventually led him into politics. Over the years he had come to know and admire Teddy Roosevelt, and as a politician he adopted Roosevelt’s brand of progressive Republicanism. Himself a skilled ornithologist, former cowboy, and avid sportsman, Roosevelt had made conservation one cornerstone of his political platform. Wheeler followed in his footsteps. During several terms in the Connecticut General Assembly he led the campaign to pass anti-pollution and wildlife conservation legislation.

Unlike Roosevelt, Wheeler had no driving ambitions. He went into politics because he wanted to clean up Connecticut’s harbors and river. He did much of the hard work and then let other men win the laurels. His ties to Roosevelt and later to Herbert Hoover might have lead him to high government office, if that had been his goal. But Wheeler was satisfied with the life he had built for himself around Stratford. He had many good friends; his work kept him outdoors; and each year he had time for hunting and fishing trips." Original paint with very light wear, drake has chip to underside of bill tip and tail edge wear. PROVENANCE: Private Collection, Connecticut Private Collection, Midwest

Dixon MacD. Merkt, Shang. A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, p. 147, plate 136, similar decoy illustrated.

LITERATURE:

Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 47, similar decoys illustrated. $40,000 - $50,000

212

414

213

415

214

415 Exceedingly Rare Wood Duck Hen

Wheeler chronicles his decoys' success in Duck Shooting Along the Atlantic Tidewater: "... (a) 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.'

CHARLES E. "SHANG" WHEELER (1872-1949) STRATFORD, CT, C. 1920

This well documented turned-head hen decoy exhibits carved bill detail, glass eyes, a delicate crest, and raised wing tips.

"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.'" Outstanding original paint with minor wear, and a few tight age lines.

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 geared towards the hunters in attendance to further advance the concept of shooting over decoys. 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.”

PROVENANCE: Private Collection, Virginia Private Collection

Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 72, exact decoy illustrated.

LITERATURE:

Dixon MacD. Merkt, Shang. A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, p. 69, plate VII, similar decoy illustrated.

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.

Eugene V. Connett, ed., Duck Shooting Along the Atlantic Tidewater, New York, NY, 1947, p. 73. $12,000 - $18,000

215

416

417

418

420

419

416 Swimming Black Duck

418 Black Duck

HARRY M. SHOURDS (1890-1943) OCEAN CITY, NJ, C. 1930

MANAHAWKIN, NJ, C. 1870

A hollow decoy with carved bill detail, an inletted weight, and a “C. CRAN” brand twice burned in the bottom. C. Cran could possibly be Charles G. Crane (1848-1933) of Stafford, New Jersey, who served in the Life Saving Service, circa 1900, along with Bradford Salmon (1864-1938). Old paint worn to the wood, gunning wear, a tail crack, and a neck crack.

A hollow decoy with tack eyes, carved bill detail, faint scratch-painted feathering, an inletted weight, and a Mackey Collection ink stamp on the bottom. Retains its original lot tag, 273, affixed to the bottom from session one of the 1973 Richard Bourne-Mackey Collection sale. A series of small holes on the underside indicate prior application of fabric for flocking. Worn original paint on the body with repaint on the head, gunning wear, end of bill worn down, a neck crack, and some body seam filler loss.

$500 - $700

419 Red-Breasted Merganser Pair

PROVENANCE:

William J. Mackey, Jr. Collection Private Collection

JOSEPH WEST (1907-1986) AND JAMES WEST (1937-2000) BORDENTOWN, NJ, C. 1960

Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of William J. Mackey Jr. of Belford, NJ, Session I, July 17, 1973, lot 273, exact decoy described.

LITERATURE:

Both have incised crests, tails, and carved wing tips. The drake was rigged and hunted over and is signed and dated under the tail by the makers. The hen is signed and dated by the makers and includes Robert Richardson collection stamps on the bottom. Original paint with gunning wear.

$600 - $900

PROVENANCE:

417 Merganser Hen

$400 - $600

PHILLIP STITES (attr.) CAPE MAY, NJ, C. 1920

420 Ruddy Duck

A red-breasted merganser hen decoy with carved bill detail, a carved crest, and a two-piece body. Appears to be original paint with gunning wear and a reset bill. PROVENANCE:

Richard and Lynn Gove Collection

JAMES WEST (1937-2000) BORDENTOWN, NJ, 1970

A life-size decoy made for the 1970 U.S. National Decoy Show competition. “1st Place” is written on the show’s paper label. The decoy is signed and dated on the bottom by the maker. Original paint.

Private Collection

$500 - $700

PROVENANCE:

Richard and Lynn Gove Collection

$300 - $500

216

423

421

424

422

421 Black Duck

423 Two Long Island Decoys

CHARLES E. “SHANG” WHEELER (1872-1949) STRATFORD, CT, C. 1930

A swimming cork-bodied decoy with a slightly turned head and its original weight. Original paint on the head with the lower portion of the bill replaced, rest of the decoy has in-use repaint with gunning wear. $300 - $500

A Bluebill Drake attributed to the Verity Family, Seaford, NY, c. 1920. In original paint with gunning wear and with some areas of black repaint. A Canada Goose decoy from Long Island, NY, c. 1930. In old paint with gunning wear, a replaced bill, and a check along the back. $200 - $300

422 Black Duck CASSIUS SMITH (1847-1907) MILFORD, CT, C. 1880

424 Yellowlegs

An early hollow decoy with carved eyes, bill detail, carved wing delineation, and a rectangular weight on the bottom. Old repaint with craquelure, gunning wear, and tight age cracks.

A shorebird decoy with carved eyes, raised shoulders and wings, raised and divided wing tips, a split tail, and “WAS” carved on the underside. Originally consigned for sale in 1992 by members of the Nicoll family. Appears to be original paint with wear.

BELLPORT, LONG ISLAND, NY

$300 - $500

Guyette and Schmidt, Important Waterfowl Decoys & Bird Carvings at Auction, W. Farmington, ME, April 23 & 24, 1992, p. 70, lot 299, exact bird illustrated.

LITERATURE:

$200 - $400

217

425 Curlew Pair EUGENE “CHIEF” CUFFEE (1861-1941) SHINNECOCK RESERVATION, LONG ISLAND, NY, C. 1910

Bold, full-bodied shorebirds with carved eyes, wing tips, and patina. Original paint with light gunning wear and faint age lines. $2,000 - $4,000

425

426 Shorebird Bookends LONG ISLAND, NY, C. 1920 7 1/2 by 10 by 2 3/4 in.

Two shorebirds mounted on weighted wood bases, shoe button eyes, splined bills, and raised wings. As found. $300 - $500

426

427 Woodpecker C. 1890 6 1/4 by 10 by 3 inches

A painted-eye red-headed woodpecker carving with heavy wire legs mounted on a square wooden base. Original paint with small areas of craquelure and wear, touch-up to tip of bill. $300 - $500

427

218

428 Black Duck AUGUSTUS AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1920

A turned-head decoy with carved eyes, bill detail, an inletted head, and raised wings. Original paint with gunning wear, crack in neck with possible touch-up, filler loss to knot in breast, and an age line along the back. $1,000 - $1,500

428

429 Goldeneye Hen AUGUSTUS AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1910

This Down East duck decoy has carved eyes, bill detail, an inletted head, raised wings, and incised tail feather delineation. Original paint with gunning wear and a small crack in one side and back of head. $800 - $1,200

429

430 Scoter AUGUSTUS AARON WILSON (1864-1950) SOUTH PORTLAND, ME, C. 1890

A Monhegan Island-style, white-winged scoter decoy with excellent form, an inletted head, and raised wings. Earnest Collections stamp on underside. Appears to be mix of original and in-use repaint with gunning wear, wear to tail, and tight age cracks in bottom and breast. PROVENANCE: Adele Earnest Collection Private Collection

William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, page 91, plate 72, similar decoy illustrated.

LITERATURE:

430

219

$1,500 - $2,500

431 Oversize Scoter AMOS G. WALLACE (1882-1968) WEST POINT, ME, C. 1930

A full-bodied sea duck displaying an inletted head and a curled-iron rod weight. Wallace was a boatbuilder as well as a decoy carver. Wallace is credited as the designer of the West Point Skiff. In original paint with gunning wear, a tight neck crack, and age lines in the body. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 43, similar decoy illustrated.

LITERATURE:

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 28, similar decoys illustrated. 431

432

432 Merganser AMOS G. WALLACE (1882-1968) WEST POINT, ME, C. 1910

A folky Down East decoy with carved eyes, an inletted head, dot-painted feather detail, and a curled-iron rod weight. Original paint with two coats on bill, gunning wear, and a neck crack. PROVENANCE: Daniel Slocum Collection Private Collection

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 28, similar decoys illustrated.

LITERATURE:

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 106, plate 174, rigmate illustrated. $2,000 - $3,000

220

$2,000 - $3,000

435

433

436

434

433 Premier-Grade Mallard Hen

435 Mallard

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

J. N. DODGE FACTORY (1883-1893) DETROIT, MI, C. 1890

A hollow decoy with a small â&#x20AC;&#x153;LAVERYâ&#x20AC;? rig stamp on the bottom. Original paint with even gunning wear, a few faint age lines along the back, and a small tail chip.

Original paint with minor flaking, gunning wear, a reset head, missing neck filler, and wear to bill and tail. $300 - $500

$1,000 - $2,000

436 Black Duck J. N. DODGE FACTORY (1883-1893) DETROIT, MI, C. 1890

434 Mallard Pair MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1910

Two painted-eye, standard-grade decoys. Original paint with gunning wear, missing neck filler, and some later fine paint spatter, mostly on the underside of the hen. Eye holes filled and painted. $500 - $700

221

Original paint with craquelure, flaking, gunning wear, a reset eye, an age line along the back, a crack and a large chip missing from neck. $300 - $500

CHARLES H. PERDEW 1874-1963 | HENRY, IL

Of his many styles, Perdew is most revered for his masterful sleepers and preening decoys. Both Robert Elliston and Charles Perdew felt that the presence of sleepers and preeners added a suggested calm to the rig that was more enticing to waterfowl. Whether this actually made any difference to the circling birds is subject to debate; however, the graceful pose inherent in these styles is desirable among collectors. -Stephen Oâ&#x20AC;&#x2122;Brien, Jr., Masterworks of the Illinois River

222

437

437 Sleeping Mallard Hen

the decoy to ‘breathe’ and dry evenly on the inside and out. Supposedly this would decrease the chances of its cracking or splitting along the seams where the wood is joined. This breathing hole appears to be unique to the Barkhausen rig of Perdew decoys…” In original paint with very light gunning wear, two very small old drops of paint on the left side, and right side of bill is reset.

CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1935

An exceptional sleeping mallard hen with Charles Perdew’s best paint. Behind the neck is a small metal tube. This decoy has all the traits one looks for in a premier Illinois River decoy, including elegant form, superb paint, fine craftsmanship, and excellent history having been gunned over by a founding member and past president of Ducks Unlimited, Louis H. Barkhausen.

PROVENANCE: Louis H. Barkhausen Rig Private Collection LITERATURE:

Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 81, rigmate illustrated.

In Perdew: An Illinois River Tradition, author Ann Tandy Lacy discusses this rig: “Further down the river, south of Peoria near Beardstown, one of Illinois’ most highly respected conservationists also hunted over a rig of Perdew decoys. This hunter, Louis H. Barkhausen, was a co-founder in 1937 of Ducks Unlimited, an international organization for the preservation and reclamation of wetlands and waterfowl breeding grounds… Located on the back of each decoy, at the base of the neck, was a small metal tube that had been inserted to leave an opening from the hollow cavity in the body of the decoy to the outside air. This opening appears to be a breathing hole, the theory being that it would allow

Frank Maresca and Roger Ricco, American Vernacular, Boston, MA, 2002, p. 31, similar decoy illustrated. Loy S. Harrell, Jr., Decoys: North America's One Hundred Greatest, Iola, WI, 2000, pp. 164 and 165, similar decoy illustrated. Ann Tandy Lacy, Perdew: An Illinois Tradition, Muncie, IN, 1993, pp. 96-97. $60,000 - $80,000

223

438

438 Mallard Drake CHARLES H. PERDEW (1874-1963) HENRY, IL, C. 1930

An exceptional and early hollow Illinois River decoy exhibiting carved bill detail, glass eyes, and a long lead strip weight. Original paint with gunning wear. PROVENANCE:

Private Collection

LITERATURE:

Stephen B. Oâ&#x20AC;&#x2122;Brien, Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 68, similar decoy illustrated. $4,000 - $6,000

224

439

439 Canvasback Hen CAPT. JOHN SCHWEIKART (1870-1954) DETROIT AND STRAWBERRY ISLAND, MI, C. 1910

A rare hollow St. Clair Flats, Detroit River decoy exhibiting glass eyes, carved bill detail, a "signature" bull neck, aluminum wing tips and primaries, a hollowed head, and a unique two-piece copper bottom plate which, when unlatched, provides a winged keel. John Schweikart lived and worked in Detroit. He and his brother Carl were boatbuilders, who also built racing yachts on the Detroit waterfront. John would sail his own boat, The Huntress, in regattas and to his camp on Strawberry Island in Lake St. Clair to hunt and fish. Original and repaint with gunning wear. Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 62, rigmate illustrated.

LITERATURE:

$3,000 - $5,000 440

440 Three Mallard Drakes MICHAEL VALERO (1906-1992) SPRING VALLEY, IL, C. 1930

Two of the hollow decoys are painted by Edna Perdew (1882-1974) and one is painted by Henry Holmes (1870-1940). All three appear to be in original paint with craquelure, gunning wear, and neck cracks. Of the two painted by Perdew, one has a reset bill and the other has a portion of the bill missing. $800 - $1,000

225

443

441

444

442

441 Bluebill Drake

443 Rig of Six Black Ducks

444 Mallard Drake

OWEN GROMME (1896-1991) FOND DU LAC, WI, 1930-31

C. 1970

DON GEARHART (1900-1987) TULSA, OK, 1941 7 by 13 by 5 inches

A snuggle-head scaup by an accomplished fine artist whose paintings and drawings are also featured in this sale (lots 40-41 and 46-49). Original paint with second coats of black and white by Gromme and gunning wear. PROVENANCE:

William B. Webster III

This dynamic rig includes two feeding decoys, one high head, and three others. These finely crafted decoys have hollow, three-piece bodies with wedge-shaped lead weights attached to their keels. The heads have carved bills and the decoys exhibit superb painted feather detail. Original paint with gunning wear.

A diminutive turned-head decoy that features carved wing tips and a rectangular anchor line weight that tucks into a slot in the keel. Signed and dated with the maker’s carved signature in the bottom. Original paint with gunning wear.

$600 - $900

Gene Kangas, “Don Gearhart: An Oil Man’s Pocket-Sized Rig,” Decoy Magazine, July/August 2013, Lewes, DE, pp. 24-29, similar decoys illustrated.

442 Four Decoys

$600 - $900

Collection

$1,500 - $2,000

KEN ANGER (1905-1961) DUNNVILLE, ONTARIO, CANADA, C. 1930 AND LATE 1940S

An early, sloped-body black duck and three later bluebills. As found. $400 - $600

226

LITERATURE:

448

445

449

446

450

447

445 Standard Grade Canvasback Drake MASON DECOY FACTORY (1896-1924) DETROIT, MI, C. 1900

Original paint with even gunning wear, minor touch-up to black, gunning wear, neck filler missing, and a tight age crack along the bottom. $200 - $300

446 Canada Goose HAVRE DE GRACE, MD, C. 1970

Attributed to the workshop of Madison Mitchell (1901-1993). Original paint with gunning wear.

447 Green-Winged Teal Drake

449 Gull

JAMES A. "JIM" CURRIER (1886-1969) HAVRE DE GRACE, MD, C. 1950

QUEBEC, CANADA, C. 1930

A never-rigged and unused decoy. Original paint with minor wear and a couple age lines.

A confidence decoy with carved eyes, raised wings, and intricate incised feathering. In working repaint with gunning wear and a bill crack.

$200 - $300

$300 - $500

448 Canvasback Drake

450 Pacific Brant

JAMES A. "JIM" CURRIER (1886-1969) HAVRE DE GRACE, MD, C. 1950

A never-rigged and unused decoy. Original paint with minor wear and a couple age lines. $200 - $300

$200 - $300

227

HUMBOLT, CA, C. 1890

A high-head decoy with an inletted neck and a large square inletted weight in the bottom. As found. $100 - $200

451

455

455 Miniature Duck WILDFOWLER DECOY FACTORY (1939-1957) OLD SAYBROOK, CT, 1949 1 1/4 by 3 1/4 in. long

452

“Wildfowler given to Jamie by Ted Mulliken at factory in 1949,” is written on the bottom. Original paint with wear.

456

PROVENANCE:

Prentice A. Lanphere

Collection $100 - $150 453

456 Miniature Woodcock and Green Winged Teal Pair

457

JOHN A. JAROSZ (1915-2008) MINNEAPOLIS, MN, 1974 AND 1977 woodcock is 2 1/2 in. long and teal are 1 1/2 in. long

These detailed miniatures are signed, dated, and described on their undersides. Original paint with light wear. PROVENANCE:

454

William B. Webster III

Collection 458

451 Miniature Curlew and Solitary Sandpiper RALPH E. STUART (1901-1965) OSTERVILLE, MA, C. 1950 4 1/4 by 6 and 2 1/2 by 5 1/4 in. long

Cape Cod bird carvings on driftwood bases, signed on the bottom. Original paint with wear, the curlew has a repaired bill and the sandpiper has a missing bill and wings. $100 - $200

452 Three Miniature Bird Carvings H. HICKOX CAPE COD (ATTR.), C. 1960 heron is 5 by 6 in. long

$300 - $500

453 Miniature Pheasant and Quail Pair

457 Preening Black Duck

RALPH E. STUART (1901-1965) OSTERVILLE, MA, C. 1950 3 3/4 by 8 and 1 3/4 by 5 1/4 in. long

KENT S. FREEMAN (B. 1950) KENNETT, MO, 1994

Cape Cod bird carvings on driftwood bases, each signed and dated on the bottom. Original paint.

A hollow competition-grade decorative decoy, signed and dated by the maker on the bottom. Original paint with minimal wear, minute chips to feather tips.

$200 - $400

$300 - $500

454 Five Miniature Carvings A mallard drake by Wildfowler Decoys, CT (1939-1957), measuring three and one-half inches long. A flying mallard by John Lee Baldwin (1868-1938), NY. A Canada goose by Hurley Conklin (1913-1993), NJ, dated 1949. A widgeon drake by Walter J. Ruppel (19021999), with an A&F label. A cackling goose by Ruppel. Original paint with minor wear.

A great blue heron, canvasback drake, and a redhead drake. The heron and canvasback are signed and dated on the bottom of their bases. Original paint with wear, canvasback has an old bill repair.

Collection

$50 - $100

$600 - $900

PROVENANCE:

Richard and Lynn Gove

458 Blue-Winged Teal Pair KENT S. FREEMAN (B. 1950) KENNETT, MO, 1992

A pair of hollow competition-grade decorative decoys, signed and dated by the maker on the bottom. Freeman’s carved decoys and carved wildfowl calls won numerous national awards in the late 20th century. Original paint with minimal wear and minor chips to feather tips. $400 - $600

460

461

462

463

459 Ten Miscellaneous Decoys

461 Paff, Adam

462 Bishop, Richard

Two silhouette decoys, two late factory decoys, and vintage handcarved decoys. Not illustrated. As found.

Etchings and Drypoints by Frank W. Benson: Vol. 1-V.

Bishop, Richard E., Bishop’s Birds. Philadelphia, PA: Lippincott Company, 1936. Edition 29 of 125. Signed by the author. Frontispiece etching signed “Richard E. Bishop” lower left and inscribed “Trumpeter Swan” lower right.

$200 - $300

460 Stoddard, Herbert Stoddard, Herbert L., The Bobwhite Quail: Its Habits, Preservation and Increase. New York: Charles Scribner’s Sons, 1931. Deluxe Edition. No. 56 of 250. Signed “Herbert L. Stoddard” in ink on edition page. Inscribed on the flyleaf “Osborn W. Bright from his friend Charles M. Chapin May 22nd 1931. Chapin was a member of the Committee on Cooperative Quail Investigations, sponsors of the study and the book. Bound into this book is the frontispiece by Frank W. Benson (1862-1951) Quail, 1930 signed “Frank W. Benson” lower left etching, 5 3/4 by 4 1/2 in. Paff # 289, edition 56 of 250 The inspiration for this etching most likely occurred when Benson traveled to South Carolina in the late 1920s to hunt quail on an abandoned rice plantation with a patron from New York. The etching depicts a pair of quail nesting among shrubs and grasses. This is the only known Benson depiction of a quail in any medium.

$2,000 - $4,000

Paff, Adam E. M., Etchings and Drypoints by Frank W. Benson: Volume One. Boston: Houghton Mifflin Co., 1917. No. 102 of 275. Frontispiece is an original signed etching by Frank W. Benson titled Pair of Ducks. Paff, Adam E. M., Etchings and Drypoints by Frank W. Benson: Volume Two. Boston: Houghton Mifflin Co., 1919. No. 212 of 275. Frontispiece is an original signed etching by Frank W. Benson referred to as Two Geese. Paff, Adam E. M., Etchings and Drypoints by Frank W. Benson: Volume Three. Boston: Houghton Mifflin Co., 1923. No. 335 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. 340 of 600. Frontispiece is an original signed etching by Frank W. Benson titled Flying Pintail. Paff, Adam E. M., Etchings and Drypoints by Frank W. Benson: Volume Five. Boston: Houghton Mifflin Co., 1959.No. 151 of 400. Frontispiece is an original etching by Frank W. Benson titled Perching Grouse. PROVENANCE: J. Grigsby Markham Collection, Milwaukee, Wisconsin By descent to the present owner

$2,000 - $4,000

229

PROVENANCE: J. Grigsby Markham Collection, Milwaukee, Wisconsin By descent to the present owner

$800 - $1,000

463 Bryden, Henry Bryden, Henry Anderson, (Ed.). Great and Small Game of Africa. An Account of the Distribution, Habits, and Natural History of the Sporting Mammals. London: Rowland Ward, 1899. Tall quarto (9 by 11 1/2 in.). Signed limited first edition. Number 226 of 500. Signed by publisher Rowland Ward. A volume on African game with contributions by British paleontologist Richard Lydekker (1849-1915), with 15 hand-colored chromolithographed plates, (all are present in good condition) and 50 black-and-white photogravures.

$2,500 - $3,500

464 Gallico, Paul

470 James, Daniel

477 Woods, Shirley

Gallico, Paul, The Snow Goose. London: Michael Joseph, 1946. No. 731 of 750. Signed by the author and illustrator.

James, Daniel, A Hundred Years of HFA: the story of the Hammonassett Fishing Association. Madison, CT: The Hammonassett Fishing Association, 1988. No. 15 of 300 copies. Signed by the author.

Woods, Shirley E., Angling for Atlantic Salmon. Goshen, CT: The Angler’s & Shooter’s Press, 1976. No. 173 of 990 copies. Signed by the author and illustrator. In the original slipcase.

$200 - $400

465 Clark, Roland Clark, Roland, Roland Clark’s Etchings. New York: Derrydale Press, 1938. No. 56 of 800. Frontispiece is an original signed etching by Roland Clark.

$40 - $60

$100 - $150

471 Heilner, Van Campen

478 Phillips, John and Frederick Lincoln

$300 - $400

Heilner, Van Campen, A Book on Duck Shooting. Philadelphia, PA: the Penn Publishing Company, 1939. Signed by the author and illustrator.

466 Phair, Charles

$150 - $200

$30 - $50

Phair, Charles, Atlantic Salmon Fishing. New York: Derrydale Press, 1937. One of 950 copies.

472 Earnest, Adele

479 Weeks, Edward

$200 - $250

467 Orvis, Charles and Nelson Cheney Orvis, Charles F. and A. Nelson Cheney, Fishing with the Fly. Troy, NY: H.B. Nims & Company, 1885.

Earnest, Adele, The Art of the Decoy. New York: Bramhall House, 1965. Signed by the author.

$30 - $50

473 Swanson, David

Phillips, John C. and Frederick C. Lincoln, American Waterfowl. New York: Houghton Mifflin Company, 1930. In original dust jacket (90%).

Weeks, Edward, The Moisie Salmon Club. Barre, MA: Barre Publishers, 1971.

$75 - $100

480 McIntosh, Michael and David Trevallion

$100 - $200

Swanson, David, Water Music of Salmon, Saabs and Spey Rods. Far Hills, NJ: Meadow Run Press, 1999. Signed by the author. In original case.

McIntosh, Michael and David Trevallion, Shotgun Technicana. Camden, ME: Countrysport Press, 2002. Signed by the authors.

468 Weiler, Milton

$40 - $60

$50 - $70

Zern, Ed and Milton C. Weiler, The Classic Decoy Series. New York: Winchester Press, 1969. No. 431 of 1000. Signed with slipcase.

474 Griswold, F. Gray

481 Three Sporting Books

$100 - $200

469 Weiler, Milton Mackey, William J. and Milton C. Weiler, The Classic Shorebird Decoys. New York: Winchester Press, 1971. No. 97 of 975. Signed by the artist. PROVENANCE:

Richard and Lynn Gove

Collection $100 - $200

Griswold, Frank Gray, Fish Facts and Fancies: Volume II. Norwood, MA: The Plympton Press, 1925. Signed by the author.

$30 - $50

Barber, Joel, Wild Fowl Decoys. 1937. * Reiger, George, Floaters and Stick-Ups. 1986. * Holland, Ray P., Shotgunning in the Lowlands. 1945.

$40 - $60

475 Coykendall, Ralf Coykendall, Ralf, Duck Decoys and How to Rig Them. New York: Henry Holt and Company, 1955. A letter signed by the author is included.

$30 - $50

482 Ordeman, John Ordeman, John T., Frank W. Benson’s Etchings, Drypoints and Lithographs. Summit, NJ: Hickok-Bockus, 1994. 572 of 1000. Signed.

$50 - $100

476 Two Abercrombie and Fitch Catalogs c. 1917 and 1937

$40 - $60

230

INDEX Abbett, Robert K.: 31, 99

Cobb, Capt. Elkanah B.: 359

Abercrombie & Fitch Co.: 476

Coleman, Michael: 276, 278

Adams, E. Frank: 304, 318

Corbin, Peter: 91, 92, 181

Albany Foundry Co.: 277

Coykendall, Ralf: 475

Aldridge, Denis: 152

Crowell, A. Elmer: 290-301

Bade, Fritz: 247 Baldwin, John Lee: 454

Dorsett, John L.: 400

Bishop, Richard E.: 73, 83-88, 197, 200, 201, 203, 239-242, 462

Dudley, Lee: 363

Blinks, Thomas: 145-148

Ellis, Ray: 173

Bohl, Walter E.: 207, 248

Ettinger, Churchill: 205, 206, 224, 225

Bradley, Basil: 171 Brooks, Allan: 50, 51 Brown, Paul Desmond: 160-170 Bryden, Henry A: 463 Burgess, Edward “Ned”: 366 Burr, Elisha: 310 Butler, Frank: 166 Caines Brothers: 365 Chesser, Grayson C.: 286 Clancey, Richard F. W.: 269 Clark, Charles S.: 362 Clark, Roland H.: 97, 196, 231237, 465 Clem, Robert Verity: 110

Hanson, Marty: 283 Heilner, Van Campen: 471 Herring, Sr., John Frederick: 144 Hickox, H.: 452

Daisey, Delbert “Cigar”: 383

Birch, Charles: 377

Boyd, Taylor: 391

Hanson, Marc R.: 65

Currier, James A. “Jim”: 447, 448

Daly, Thomas Aquinas: 8, 204, 229

Boyd, George: 287, 311-314

Hand, James P.”Jamie”: 342

Cuffee, Eugene “Chief”: 425

Benson, Frank W.: 118-143, 208-220

Booth, Herb: 227

Hancock, Miles: 370-373

Conklin, Hurley: 454

Adamson, Harry Curieux: 59, 95

Anger, Ken: 442

Hagerbaumer, David: 4, 5, 32, 33, 56, 74

Holly, James T.: 394 Holly, John “Daddy”: 392 Hubley Manufacturing Co.: 276, 278 Hudson, Ira D.: 367, 368, 376

Earnest, Adele: 472

Hunt, Lynn Bogue: 9, 11-13, 23, 29, 265

Lippincott, Gideon: 401 Logé, Daniel: 93, 94 Maass, David A.: 34-39, 53, 54, 98 Mason Decoy Factory: 433, 434, 445 Mason, Roy Martell: 176, 177 Matia, Walter: 302, 303 Matthews, William J.: 360 McGaw, Robert “Bob”: 393, 395-398 McIntosh, Michael and David Trevallion: 480 McNair, Mark S.: 284, 285, 328-341 Metcalf, Willard Leroy: 114 Mora, Francis Luis: 155

Huntington, Dwight W.: 187

Moss, Gary: 52

Irvine, Lawrence: 274

Munnings, Alfred James: 154

J. N. Dodge Factory: 435, 436

Murie, Olaus J.: 174

J. W. Fiske Ironworks: 156

Murphy, William T.: 266

James, Daniel: 470

Murray, Anthony G.: 325-327

Gallico, Paul: 464

Jaques, Francis Lee: 16, 18, 19, 21, 72

Muss-Arnolt, Gustav: 153

Gardner, Charles: 322

Jarosz, John A.: 456

Gearhart, Don: 444

Johnson, Abram “Abe”: 400

Gelston, Thomas: 409, 410

Jones Lightning Rod Co.: 262

Gibian, William: 344-350

King, Allen J.: 288

Gillies, William MacRae: 151

King, Edward: 249

Golden,Francis: 55

Kleiber, Hans: 228

Orvis, Charles and Nelson Cheney: 467

Gray, Edson G.: 369

Klinkenberg, W.: 149

Osthaus, Edmund H.: 102

Gray, Jack Lorimer: 7, 115

Knap, Joseph D.: 6

Paff, Adam: 461

Griswold, F. Gray

Koelpin, William J.: 24-26

Paine, Thomas A.: 309

Gromme, Owen: 40, 41, 46-49, 441

Kuhn, Bob: 103

Palenske, Reinhold: 226

Liberty Foundry: 268, 270

Parker, Jay C.: 399

Lincoln, Joseph W.: 302, 303

Pechaubes, Eugene: 159

Foster, William Harnden: 104 Freeman, Kent S.: 457, 458 Frost, Arthur Burdett: 112 Fuertes, Louis Agassiz: 14, 15

Guy, Seymour Joseph: 113

Cobb Jr., Nathan F.: 353, 364

232

Niemiec, Jr., Paul W.: 244 Noll, David: 70, 71 North, Bruce: 246 Nottingham, Luther L. (attr.): 355 Ordeman, John: 482

Perdew, Charles H.: 437, 438

Stuart, Ralph E.: 451, 453

Woods, Shirley: 477

Peterson, Roger Tory: 179, 180

Swanson, David: 473

Wyeth, Andrew Newell: 111

Phair, Charles: 466

Sweney, Fred: 66

Phillips, John and Frederick Lincoln: 478

Truex, Levi Rhodes: 402 Tully, John: 272

Pleissner, Ogden M.: 75-82, 106, 107, 182-185, 194

Turner, Charles W.: 404, 405

Reece, Maynard: 193

Tuttle, Henry Emerson: 221

Reneson, Chet: 1-3, 57, 58, 90, 199

Tyler, Lloyd J.: 389 Ullberg, Kent: 89

Ripley, Aiden Lassell: 42-45, 105, 108, 109, 195, 198

Utzschneider & Cie: 261

Roberts, William: 406

Valero, Michael: 440

Robitzer, John Philip: 188

Van Howd, Douglas: 20

Rungius, Carl Clemens Moritz: 22

Verity, Obediah: 408

Ruppel, Walter J.: 454

Wallace, Amos G.: 431, 432

Schaldach, William J.: 28, 100, 101

Ward Brothers, Lemuel T. and Stephen: 378-382, 384-388

Schweikart, Capt. John: 439

Ward, David B.: 343

Seagears, Clayton B.: 191

Watson, Dave “Umbrella”: 374, 375

Sewell, Edgar Sherman: 223 Shourds, Harry M.: 416

Weeks, Edward: 479

Shourds, Harry V.: 403

Weiler, Milton C.: 175, 178, 238, 468, 469

Sieve, Michael: 60-63

Weirs, Persis Clayton: 68, 69

Simmons, Will: 22

West, James: 420

Smith, Brett J.: 96

West, Joseph and James: 419

Smith, Cassius: 422

West, Levon: 202

Sorrels, Gary: 64, 67

Wheeler, Charles E. “Shang”: 414, 415, 421

Sprague, Capt. Jonas: 407 Stearns, Stanley: 190, 192, 230 Sterling, Lloyd Aaron: 390 Steward, Walter L.: 186 Stiers, Richard: 271 Stites, Phillip: 417 Stoddard, Herbert: 460

Wheeler, Chauncey: 351, 352 Wheeler, H.: 150 Wildfowler Decoy Factory: 454, 455 Wilson, Augustus Aaron: 428430 Wing, Caleb William: 172 Winters, George: 289

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236

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now accepting consignments

THE SPORTING SALE 2016 July 22 | Plymouth, Massachusetts

Roland H. Clark (1874-1957) Mallards signed “Roland Clark” lower right oil on canvas, 24 1/2 by 18 in.

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ART TO CAPTURE NATURE The Southern Decoy as an Art Form

A n E x h i b i t i o n Pr e s e n t e d B y

Palmetto State Decoy Collectors Association & Southeastern Wildlife Exposition

The Caines Brothers

Preening Mallard Drake Georgetown, SC, c. 1900

FEBRUARY 12-14 | CHARLESTON, SC Charleston Marriott, 170 Lockwood Boulevard

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Where you fish, Bonefish and Tarpon Trust is at work.

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Copley would like to congratulate Decoy Specialist Colin McNair on his marriage to Katelyn Tulp on September 26, 2015.

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