North American Decoys at Auction July 26 & 27, 2016 by Guyette & Deeter

Guyette & Deeter, Inc. North American Decoys At Auction July 26 & 27, 2016

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Guyette & Deeter, Inc.

North American Decoys At Auction Sheraton Harborside Hotel 250 Market Street Portsmouth, New Hampshire 603-431-2300 50 Table Buy, Sell, Swap July 25, 26, & 27

Monday, July 25, 2016

Preview 6:00 PM - 8:00 PM Join us for complimentary cocktails and hors dâ&#x20AC;&#x2122;oeuvres

Tuesday, July 26, 2016 Preview 8:00 AM - 11:45 AM Auction 12:00 Noon

Wednesday, July 27, 2016 Preview 8:00 AM - 9:45 AM Auction 10:00 AM

For questions during the auction call 410-745-0485

Catalog $45. Out of Country $54 Absentee, Phone & Online Bidding accepted call 410-745-0485 for arrangements For Free Decoy Appraisal Contact: Gary Guyette | decoys@guyetteanddeeter.com | 410-745-0485 Jon Deeter | jdeeter@guyetteanddeeter.com | 440-543-1416

Important Notices: ■ Unofficial prices realized information will be available five business days after the auction. Official prices realized list will be available online approximately two weeks after the auction. ■ If you would like to consign decoys to our next auction, please contact; Gary Guyette 410-745-0485 decoys@guyetteanddeeter.com or Jon Deeter 440-543-1416 jdeeter@guyetteanddeeter.com. Free appraisals are available with no obligation to consign and all correspondences are strictly confidential. ■ For delicate carvings, a written statement from the purchaser assuming responsibility for pursuing any claims in the event of any damage incurred during shipping is required, these items are marked *. Under no circumstances will we be responsible for damage to glass, frames, or fragile decoratives, regardless of the cause. ■ Auctioneer James D. Julia, Fairfield, Maine. ■ Stands are not included with the decoys or weather vanes unless specified in catalog. Plexiglass cases are not included with shotgun shell boxes. ■ No Sales Tax. ■ All duck calls have condition reports, but are sold “As Is”. ■ Trade Up Program - A limited numer of decoy purchases may be paid

for by consigning decoys to the next Guyette & Deeter. auction. Ask Gary or Jon for Details. Guyette & Deeter Harbor Cruise

Portsmouth Harbor Cruises - July 28 at 5:15 pm Guyette & Deeter will be hosting a harbor cruise for auction attendees who are staying at the Sheraton. The cruise departs at 5:15 and returns at 6:30. Cash bar will be provided. Space is limited! Only 49 passenger capacity. Call Guyette & Deeter at 410-745-0485 and reserve your complimentary ticket.

UPCOMING GUYETTE & DEETER, INC. DECOY AUCTIONS November 9 & 10, 2016

Talbot County Community Center Easton, Maryland

In Conjunction with the Easton Waterfowl Festival Featuring the collection of Sam Dyke 50 Dealer buy, Sell, swap.

February 12, 2017

Marriott Hotel Charleston, South Carolina In Conjunction with the Southeastern Wildlife Expo To consign, Contact: Gary Guyette | decoys@guyetteanddeeter.com | 410-745-0485 Jon Deeter | jdeeter@guyetteanddeeter.com | 440-543-1416

Guyette & Deeter, Inc.

Dale & Gary Guyette PO Box 1170 St. Michaels, MD 21663 Tel: 410-745-0485 Fax: 410-745-0487 decoys@guyetteanddeeter.com

Jon & Leigh Ann Deeter 7980 Darbys Run Chagrin Falls, OH 44023 Tel: 440-543-1416 Cell: 440-610-1768 Fax: 440-543-5405 jdeeter@guyetteanddeeter.com

Zac Cote Online auction manager & Photography Freeport, Maine Tel: 410-253-8616 zcote@guyetteanddeeter.com

Mike Stevenson Graphic Designer & Website Developer St. Michaels, Maryland Tel: 410-745-0485 michael@guyetteanddeeter.com

Ed Kenney Merchandise Manager & Shipping St. Michaels, Maryland Tel: 410-745-0485 shipping@guyetteanddeeter.com

Lynda Brooks Office Manager St. Michaels, Maryland Tel: 410-745-0485 lynda@guyetteanddeeter.com

Denise Jarrell

Bookkeeper St. Michaels, Maryland Tel: 410-745-0485 billing@guyetteanddeeter.com

Featuring Decoys From The Collections Of: John Garner Barbara Gilford Dr. Lloyd Griffith Paul Tudor Jones II Linda and Gene Kangas Ben Kleinpeter John Longfellow

J.W. Lowe Roger Mallar Doug & Ellen Miller Maunsel & Ann Pearce Dr. Warren Bradley Spurge Hope and George Wick

Barbara Gilford Barbara Neely Gilford began collecting waterfowl decoys about 1967 and soon developed a preference for working decoys, especially shorebirds. Over time, through correspondence, trading and direct purchases she assembled a modest collection of decoys. She traveled the East Coast of the United States on business with her husband Jim, and searched for decoys while he was at appointments. During this time she met and acquired decoys from Bill Mackey and Adele Earnest. The effort to determine with certainty the geographic origin of each decoy and the identity of its carver was a scholarly challenge and, for her, an exhilarating experience.

Maunsel and Ann Pierce Maunsel and Ann Pierce began purchasing decoys in 1979 during a trip to Hyannis where they attended the Richard Bourne decoy auction and shopped for decoys at the Craigville Motel. They became seriously interested in Mason Factory Decoys in the early 1980s and met Russ Goldberger and Alan Haid at that time. Many of the best decoys have been in their collection for 25-30 years and are pictured in the first edition of Russ and Alan’s book, “Mason Decoys.”

Hope and George Wick In 1965 Hope and George Wick took a vacation trip to Cape Cod, where they came across Conway Sawyer’s barn filled with decoys for sale and they were hooked, purchasing their first decoy. They became regulars at the Richard Bourne Decoy Auctions, the Easton Waterfowl Festival, and the Midwest Decoy Collectors Show from the mid 1960s until the mid 1980s. Traveling from San Diego they would also visit Doc Starr, Adele Earnest, and Bill Mackey on their trips east. They were constantly making new friends in the decoy collecting community, and buying the best examples from different regions, upgrading existing decoys to better. When decoy prices started taking off in the early 1980s they were right in the mix, underbidding or buying Cobb black ducks and geese, and Lincoln old squaw at Richard Bourne’s Auctions. Guyette & Schmidt sold most of their collection in the mid 1990s, their Lothrop Holmes merganser in 2007, and some remaining shorebirds in this auction.

Dr. Warren Bradley Spurge (1907 – 1969) Dr. Spurge resided in New York, New Jersey, Connecticut, and retired to Florida in 1953. He was an avid hunter and fisherman with particular interest in the Northeast and in Florida. It is not known from whom or where he acquired his decoys, but they had been in his possession since the 1950s. The decoys were passed on to his son in 1969, and have been in his possession since.

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Guyette & Deeter Online Auctions

Week ly O nl i n e Au ct i on s E n d i n g Ever y T h u r s d ay N i ght G u ar a nt e e d d e s c r i p t i on s, m u l t i p l e p h o to s , q u i ck s h i p p i ng , g re a t d e a l s on q u a l i t y ite ms Canvasback by Evans Decoy Factory. Sold for $1322.50

Mallard by Life Like Lures. Sold for $1667.50

Lowhead mallard by Robert ‘Turk’ Libensperger. Sold for $1014.30

Swimming shoveler by Keith Mueller. Sold for $1782.50

For questions, contact: 410-253-8616 | zcote@guyetteanddeeter.com | PO Box 159, Freeport, Maine 04032 | www.decoysforsale.com

Session One

Tuesday, July 26, 2016 12:00 Noon Lots 1 - 326

Session Two

Wednesday, July 27, 2016 10:00 AM Lots 327 - 574

Shorebirds 1-7 Delaware River 8-17 Contemporary 18-29 Ontario 30-36 Miniatures 37-55 New England 56-67 Louisiana 68-71 Mason Decoy Factory 72-92 Sporting Art 93-112 Shorebirds 113-126 Midwest 127-139 New England 140-159 Ward Brothers 160-174 Sporting Art 175-194 Elmer Crowell Decoratives 195-203 Pacific Coast 203A-209 Contemporary 210-218 Ontario 219-226 Long Island Shorebirds 227-233 Fish 234-236 New York 237-248 Mason Decoy Factory 249-254 Sporting Art 255-266 Related Items 267-268 Duck Calls 269-272 Related Items 273-281 Factory 282-301 Decoratives 302-326

Decoratives 327-351 New England Shorebirds 352-370A Maine 371-391 Delaware River 392-394 New Jersey 395-405 Shotgun Shell Boxes 406-416 Bronze Sculptures 416A-416F Elmer Crowell 417-425 Canada 426-437 Sporting Art 437A-437I Shorebirds 438-455 New Jersey 456-473 North Carolina & Virginia 474-489 Powder Tins & Flasks 490-504 Maryland 505-521 Cigar Daisey 521A-521I Hurley Conklin 522-530 New England 531-544 Shorebirds 546-551 Related Items 552-574

Please read conditions of sale in the back of catalog

SESSION ONE

Tuesday, July 26, 2016 - 12:00 Noon

Shorebirds

Pair of willets from Massachusetts, circa 1900. Both have relief wing carving. Original paint with good patina and very minor wear; both have been lightly hit by shot; one has a very small chip missing from one edge of tail.

Provenance: Gilford collection.

Literature: “New England Decoys,” John and Shirley Delph. (3,500 - 4,500)

1 Detail

Root head lesser yellowlegs attributed to Charles Fulcher, Stacey, North Carolina, last quarter 19th century. Slighty turned head. Original paint with minor to moderate wear; structurally good; very lightly hit by shot.

Provenance: From an estate in Montréal. Part of a group of around 12 that were owned by pioneer folk art collector Adele Earnest.

Literature: “Folk Art in America,” Adele Earnest, p. 138, rigmates. Guyette & Schmidt, Inc./Christies, January 2007 auction catalog, lot 391, rigmates. (4,000 - 6,000)

Root head lesser yellowlegs attributed to Charles Fulcher, Stacey, North Carolina, last quarter 19th century. Very lightly hit by shot; crack in tail.

Provenance: From an estate in Montréal. Part of a group of around 12 that were owned by pioneer folk art collector Adele Earnest.

Literature: “Folk Art in America,” Adele Earnest, p. 138, rigmates. Guyette & Schmidt, Inc./Christies, January 2007 auction catalog, lot 391, rigmates. (4,000 - 6,000)

4 Detail

5 Detail

Yellowlegs with iron bill and original iron stand, New Jersey, last quarter 19th century. Original paint; minor to moderate wear; structurally good.

Very rare black necked stilt, probably from New Jersey. Appealing old in use repaint; bill looks like an old replacement.

Provenance: Wick collection. Purchased from Adele Ernest, June 1967.

Provenance: Wick collection. Purchased from Bill Mackey, May 1970.

Literature: “American Bird Decoys,” William J. Mackey, Jr., title page. Shelburne Museum Traveling Exhibition Catalogue: An American Sampler, p. 78. (4,000 - 6,000)

Literature: “The Art of the Decoy,” Adele Ernest, p. 59, rigmates. Shelburne Museum Traveling Exhibition Catalogue: An American Sampler, p. 83. (4,500 - 6,500)

Rare feeding yellowlegs with original iron legs, Noah Sterling, Crisfield, Maryland, last quarter 19th century. Original paint; minor wear; lightly hit by shot; bill is an old replacement.

Provenance: Wick collection. Purchased from Adele Ernest, June 1967.

Literature: “The Art of the Decoy,” Adele Ernest, plate #28. (5,000 - 8,000)

6 Detail

Theodore Rogers (1831 – 1903) was a wealthy banker who thoroughly enjoyed hunting and fishing, being a member of six different Rod and Gun Clubs on Long Island. He also believed in protecting the wild game he so enjoyed pursuing, being an early member of the New York State Association for the Protection of Fish and Game. This gentleman gunner obviously cared for his rig of decoys as many remain in very good original condition. Nobody knows for sure who carved the wonderfully impressionistic shorebirds that Theodore Rogers used on the marshes of Jamaica Bay, but the plovers, dowitchers, and few curlews in the rig are unquestionably shorebird classics.

6A Detail

6A.

Plover from the Rogers Rig, Jamaica Bay, New York, last quarter 19th century. Branded “T. Rogers” in underside. Near mint original paint; hairline surface crack in one side of head.

Provenance: Gilford collection.

(5,000 - 8,000)

7 Detail

“Although there was a wide variety of shorebirds hunted on Chincoteague and the surrounding area, it is believed that Ira Hudson made only yellowlegs. Examples of both greater and lesser yellowlegs have been identified. Some collectors believe

that a few of the Hudson shorebirds with the raised wing and drop tail are dowitchers, but we’ll leave that interpretation for others. Yet if you’d think this concentration on one species reduced the variety in his carvings, you’d be remiss. As in all of his carvings, Ira never stuck to one pattern. He constantly changed the appearance and structure of his shorebirds, either to satisfy the particular nature of his customers’ needs or simply to exercise his own artistic self-expression.” “Ira D. Hudson and Family,” Henry Stansbury.

Lesser yellowlegs, Ira Hudson, Chincoteague, Virginia, circa 1900. Relief wing carving. Highly detailed scratch loop feather painting. Original paint with minor wear; bill is a professional replacement; small hole in one side.

Provenance: Bill Purnell collection. Small “P” branded in underside.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. “Chesapeake Bay Decoys,” Robert Richardson, exact decoy shown opposite chapter 9, color plate. (17,500 - 22,500)

7 Detail

Delaware River

8 Detail

John English was a masterful carver as well as painter. His carving was exceptional and always found in nearly perfect proportions. His plumage patterns were applied in greater detail than most other makers from the region. 1 About a hundred of John Englishâ&#x20AC;&#x2122;s decoys were masterfully repainted around 1920 by John Dawson (1889-1959), who lived in Trenton, New Jersey. Dawson was a carpenter and potter who also painted landscapes of the river. His very distinctive patterns were highly stylized and abstract, and readily recognizable when compared to his contemporaries. 2 1

The Great Book of Wildfowl Decoys, Joe Engers, editor, chapter on Delaware River, Bruce Williams, p. 132. 2

Bird Decoys of North America Nature, History and Art, Robert Shaw, pp. 195-197.

Rare mallard drake, John English, Florence, New Jersey, last quarter 19th century, with outstanding stylized paint, circa 1920, by John Dawson, Trenton, New Jersey. Excellent Dawson paint shows very slight discoloration and wear; a few tiny dents; carved tail sprig remains intact.

Provenance: Formerly in the collection of John Hillman, Seagirt, New Jersey. Hillman collection stamp on underside.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. (20,000 - 30,000)

8 Detail

John Dawson

1889 - 1959 Trenton, New Jersey

Born into a family of early American settlers, John Dawson was one of four sons belonging to Thomas and Julie Dawson. The family’s residence was in the 600 block of Centre Street in Trenton, New Jersey. Dawson worked primarily as a kiln operator at the Scammel Pottery Company for most of his life. Like many that grew up along the Delaware River, John enjoyed the outdoors – duck hunting included. Around 1900 when he was in his twenties, his uncle gave him a rig of decoys that needed “sprucing up.” These decoys are now known as the English/Dawson decoys. Carved and originally painted by John English, John Dawson “tuned them up” for another round of hunting. Some of the decoys were stripped and painted some were just painted over the old surface. Dawson eventually progressed to making his own decoys to supplement his income, many of which were sold through hardware stores in Trenton for $2.00 each. These are known as Dawson/Dawson decoys. This merganser hen is an example of work both carved and painted by John Dawson He is known to have made only divers, redheads, bluebills, canvasbacks, mergansers and at least one bufflehead.

9 Detail 16

9 Detail

Very rare merganser hen, John Dawson, Trenton, New Jersey, circa 1920s. One of two hens of this style known in original paint. Distinct raised “V” wingtip carving and carved crest. “JD” carved in underside. Original paint with very minor wear; structurally very good. (20,000 - 25,000)

10.

Very rare English/Dawson merganser hen, last quarter 19th century. Paint by John Dawson with moderate wear; some old overpaint has been taken off part of the back.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. (3,500 - 4,500)

11. Mallard drake, Jess Heisler, Burlington, New Jersey. Raised “V” wingtip carving. Original paint with minor wear; small chips missing from wingtips and one edge of bill; small shot scar; very lightly hit by shot. (1,750 - 2,250)

12.

Rare pair of canvasbacks, Jess Heisler, Burlington, New Jersey, circa 1920. His early three piece body style with fluted tails and tack eyes. Original paint with minor wear; a few small dents.

Provenance: Formerly in the Conover collection, Conover collection stamp on underside. Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr., p. 49. “Floating Sculpture,” Harrison Huster and Doug Knight, p. 73. (4,000 - 6,000)

13.

Rare pintail drake, Caleb Marter, Burlington, New Jersey. Near mint original paint; structurally very good.

Provenance: Formerly in the collection of Somers G. Headly.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. (4,000 - 6,000)

William Quinn

1915 - 1969 Yardley, Pennsylvania

William Quinn in his scull boat

William Quinn was not born into a sporting family, so early on he relied on his friends to teach him the ways of the outdoors. Living in Tullytown, Pennsylvania, he soon met and befriended decoy carver Joe King who taught him to make decoys. Quinn’s early decoys are marked “Tullytown” on the undersides. It was not long before Quinn developed a reputation as a talented duck hunter and competitive shooter. Much of Quinn’s hunting was done on Money island, near Florence, where he belonged to the Penn Warner Gunning & Fishing Club. This is where he introduced the club members to his style of duck hunting, called “sculling.” It was so effective that the members asked him to resign, they did not like the impact the sculling had on their shore blind shooting. The decoys made in this period and used at this club are marked “W. Quinn, Yardley, PA”.

14 Detail

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14.

Extremely rare widgeon hen, William Quinn, Yardley, Pennsylvania. “W. Quinn Yardley, PA” is painted on the underside by Quinn. Excellent and original.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. (12,000 - 16,000)

15.

Rare high head model black duck, William Quinn, Yardley, Pennsylvania. “W. Quinn, Yardley, PA.” is painted on the underside by Quinn. Near mint original paint; structurally excellent.

16.

Rare low head model black duck, William Quinn, Yardley, Pennsylvania. “W. Quinn, Yardley, PA” is painted on the underside by Quinn. Near mint original paint; structurally excellent.

Provenance: Formerly in collection of John Hillman, Seagirt, New Jersey. Hillman collection stamp is on the underside. Also the “JAH” brand and John’s small paper label with number 67 on it.

Provenance: Formerly in collection of John Hillman, Seagirt, New Jersey. Hillman collection stamp is on the underside. Also the “JAH” brand and John’s small paper label with number 60 on it.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. (4,000 - 6,000)

17 Detail

17.

Extremely rare mallard hen, William Quinn, Yardley, Pennsylvania. “W. Quinn, Yardley, PA” is painted on the underside by the maker. Fine low head style with raised carved wingtips and incised feather carving in back. Near mint original paint.

Provenance: Formerly in the collection of John Hillman Seagirt, New Jersey. Hillman collection stamp on underside. Also branded “JAH” and Hillman’s tag and tiny staple remain on the underside. (9,500 - 12,500) 23

Contemporary Carvings

18.

3/4 size carving of a ruffed grouse, Eddie Wozny, Cambridge, Maryland. Signed. On oval hardwood plaque, approximately 18” wide. Finely detailed carving and feather paint. Excellent and original. (1,400 - 1,800)

19.

Life size carving of a woodcock on wooden base, Eddie Wozny, Cambridge, Maryland. Signed. Detailed feather carving and turned head. Excellent and original. (1,000 - 1,400)

20. Gadwall drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Branded and signed. New head; repainted in 1999; small crack in one side of tail, otherwise very good and original. (1,000 - 1,500) 21. “1880 Yellowlegs,” a carving by Leo McIntosh, Woodville, New York. Hinged body folds open with 24

place to store removable head inside it. Near mint original paint; professional bill repair; slight wear at wingtips. (1,000 - 1,400) 22.

Solitary sandpiper, Leo McIntosh, Woodville, New York. Signed and dated 1986 on original base. Detailed wing carving. Near mint original paint; professional bill repair. (500 - 800)

23.

Preening black duck, George Strunk, Glendora, New Jersey. Signed and branded. A large decoy with flat bottom style and carved crossed wingtips. Excellent and original. (400 - 600)

24. Black duck, Bob White, Tullytown, Pennsylvania. Carved in the Delaware River tradition. Bob White’s brass hunting ID tag is on the underside. Very good and original. (500 - 800)

28 25.

Well carved pintail drake, Mark McNair, Craddockville, Virginia. Signed. Very long inserted tail and slightly turned head. Small cracks in underside, otherwise very good and original. (2,500 - 3,000)

26.

Greater yellowlegs, Mark McNair, Craddockville, Virginia. Signed. Moderate paint shrinkage on breast and near stick hole, otherwise original and good. (800 - 1,200)

27.

Godwit, Mark McNair, Craddockville, Virginia. Signed. Slightly turned head. Very good and original. (750 - 950)

29 28.

Pair of wood ducks, George Strunk, Glendora, New Jersey. Both are carved in the Delaware River tradition and have slightly turned heads. Both have the “Strunk” brand in the underside. Very good and original. (800 - 1,200)

29.

Gull with turned head, George Strunk, Glendora, New Jersey. “Strunk” brand in underside with inscription, “First gull I ever made, George Strunk.” Original paint with very minor discoloration on underside; no wear; structurally very good. (650 - 950)

Ontario John R. Wells

1861 - 1953 Toronto, Ontario John Wells was a boatbuilder by trade and spent 40 years as the foreman for Ackroyd Boat Co. He hunted on Long Point and the St. Clair Flats where he encountered the carving influence of the Warin brothers’ style. John Rice Wells was not an identified decoy maker until about 40 years ago. His decoys are well carved and finished with flowing wing patterns and comb painted bodies. Wells is now considered a top tier Canadian carver. The decoys he made for the Oak Lake Shooting Club are special and include species like shovelers, immature bluebills, and some of the finest painted canvasbacks ever seen.

30 Detail

30.

Hollow carved canvasback hen, John R. Wells, Toronto, Ontario, circa 1900. Branded “JRW MAKER” twice in the underside. Also initials “GRC” are painted on the underside. Hollow carved with thin bottom board and detailed comb painting. Original paint with very minor wear; mostly on one bottom edge; several tiny dents and shot marks.

Provenance: Formerly in the collection of Dr. James McCleery, McCleery collection stamp on underside. Humbracht collection, Bartlett, Illinois. Oak Lake Club, southwestern Manitoba, considered to be one of the finest decoys to come out of this club.

Literature: “Call to the Sky,” Robert Shaw, p. 95, exact decoy. “Ontario Decoys II,” Bernie Gates, p. 67. “Ontario Decoys,” Bernie Gates, p. 48. “Decoys of the Mississippi Flyway,” Alan Haid, p. 20. Guyette & Schmidt, Inc./Sotheby’s auction catalog, January 2000, lot 60. (25,000 - 35,000)

30 Detail 27

Several similar geese were found in the Turkey Point/Port Rowan area of Long Point on the north shore of Lake Erie in Ontario. Most were branded J.M. Salmon. Similarities to early P. Reeves so called “platter decoys” (see Mallard, July 2016) exist. There is no evidence that Salmon made decoys. Dr. James M. Salmon (1824 – 1919) was a prominent physician in the Long Point/Turkey Point area on the north shore of Lake Erie in Ontario. He was an ardent waterfowler with extensive hunting grounds on Long Point in the 1850s and early 1860s. Around 1866, Salmon sold lands to the Long Point Company, and in return was granted life rights to hunt and fish some of the company’s lands. The sale also included permission to build a hunting lodge at “The Bluffs.” These lands became part of the Bluff Bar Hunt Club where, in “Barney” Crandell’s fine book, he recounts finding decoys, including a J.M. Salmon branded goose at the Bluffs, that may have been made by the same hand.

31 31 Detail

31.

Large hollow carved Canada goose from the Long Point Shooting Company, last quarter 19th century. Approximately 25 1/2” long. Original paint with minor scraping and wear; two short hairline surface cracks in back; a few tiny dents.

Provenance: Formerly in the collection of Tommy O’Connor; O’Connor ink stamp on underside.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid.

(6,000 - 9,000)

32.

Hollow carved black duck, William Chrysler, Belleville, Ontario, circa 1900. Slightly turned head. “FA” carved in underside. Original paint with minor wear; a few small dents.

Literature: “Ontario Decoys,” Bernie Gates. (2,500 - 3,500)

33. Short body style canvasback drake, Tom Chambers, Toronto, Ontario. Branded “HMJ” and “WLM”. Original paint; minor discoloration and wear; tiny dents in bill. (2,500 - 3,500)

34.

Hollow carved pair of redheads, John R. Wells, Toronto, Ontario. A mixture of original paint with old repaint; small cracks and dents. (1,000 - 1,500)

35.

Hollow carved black duck, George Warin, Toronto, Ontario, last quarter 19th century. Low head model. Original paint with minor wear; shot scars, mostly on one side. (1,750 - 2,250)

35A. Rare rigmate pair of early round head style redheads, Tom Chambers, Toronto, Ontario, circa 1900. The hen has an “H” carved in the underside. Hen has subtle feather painting on wing areas. Both are original paint with very slight wear; both have a few tiny dents.

Provenance: Harry Seitz.

Formerly in the collection of (10,000 - 14,000)

35A

35A Detail

Tom Chambers was a highly skilled waterfowl hunter, market gunner, decoy maker, and marsh manager from Toronto, Ontario on the shores of Lake Ontario. He hunted the Toronto waterfront and surrounding area centered on Ashbridges Bay. Chambers moved to the “Flats” in the 1880s. He was initially involved with the “St. Anne’s Club,” a Canadian waterfowl hunting club, in the 1880s. He moved to the St. Clair Flats Shooting Co. around 1900. Chambers, nicknamed “King Tom,” apparently for his dictatorial style when dealing with native Canadian guides, would, for the next 43 years, manage one of Canada’s finest and most prestigious hunting clubs.

36 Detail

36.

Hollow carved bluebill hen from the Markham rig, Markham, Ontario, circa 1900. Delicately crafted with thin bottom board and detailed bill carving. Thin crack on front part of head; repair to a shallow chip at the top of the tip of the tail. (4,000 - 6,000)

Miniatures

37.

38.

Miniature mallard on large chip carved base, Elmer Crowell, East Harwich, Massachusetts. Carved feet. Old label on underside. Excellent and original. (2,000 - 3,000)

40.

Ringneck pheasant, Elmer Crowell, East Harwich, Massachusetts. Traces of Crowell’s round ink stamp on underside. Slight paint shrinkage on front of neck, otherwise excellent an original. (1,750 - 2,250)

Feeding miniature canvasback drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Excellent and original. (1,250 - 1,750)

41.

Four miniature flying shorebirds, A.J. Dando. Golden plover and upland plover. Largest wing span approximately 5-1/4”. Very good and original. (1,000 - 1,400)

39. Miniature redhead drake, Elmer Crowell, East Harwich, Massachusetts. Original paint with minor 32

wear; several paint flakes missing from tip of bill, top of head and neck. (800 - 1,200)

42.

Miniature upland plover, Elmer Crowell, East Harwich, Massachusetts. Unstamped. Very good and original. (2,500 - 3,500)

45.

Miniature spotted sandpiper, Elmer Crowell, East Harwich, Massachusetts. Unstamped. Very good and original. (2,500 - 3,500)

43.

Miniature ruffed grouse, Elmer Crowell, East Harwich, Massachusetts. Unstamped. Very good and original. (2,500 - 3,500)

46.

44.

Running spotted sandpiper, Elmer Crowell, East Harwich, Massachusetts. Unstamped. Very good and original. (2,500 - 3,500)

Pair of miniature mallards, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside, they are also signed. Excellent and original. (2,500 - 3,500)

47.

Pair of miniature ring neck pheasant, A.J. King, North Scituate, Rhode Island. Signed. Extremely fine carving and paint detail. Both have very slightly turned heads. Very good and original. (2,500 - 3,500)

48. Two miniature songbirds, Jess Blackstone, Peterborough, New Hampshire, 1st half 20th century. A kinglet and golden winged warbler. Both mounted on carved and painted bases. Kinglet shows rasp lines and carved eyes. Original paint; slight damage to one side of tail; warbler is smooth body with glass eyes; very good and original. (800 - 1,200)

49. Miniature Vesper sparrow, Jess Blackstone, Peterborough, New Hampshire. Signed and numbered 13. Very good and original. (800 - 1,200) 50.

Miniature tree sparrow, Jess Blackstone, Peterborough, New Hampshire. Signed and numbered 39. Excellent and original. (800 - 1,200)

51.

Miniature fox sparrow, Jess Blackstone, Peterborough, New Hampshire. Signed and numbered 41. Very good and original. (800 - 1,200)

52. Two miniatures, Russ Burr, Massachusetts. Original and good. 53.

Hingham, (500 - 800)

Pair of miniature bluebills, Russ Burr, Hingham, Massachusetts. Both have detailed feather carving. Signed. Very good and original. (650 - 950)

54.

Three miniatures, Helen Lay Strong. A horned lark and a pair of ruby corned kinglets. Both are ID’ed and signed. Very good and original. (500 - 700)

55. Group of 10 miniature Mason replicas, Ray Schalk. Signed. Very good and original. (500 - 700)

New England Albert Laing

1811 - 1886 Stratford Connecticut and New York, New York A very early, shallow bodied, back reaching blackduck by the father of the Stratford, Connecticut school. This decoy was likely carved and used years before Laing moved from New York City to Stratford at the age of 52. It is likely a rigmate to the swan, redhead, and canvasback hen that were known to be from Laingâ&#x20AC;&#x2122;s battery rig used on the Chesapeake Bay, where he often traveled to shoot canvasbacks â&#x20AC;&#x201C; they were much more plentiful there than at his home in New York City.

56 36

56 Detail

56.

Important hollow carved preening black duck, Albert Laing, Stratford Connecticut and New York, New York, early 3rd quarter 19th century. His earlier flat body style with fine feather paint detail on head. Unusual lifted head pose with very delicate features. Original paint with minor wear; small tail chip has been filled. Provenance: Dr. Lloyd Griffith collection. Purchased at the November 1990 Richard Oliver auction where it had been consigned by an antique toy collector in Harrisonburg, Virginia. This man inherited it from his parents, who were from Connecticut.

Literature: “Connecticut Decoys,” Henry Chitwood. “Shang,” Dixon Merkt. “The Art of Deception,” Gary Guyette and Frank Schmidt, p. 47, rigmate with worn original paint. (50,000 - 70,000)

56 Detail

57.

Bluebill drake from Connecticut, last quarter 19th century. Very thinly hollow carved with ice dip behind neck. Branded “P Brasher” in underside. Original paint with moderate wear; moderate roughness to edges of bill; numerous small cracks; inset circular weight is missing from underside; lightly hit by shot in breast area, with very small chips from the shot; tie strap was attached with square nails. (2,000 - 3,000)

58.

Sleeping black duck in the style of Albert Laing, Stratford, Connecticut, circa 1900. Balsa construction. Original paint with minor wear; numerous small dents in balsa. (2,000 - 3,000)

58 59. Oversize Canada goose, Charles Safford, Kingston, Massachusetts. Approximately 31” long. Laminated construction with a number “21” stenciled on the back. Original paint with some discoloration and wear; separations at body seams. (3,000 - 5,000)

60. Merganser drake from Rhode Island, 1st quarter 20th century. Appealing geometric paint pattern on back. Original paint with minor discoloration and wear; structurally good; repair to a small “puppy chew” marks at the tip of the bill. (2,500 - 3,500)

60 Detail

60 38

61 Detail

61.

Classic hollow carved black duck, Shang Wheeler, Stratford, Connecticut. Gunning model with slightly turned head. Original paint with minor wear; very slight roughness to tip of tail; retains Stratford School “teardrop” weight; tiny dent in one edge of bill.

Provenance: Dr. Lloyd Griffith collection.

Literature: “Shang,” Dixon Merkt. “Connecticut Decoys,” Henry Chitwood. “New England Decoys,” John and Shirley Delph. (6,000 - 9,000) 39

63. Oversize hollow carved black duck, Charles Hart, Gloucester, Massachusetts. Approximately 21” long. Slightly turned head and detailed feather carving. Original paint with minor wear; a few small dents; and shot marks; slight separation at body seam. (3,000 - 4,000)

64.

Merganser hen, Massachusetts. Hollow carved with two dowels joining body halves. Slightly turned head. Raised neck seat, carved eyes, and wide paddle tail. Original paint with minor wear; crack through neck. (2,000 - 3,000)

65. Merganser drake, George Huey, Friendship, Maine. Inlet head and carved eyes. Original paint with good patina and very minor wear; crack in underside; some of the original horse hair crest remains.

Provenance: Pearce collection.

Literature: “New England Decoys,” John and Shirley Delph. (3,000 - 5,000)

65 66.

66 40

Very rare swimming merganser hen, Captain Samuel Fabens, Salem, Massachusetts, last quarter 19th century. Original paint that has darkened with age on much of the decoy; old in use repaint on part of the decoy; nail holes in underside have had filler put in them a long time ago. (2,500 - 3,500)

67 Detail

67.

Early canvas over tin frame Canada goose, from Marshfield, Massachusetts, last quarter 19th century. Removable wooden head with tack eyes. Original paint with minor wear; several small tears in canvas.

Provenance: Formerly in the collection of Ralph and Patricia Price.

(5,500 - 7,500)

Louisiana Mark Whipple 1884 - 1961 Bourg, Louisiana

One of eleven children born to a German immigrant family in Bourg, Louisiana, Mark Whipple grew up in a market hunting family and soon joined the family occupation. As the laws for market gunning changed, the Whipple family transitioned to sports hunting and guiding. Of all the Whipple family decoys, Mark’s are the most refined. His career, making and selling decoys, spanned nearly fifty years.

67A

67A Detail

67A. Classic pintail drake, Mark Whipple, Bourg, Louisiana. Original paint with minor wear; slight crazing on one side; structurally good.

Provenance: Formerly in the collection of David Gallaher.

Literature: “Guyette & Schmidt Decoy Auctions,” Feburary 1991, lot 214 and back cover, exact decoy. “Decoys of the Mississippi Flyway,” Alan Haid, p. 231, exact decoy. (7,000 - 9,000) 42

68 Detail

68.

Pair of bluewing teal, Curtis Rousseau, Chalmette, Louisiana. Both have slightly turned heads and raised carved wingtips. Written on underside of both, “TO SONNY, DAD, AND MA, 1970 -12-25.” Excellent and original.

Provenance: Ben Kleinpeter collection.

(4,000 - 6,000)

70A

71 69.

Four ringbill drakes by a member of the Whipple family, 1st quarter 20th century. Worn old paint with some original showing; lightly hit by shot; a few small cracks. (950 - 1,250)

70.

Pair of greenwing teal, Skip Couvillion, Shreveport, Louisiana. Made for and used by the Duck Men in January 2015. Signed by the maker inscription in underside says “12 ducks killed.” Decoy is numbered Etc. Louisiana duck stamp is on underside. Original and good. (500 - 700)

70A. Mallard drake from Louisiana, 2nd quarter 20th century. Relief wingtip carving and tack eyes. Old in use repaint with some shrinkage; structurally good. (350 - 450) 71.

Pintail drake appears to be by a member of the Whipple Family, Bourg, Louisiana. “S” shaped stylish neck. Original paint that has crazed, mostly on head and neck; a few imperfections in the wood; paint has worn around nail holes at base of neck; shot scar in one side of bill. (800 - 1,000)

Mason Decoy Factory 1896 - 1924 Detroit, Michigan

72. Rare robin snipe in spring plumage, Mason Decoy Factory, Detroit, Michigan, circa 1910. Tack eye model. Near mint and very thick original paint; structurally excellent.

Provenance: Formerly in the collection of William J. Mackey, Mackey collection stamp on underside. (6,000 - 8,000)

72 73. Rare dove, Mason Decoy Factory, Detroit, Michigan. Glass eye model, circa 1910. A very full bodied example with highly detailed paint. Near mint original paint; around 12 very small dents in lower breast; thin crack in top of head; professional paint touchup on front part of face where there were stains from the iron bill.

Literature: “Mason Decoys,” Russ Goldberger and Alan Haid, p. 112, exact decoy. (4,000 - 5,000)

74.

Rare tack eye model robin snipe in spring plumage, Mason Decoy Factory, Detroit, Michigan, circa 1900. Near mint original paint with minor discoloration; bill is a professional replacement.

Literature: “Mason Decoys,” Russ Goldberger and Alan Haid, p. 109. (2,500 - 3,500)

74 75. Yellowlegs, Mason Decoy Factory, Detroit, Michigan, circa 1910. Tack eye model. Original paint with minor wear; eyes and bill are pitted.

Literature: “Mason Factory Decoys,” Russ Goldberger and Alan Haid. (2,000 - 3,000)

75 45

76.

Mallard hen, Mason Decoy Factory, Detroit, Michigan. Premier grade, circa 1910. Original paint with minor wear; lightly hit by shot; two factory added pieces on one side of tail; very small tail chip repair as well. (2,000 - 3,000)

77.

Mallard hen, Mason Decoy Factory, Detroit, Michigan. Premier grade. Bold paint with good tone. Original paint with very slight wear; small tail chip repair.

Provenance: Mallar collection. (2,000 - 3,000)

77 78. Redhead drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint with minor discoloration and wear; slight separation at body seam; filled crack in back. (1,500 - 2,000)

78 79.

79 46

Redhead hen, Mason Decoy Factory, Detroit, Michigan. Early premier grade style, circa 1905. Original paint with minor wear; lightly hit by shot. (1,500 - 2,000)

80. Exceptional Canada goose, Mason Decoy Factory, Detroit, Michigan. Premier grade. Bold original paint with detailed loop feather painting on back; small crack in neck; professional repair to a long thin chip in the underside of the bill; age split in underside of decoy was filled with wood at the factory, it has since opened some.

Literature: “Mason Decoys,” Russ Goldberger and Alan Haid. (17,500 - 22,500)

80 Detail

The Mason Decoy Factory discontinued their line of geese in 1913, probably due to the lack of available wood in the size required. They suggested that their customers purchase their brant decoys instead. While the geese had always been advertised as challenge grade, they have premier bill carving and the finest paint detailing available at the factory, usually reserved for the premier grades.

81. Brant, Mason Decoy Factory, Detroit, Michigan. Challenge grade. Original paint with very minor wear; slight separation at neck seam; fairly large crack in underside. (2,000 - 3,000)

81 82.

Black duck, Mason Decoy Factory, Detroit, Michigan. Early premier grade slope breasted style, circa 1895. Original paint; minor wear, mostly on the center of the back; some of the neck filler has been replaced and two of the white speculum bars have been strengthened. (2,250 - 2,750)

83.

Black duck, Mason Decoy Factory, Detroit, Michigan. Premier grade, circa 1915. Original paint with very slight wear; factory filled crack in back that has opened slightly. (2,000 - 3,000)

84.

Redhead hen, Mason Decoy Factory, Detroit, Michigan. Premier grade with Mason weight. Near mint original paint; structurally very good, barely used. (3,000 - 4,000)

84 48

85.

Very rare pair of early “slope breasted” style mallards, Mason Decoy Factory, Detroit, Michigan, circa 1895. Premier grade. Original paint with minor wear; drake has been hit by shot; hen has been lightly hit by shot; slight wear to the wood on the hen’s tail; long thin defect in wood on one lower edge of drake’s side. (5,000 - 7,000)

86.

Early mallard hen, Mason Decoy Factory, Detroit, Michigan. Premier grade with “VL&A Chicago” stamped on underside. Strong original paint; slight damage at tip of tail; crack near neck base with some filler missing in that area; a few small rubs. (4,000 - 6,000)

87. Pair of canvasbacks, Mason Decoy Factory, Detroit, Michigan. Premier grade Seneca Lake models. Original paint; minor discoloration and wear; lightly hit by shot; small crack in each underside. (3,000 - 5,000)

87 88. Rare widgeon drake, Mason Decoy Factory, Detroit, Michigan. Standard grade with glass eyes. Original paint; minor discoloration and wear; crack in underside; small amount of neck filler is missing; lightly hit by shot. (1,000 - 2,000)

88 89.

Pair of redheads, Mason Decoy Factory, Detroit, Michigan. Early premier grade, circa 1900. Original paint with minor wear; professional touchup on hen’s head and bill; lightly hit by shot; very minor roughness to drake’s tail. (2,500 - 3,500)

90.

Rigmate pair of mallards, Mason Decoy Factory, Detroit, Michigan. Premier grade, circa 1910. Original paint with minor discoloration and wear; a few small dents. (3,000 - 5,000)

90 50

91.

Exceptional bluewing teal drake, Mason Decoy Factory, Detroit, Michigan. Premier grade, circa 1915. Near mint original paint; two tiny dents in one side of bill.

Literature: “Mason Decoys,” Russ Goldberger and Alan Haid, p. 55 & 56, exact decoy. (9,000 - 12,000)

92.

Bluewing teal hen, Mason Decoy Factory, Detroit, Michigan. Original paint with very minor wear on most of the decoy; several small spots of touchup on the body; touchup on one side of head; a few tiny dents. (3,500 - 4,500)

Sporting Art

Arthur Burdett Frost was born in Philadelphia in 1851 and from an early age enjoyed hunting, fishing, rowing, and fencing. Frost found early success as an artist when, at the age of 23, nearly 400 of his illustrations were used in the popular and comical ‘Out of the Hurly Burly’ by Charles Heber Clarke. He continued as a prolific illustrator for Harper’s Weekly, Scribner’s, Collier’s, Century, and Life magazines, as well as over 100 published books, including the wildly popular Uncle Remus tales by Joel Chandler Harris. As busy of a commercial artist as Frost was, and no matter where he and his young family moved, he always found time to hunt ducks, shorebirds, rail, and upland game. Today A.B. Frost is most remembered for his hunting and shooting scenes. In ‘The A.B. Frost Book’, author Henry M. Reed explains how as “a sportsman himself, Frost was able to vividly portray the feelings and experience of hunting in his imagery. The appeal of Frost’s shooting pictures lies in the fact that the viewer can relate to the subject and the situation depicted. Every scene portrayed is one that each of us who has hunted with dog and gun has experienced.” In 1895 Charles Scribner’s Sons published ‘Shooting Pictures’, a portfolio of 12 lithographs after original works by Arthur B. Frost. “Ducks from a Battery” was 1 of 2 from this set of 12 to depict duck hunting. The image likely introduced the use of a sink box with a large rig of decoys to many water fowlers unfamiliar with the technique. Used mostly in commercial ‘market’ hunting areas of the Atlantic seaboard this mode of hunting was extremely dangerous and not for the weekend sport. The prints from the Frost folios have graced the homes and shooting haunts of distinguished sportsmen for over a century. The opportunity to acquire one of the original artworks these prints were made from is truly a rare occasion and shouldn’t be overlooked.

93 Detail 52

93.

“Duck Shooting from a Battery,” a watercolor by Arthur Burdett Frost (18511928). Signed. Professionally matted and framed. Image size 13” x 21”. Excellent and original.

Provenance: Paul Tudor Jones II collection.

(50,000 - 70,000)

94.

“A Hit is History,” watercolor by Roland Clark (1874-1957). Professionally matted and framed. Image size Approximately 18” x 14”. Very good and original.

Provenance: Paul Tudor Jones II collection.

(6,500 - 9,500)

95.

“A Miss is a Mystery,” watercolor by Roland Clark (1874-1957). Professionally matted and framed. Image size Approximately 18” x 14”. Very good and original.

Provenance: Paul Tudor Jones II collection.

(6,500 - 9,500)

96.

“Duck Shooting,” a watercolor by Arthur Burdett Frost (1851-1928). Signed and dated 1902. Professionally matted and framed. Image size 18” x 25”. Areas in center of sky have darkened slightly with age, otherwise very good and original.

Provenance: Paul Tudor Jones II collection.

(35,000 - 45,000)

96 Detail

97 Detail

97.

Watercolor of duck and goose hunters in typical North Carolina offshore blind, A. Lassell Ripley (1896-1969). Signed. Canvasback and Canada goose decoys are in the water. Image size approximately 20” x 28 1/2”. Excellent and original.

Provenance: Private southern collection.

(17,500 - 22,500)

98 Detail 60

98.

“Black Ducks at Dawn,” a watercolor by A. Lassell Ripley (18961969). Signed and dated 1948. Image size 21” x 29”. Very good and original.

Provenance: Paul Tudor Jones II collection.

Literature: “The Art of Aiden Lassell Ripley,” Stephen O’Brien, Jr. and Julie Carlson Wildfeuer, Plate 138, exact image. (20,000 - 30,000)

Lynne Bogue Hunt

99.

Oil on canvas of flying black ducks coming in to hunter and decoys, Lynn Bogue Hunt (1878-1960). Signed. Image size approximately 20 3/4” x 24 3/4”. Excellent and original. Provenance: Private southern collection. (3,500 - 5,500)

100

100. Oil on board of black ducks landing in pond, Lynn Bogue Hunt (1878-1960). Signed, “To the Schafer’s Lynn Bogue Hunt”. Image size approxiamtely 12 1/2” x 10 1/2’. Signed by Hunt on back of board as well. Very good and original Provenance: Private southern collection.

(2,000 - 3,000)

101

101. “Shorebirds at the Beach,” an oil on canvas of plovers, Francis L. Jaques (1887-1969). Signed. Image size approximately 12” x 16”. Very good and original. (6,500 - 9,500)

Based on where Jaques was painting at this time period, this is most likely a scene at the New Jersey shore.

Frederic Remington Though the name Frederic Remington has become synonymous with Western art and the depictions of an expanding American frontier, he was also one of Americaâ&#x20AC;&#x2122;s first great sporting artists. Painting from his experience in the field Remington focused his compositions on the hunter and his surroundings rather than the game being pursued.

102

It is believed that this painting is a self-portrait of Remington with one of his favorite hunting companions. 64

102

102. “On the Shore of the Tank - Morning,” a watercolor by Frederic S. Remington (1861-1909). Signed. Professionally matted and framed. Image size 14” x 29”. Very good and original. Provenance: Paul Tudor Jones II collection.

(30,000 - 40,000)

102 Detail

Remington resting with his dog on the porch of his studio at Ingleneuk Island, Chippewa Bay, New York, circa 1902.

102 Detail - Mounted on back

Ogden Pleissner

“True ‘sporting art’ is exactly that: art with a sporting theme. There is obvious or hidden prey in the picture, and a well-painted landscape that may include a figure holding a rod or gun. A wonderful tension should exist in a painting of a stream or hillside where one just knows a trout or partridge lies waiting.” “Great sporting artists are great artists who know the habits of wild creatures and have committed to memory every detail of habitat. These are men who have experienced the thrill of an Atlantic salmon or a large trout taking a well-presented fly, the explosion of a bursting covey of quail, sunrise on a duck marsh, running the rapids in a canoe, sleeping under the stars, and in many other ways truly lived in nature. Partly because special experience is behind all true sporting art, it is in a class by itself, and has had very few masters. Among them: Winslow Homer, Frederick Remington, Carl Rungius, Frank W. Benson, A.B. Frost, A.L. Ripley, Thomas Eakins, and Ogden Pleissner.” “The Art of Odgen M. Pleissner”, by Peter Bergh.

103

103.

”Fisherman by a Stream,” watercolor by Ogden Pleissner (1905-1983). Signed. Professionally matted and framed. Image size approximately 7” x 10”. Crossroads of Sports paper label on back. Very good and original.

Provenance: Paul Tudor Jones II collection.

(6,500 - 9,500)

104 Detail

104. “June Fishing,” a watercolor by Ogden Pleissner (1905-1983), circa 1960. Signed. Professionally matted and framed. Image size approximately 18” x 28”. Subject matter is believed to be fisherman in the waters of the Millbrook River, a branch of the Beaverkill River. Fisherman is believe to be a member of the Tuscarora Club. Very good and original.

Provenance: Crossroads of Sports, New York, New York, 1962. Private collection Michigan until present. (35,000 - 45,000)

104

105 Detail

105

105. “Autumn Grouse Shooting,” a watercolor by Ogden Pleissner (19051983). Signed. Image of a hunter with dog about to shoot at a partridge. Professionally matted and framed. Images size approximately 17 3/4” x 27 1/2”. Excellent and original. Provenance: Purchased by the consignor in November 1991 from the Sportsman’s Edge Gallery, New York, NY. Literature: Featured on the back cover of Shooting Sportsman Magazine, April/May, 1999 Issue. (40,000 - 60,000)

106

106. “Flarin’ Off,” an oil on canvas of pintails in flight, Roland Clark (18741957). Signed. Image size approxiamtely 23 1/2’ x 19 1/2”. Writing on back of frame “From Schwartz Galleries, Madison Avenue, NYC.” Private southern collection. Very good and original. (5,000 - 8,000)

107. “Doves at Water Hole,” a watercolor by William J. Shadach (1896-1982), circa late 1940s. Signed. Professional triple matted and framed. Image size approximately 16” x 21 1/2”. Very good and original.

107

Provenance: Private southern collection. (2,500 - 3,500)

108

108. “Lake Scene with Cottage,” a watercolor by Carl Rungius (1869-1959). Signed. Professionally matted and framed. Image size 19” x 26”. Very good and original.

Provenance: Paul Tudor Jones II collection.

(17,500 - 22,500)

109

109. “Sketch For Field and Stream,” a watercolor by A. Lassell Ripley (1896-1969). Signed. Image size Approximately 8 5/8” x 12 1/2”. Professionally matted and framed. Very good and original.

110

111

Provenance: Private southern collection. (3,000 - 5,000)

110. “North Summit Panorama,” acrylic on board by Thomas Kinkade (1958-2012). Signed. Image size approximately 6” x 18”. Very good and original. (3,000 - 5,000)

111.

Acrylic on board of flying geese over cornfield by Les Kouba (1917-1998). Signed. Image size approximately 23” x 29 1/2”. Very good and original. (1,500 - 2,500)

Les Kouba (1917 – 1998) was an American artist, author, outdoorsman, and businessman, specializing in waterfowl paintings. Kouba is identified as one of the artists responsible for the resurgence of wildlife art in the 1970s.

Walter Granville Smith was born in Bellport, New York on January 26, 1870 and he died in Granville, New York in 1938. He was a painter and illustrator who studied with W. Satterlee, C. Beckwith and Willard Metcalf at the Art Student League in New York City, and in Paris at the Académie Julian. He was a member of the American Water Color Society, Salmagundi Club, Society of Painters in New York, Allied Artists of America, an Associate (1908) and an Academician (1915) of the National Academy of Design, New York; the Greenwich Society of Artists; National Arts Club; American Guild of Artists; and the Grand Central Art Galleries, New York. He won awards at the National Academy in 1900, 1908, 1927, 1929, 1933; a medal at the Charleston Exposition in 1902; and prizes at the American Water Color Society in 1905 and 1916; Worcester Art Museum in 1906; Art Institute, Chicago in 1907; Buenos Aires Exposition in 1910, and the Salmagundi Club in 1911, 1913, 1918, 1922, 1925, and 1928. Smith’s work is represented in the permanent collections of the Smithsonian Institution, Butler Art Institute, Toledo Museum in Ohio, Salmagundi Club, the National Academy of Design, Lotos Club, the Fencers Club in New York City, the Philadelphia Art Club and more.

112

112. “Sporting Shot,” a large oil on canvas of duck hunters in marsh by Walter Granville-Smith (1870-1938). Signed and dated 1927. Image size approximately 29 1/2” x 39 1/4”. Very good and original.

Provenance: Paul Tudor Jones II collection.

(17,500 - 22,500)

Shorebirds William Bowman 1824 - 1906 Lawrence, New York

Where Bowman purportedly lived and carved decoys during the hunting seasons, near Lawrence, New York on Long Island.

113 Detail

113. Outstanding greater yellowlegs, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. Believed by some to have been made by C.S. Bunn. Shoe button eyes and well sculpted form with head in a slightly resting pose. Relief wing carving with extended wing tips. Fine patina and paint detail. Near mint original paint on body; minor flaking on bill; tiny chip missing from each wingtip; tiny shot mark near one eye. Provenance: Ben Kleinpeter collection. Formerly in collection of Dr. Robin Hardy. Literature: “American Waterfowl Decoys - The Distinguished Collection of Dr. James McCleery,” January 2000, Guyette & Schmidt/Sotheby’s, lot 217, rigmate. “Shorebird Decoys,” Henry Fleckenstein, Jr., p. 15. “Gunners Paradise Wildfowling and Decoys on Long Island,” p. 109. “The Decoys of Long Island,” Geoggrey Fleming, Alan Haid, and Timothy Sieger, p. 41, rigmate. (70,000 - 90,000)

113 Detail

113

Shorebird hunters gunning a saltwater marsh

114. Greater yellowlegs in alert pose, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. Believed by some to have been made by C. S. Bunn. Relief wing carving with extended wingtips. Shoe button eyes. Very similar to lot 453 in April 2016. Strong original paint with wear mostly around stick hole in underside and tips of wings; roughness at tip of wing; small area of inpainting around neck.

Literature: “Great Book of Decoys,” Joe Engers, editor. (20,000 - 25,000)

115. Very rare golden plover, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. Believed by some to have been made by C. S. Bunn. Original paint with good patina and minor wear; tiny shot scar on lower breast; professional repair to a small chip at each wingtip; hairline crack partway through bill.

Literature: “Shorebird Decoys,” Henry Fleckenstein, Jr., p. 45. “Shorebirds,” John Levinson and Somers Headly, p. 64. (30,000 - 40,000)

114

115

114 Detail

115 Detail

116

117

118

119 116.

Golden plover, J. H. Stone. “JHS” is carved in the underside. Near mint original paint; structurally very good.

Provenance: Wick collection. Purchased from Bill Mackey, April 1968. (2,000 - 3,000)

117. Running yellowlegs, William Southard, Seaford, Long Island, New York. Deep wing carving and carved eyes. Original paint with minor to moderate wear; working touchup on some of the black area; a few tiny dents. (2,000 - 3,000) 118. Four cork yellowlegs from Long Island, New York. Branded “H.S. Stone”. Flat sided. Original paint with minor wear, mostly to the tails; some shrinkage to cork; small chip missing from one tail; two bills are miss80

120 ing, other two bills appear to be replacements. (1,750 - 2,250) 119. Yellowlegs similar to the work of Ira Hudson, Chincoteague, Virginia, first quarter 20th century. Original paint with minor wear; small crack; old repair to a chip in the top of the bill; hairline surface crack in one side of breast; very lightly hit by shot.

Provenance: Gilford collection.

(1,250 - 1,750)

120. Yellowlegs from the Eastern Shore of Virginia, last quarter 19th century. Raised “V” wingtip carving and slightly curved bill. Worn original paint; small crack in bill; bill appears to have been touched up.

Provenance: Gilford collection.

(900 - 1,200)

121

122

121 Detail

121. Large curlew with bone bill, Chief Eugene Cuffee, East Hampton, Long Island, New York. Relief wing carving with extended wingtips. Near mint original paint; age crack in back; slight wear to each wingtip. (3,500 - 4,000)

122 Detail

122. Very rare sandpiper, Thomas Gelston, Quogue, Long Island, New York, last quarter 19th century. Carved wingtips and shoe button eyes. Original paint with moderate wear; one eye is missing; hit by shot. (3,500 - 5,500)

John Dilley Quogue, New York

When Joe French wrote about Dilley Decoys in the January/February 1994 issue of Decoy Magazine he said; â&#x20AC;&#x153;They are so distinctive that differentiating them from all other decoys is like separating apples and oranges. They are so beautifully sculpted and amazingly painted that they would be loved no matter what their origin.â&#x20AC;?

123 Detail

Golden Plovers A trim, elegant plover. Swift and graceful in flight, probably one of the fastest fliers among shorebirds, and with good reason: It migrates every year from Arctic Alaska and Canada to southern South America.

123 Detail

123 123. Exceptional golden plover in very rare transitional plumage, John Dilley, Quogue, Long Island, New York, last quarter 19th century. Finely cut relief carved wings. Extra plump with very intricate feather paint detail. Very slight wear to paint on tip of tail and a few tiny spots of touchup on one side, otherwise excellent and original.

Provenance: Ben Kleinpeter collection. Formerly in collection of Dr. Robin Hardy. (50,000 - 70,000)

124

125

124 Detail

124. Very rare ruddy turnstone, John Dilley, Quogue, Long Island, New York, last quarter 19th century. Good paint detail and shoe button eyes. Original paint with minor flaking and wear; a few small dents and shot marks. (10,000 - 15,000)

125 Detail

125. Black bellied plover in fall plumage, John Dilley, Quogue, Long Island, New York, last quarter 19th century. Relief wing carving. Shoe button eyes. Intricate feather painting. Original paint; small areas of discoloration and wear at sides of head and edges of tail; very small amount of touchup where bill joins head and to spot of front of head; one eye appears to have been replaced. (7,500 - 10,000)

126

126 Detail

126. Golden plover in fall plumage, John Dilley, Quogue, Long Island, New York, last quarter 19th century. A plump shorebird. Outstanding dry original paint shows minor wear and a great mellow surface; structurally superb.

Provenance: Bourne auction, July, 1986, lot 187, (Hollander Collection), exact decoy.

Literature: “Decoy Magazine”, article on Dilley by Joe French, Jan/Feb, 1994, pp. 8-11. “The Long Island Decoys”, Ward Museum, p. 49. “The Great Book of Decoys”, Joe Engers, editor, p. 108. (12,500 - 17,500)

Midwest Nate Quillin

1839 - 1908 Rockwood, Michigan

127

127. Rare mallard hen, Nate Quillin, Rockwood, Michigan, last quarter 19th century. Branded “JCM” for Jay C. Morse, Pointe Mouillee Shooting Club member. (1838-1906) He bought his membership in the club in 1893 for $2,000 and sold it in 1900. He was president of the Illinois Steel Co. and in 1907 a 552 ft. long great lakes steamer ship was built and named after him. Hollow carved with inlet head. Original paint with shrinkage; crack most of the way through the neck; lightly hit by shot.

127 Detail

Literature: “Decoys of the Mississippi Flyway,” Alan Haid. (9,000 - 12,000)

Charles Perdew 1874 - 1963 Henry, Illinois

128

128. Very early pair of mallards, Charles Perdew, Henry, Illinois, circa 1915. Rare three piece body construction and pencil style weights. Original paint protected by an old coat of varnish; moderate paint shrinkage and minor wear; each has had a thin neck crack secured by Russ Allen; hen has had professional repair to a small chip at the tip of the bill. (6,500 - 9,500)

128 Detail 87

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129. Two mallard hens, Walter “Tube” Dawson, Putnam, Illinois, 1st quarter 20th century. Original paint; minor wear; few small dents. Provenance: From a home in Liverpool, Illinois. Literature: “Decoys and Decoy Carvers of Illinois,” Paul Parmalee and Forrest Loomis. (800 - 1,200) 130. Early canvasback drake, unknown carver, circa 1900. Used at the Winous Point Shooting Company. Branded “E.G. Gardiner” on underside, member 1875 1922. Tack eyes with yellow circles around each. Cut in tail meant to hold the line tie. Very old original paint that has crazed with wear spots; several shot marks; tight crack in neck.

Provenance: Consigned by the family of the writer for the Cleveland Plain Dealer Sports Writer from 1940-1960. (1,500 - 2,000)

131. Redhead drake, Frank Buchner, Erie, Pennsylvania. From the Heart rig due to the heart pattern carved on the top of the decoy. Original paint; minor wear; filled defect in wood in one side. (650 - 950) 88

135 132. Hollow carved mallard drake from Ohio, last quarter 19th century. Three piece body construction. Body halves are attached with seven small dowels. Worn original paint with traces of touchup; small dents and shot marks. (350 - 450) 133. Pair of lathe turned bluebills, attributed to Frank Resop, Green Lake, Wisconsin. Original paint; minor wear; structurally good. (500 - 700) 134. Oversize mallard hen, Carl Sattler, Burlington, Iowa. Two coats of paint by Sattler; very little wear; roughness to one edge of tail. (350 - 450) 135. Canvasback drake, Richard Wilcoxen, Liverpool, Illinois. Old in use repaint; thin crack through neck; professional bill chip repair.

Provenance: Formerly in the collection of Harold Haertel, Dundee, Illinois. Haertel collection stamp on underside. (350 - 450)

136. Very early redhead drake from Ohio. Center cut hollow with inlet “S” shaped neck and tack eyes. Original and old paint that has worn off most of the decoy; dry rot with pieces missing on one side.

Provenance: Consigned by the family of the writer for the Cleveland Plain Dealer Sports Writer from 1940-1960. (1,500 - 2,000)

136 137. Mallard hen, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Early paint by Charlie. Head is slightly turned. Retains Perdew weight. Original paint that has worn to expose grey coat of primer; hairline crack in neck; varnish was applied underneath tail and has yellowed. (3,000 - 4,000)

137 138. Pintail hen, Bert Graves, Peoria, Illinois. Original paint with very minor shrinkage on back and a few rubs; retains Graves weight.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid. (2,500 - 3,500)

138 139. Mallard drake, Robert Elliston, Bureau, Illinois, circa 1880s. Branded “G.J.C.”. Original paint with minor discoloration and wear; reglued chip in tail; hairline surface crack in one side of head.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid. (2,500 - 3,500)

139 89

New England George Boyd

1873 - 1941 Seabrook, New Hampshire George H. Boyd was born in November 1873 in Seabrook, where he spent his entire life until his death in 1941 at age sixty seven, less than a mile from the house in which he was born. Until Jim Cullen wrote his book, Finely Carved & Nicely Painted, little was known of George Boyd, other than the fact that he made beautiful duck and goose decoys, shorebirds and miniatures. Dan Graf, well known collector of George Boyd’s work, noted in his forward of Jim Cullen’s book that “Mr. Boyd not only carved shorebirds, and waterfowl, but also provided sneak floats, sculling oars, clam shucking knives and most any other tool needed to harvest products of the marsh and tidal flats along our shoreline.”

140

140. Merganser drake, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. Good form with slightly turned and lifted head. Original paint with good detail and minor wear; filled crack in back with touchup in that area; two small areas of discoloration at tail where knots have bled through slightly.

Literature: “Nicely Carved and Finely Painted,” Jim Cullen. “New England Decoys,” John and Shirley Delph. (25,000 - 35,000)

140 Detail

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141. Oversize black duck, George Boyd, Seabrook, New Hampshire. Slightly lifted head and unusual feather painting. Glass eyes. Line tie marks still showing around neck seat. Slightly turned head. Original paint; cracks along lower side; damaged and reglued area on one side of tail with a very small amount of touchup in that area; dent in top of head. Provenance: Jim Doherty collection.

(2,000 - 3,000)

142. Merganser hen, George Boyd, Seabrook, New Hampshire. Slightly turned head. Worn old paint with some original showing; most of the bill is a professional replacement; small cracks and dents. (2,000 - 2,500)

143 Detail

143

143. Canvas over wooden frame Canada goose, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. Unusual straight head position. Original paint with very minor shrinkage and wear; good feather paint detail on lower sides.

Literature: “New England Decoys,” John and Shirley Delph. “Finely Carved and Nicely Painted,” Jim Cullen. (9,000 - 12,000)

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144. Rare Canada goose, James Look, Martha’s Vineyard, Massachusetts. Original paint with moderate wear on parts of the decoy; old in use repaint on other parts; numerous cracks in neck; chip missing from back of neck; lightly hit by shot. Provenance: Formerly in the collection of Dr. George Ross Starr, Duxbury, Massachusetts. Starr collection stamp on underside. Literature: “Martha’s Vineyard Decoys,” Stanley Murphy. (1,500 - 2,000) 145. Redhead drake, from Stratford, Connecticut, last quarter 19th century. Solid body with tack eyes. Tie strap is attached with square nail. Original paint with moderate shrinkage and wear; small dents and shot marks. (1,000 - 1,400) 146. Ruddy duck, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Old in use repaint; small cracks. (2,250 - 2,750) 94

147.

Redhead drake, Keyes Chadwick, Oak Bluffs, Martha’s Vineyard, Massachusetts. His earlier carving style, 1st quarter 20th century. Original paint with moderate wear; crack in underside.

Literature: “New England Decoys,” John and Shirley Delph. (1,500 - 2,000)

148. Oversize merganser hen, Martha’s Vineyard, Massachusetts, 1st quarter 20th century. Very large stylish carving with slightly turned head. Collector’s stamp on underside. Measures approximately 26”. Original paint with restoration to crack in the back and a small area around one side of the neck, and small area at tip of bill. (3,000 - 5,000) 149. Black duck, Joseph Lincoln, Accord Massachusetts, 1st quarter 20th century. Original paint on much of decoy; old touchup to speculums and parts of the body and bill; filled crack in one side of back; lightly hit by shot. (2,500 - 3,500)

150. Rare merganser drake, Keyes Chadwick, Oak Bluffs, Martha’s Vineyard, Massachusetts Slightly turned head and inset circular weight. Branded “CSA”. Original paint with very minor shrinkage and wear; crack in underside.

Literature: “Martha’s Vineyard Decoys,” Stanley Murphy.

(9,000 - 12,000)

150

150 Detail

151. Classic Canada goose, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Approximately 24” long. Original paint with minor discoloration and wear; cheek patches appear to have working touchup; age split in underside; filled crack in the back from when the decoy was made.

Provenance: Pearce collection.

Literature: “New England Decoys,” John and Shirley Delph. (6,000 - 9,000)

151 Detail

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152. Oversize swimming Canada goose, Joseph Lincoln, Accord, Massachusetts. Approximately 31” long. Original paint with minor wear on most of the decoy; significant wear on breast; filled age split on underside; small cracks and dents. Literature: “Joseph Lincoln,” Cap Vinal.

(6,000 - 9,000)

152 Detail

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153. Rare goldeneye drake, Lothrop Holmes, Kingston, Massachusetts. Holmes brand in underside. Repainted; lightly hit by shot; small chips missing from back of neck; small cracks and dents.

Literature: Decoy Magazine, Sept/Oct. 2013 issue, p. 9. (800 - 1,200)

154. Oversize feeding mallard drake, Ralph Coykendall, Stratford, Connecticut. Hollow carved with leather tail sprig. “RWC” branded and carved in to the underside. Original paint with minor wear; structurally good.

Provenance: Mallar collection.

Literature: “Connecticut Decoys,” Henry Chitwood. (650 - 950) 155. Full size flying mallard wall mount, Charles Hart, Gloucester, Massachusetts, circa 1930s. Original paint 98

with minor to moderate shrinkage and wear; small crack where one wing joins body.

Provenance: Mallar collection.

(500 - 800)

156. Early merganser hen, Keyes Chadwick, Oak Bluffs, Massachusetts, last quarter 19th century. Weathered and worn; filled crack and age splits. (350 - 550) 157. Solid body style black duck, Charles Hart, Gloucester, Massachusetts. Original paint with minor wear; a few small dents. (650 - 950) 158. Large Canada goose, Russ Burr, Hingham, Massachusetts. Appealing old in use repaint with some flaking and wear; age split in underside; some surface roughness on one side. (500 - 800)

159 Detail

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159. Racey swimming merganser hen from Massachusetts, last quarter 19th century. Hollow carved with turkey feather crest. Carved eyes, inlet neck, and tooth serration on bill. Original paint that is protected by an old coat of varnish; original bill appears to have been broken and reset. (6,000 - 9,000)

Ward Brothers

Crisfield, Maryland

160 Detail

160 Hen Detail

160 Detail

100

Typical Ward Mallard Hen

160. Very rare and important pair of mallards, Ward Brothers, Crisfield, Maryland. Presentation grade, 1936 models with slightly turned heads. Outstanding highly detailed feather paint. Well formed heads with wide bills. Near mint original paint; minor shrinkage on white areas under drake’s tail. Provenance: Formerly in the collection of Richard Larrimore. Literature: “Ward Brothers,” Ron Gard and Brian McGrath.

(95,000 - 125,000)

The Ward Brothers made quite a few 1936 model mallards and they made these 1936 model mallards. These are a step above, the very best they could carve and paint at the time. This pair, plus a pair of black ducks and pair of bluebills, were in Garrett Larrimore’s collection for many years and then in his son, Dick’s collection. They were made for Garrett’s father, Walter Larrimore as samples of Lem and Steve’s work. Walter intended to use them as models when he carved decoys for his own use. Garrett and Dick took them to decoy shows and displayed them at their table year after year. We were set up next to them at the 1976 Easton Waterfowl Festival and these were the first Ward Brothers decoys that I had seen. I remember watching as collector after collector picked these decoys and admired them. In July 2013 Guyette & Deeter, Inc. sold one of the black ducks from this group for just under $75,000. - Gary Guyette

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161. Pair of hollow carved shooting stool model mergansers, Ward Brothers, Crisfield, Maryland. Both are signed and dated 1966 and have slightly turned heads. Very good and original. (4,500 - 6,500)

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162. Pair of hollow carved buffleheads, Ward Brothers, Crisfield, Maryland. Signed and dated 1966. Both have slightly turned heads. Very good and original. (4,000 - 6,000)

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163 Detail

163. Rare 1936 model goldeneye hen, Ward Brothers, Crisfield, Maryland. Signed. Slightly turned head. Small chip missing from one edge of tail; slight separation at neck seam.

Provenance: From the estate of John Longfellow. Longfellow was a purchasing agent for E.S. Atkins Lumber Company in Salisbury, Maryland who supplied wood to the Ward Brothers. (22,500 - 27,500) 103

According to an interview with Charlie Bounds in 1975, this very distinctive style of Ward Brother decoys, now known as “Fat Jaw” was made around 1918 by Lem while Steve was serving in WWI.

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164. Rare “fat jaw” bluebill drake, Ward Brothers, Crisfield, Maryland, circa 1918. Hollow carved with relief carved wingtips and turned head. Much of the head and bill has original paint with minor wear; worn area on one side of neck; professional touchup to wingtips, speculums and top of tail; body is a mix of worn original paint and repaint; thin cracks; small dent in back.

Provenance: Formerly in the collection of Ed Corbett, Crisfield, Maryland. Mr. Corbett picked decoy with Lloyd Tyler, this decoy was picked in the 1950s.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 40. (8,000 - 12,000)

164 Detail

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166. 1936 model pintail hen, Ward Brothers, Crisfield, Maryland. Signed. Slightly turned head. Original paint with very minor wear; a chip in the backside of neck has been professionally filled and touched up by Russ Allen.

Provenance: From the estate of John Longfellow. Longfellow was a purchasing agent for E.S. Atkins Lumber Company in Salisbury, Maryland who supplied wood to the Ward Brothers. (17,500 - 22,500)

166 Detail

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167. Canvasback drake, Ward Brothers, Crisfield, Maryland. 1936 model with slightly turned head. Original paint with minor discoloration and wear; crack in back; small chip in one edge of tail. (6,000 - 9,000)

167 Detail

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The White Mallard Club name has become synonymous with a rig of pintails and mallards used at this elite duck shooting club located in Northern California’s Butte Sink Valley. Identified by the horseshoe shaped weights nailed to the underside of each decoy – or the nail pattern of a missing weight – it is thought that these decoys made their way to the club via either Abercrombie & Fitch or Roos-Atkins sporting goods store in San Francisco, for one of the club’s founding members.

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168. 1936 model mallard drake, Ward Brothers, Crisfield, Maryland. Original paint with minor wear; three small spots of touchup to brown areas; crack in underside; a few tiny dents; small amount of touchup to one edge of bill.

Provenance: From the gunning rig of Aral McBoyle. A member of the White Mallard Gun Club near Colusa, California. McBoyle was owner of Idaho-Maryland gold mine in Grass Valley, California. (9,500 - 12,500)

168 Detail

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Ward Brothers

Crisfield, Maryland

The clubhouse of the Bishops Head Gunning Club in Dorchester County

The â&#x20AC;&#x153;Hump Backâ&#x20AC;? style is mostly associated with pintails, widgeon and, to some degree, goldeneyes. Thought to be made around 1925, the heads are usually bulbous, set against the back of the bird to simulate a resting bird. Quite often the heads are turned and the tails on the widgeon and pintails are long and slightly upswept.

169 Detail

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169 Detail

169 169.

Extremely rare “humpback” style pintail drake, Ward Brothers, Crisfield, Maryland, circa 1925. Exceptionaly fine form with slightly turned head and long tail. Original paint with minor wear; moderate wear on breast; traces of overpaint remain, mostly on upper breast and neck; tail chip missing; slight wear to the wood on the top of the head and the end of the bill.

Provenance: Small brass tag with number 22 on it is located under the tail, indicating that it was used at the Bishops Head Club. Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath.

(40,000 - 60,000) 109

170. Pair of hollow carved bluebills, Ward Brothers, Crisfield, Maryland. Signed and dated 1966. Turned heads. Excellent and original. (3,000 - 4,000)

170 171. Rigmate pair of Glenn L. Martin style canvasbacks, Ward Brothers, Crisfield, Maryland, circa 1932. One has a turned head. Old in use repaint; crack in hen’s neck.

Provenance: From a hunting rig used in Canada until the 1960s. (2,000 - 3,000)

171 172. Pair of bluebills, Ward Brothers, Crisfield, Maryland. Signed, 1938 model and dated 1968. Both have a poem on the underside. The hen is hollow. Both have slightly turned heads. Excellent and original. (3,000 - 4,000)

172 173. Pair of shooting stool model canvasbacks, Ward Brothers, Crisfield, Maryland. Signed and dated 1973. Both have slightly turned heads. Very good and original. (3,000 - 4,000)

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174. Mallard hen, Ward Brothers, Crisfield, Maryland. 1936 model with slightly turned and lifted head. Retains horseshoe shaped weight. A framed painting of this decoy is included. Original paint with very good patina and minor wear; slight separation at neck seam; lightly hit by shot.

Provenance: From the White Mallard Gun Club near Colusa, California. (16,000 - 20,000)

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Sporting Art “Henry Teel was an island man. He was born on Teel’s Island, which was named for the seven generations of Teel’s before him who made a living there from the sea. He went to school on Teel’s Island with his thirteen brothers and sisters. He lived his whole life on Teel’s Island, seventy-five years, summer and winter, only visiting “the main” to deliver lobsters and get provisions”. In 1945 Wyeth painted a portrait of a sitting Henry Teel gazing out his kitchen window. Over the next decade Wyeth would make trips, rowing himself in his dory, to visit Henry and the island. Henry Teel never sat for another painting as he was “forever in nervous motion, clamming, fixing his lobster traps, reweaving the string heads inside them, whittling lobster claw plugs, looking after the sheep he ran on the unwooded part of the mile-long island.” Since Wyeth couldn’t paint the man he instead focused his talents on sketching and painting the items that made Henry who he was. In lot 175 we get a view of some spare fishing and hunting gear from the interior of Henry’s dark fishing shack. His loon toller being given a breath of life with a pointed flood of summer sunlight. Like the portrait of Henry Teel himself Wyeth gives Henry’s loon a window with a view of the ever beckoning sea. “Andrew Wyeth” by Richard Meryman, pg. 151 a chapter on Teel’s Island.

175 Detail

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175 Detail

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175. “Loon Toller,” a watercolor by Andrew Wyeth (1917-2009). Painted in 1949. Image size approximately 21” x 30”. Alternate title, “Interior of Fisherman’s Shack”. Painted in Henry Teel’s shed near the Fish House, Teel’s Island, Maine, located in Miscoungas Bay, just southwest of Port Clyde. Painting features a Maine loon decoy. Excellent and original.

Provenance: Exhibition history; Andrew Wyeth (EX-NO 218) M. Knobler and Company, Inc. New York, New York. 10/26/1953 - 11/14/1953. Farnsworth Art Museum, Rockland, Maine, 5/30/2000 - 8/31/2000. To be included in forthcoming catalog Raisonne of Artist’s Work. Paul Tudor Jones II collection. Private collection Winston Salem, North Carolina, 2005. Private collection Blue Hill Falls, Maine. Private collection Hobe Sound, Florida. (90,000 - 120,000)

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A prolific member of the Hudson River School tradition of painting, Sloane is generally accepted as an artistic genius. Over his lifetime, he wrote 38 books. It is estimated that he created nearly 15,000 paintings, mostly oil on masonite. He painted one almost every day, often before lunch, striving to do better than the day before. Later in his life, he bought back, or traded for, some of his earlier work, which he destroyed by fire, contending it was inferior.

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176. “Autumn Fishing,” an oil on canvas by Eric Sloane (1905-1985). Signed. Image size approxiamtely 23” x 47”. Tag on back indicates painting was for sale at one time in Hammer Galleries, New York, New York. Very good and original.

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Provenance: Paul Tudor Jones II collection.

(20,000 - 25,000)

176 Detail

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177. “Stonewall Brittany,” an oil on board by Robert K. Abbett (1926-2015). Signed and dated 1990. Image size 24” x 36”. Identified and signed on back as well. The Wild Wings Company of Minneapolis was so impressed with this original painting that they, in cooperation with Robert Abbett, produced a limited edition print of 950 to sell in their stores. Very good and original.

116

Provenance: Paul Tudor Jones II collection.

(17,500 - 22,500)

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178 178. “Shooting Black Ducks,” a watercolor by Chet Reneson (b.1934), Lyme, Connecticut. Signed “Reneson ‘73”. Professionally matted and framed. Image size 17 1/2” x 28”. Very good and original. Provenance: Private St. Michaels, Maryland estate. (2,000 - 2,500)

179. “On the Eastern Shore,” a watercolor of duck hunters, Chet Reneson (b.1934), Lyme, Connecticut. Signed “Reneson ‘74.” Professionally matted and framed. Image size approximately 17” x 27”. Very good and original.

179

Provenance: Private St. Michaels, Maryland estate. (2,000 - 2,500)

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180. Watercolor of duck hunters in gunning boat with decoys in the water and ducks coming in, Chet Reneson (b.1934), Lyme, Connecticut. Signed. Image size approximately 17 3/4” x 27 3/4”. Professionally matted and framed. Excellent and original.

118

Provenance: collection.

Private southern (2,000 - 2,500)

“George Browne was recognized throughout the United States in the mid-1950’s as a sporting artist of first rank, the ascending star among American wildlife painters of his generation. Every painting he completed sold quickly, and his dealers were continually pleading for more of his pictures to satisfy the demands of their customers.” After only a decade working as a professional artist, Browne died in 1958 at the age of 40. “Odd as it may seem, George Browne and his remarkable work were virtually forgotten in the years following his death.” Only rarely did the 250 or so works painted by Browne ever come on the market as those who owned them passed them down as family heirlooms. “George & Belmore Browne – Artists of the North American Wilderness”, by Ordeman and Schreiber.

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181. “Flushed Grouse,” an oil on canvas by George Browne (1918-1958). Signed. Image size approximately 25” x 30”. Old label on back reads, “Here portrayed are the sporting ruffed grouse flushing from cover at the approach of danger. The two foreground birds illustrate the extremes of the color variation in the ruffed grouse plumage, the red and the grey phases. There is apparently no explanation for this color difference. It has no bearing on sex or season and examples of the different colors can be found in the same covey.” Very good and original. (12,000 - 16,000) 119

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182. “Fox Crossing Lane to Cottage,” an acrylic on board by Robert Bateman (b.1930). Signed and dated 1987. Image size 17” x 23”. Very good and original Provenance: Paul Tudor Jones II collection. Literature: “Robert Bateman - an Artist in Nature,” Author Ramsay, plate 76, exact painting pictured. (35,000 - 45,000)

In the book ‘Robert Bateman – an Artist in Nature’, the artist gives us a commentary of this exact image pictured on plate 76. “The Lane in Cottage Lane – Red Fox leads to the scene of some of the happiest memories of my childhood. It is a road into the summer cottage where I spent many summers when I was growing up. But it looked very different then. When we started going to the cottage in the late 30’s, you could see sheep pasture and a split rail fence running along one side of the road to keep the sheep from bothering the cottagers. Now the farms are abandoned, the trees are coming back, and my father’s hand-made sign the reads “Bateman” is considerably the worse for wear. But when I look at this picture I can imagine myself running along in bare feet playing kick the can. I can hear the shoots and laughter of my friend, and I can smell the hay drying in the nearby farmer’s barn.” 120

182 Detail

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183. “Covey Rising,” an acrylic on board by David Maass (b.1929). Subject matter is a southern scene of covey of quail near a stream with a farm in the background. Image size approximately 21 1/2” x 31 1/2”. Areas of loose paint have been professionally stabelized. (6,500 - 8,500)

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There is relatively little record of the particulars of John Martin Tracy’s early years, education, or artistic influences. What is abundantly clear, however, is that Tracy’s reputation as one of the nation’s most admired sporting artists is unquestioned, despite his having come to the genre fairly late in his brief life. Upon his return to the United States in 1878, Tracy established a studio in St Louis. Despite his success as a portrait artist, he increasingly turned his attention to elaborate field and sporting landscapes, themes with which painters Arthur Burdett Frost and Arthur Fitzwilliam Tait were already enjoying patronage.

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184.

Oil on canvas of two hunters with dogs by John Martin Tracey (1843-1893). Signed. Image size approximately 18” x 12”. Relined; no touchup. (9,000 - 12,000)

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185 Detail

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Leda was a champion setter which Rousseau depicted in a number of important works, including a 1905 masterpiece now in the collection of the American Kennel Club.

Percival Rosseau was born of French descent in Pointe Coupée Parish, Louisiana, on September 21, 1859. His father and two older brothers were killed during the Civil War; his mother had also died, and the Union General W. T. Sherman destroyed the family plantation during the Mississippi campaign. Rosseau and his sister were rescued by a slave, and the two were raised by a family friend in Kentucky. Rosseau was educated in a private school and taught to shoot and fish by his guardian. He began working at seventeen, trying his hand at various trades to earn a living for himself and a dowry for his sister. He worked as a cowboy along the Chisholm Trail from Mexico to Kansas for six years, then purchased a stand of timber with an eye toward entering the lumber business. The venture failed when the logs sank to the bottom of the river, while he was rafting them along the water. He eventually owned an import business which provided him with enough income that he retired at age 35. Leaving the business in the hands of a partner, Rosseau sailed to Paris, France to study art at the Académie Julian. His painting of a pair of Irish wolfhounds won such acclaim at the 1904 Paris Salon exhibition that his destiny as a painter of dogs was cast. Returning to the United States, he found a ready market for his work among wealthy gentlemen sportsmen. He captured the “tense action of hunting dogs and usually showed them in a romantic landscape.”

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185. “Leda and the Duck”, an oil on canvas by Percival Leonard Rosseau (18591936). Signed and dated 1905. Image size approximately 23” x 31 1/2”. Very good and original. (35,000 - 45,000)

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186. “Early Snow,” watercolor by A. Lassell Ripley (1896-1969). Signed and dated 1937. Image of two bird hunters with their dogs. Image size approximately 17 1/4” x 23 3/4”. Included is a preliminary sketch, pencil on card, that is signed. 7” x 9 1/2”. Original and good.

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Provenance: From the estate of A. Lassell Ripley, estate stamp on card. Child’s Gallery, Boston, Massachusetts. Private western collection. (20,000 - 30,000)

186 Detail 127

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187. “Ancient Forest”, Luke Frazier (b.1970), oil on board. Image size 30” by 40”. Signed top left. Dated ’98 top right. Dedicated, signed, and titled on verso. Very good and original. (6,000 - 9,000)

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188. Watercolor of duck hunters with decoys near blind by Milton C. Weiler (1910-1974). Signed. Professionally matted and framed. Image size approximately 19” x 27”. Very good and original. (5,000 - 7,000)

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189. Woodcock hunters with dogs, a watercolor by A. Lassell Ripley (1896-1969). Signed and dated 1937. Professionally matted and framed. Image size Approximately 14 1/2” x 24”. On reverse is a watercolor of two grouse in a tree, A. Lassell Ripley, signed. Professionally matted and framed image size 14” x 23”. Very good and original. (14,000 - 18,000)

189 Reverse 129

190

190. Watercolor of migrating ducks over ocean by Frank Benson (1862 - 1951). Signed. Professionally matted and framed. Image size approximately 22 1/2” x 30”. Excellent and original.

Provenance: Private southern collection.

(25,000 - 35,000)

Wooster Farm, the centuries old federal farmhouse and grounds on the western end of North Haven Island, Maine was the summer home and studio of Frank W. Benson from 1906 to 1951. Many of his paintings with a view of the sea were created in his barn studio at Wooster Farm and almost certainly show Wooster Cove or the Fox Island Thoroughfare as a backdrop. This scene of sea ducks battling a strong north wind would have been a common one for Benson to see from front lawn of Wooster Farm.

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191. Charcoal sketch of flying mallards by Frank Benson (1862 - 1951). Signed and dated 1930. Professionally matted and framed. Image size approximately 15 1/4” x 15 1/4”. Very good and original.

Provenance: Private Nantucket collection. (1,250 - 1,750)

192.

Oil on board of hunter and bear by N. Grossman. Signed

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and dated 1925. Image size 23 1/2” x 17 1/2”. Very good and original. (1,500 - 2,000) 193. Oil on canvas of a moose and Canada geese in the mountains by Michael Schreck (b.1950). Signed and dated 1992. Image size approximately 17 1/2” x 23 1/2”. Very good and original. (2,000 - 3,000)

Stevan Dohanos is best known for the covers, more than 100, he painted for “The Saturday Evening Post” magazine during the 1940s and 1950s. Most of his illustrations depicted common scenes of everyday postwar American life such as a mobile home complete with pink flamingo. His works are often compared to those of Norman Rockwell, but Dohanos’ characterizations are not as sympathetic as Rockwell’s.

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194. “First Day of School,” an oil on board by Stevan Dohanos (1907-1994). Signed. Image size Approximately 17” x 15”. Painting was used for the Saturday Evening Post cover 9/3/44. Excellent and original.

Provenance: Paul Tudor Jones II collection.

(16,000 - 20,000)

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Decoratives by Elmer Crowell 1864 - 1954 East Harwich, Massachusetts

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195 Detail

195. Decorative feeding greater yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. Original paint with fine feather paint blending; small scratch and dent in one side; very minor paint crazing on other; very slight roughness to wingtips; a few tiny chips missing from jesso in feet. (17,500 - 22,500)

134

196. Full size flying Canada goose weathervane, Elmer Crowell, East Harwich, Massachusetts. Highly detailed feather paint. According to Elmer Crowell’s order book, Canada goose weathervanes were most popular from 1927-1933 and cost $35.00 each. Original paint with minor wear; several small dents.

Provenance: Paul Tudor Jones II collection.

Literature: “New England Decoys,” John and Shirley Delph.

(20,000 - 24,000)

196

196 Detail 135

197

198

197. Life size mantle carving of a robin, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in bottom of carved wooden base. Approximately 6” tall with dropped wings and fluted tail. Touchup on much of the bill; otherwise very good and original. (7,000 - 9,000) 198. Life size carving of a Baltimore oriole, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp and signature on underside of the carved wooden base. Approximately 5” tall. Very good and original. (7,000 - 9,000) 136

199 Detail

199

199. Exceptional decorative golden plover on carved clam shell base, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside of base. Fine paint detail and slightly separated wingtips. Near mint original paint; structurally excellent. (35,000 - 45,000)

199 Detail

137

200

200. Decorative lesser yellowlegs on carved wooden clam shell base, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Near mint original paint; small cracks in jesso thighs; crack in underside of base. (10,000 - 14,000)

200 Detail

138

201 Detail

201. Hanging greater yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Fine feather paint detail. Applied wings. Near mint original paint on most of the decoy; small amount of paint shrinkage on upper breast. (12,000 - 16,000)

201

201 Detail

139

With its top heavy physique, energetic flight, and piercing rattle, the belted kingfisher seems to have an air of self importance as it patrols up and down rivers and shorelines. These ragged crested birds are a powdery blue gray – males have one blue band across the white breast, while females have a blue and a chestnut band.

202

202 Detail

202. Kingfisher in feeding pose, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside of the base. Original paint; very slight shrinkage on back of neck. (9,000 - 12,000)

140

203

203. Life size wooden mantle carving of a bobwhite quail, Elmer Crowell, East Harwich, Massachusetts. Signed on underside of burl base. Stands approximately 7 1/2” tall. Very good and original.

Literature: Cullity.

“Songless Aviary,” Brian (12,000 - 15,000)

203 Detail

141

Pacific Coast Jerry Maston

1880 - 1959 Portland, Oregon Jerry Mastin earned his place in decoy making history with his rig of nine full body Canada Geese decoys made in 1937. Mastin is also known to have made a handful of duck decoys, very few, however, exist in collectors’ hands. To the best of our knowledge, this pintail hen, two bluebills, and a mallard hen are all that have surfaced.

203A

One of nine full body geese that Mastin if famous for

203A Detail

142

203A. Extremely rare pintail hen, Jerry Mastin, Portland, Oregon. “MCC” stamped in underside. Original paint with minor rubbing on the extremities. (12,500 - 17,500)

Charles Bergman 1856 - 1946 Astoria, Oregon

Charles Bergman, whom many consider the most talented of the Astoria, Oregon carvers, was born in 1856 in the town of Eknes, Finland. He moved to Astoria around 1880 where he found work as a commercial fisherman and boat builder. Bergman’s love of duck hunting was quickly established finding success as both a subsistence and market hunter. Bergman’s woodworking talents contributed directly to his decoy carving, making him the area’s premier carver.

204

204. Classic greenwing teal hen, Charles Bergman, Astoria, Oregon, 2nd quarter 20th century. Original paint with minor wear; small paint rub on edge of bill; professional repair to a small tail chip by Russ Allen. Literature: “Wildfowl Decoys of the Pacific Coast,” Michael Miller and Fred Hanson, p. 78. (9,500 - 12,500)

204 Detail

143

205

205. Pintail hen, Richard Janson, Napa, California, 2nd quarter 20th century. Stamped “MCC” in underside. Original paint with minor wear; numerous small dents; shallow rough area on one side of tail; shot scars in top of head. (1,250 - 1,750) 206.

Pair of mallards, Larry Zalesky, San Francisco, California. Detailed feather carving. Very good and original. (800 - 1,200)

206

207

207. High neck style pintail, “Hi” Crandall, San Francisco, California. Large “H” carved in underside. Paint was removed a long time ago; crack through neck. (350 - 550)

144

208

208. Pintail hen, Dick Allen “Com Mins”. Commissioned Officer’s, Mess Mare Island Navel Shipyard. Original paint with minor wear; old working touchup to bill and speculums; small dents; hairline surface crack in one side of bill. (400 - 600)

Captain Thorvald Olsen Eureka, California

209

209. Very rare pacific black brant, Captain Thorvald Kristian August Olsen, Humbled Bay, Eureka, California, last quarter 19th century. Only seven of these stylish decoys are known to exist. Hollow redwood construction with bill doweled through to back of head; head is dove tailed in to body. Made with square cut nails. Relief wing carving and long graceful neck. Worn old original paint on much of the decoy; white on neck and speculums appear to have some touchup; numerous dents.

209 Detail

Literature: “Wildfowl Decoys of California,” Fred Hanson and Michael Miller. “Profiles of Distinction,” Gene Kangas, Decoy Magazine, May/June 2015 issue, page 26, exact decoy. (12,000 - 15,000)

145

Contemporary Carvings

210

211

210. Exceptionally well carved merganser drake, carved in the style of Gus Wilson, Cameron McIntyre, New Church, Virginia. Slightly turned inlet head with open bill, tack eyes and relief wing carving. “CTM 2000” is carved in the underside. Original paint that has been aged; small cracks and dents. (4,000 - 5,000)

146

211. Pair of Ward style redheads, Oliver Lawson, Crisfield, Maryland. Signed. Both have slightly turned heads. Very good and original. (1,500 - 2,000)

212

213

214

215

216

217

212. Pintail hen and drake, Davison Hawthorne, Greenville, Delaware. Both have carved wingtips and slightly turned heads. Both are signed. Very good and original. (650 - 950) 213. Canada goose, Oliver Lawson, Crisfield, Maryland. Signed. Slightly turned head. Very good and original. (1,200 - 1,600) 214.

Black duck, Oliver Lawson, Crisfield, Maryland. Signed. Slightly turned head. Very good and original. (650 - 950)

215. Large hollow carved crow, Frank Finney, Capeville, Virginia. Signed. Approximately 22” long. Original wooden stand is included. Original and good. (500 - 800)

218

216. Large grebe, Reggie Birch, Chincoteague, Virginia. Signed. Slightly turned head. Original paint that has been aged; thin crack through neck. (350 - 450) 217. Running robin snipe, Mark McNair, Craddockville, Virginia. Signed. Relief wing carving. Original paint that has been aged; two small dents in one side otherwise, structurally good. (650 - 950) 218. Hollow carved cormorant, Captain Richard Belote, Exmore, Virginia. Signed and branded “REB”. Very good and original.

Provenance: First place winner at the 2015 Chesapeake Challenge Show. (250 - 350)

147

Ontario

219

219. Hollow carved long body style canvasback, Tom Chambers, Toronto, Ontario, 1st quarter 20th century. Original paint with good comb detail and minor wear; tiny dents and shot marks; short hairline surface crack in one side of the top of the head.

219 Detail 148

Literature: “Decoys of the Mississippi Flyway,” Alan Haid. (6,500 - 9,500)

220

220. Very rare mallard drake, John Reeves, Long Point, Ontario, last quarter 19th century. Branded “J Reeves” on underside. Also branded “JBH” in underside and one lower side. Hollow carved with applied bottom board, square nail construction with tack eyes. Very wide body. Original paint with minor wear; hit by shot on one side; shot holes in body were filled with small hardwood plugs around 100 years ago.

Literature: “Ontario Decoys,” Bernie Gates. (6,500 - 9,500)

220 Detail

149

221

222

224

223

225

221. Very rare “poodle head” style redhead drake, Tom Chambers, Toronto, Ontario. Hollow carved. Near mint original paint; several tiny shot marks. (3,000 - 5,000) 222. Pair of goldeneye, D.W. Nichol, Smith Falls, Ontario. Original paint with minor discoloration and wear; lightly hit by shot, otherwise structurally good. (800 - 1,200) 223. Black duck, Tom Chambers, Toronto, Ontario. Solid body style. Branded “Tom Chambers Maker” on the underside twice. Appealing old in use repaint; small 150

226

dents; piece added to two defects in wood in the tail when the decoy was made; several cracks in body. (800 - 1,200) 224. Black duck, Ken Anger, Dunnville, Ontario. His early style, circa mid 1930s. Original and good. (400 - 600) 225. Two Canada geese from Eastern Ontario. Original paint on much of the body; the white and black have old repaint; structurally good. (600 - 800) 226. Black duck, Ken Anger, Dunnville, Ontario. Original paint with minor wear; worn spot on side of head; small tail chips missing. (400 - 600)

Long Island Shorebirds

227

227.

Set of three willets, Eastern Long Island, New York. Well carved with relief wing carving and in various poses. Shoe button eyes. Each has a carrying hole in the tail. Original paint with very minor wear; small amounts of filler missing on two where dowels are set in the top of the heads; professional restoration to about half of one bill (normal pose). (15,000 - 18,000)

227 Detail 151

Thomas Gelston

1851 - 1924 Quogue, Long Island, New York

A.B. Frost image of shorebird hunting

Thomas Gelston lived the full, rounded life of a gentleman hunter. Sheepshead Bay, New York was his home, but the town of Quogue claimed his summers. Apparently a man of independent means, he enjoyed himself to the fullest and turned a hobby into a vocation, making some superb shorebird decoys along with a number of ducks, geese, and brant. For a brief period in Tomâ&#x20AC;&#x2122;s life, it is known he made limited numbers of shorebirds which he sold through the New York sporting goods store of Abercrombie and Fitch.

228 Detail

152

228

229

229 Detail

228. Important and very rare whimbrel, Thomas Gelston, Quogue, Long Island, New York, last quarter 19th century. From the Shipman rig. “Shipman” brand on lower breast. Shipman was a shore hunter from Stoney Brook, New York and a member of the Wyandanch Club near Nissequogue. He died around 1900. Relief wingtip carving and shoe button eyes. Original paint with minor wear, mostly on lower breast; bill is a professional replacement.

Provenance: Formerly in the collection of Robert Gerard.

Literature: “A Shorebird Hunting Guide - The Decoys of Long Island”, Ward Museum, p. 66. (12,500 - 17,500) 229. Rare black bellied plover, Thomas Gelston, Quogue, Long Island, New York, last quarter 19th century. Raised wingtip carving and shoe button eyes. Original paint with minor shrinkage and wear; two tiny shot marks.

Literature: “Great Book of Decoys,” Joe Engers, editor. (12,000 - 15,000) 153

Obediah Verity

1813 - 1901 Seaford, Long Island, New York

In autumn and winter, this species is abundant along the whole range of our coast, wherever the shores are sandy or muddy, from Maine to the mouths of the Mississippi; but I never found one far inland. Sometimes they collect into flocks of several hundred individuals, and are seen wheeling over the water near the shores or over the beaches, in beautiful order, and now and then so close together as to afford an excellent shot, especially when they suddenly alight in a mass near the sportsman, or when, swiftly veering, they expose their lower parts at the same moment. On such occasions a dozen or more may be killed at once, provided the proper moment is chosen. From John James Audubon, Birds of America.

230 Detail 154

231 Detail

230. Running red backed sandpiper, Obediah Verity, Seaford, Long Island, New York, 3rd quarter 19th century. Large carved eyes and relief wing carving. Near mint original paint on body, bill is a well done professional replacement. (17,500 - 22,500)

230

231. Sandpiper, Obediah Verity, Seaford, New York, 3rd quarter 19th century. Approximately 7-1/4” long. Branded “JB”. Original paint; very minor wear; lightly hit by shot. (8,000 - 12,000)

231

155

232

233

232. Running sandpiper, Obediah Verity, Seaford, Long Island, New York, 3rd quarter 19th century. Original paint with minor to moderate discoloration and wear; lightly hit by shot; small chip at stick hole.

233.

Plump sandpiper, Obediah Verity, Seaford Long Island, New York, 3rd quarter 19th century. Original paint with areas of wear and discoloration; lightly hit by shot; small chip at stick hole.

Provenance: From an estate in Kentucky. (2,500 - 3,500)

156

Provenance: From an estate in Kentucky. (4,000 - 6,000)

Fish

234 234 Detail 234. Carved wooden salmon trophy fish, H.N. Ashford. Plaque approximately 50” long, fish approximately 44”. Caught in the Nomsen River in Norway. Original paint on most of the decoy several small scrapes have been professionally touched up; top of tail fin is missing. (5,000 - 7,000)

235

235.

Rare trout spearing decoy, Harry Seymour, Lake Chautauqua, New York, last quarter 19th century. Approximately 7 1/8” long with tack eyes, curved leather tail, and metal fins. Detailed gill and mouth carving. Original paint with very minor wear; structurally very good. (6,500 - 9,500)

236. Carved brook trout on wooden State of Maine backboard, Lawrence Irvine, Winthrop, Maine. Signed and dated 1984. Trout is approximately 12” long. Very good and original. (1,250 - 1,750)

236

157

New York State Stevens Brothers Weedsport, New York

237 Detail

158

237. Important mallard drake, Harvey Stevens, Weedsport, New York, last quarter 19th century. Fine comb paint detail. Original Stevens paper label remains on underside. Rigged but never used; tiny paint rub on one side of head near eye and one side of breast, otherwise excellent and original.

Provenance: Found in an antique shop in Rockford, Illinois by Joe Tonelli in the mid 1970s, along with two other Stevens decoys. This was the only one of the three that retained its original paper label.

Literature: “Stevens Brothers Decoys,” Peter and Peggy Mueller.

(30,000 - 40,000)

237

237 Detail

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238 Detail

238

238. Extremely rare mallard hen, Harvey Stevens, Weedsport, New York, last quarter 19th century. One of only two known in original paint. “HA Stevens” stencil is on the underside twice. Strong original paint with very minor paint loss at several filled defects in the wood; tiny amounts of filler have fallen out of defects.

238 Detail

160

Literature: “Stevens Brothers Decoys,” Peter and Peggy Mueller. (15,000 - 20,000)

238A Detail

238A

238A. Bluebill hen, Stevens Brothers, Weedsport, New York, last quarter 19th century. Fine subtle feather paint on back and sides. Original paint with a few small rubs; otherwise very good and original.

Literature: â&#x20AC;&#x153;Stevens Brothers Decoys,â&#x20AC;? Peter and Peggy Mueller. (17,500 - 22,500)

238A Detail

161

The Feather Trade in North America While the fashion of using wild bird feathers to adorn ladies hats first began in France in the court of Louis XVI when Marie Antoinette appeared in headdress with feather plumes, the custom eventually spread to the colonies of the United States, and by the mid-19th century, the hunting of wild birds for their feathers became widespread up and down the East Coast. The feathers from nearly every species of wild bird were used in the trade, including terns, gulls and herons. Long Island, New York became one of the largest centers of the millinery trade, and it was reported that in some years, the baymen of the area made more money hunting these birds and selling them to the millinery trade than they did from fishing and oystering. Prices being paid for an ounce of feathers exceeded even that of an ounce of gold, rising to as much as $80 an ounce for the more sought after species like the snowy egret. 1 It was the excesses of the feather trade, however, during the last quarter of the 19th century, which was ultimately responsible for the beginning of the conservation movement. Pressure from conservationists spawned the Lacey Act in 1900, which prohibited interstate transport of animals killed or captured in violation of individual state game laws. While this law proved to be ineffective in curbing commercial hunting, it helped provide the impetus for continued pressure from conservation groups, and led ultimately to the passage of The Federal Migratory Bird Treaty Act in 1918 which effectively put an end to the commercial hunting of migratory birds. The early decoys made and used by the commercial hunters of the 19th century remain as reminders of this bygone era. Authentic heron, tern, and gull decoys most certainly used for the feather trade are among the rarest and most historically important waterfowl carvings sought by collectors today. 1.

162

Shaw, Robert, Bird Decoys of North America - Nature, History and Art, Sterling Publishing Company, New York, 2010.

239. Full size root head stick up heron, Henry Ellison, Long Island, New York, last quarter 19th century. Original paint with minor to moderate wear on body; moderate wear on neck; thin cracks in neck; lightly hit by shot. (16,000 - 20,000)

239

239 Detail

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240

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242

243

244

245

240. Canvasback drake, Chauncey Wheeler, Alexandria Bay, New York. Original paint with good patina, minor shrinkage and wear; crack through neck with filler added; slight roughness to end of bill. (2,000 - 3,000) 241. Canada goose from upstate New York, 1st quarter 20th century. Hollow carved. Original paint; minor discoloration and wear; small cracks. (2,500 - 3,500) 242. Old squaw hen from upstate New York. In swimming pose with wingtip carving and fluted tail. Original paint with minor wear; filler added to underside at holes from tie strap and weight being attached. (600 - 900) 243. Root head merganser hen, from Setauket New York, last quarter 19th century. Original paint with minor

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246

wear; structurally good.

Provenance: Formerly in collection of Robert Gerard. (800 - 1,200)

244. Bufflehead drake from upstate New York. Tack eyes. Original paint with minor wear; structurally good. (400 - 600) 245. Bluebill drake, by a member of the Akerly Family, Long Island, New York, last quarter 19th century. Ridged back. Branded “Sperry”. Original paint with minor wear; thin crack through head; slight roughness to tail; very lightly hit by shot. (500 - 700) 246. Bufflehead drake, Stevens Brothers, Weedsport, New York. Paint has been restored in its original style; lightly hit by shot. (600 - 900)

247

248

247. Pair of mergansers from the Hampton Bays area of Long Island, New York, last quarter 19th century. Both have inlet heads and carved wooden crest. One has relief wing carving with extended wingtips. Original paint with very minor wear; tiny chip missing from one wingtip, and the very bottom tip of one crest; two thin cracks through hen’s neck. (5,000 - 7,000)

248. Pair of mergansers, from the South Shore of Long Island, New York, last quarter 19th century. Hen is branded “GT SPRAGUE”. Original paint with minor wear; one side of drake has a few smalls scrapes, the other side has moderate paint loss; small amount of drake’s original horse hair crest remains; small crack in underside of drake. (5,500 - 7,500)

165

Mason Decoy Factory 1896 - 1924 Detroit, Michigan

249

250

249. Redhead drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint with very minor wear; one shot mark next to neck; structurally very good.

250. Redhead, Mason Decoy Factory, Detroit, Michigan, circa 1910. Premier grade. Original paint with very minor wear; hairline surface crack in one side of head.

166

Provenance: From the Gavitt rig, Seneca Lake, New York. Branded “SB Gavitt”. (3,000 - 4,000)

Provenance: One of six decoys found in a hunting rig in northern Michigan. (3,000 - 4,000)

251

251. Outstanding mallard hen, Mason Decoy Factory, Detroit, Michigan. Premier grade, circa 1915. Near mint bright original paint with fine loop feather swirls; structurally excellent. (6,000 - 8,000)

251 Detail

167

252

252 Detail

252. Early slope breasted style mallard hen, Mason Decoy Factory, Detroit, Michigan, last quarter 19th century. Hand made premier grade. Strong original paint that has crazed on areas of the back; a few small rubs and two shot marks; small chip at tip of tail; rub behind the neck and some paint filler missing around neck. (5,000 - 8,000)

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253

254

254 Detail

253 Detail 253. Exceptional pair of bluewing teal, Mason Decoy Factory, Detroit, Michigan. Standard grade with glass eyes. Bright original paint with slight wear; each has a crack and a few small chips missing from neck filler.

Provenance: Formerly in the collection of Bert Preston. (4,500 - 6,500)

254. Very rare oversize Atlantic Coast model black duck, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint with minor wear; thin surface crack in one side; factory filled crack in back; minor puppy chew repair at end of bill.

Literature: “Mason Decoys,” Russ Goldberger and Alan Haid, p. 116. (4,000 - 5,000) 169

Sporting Art 255 255. “Last of the Autumn” an oil on canvas by George H. McCord (1848-1909). Signed. Image size approximately 21” x 26”. A forest scene with a hunter looking out over a lake. Restretched, otherwise very good and original. (2,500 - 3,500)

256 256. Watercolor of Canadian geese, Fred W. Thomas (20th century). Signed. Professionally matted and framed. Image size approximately 19” x 26”. Very good and original. (1,500 - 2,000)

257 257. “The Take,” - Ninipi Labrador, oil on canvas by David Footer. Signed and dated 2002. Image size approximately 17 1/2” x 23 1/2”. Very good and original. (1,500 - 2,500)

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257A

257A. Oil on canvas of the four masted steamship The Eureka, Antonio Jacobsen (1850-1921). Signed and dated 1888. Image size approxiamtely 21 1/2â&#x20AC;? x 35 3/4â&#x20AC;?. Professionally cleaned; small repair to canvas in sky near center of left edge of painting. (10,000 - 14,000)

257A Detail

171

257B 257B. Oil on canvas of the sailing ship Nimrod, W.C. Tenholme. Signed. Other sailing ships in background,. Image size approximately 20 1/2” x 32 1/2”. Crazing to much of the surface area, mostly in the water area; professional touchup to some of those areas. (4,000 - 6,000)

257C

257C. “Passing Over,” and “Evening Hours,” two paintings by Al Barker (b.1941). Signed. Both are professionally mounted and framed. Image size 3 3/4” x 5 3/4”. Dated 1990 and 1989. Very good and original. (650 - 950)

257D 257D. Political pen and ink drawing by Shang Wheeler, Stratford, Connecticut. Professionally matted and framed. Image size approximately 10” x 13 1/2”. Signed. Very good and original. (500 - 800)

172

258

258. Oil on board of brook trout and fishing equipment by stream, Harry Smith. Signed. Minor water stains on back of board; several small scrapes on front, mostly at reel and in sky. (1,500 - 2,000)

259

259. ‘Late Autumn’, Richard Bishop (1887-1975), oil on board. Signed and dated 1945 lower left. Also titled and signed on back. Image size 11.5” by 15.5”. Very good and original. (2,000 - 3,000)

260

260. Oil on board of mallards landing, Richard Bishop (1887 – 1975). Image measures 15” by 11.5”. Unsigned. A few small paint flakes, otherwise very good. (1,500 - 2,500)

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261

261. “Desperately I Surged on the Pole,” a watercolor of young man in a boat with alligators, Arthur Burdett Frost. Signed. Image size approximately 8 1/2” x 11 3/4”. Professionally mounted and framed. Very good and original.

174

Provenance: Private Florida collection. Possibly submitted as an illustration for Mark Twain’s, “Tom Sawyer Detective.” (6,000 - 9,000)

264

263

265

263.

Watercolor by William Tyner (1935-1987). 20 1/4” x 28 1/4”. Image of sportsman shooting flushing grouse over pointer. Professionally framed and matted. Frame measures 32” x 39”. Very good and original. (750 - 1,000)

264.

Oil on board of flying geese, Harry Ross (20th century). Image size 21.5” by 27.5”. Signed lower right. Ross was a well-known waterfowl carver from Norway, Maine. Excellent and original. (600 - 900)

266

265. Mallards over a Massachusetts marsh, Reginald F. Bolles (1877-1967), oil on board. Image size 19.5” by 27.5”. Signed lower right and dated ’45. Reginald Bolles graduated from Harvard in 1900 and also The School of the Museum of Fine Arts Boston. He was best known for his magazine illustrations and waterfowl art. Small dent in board center right, otherwise very good and original. (800 - 1,200) 266. Mallards rising, attributed to Reginald F. Bolles (18771967), oil on canvas. 26” by 20”. Unsigned. Very good with minor crazing. (600 - 900)

175

Related Items

267

267. Rare full body copper ram weathervane, attributed to L.W. Cushing & Son, circa 1880. Zinc head. Approximately 29” long. Filled shot holes, otherwise good.

267 Detail

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Provenance: Paul Tudor Jones II collection. (12,000 - 15,000)

268

268. “Setter” dog weathervane, early 20th century, attributed to E.G. Washburne and Company, New York, New York. Seamed and molded copper construction. Approximately 32” long. Old gilt finish with some wear; structurally good. (5,000 - 8,000)

268 Detail

177

Calls

269

In 1988, Howard Harlan and Crew Anderson published the first comprehensive book on duck calls. At that time, Howard thought so much of the Kinney & Harlow duck call that he dedicated an entire chapter to the company. The beginning of the chapter opens up with these words: “In the authors opinion, these calls are by far some of the finest examples of folk art to be found. The workmanship is surpassed by none and the detail is exact to the finest point. C.L.V. Kinney and William F. Harlow are said to have made calls together in the early 1900s. Kinney was a trap shooter and decoy maker but better known for his beautiful duck head calls, one of which is shown on the cover of this book. Made around 1900, they are very rare and only three or four are known to exist. Harlow worked with Kinney at the Worley Stove Manufacturing Company in Newark, Ohio. Harlow was a market hunter, famous trap shooter, and pattern maker for the Stove Company and owner of Farquhar and Steinbaugh sporting goods store in Newark, Ohio, where he made the calls beginning around 1918.” Now, more than the original four calls have surfaced, but the appreciation of them has not diminished in the least.

269. Rare duck call, Kinney & Harlow, Newark, Ohio. Drake head that has faded from green to brown, which is typical, with shotgun shell in mouth, all covered in leather. Reelfoot style guts. Very small piece of leather missing at seam on underside; small areas of rubs; otherwise very good and original. (17,500 - 22,500) 178

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270

272

270. Duck call, Charles Perdew, Henry, Illinois. Carved call with three mallards flying. Green mouthpiece. Very good and original. (3,000 - 4,000) 271. Duck call, Bill Clifford, River Forest, Illinois. Four different types of wood are used in the barrel. Small whittle mark near mouth piece, otherwise excellent and original. (900 - 1,200)

272. Four crow calls, Charles Perdew, Henry, Illinois. Three have silver bands and are stamped, one is unstamped. Original and good. Provenance: Gilford collection.

(650 - 950)

179

273. Carved wooden sperm whale, Clark Vorhees. Signed. Approximately 35” long. Tightly reglued crack in tail, otherwise excellent and original. (2,000 - 2,500)

273 274. Wooden carved blue whale, Clark Voorhees. Voorhees stamp in back. Approximately 18-1/2” long. Original and good. (1,500 - 2,000)

274

275. Athapaskan birch bark canoe modle. 23” in length. Structurally very good; minor damage to one end, a gunnel, and tiny puncture to one side. (1,750 - 2,250)

275

276

276. Four old wooden gunning boxes. Size varies from 11” to 15” in width. Included are brass shotgun shells and loading tools. Original and good. (800 - 1,200)

180

Nantucket Lightship Baskets

276A

276B

276C

276A Detail

276A. Rare oval Nantucket lightship basket with swing handle. Basket approximately 14” x 9 1/4”. Two small breaks in wrapping and small strip missing from lower side; otherwise very good and original with good patina. (1,750 - 2,250) 276B. Very rare small oval Nantucket lightship basket with swing handle attributed to William D. Appleton, circa

276C Detail

1880. Approximately 10 1/4” long and 7” wide. Very small area of damage near bottom circle, otherwise very good and original with good patina. (1,500 - 2,000) 276C. Very rare Nantucket lightship work basket. Approximately 17 1/2” in diameter and 12” tall. Piece missing from wooden inside bottom circle, otherwise very good and original with good patina. (3,500 - 4,500) 181

276D. Unusual tall Nantucket lightship storage basket. 10 1/2” diameter and 12 1/2” tall. Small piece missing from wrapping otherwise very good and original. (2,500 - 3,500)

276D

276D Detail 276E. Nantucket lightship basket pocket book by a member of the Reese Family. With whalebone pins and ivory latch. Hardwood plaque on top with three ivory whales. Oval construction approximately 9” x 7”. Very good and original. (1,500 - 2,000)

276E

276F. Nantucket lightship basket with swing handle. Approximately 11 1/2” in diameter. Old tag on underside reads “Made by Asa Dickens, 120 Crossing Ln, Nantucket, Massachusetts, 1922.” Very good and original. (1,500 - 2,000)

276F 276G. Nantucket lightship basket with swing handle. Signed, “Vera Manion”. Approximately 10 1/2” in diameter. Very good and original with good patina. (1,500 - 2,000)

276G

182

277. Wooden eagle coat of arms, Artistic Carving Company, Boston, Massachusetts. “Louisburg” style. Approximately 45” wide. Shows some age. Original and good. (1,500 - 2,500)

277

278. Carved wooden eagle coat of arms, Artistic Carving Company, Boston, Massachusetts. “Chesapeake” style. Approximately 45” wide. Original paint; moderate wear; structurally good. (1,500 - 2,500)

278

279

280

279. Three native American totem poles. 15”, 13”, and 7 1/2”. All in original paint with slight wear. (500 - 700) 280. Pair of iron decoy andirons, Wildfowler Factory, Point Pleasant, New Jersey. Original and good. (900 - 1,200)

281

281. Metal oyster container, 1st quarter 20th century. Stenciled “Merwin & Sons, Narragansett Bay oysters.” Approximately 15” tall. Original and good. (950 - 1,250)

183

Factory Decoys

282

283

284

285

286

287

282. Pair of canvasbacks, Mason Decoy Factory, Detroit, Michigan. Premier grade, Seneca Lake models. Original paint with minor discoloration and wear on drake; minor to moderate wear on hen; hen has professional repair to a chip on one edge of the bill; lightly hit by shot; drake has a crack in the underside. (2,500 - 4,500) 283. Goldeneye drake, Mason Decoy Factory, Detroit, Michigan. Standard grade with glass eyes. Original paint; minor wear; small dents in bill; approximately 20% of the neck filler is missing. (800 - 1,200) 284. Mallard drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint with discoloration and minor wear; a few small dents; hairline crack in neck. 184

Provenance: Formerly in the collection of Bert Preston. (650 - 950)

285. Eleven folding tin yellowlegs in original wooden box. Original paint; a few have some flaking; most have no flaking. (1,000 - 1,400) 286. Set of 12 folding black ducks, J.W. Reynolds Company, Chicago, Illinois. Original and good. (800 - 1,200) 287. Pair of mallards, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint with minor wear; each has small tail chips; one of hen’s eyes is an old replacement; in factory crack in back of hen; both are lightly hit by shot.

Provenance: Gilford collection.

(1,500 - 2,500)

288

289

290

292

291 288. Rigmate pair of mallards, Mason Decoy Factory, Detroit, Michigan. Challenge grade. Both are hollow carved. Original paint protected by an old coat of varnish; minor flaking and wear; crack in lower side of drake.

Provenance: Formerly in the collection of Bert Preston. (1,500 - 2,500)

289. Very early canvasback drake, Peterson Factory, Detroit, Michigan, last quarter 19th century. Used at the Winous Point Shooting Company. Branded “E.G. Gardiner” in one side, member 1875 - 1922.. Shoe button eyes with yellow paint around each. Hollowed from the top. Original paint that is heavily crazed; several blemishes, shot marks and rubs; tight crack runs from top of neck seat to tail. (1,500 - 2,000)

290. Rare “lowhead” model bluebill hen and drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint with minor to moderate discoloration and wear; drake has been hit by shot; hen has been lightly hit by shot.

Provenance: Hen has the Mackey collection stamp on the underside with inscription, “Mason premier from Bayhead, New Jersey.” (1,500 - 2,000)

291. Mallard drake, Mason Decoy Factory, Detroit, Michigan. Challenge grade. Original paint with minor wear; touchup at neck seam; in factory filled age split in one side that has opened slightly. (950 - 1,250) 292. Great horned owl, Herter’s Decoy Factory, Waseca, Minnesota. Glass eyes and bear claw bill. Original paint with minor wear; a few small dents. (1,200 - 1,500) 185

293

294

295

296

297

298

299

300

301

293. Canvasback hen and drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. Paint has been restored; small dents and shot marks; small crack in one side of drake.

Provenance: Formerly in the Haertel collection, Dundee Illinois. Collection stamp on underside. (500 - 800)

294. Mallard hen and drake, Mason Decoy Factory, Detroit, Michigan. Standard grade with glass eyes. Original paint with minor wear; neck filler has been replaced on the drake with touchup in that area; small dents. (500 - 800) 295. Pair of Mallards, Mason Decoy Factory, Detroit, Michigan. Standard grade with glass eyes. Original paint with very minor wear; small cracks in underside; small cracks in neck filler with a few little chips missing. (500 - 800) 296. Redhead drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint; minor wear; filled age split in back; a few small dents. (500 - 800) 297. Pair of mallards, Evans Decoy Factory, Ladysmith, 186

Wisconsin. Evans ink stamp on underside. Original paint with minor wear; small dents; thin crack in underside of drake. (600 - 900) 298. Hollow carved Harry V. Shourds model brant, Wildfowler Decoy Factory, Point Pleasant, New Jersey. Signed by Charles Birdsall. Very good and original. (400 - 600) 299. Cast metal owl, Swisher & Soules, Decatur, Illinois. Factory information embossed on perch. Approximately 13” tall. Original and good. (400 - 600) 300.

Owl, Herter’s Decoy Factory, Waseca, Minnesota. Glass eyes and bear claw bill. Original paint with very minor wear; a few tiny dents; most of the wooden base is missing. (650 - 950)

301. Pair of mallards, Wildfowler Decoy Factory, Point Pleasant, New Jersey. Wildfowler brand in underside. Both are hollow carved with slightly turned heads. Signed and dated 1968 by Charles Birdsall. Near mint original paint by W. Keim; structurally good. (350 - 450)

Decoratives

302

303

304

305

306

307

302. Coot, Joseph Wooster, Ashly, Ohio. Signed and dated 1975. Deep ice groove behind neck, fine tail carving. Very good and original. (500 - 700) 303. Two carvings, James Lapham, Dennisport, Massachusetts. Signed. Full sized least sandpiper and 1/4 size preening mallard hen. Both are good. (600 - 800) 304. Canvasback drake, Jim Foote, Gibraltar, Michigan. Signed and dated 1974. Slightly turned head. Near mint original paint; very slight roughness to wingtips. (650 - 950)

305. Swimming widgeon drake, Jim Foote, Gibraltar, Michigan. Signed. Detailed feather carving with carved crossed wingtips. Slightly turned head. Keel has been removed, otherwise very good and original. (800 - 1,200) 306. Contemporary wooden carving of a jumping pike on a hardwood oval plaque, unknown carver. Approximately 30” long. Very good and original. (400 - 600) 307. Copy of a penguin, Charles Hart, Gloucester, Massachusetts. Approximately 7” - 8” tall. Original paint with minor flaking and wear; good patina; structurally very good. (350 - 450)

187

309

308

312

311

314

310

313

316

315

308. * Decorative carving of mallard hen with chick. Highly detailed feather carving. Very good and original. (400 - 500)

311. 1/4 size greenwing teal hen, Oliver Lawson, Crisfield, Maryland. Signed and dated 1957. Slight wear at tip of tail, otherwise very good and original. (400 - 600)

309. Vintage full size carved meadowlark. With wire legs mounted on base, raised and split wingtips, and applied wings. Dated 1903 on underside. Strong original paint; small chip missing from underside of bill. (300 - 400)

312. Widgeon drake, Rick Johansen. Signed and dated 1993. Carved crossed wingtips and slightly turned head. Very good and original. (400 - 600)

310. Large sickle billed curlew, Jonathan Dowdall, Burlington Flats, New York. Signed. Removable dovetailed head. Original stand is included. Very good and original. (250 - 350)

188

313.

* Large preening pintail drake, Fred Bradshaw. Signed and dated 1969. A small amount of paint shrinkage on head, otherwise very good. (350 - 450)

314. Carved quail. Mounted on fungus wall hanger. Wrapped wire legs. Detailed tail carving at tail and wings. Shoe button eyes. Appears to be 1st quarter 20th century. Original paint; piece missing from tail chip; slight bluntness at bill. (300 - 500)

317

315. Wall hanging of six carved wooden shorebirds by Ken Kirby. Mounted on raised panel. Approximately 9” x 52”. Original and good. (400 - 600)

321. Carved wooden crab with wire legs. Approximately 16” wide. Original surface shows some age; small dents. (250 - 350)

316. Wooden carved great horned howl, Lou Shifferell. Signed. Approximately 14” tall. Original paint that has been aged; structurally good. (400 - 600)

322. Two miniatures. One is a sandhill crane, mounted on a wooden base, appears to be 1st half 20th century. Other is a redhead mounted on wall plaque. Both are in original paint; areas of missing paint on heron, on bill and wings; redhead body appears to have been broken and reglued. (200 - 400)

317. Three carved wooden trout, Mike Borrett. One is signed. Two lake trout and one rainbow trout. Lengths vary from approximately 18” to approximately 16”. Original and good. (650 - 950) 318. Hollow carved Canada goose, Wildfowler, Decoy Factory, Point Pleasant, New Jersey. Wildfowler stamp in underside. “W.Keim” signed under the bill. Original and good. (300 - 500) 319. Rare gull, Wildfowler Decoy Factory, Quogue Long Island, New York. Original paint with very minor discoloration and wear; retains original Wildfowler keel. (300 - 400) 320. Two decoys from New Jersey. A redhead drake, Rubin Corliss, Manahawkin, New Jersey, circa 1950s and a black duck, Carl Lewis, Somers Point, New Jersey, circa 1930s. Redhead has paint that has been restored, lightly hit by shot, and thin crack through neck; black duck has paint that has been restored and crack through neck. (300 - 500)

323. Wooden walking stick with snake and frog. Original and good. (200 - 300) 324. Standing gull on wooden base, Harry V. Shourds III. Branded “HVS”. Slightly turned head. Raised wingtips. Very good and original. (200 - 300) 325. Bluebill drake, Robert McGaw, Havre de Grace, Maryland. Old in use repaint; small crack in one side; retains McGaw weight. (200 - 300) 326. Mallard drake, Jim Pierce, Havre de Grace, Maryland. Signed and dated 1959. Stamped “JP”. (200 - 300)

End of Session One 189

Session Two

Wednesday, July 26, 2016 – 10:00 AM

Charles “Shang” Wheeler 1872 - 1949 Stratford, Connecticut

Like Elmer Crowell, Charles E. “Shang” Wheeler was recognized as being a superior carver and painter while he was still active, which kept him busy filling orders for sportsmen from around the country. When a decoy or rig of decoys was being crafted for a close friend or wealthy patron, however, these men put their absolute best efforts into their creations, leaving us with some of the most refined and superior examples of waterfowl sculpture.

327 Detail

190

327 Detail

327 327.

Extremely rare pair of hollow carved presentation grade black ducks, Shang Wheeler, Stratford, Connecticut. Both have slightly turned heads. Drake has ice groove. Both have highly detailed feather paint. Felt on undersides. Excellent and original.

Provenance: Inherited by the consignor in 1969 from the estate of Dr. Warren Bradley Spurge, Woodbury, Connecticut. Literature: “Shang,” Dixon Merkt.

(80,000 - 120,000) 191

Decoratives

328

328. Large carving of a night heron on a log in the marsh, John Sharp, Kent, Ohio. Signed and dated 1993. Carved clam shell near log. Original surface that has aged; small cracks. (4,500 - 6,500)

329. Large carving of a hawk in a dead tree, John Sharp, Kent, Ohio. Signed and dated 1997. Original surface that has darkened with age; small cracks. (3,500 - 5,500)

329

192

330

332

330. Pair of 1/3 size preening mergansers, James Lapham, Dennisport, Massachusetts. Signed. Both have extended wingtips. Very good and original. (1,200 - 1,500) 331. Pair of 1/3 size standing wood ducks, James Lapham, Dennisport, Massachusetts. Extended wingtips. Signed under the base. Very good and original. (1,200 - 1,500)

331

333

332. Carved osprey on wooden perch with fish at the base, Wendell Gilley, Southwest Harbor, Maine. Signed and dated 1959. Approximately 17” tall. Very good and original. (800 - 1,200) 333. Pair of 1/4 size mallards on wooden base Wendell Gilley, Southwest Harbor, Maine. Signed approximately 9” tall. Raised, carved wingtips. Very good and original. (800 - 1,200)

193

Alexander Pope

1849 - 1924 Dorchester, Massachusetts 334 Detail

334. Very rare and important hanging game carving, Alexander Pope. Signed. Approximately 34” x 21”. Subject matter is a partridge and a mallard drake with highly detailed feather carving. Border is carved to simulate branches. Original surface with good patina; chips missing from the mallard’s wing that is hanging down.

Provenance: Paul Tudor Jones II collection.

Literature: “The Art of Deception,” Gary Guyette and Frank Schmidt, p. 43, exact carving. (25,000 - 35,000)

334 Detail

194

334

195

335

337

336

338

340

335. 1/3 size goldeneye drake, Ward Brothers, Crisfield, Maryland. Balsa construction with slightly turned cedar head and inserted cedar tail. A few small dents, otherwise very good and original. (800 - 1,000) 336. Pair of 1/3 size widgeon, Ward Brothers, Crisfield, Maryland. Both are balsa, with slightly turned cedar heads and inserted cedar tails. A few small dents, otherwise very good and original. (1,500 - 2,000) 337. 1/3 size shoveler drake, Ward Brothers, Crisfield, Maryland. Balsa construction with slightly turned cedar head and inserted cedar tail. A few paint flakes missing at neck base; a few small dents. (800 - 1,000)

196

339

341

338. Pair of bluewing teal, Robert Kerr, Smith Falls, Ontario. Kerr’s brand is in the underside. Very good and original. (800 - 1,200) 339. 1/3 size bluebill drake, Ward Brothers, Crisfield, Maryland. Balsa body with slightly turned cedar head. Signed. Original paint with very minor shrinkage and wear; structurally good. (800 - 1,200) 340.

1/3 size greenwing teal drake, Ward Brothers, Crisfield, Maryland. Signed. Slightly turned head. Very good and original. (800 - 1,200)

341. 1/3 size pintail drake, Ward Brothers, Crisfield, Maryland. Signed. Raised wingtips and slightly turned cedar head. Original paint with very slight shrinkage and wear. (800 - 1,200)

Charles Hart

1862 - 1960 Gloucester, Massachusetts

341A

341B

341C

341D

341A. Wooden carved emperor penguin, Charles Hart, Gloucester, Massachusetts, circa 1935. Fat body carving, 7 1/8” tall with good patina. Very good and original. (3,500 - 5,500)

341C. Rare wooden carved Adelie penguin, Charles Hart, Gloucester, Massachusetts, circa 1935. 6 1/2” tall. With tack eyes. Good patina Very good and original. (4,500 - 6,500)

341B. Wooden carved emperor penguin, Charles Hart, Gloucester, Massachusetts. Approximately 10” tall. Original paint with slight wear, mostly on the base; roughness to underside of base. (4,000 - 6,000)

341D. Rare wooden carved king penguin, Charles Hart, Gloucester, Massachusetts, circa 1935. 4 3/4” tall. Original paint with slight wear, mostly on base; minor touchup on part of bill. (2,500 - 3,500)

197

341E

341F

341H 341E. Large miniature carving of a heron, Elmer Crowell, East Harwich, Massachusetts. Crowellâ&#x20AC;&#x2122;s rectangular stamp is in the underside of the chipped carved base. Very good and original. (2,000 - 3,000) 341F. Miniature Canada goose, Joseph Lincoln, Accord, Massachusetts. Approximately 5 1/4â&#x20AC;? long. Very good and original. (2,000 - 2,500) 341G. Miniature goldeneye, Elmer Crowell, East Harwich, Massachusetts. Crowellâ&#x20AC;&#x2122;s rectangular stamp is on underside of base. (1,200 - 1,500) 198

341G

341I 341H. English wood pigeon, Trulock & Harris. Metal bill. Relief wing carving with detailed feathering. Original paint; minor wear; burlap on underside of tail has partial come off; small chip in one edge of tail; also a shallow chip in underside near stick hole. (1,500 - 2,500) 341I. English wood pigeon, Rowland Wood Company, London, England. Relief wing carving and slightly turned head. Original paint; minor to moderate wear; slight roughness to wingtips; second stick hole in underside was plugged a long time ago. (750 - 1,000)

342

344

346

342. Wood duck drake, Joseph Wooster, Ashley, Ohio. Signed and dated 1972. Well carved back and tail feathers. Rasping on head. Fine paint detail. Very good and original. (900 - 1,200) 343. Carved wooden peacock, Eddie Wozny, Cambridge, Maryland. Signed and dated 2014. Approximately 18” long with turned head and detailed feather carving. Excellent and original. (1,500 - 2,500) 344. Flying mallard drake, Charles Hart, Gloucester, Massachusetts. Approximately 17” long. Detailed feather carving and fluted tail. Original paint with minor wear, mostly on one wing tip; part of foot is missing. (650 - 950)

343

345

347

345. Set of six flying mallards on wooden backboard, John Baldwin, Babylon, New York. Very good and original. (800 - 1,200) 346. Running willet, Gus Wilson, South Portland, Maine. Carved eyes. Relief wing carving with dropped wingtips. A few small dents, otherwise very good and original. (1,500 - 2,500) 347. Flying black duck, Gus Wilson, South Portland, Maine. Overpaint has been stripped off leaving some original paint and some bare wood; cracks and dents; very tip of one wing is missing; original paint on undersides of wings. (1,750 - 2,250)

199

348

349 348 Detail

348. Exceptional preening widgeon drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1967, with the inscription, “Carved in one block” on the underside. Highly detailed feather carving and paint detail. Very good and original. 200

Provenance: J.W. Lowe collection.

(9,500 - 12,500)

349 Detail

349. Very rare preening redhead drake, Ward Brothers, Crisfield, Maryland. Signed, “For Norris Pratt collection, 1964. Deluxe grade.” Highly detailed feather carving and lifted wing. Provenance: Third place ribbon for the 1964 National Decoy Show, professional decorative class. (6,500 - 9,500)

350

351

350 Detail

351 Detail 350. Exceptional preening pintail drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1967 with the inscription, “Carved in one block” on the underside. Highly detailed feather carving with lifted wings and fluted tail. Good paint detail. Excellent and original.

351. Pair of mergansers, Ward Brothers, Crisfield, Maryland. Signed, “Made for the Martha McCaul collection,” and dated 1966. Both have slightly turned heads. Drake has open bill. Near mint original paint; small crack in underside of each.

Provenance: J.W. Lowe collection.

(9,500 - 12,500)

Literature: “Margaret’s Mergansers,” Decoy Magazine, April/May 1968 issue, p. 23, exact decoys. (5,000 - 7,000) 201

New England Shorebirds

352

353

354

353 Detail

352. Golden plover from Nantucket, last quarter 19th century. Original paint with very minor wear; structurally good. (3,000 - 5,000)

ness at tip of tail, head, and pitch stain around upper breast; slight separation on one laminate on side. (3,000 - 5,000)

353. Stylish yellowlegs, Burr Family, Hingham, Massachusetts. From the Ralph D. Hatch rig, and so branded on underside. Shoe button eyes and split tail. Three piece laminate construction. Original paint; rough-

354. Golden plover in spring plumage, Nantucket, Massachusetts, last quarter 19th century. Old original paint with very slight wear; lightly hit by shot; baleen bill is slightly loose. (4,000 - 6,000)

202

355

356

355. Finely painted black bellied plover in fall plumage, George Boyd, Seabrook, New Hampshire. Near mint original paint with very good patina; structurally very good. Provenance: Formerly in the collection of Span Jeffers. Lot 92 in the Guyette & Deeter, Inc. November 2013 auction. Literature: “Finely Carved and Nicely Painted,” Jim Cullen. (5,000 - 7,000) 356. Yellowlegs, George Boyd, Seabrook, New Hampshire, circa 1900. Near mint original paint; several tiny dents; thin crack through neck; minor wear on bill. (4,000 - 6,000)

355 Detail

203

Fred Nichols

1854 - 1924 Lynn, Massachusetts

357 Detail

Nicholsâ&#x20AC;&#x2122; obituary states that he was especially interested in music and birds, giving great attention to the shorebirds. Both in form and paint, his handful of surviving shorebirds rank with the finest ever produced. He was a member of the Essex County Ornithological Club, whose first president was the renowned painter and etcher Frank Benson. â&#x20AC;&#x153;Bird decoys of North America,â&#x20AC;? Robert Shaw , p. 169.

357 Detail

204

357. Important willet, Fred Nichols, Lynn, Massachusetts, last quarter 19th century. A large decoy, approximately 16” long. Raised wing carving and wide paddle tail. Shoe button eyes. Original paint with good patina and minor wear; thin crack partway through the neck with a small amount of paint touchup there; several tiny dents. (75,000 - 95,000)

357

205

Elmer Crowell

1864 - 1954 East Harwich, Massachusetts

John C. Phillips hunting shorebirds, c. 1900-1925.

Pleasant Lake beach, near Crowells home was known as a place where great numbers of greater yellowlegs congregated. They found both food and safety on the tidal flats. To the locals, they were known as Winter yellowlegs because they regularly arrived in August and stayed until November. For Elmer, setting up for hunting yellowlegs was fairly simple. He dug a hole in the sandy beach and piled up seaweed and driftwood to conceal himself. His wooden shorebirds were set up at waters edge. Crowell started shooting for the market in 1878 and quickly made a reputation for himself. Research provided by Donna Tonelli who is currently working on a book about Elmer Crowell.

206

358

359

358 Detail

358. Running greater yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Approximately 13 1/2” long. Original and good. (12,500 - 17,500)

359 Detail

359. Running yellowlegs in partial running pose, Elmer Crowell, East Harwich, Massachusetts. Original paint with minor shrinkage and wear; slight roughness to very tip of wingtips; small area on lower neck that is discolored, probably from a knot. (14,000 - 18,000)

207

360

360 Detail

360. Greater yellowlegs, Elmer Crowell, East Harwich, Massachusetts, circa 1900. Approximately 12 1/4” long with tack eyes. Good feather paint detail. From a group of five yellowlegs and three plover found in Tabusintac, New Brunswick, 1980. Near mint original paint; structurally very good.

208

Literature: “New England Decoys,” John and Shirley Delph.

(14,000 - 18,000)

362

363

364

365

366

362. Lesser yellowlegs “wind bird” from Cape Cod, last quarter 19th century. On its original metal base. Original paint with minor shrinkage and very slight wear; original iron bill.

Provenance: Wick collection. Purchased from Conway Sawyer in 1967.

Literature: “New England Decoys,” John and Shirley Delph, p. 84. (2,000 - 3,000) 363. Hollow carved golden plover form Nantucket, Massachusetts, last quarter 19th century. Tack eyes. Original paint with minor wear; small dents and shot marks. (2,000 - 3,000) 364. Hollow carved plover from the South Shore of Massachusetts, last quarter 19th century. Tack

eyes. Original paint with very minor wear and good patina; one tiny shot mark; some tiny chips missing to the wood where bill joins face. (2,000 - 2,500) 365. Silhouette yellowlegs, Elmer Crowell, East Harwich, Massachusetts, circa 1910. Tack eyes with some tail carving. Near mint original paint; structurally excellent.

Provenance: From a group found in central Maine. (1,500 - 2,500)

366. Two flat sided shorebirds on original wooden stakes, a yellowlegs and a golden plover, last quarter 19th century. Very good and original.

Provenance: Wick collection. Purchased at Richard Bourne Decoy Auction, August 1969. (1,500 - 2,000) 209

367

368

369

369 Detail 367. Yellowlegs, Elmer Crowell, East Harwich, Massachusetts, last quarter 19th century. Carved primaries and shoe button eyes. Old overpaint has been taken off to primer and some original; bill is an old replacement; neck repair; lightly hit by shot. (1,500 - 2,000) 368. Black bellied plover, George Boyd, Seabrook, New Hampshire. Original paint with minor discoloration and wear; professional touchup to an area on the front of the face; bill is a professional replacement. (3,000 - 4,000) 210

369. Greater yellowlegs, unknown maker, Nantucket, Massachusetts, last quarter 19th century. Split tail, very full body, and tack eyes. Original paint with two in the making knot repairs in underside; crazing to some areas of white under tail; paint loss on bill and rubs on body. (4,000 - 6,000)

370

370A

370. Very rare sandpiper from Nantucket, Massachusetts, circa 1900. Approximately 6 1/8â&#x20AC;? long. Original paint with very minor wear; structurally good. (2,500 - 4,500)

370A. Set of three lesser yellowlegs from Nantucket, Massachusetts, last quarter 19th century. Original paint with minor flaking and wear; mostly on the bills; one has a reglued tail chip; one has a shorter bill which appears to be an old replacement and a few spots of touch up on the back.

Provenance: Gordon and Ginny Hayes collection. Bob Gerard collection. Decoy with shorter bill was from the Joe French collection and so stamped. (2,250 - 3,250)

211

Maine Willie Ross

1878 - 1954 Chebeague Island, Maine 371. Oversize merganser drake, Willie Ross, Chebeague Island, Maine. Approximately 26” long and 10” wide. Inlet head. One of a rig of six marketed by Bud Ward in the early 1990s. Original paint with minor wear, mostly on one side; crack in one side of back; most of the ostrich plum crest is missing; this is the only oversize Ross merganser that we know of that has its original bill, others have a bill repair by Ross; hollow area in underside.

Literature: “New England Decoys,” John and Shirley Delph.

(15,000 - 20,000)

371 Detail

212

371

371 Detail 213

372

373

372 Detail

372. Rare loon from Maine, 1st quarter 19th century. Inlet head with neck seat extending well in to the back. Very wide body. Worn original paint with traces of touchup; bill has been slightly blunted; small cracks and dents. (4,000 - 6,000) 373. Large hollow carved eider drake from the central Maine coast. Detailed bill carving and tack eyes. Inlet head, upswept tail, with back ridge in that area. Old in use repaint, discoloration, and minor wear; small tail chips missing; numerous small cracks. (4,000 - 6,000)

214

373A. Rigmate pair of mergansers, Willie Ross, Chebeague Island, Maine. Original paint with minor discoloration and wear; small cracks; white areas appear to have been repainted; cracks in bodies; filler added to chips missing from one side of drake; lightly hit by shot. (3,000 - 4,000)

373A 374. Rare loon in summer plumage from Southern Maine. Swimming pose with inlet head and carved eyes. Original paint with minor wear; bill has been blunted very slightly. Provenance: Used on Back Cove in Portland, Mane. (3,000 - 4,000)

374

375. Eider drake, Gus Wilson, South Portland, Maine. Slightly turned inlet head. Carved eyes and bill. Relief wing carving. Slightly turned head in about to preen pose. Appealing old in use repaint; moderate wear on lower sides; small cracks in underside. (2,500 - 3,500)

375

376. Preening black duck, Gus Wilson, South Portland, Maine. Inlet head, carved eyes, and relief wing carving. Original paint with minor to moderate wear; five cracks in back; lightly hit by shot. Provenance: From a home near Thomaston, Maine. (3,000 - 5,000)

376

215

Gus Wilson

1864 - 1950 South Portland, Maine

377

377 Detail

377. Very rare feeding rocking head black duck with mussel in its mouth, Gus Wilson, South Portland, Maine. Carved eyes and relief wing carving. Head is made to bob up and down with the motion of the waves as the decoy is used. Near mint original paint; hairline crack in lower breast and in back; never used. 216

Provenance: Pearce collection.

(12,500 - 17,500)

378

378 Detail

378. Merganser drake, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Inlet head, relief wing carving, and carved eyes. Bill is slightly open at the back with a piece of leather in it to simulate seaweed. Original paint with good patina and minor wear; crack in lower breast and under tail; thin crack through neck; horse hair crest appears to be an old replacement.

Literature: “New England Decoys,” John and Shirley Delph. “Great Book of Decoys,” Joe Engers, editor. (9,500 - 12,500) 217

379

380

379 Detail

218

379. Oversize Monhegan Island style scoter, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Approximately 18” long with inlet head, carved eyes and relief wing carving. Original paint with good patina and minor wear; a few small dents.

Literature: “New England Decoys,” John and Shirley Delph. (4,000 - 6,000)

380.

Oversize Monhegan island style merganser hen, Gus Wilson, South Portland, Maine. Relief wing carving, carved eyes, and inlet head. Old overpaint has been taken off by Ken DeLong; paint has been strengthened in some areas; very small chip in one side of tail, larger chip in other side; lightly hit by shot; thin crack in the underside. (3,500 - 4,500)

381

382

383

384

385

381. Large eider drake from Friendship, Maine, 1st quarter 20th century. Inlet head and incised carving on face. Attributed by some to George Huey. Original paint with moderate wear; crack in back. (1,000 - 1,400) 382. Oversize scoter attributed to a member of the Wallace family, Smalls Point, Maine. Inlet head. Original paint with minor wear; defect in wood in underside. (1,250 - 1,750) 383. Goldeneye hen, George Huey, Friendship Maine. “GR Huey” carved in underside. Inlet head and carved eyes. Original paint with very minor wear; structurally good. (1,500 - 2,000) 384. Swimming black duck, Gerald Robertson, Blue Hill, Maine, early 2nd quarter 20th century. Relief wing

386

carving with extended wingtips. In swimming pose with slightly turned inlet head. Original paint with very slight wear; small crack partway down center of back.

Provenance: Mallar collection.

(1,500 - 2,500)

385. Eider drake from the Harpswell, Maine area, 1st quarter 20th century. Original paint with minor wear on black areas; white areas have had old overpaint taken off; small dents; hairline crack in bill. (1,500 - 2,500) 386. Old squaw drake, Gus Wilson, South Portland, Maine. Inlet head carved eyes and relief wing carving. Original paint; minor discoloration and wear; a few small dents; small wooden plug in one side from when the decoy was made; a little bit of filler that was added to edges has fallen out over time. (1,750 - 2,250)

219

387

388

387. Rare old squaw drake with swivel head, Gus Wilson, South Portland, Maine. Relief wing carving and carved eyes. Original paint with minor wear; crack in one lower side.

Provenance: Pearce collection.

Literature: “New England Decoys,” John and Shirley Delph. (4,000 - 6,000) 220

388. Large flying mallard drake, Gus Wilson, South Portland, Maine. Just under 23” long. Strong original paint protected by an old coat of varnish; filled drying crack in the back from when the decoy was made; small cracks and chips at filler where wings join body. (3,500 - 5,500)

389. Very rare rigmate pair of eiders, Pennell Alexander, Smalls Point, Maine, last quarter 19th century. Both have the serifed “PA” carved in the underside. Tie straps are attached with square nails. Both have raised neck seats and carved bills. Hen has original paint with good patina and minor wear; crack in one side of the head and two small cracks in the neck; slight roughness to each side of the tail; drake has original paint with minor wear; lightly hit by shot; small crack in neck; crack in back.

Literature: “North American Decoys at Auction,” Guyette & Schmidt, Inc. July 2000, lot 85. (3,500 - 4,500)

389

390. White wing scoter, Gus Wilson, South Portland, Maine. Inlet head in unusual turned and feeding pose. Relief wing carving. Original paint; minor wear on most of the decoy; speculums have old in use repaint; drying cracks from when the decoy was made; small cracks in neck. Literature: “New England Decoys,” John and Shirley Delph. (2,000 - 2,500)

390

391. Rigmate pair of Canada geese, Joseph Lincoln, Accord, Massachusetts. Paint and nail holes on underside show that they were used in a triangle rig. Thin coat of in use repaint with minor discoloration and wear; typical age split in undersides; one head is slightly loose. (2,000 - 3,000)

391 221

Delaware River Clark Madera

Pitman, New Jersey

392

392 Detail

392. Very rare pintail hen and drake, Clark Madera, Pitman, New Jersey, 1st quarter 20th century. Good feather paint detail. Original paint with very slight wear; a few tiny dents.

222

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr.

(12,000 - 16,000)

393

393 Detail

393. Rare Canada goose, Clark Madera, Pitman, New Jersey, 1st quarter 20th century. One of around six known in original paint. Original paint with minor shrinkage and very slight wear; a few small rubs; thin crack through neck; hairline crack through bill.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. “Classic New Jersey Decoys,” Jim Doherty, p. 160, exact decoy. (9,500 - 12,500) 223

394 Detail

224

In the decoy collecting world, the name John Blair and the decoys attributed to both John Blair, Sr. and John Blair, Jr. have risen to the very top rung of the ladder of desirability. Since Joel Barber’s book, “Wild Fowl Decoys” was published in 1934, the Blair decoys have been widely accepted as some of the finest ever to have been made. In spite of the fact that these decoys are among the best to have been produced, and have realized world record prices at auction, a level of uncertainty regarding their exact history has persisted. It is now, however, widely accepted that the “Classic” Blair decoys, those with the more rounded and classic lines are the work of John Blair, Sr. All one has to do to find support for this contention is to revisit, Barber’s narrative summary of a discussion he had with John Blair, Jr. during one of his visits to the Blair farm below Elkton, Maryland on the Elk River estuary. In the end, while some level of uncertainty still exists, regarding the history of the many different styles of those Blair and “Blair School” decoys, conclusions have been drawn. First, the “Classic Blairs” with the rounded bodies were made by John Blair, Sr. And a strong case exists that the painting was done on both Sr. and Jr. decoys by a separate talented “Philadelphia portrait painter” or “Trolley painter.”

394

394. Pintail drake, John Blair, Jr., Philadelphia, Pennsylvania, last quarter 19th century. Tack eyes. Good feather paint detail on back. Typical Blair oval shaped paint on underside. Original paint with minor wear; small chip missing from tip of tail.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. “New Jersey Decoys,” Henry Fleckenstein, Jr. (27,500 - 32,500)

225

New Jersey 395. Black duck, Tom Fitzpatrick, Delanco, New Jersey. Raised “V” wingtip carving and fluted tail. Near mint original paint with good paint detail; minor wear to one edge of tail. Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. (2,000 - 3,000)

395 396. Hollow carved pintail drake, John McLoughlin, Bordentown, New Jersey. Signed and dated 1940. Raised, carved wingtips and fluted tail. Well detailed original paint with good patina and almost no wear; structurally good.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. (2,000 - 3,000)

396 397. Rare canvasback drake, Charles Black, Bordentown, New Jersey, circa 1920s. Original paint with minor discoloration and some string marks; almost no wear.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. (1,400 - 1,800)

397 398. Classic black duck, Rowley Horner, West Creek, New Jersey, 1st quarter 20th century. Mixture of original paint with minor wear and working touchup; structurally good.

398 226

Literature: “Classic New Jersey Decoys,” James Doherty. (2,000 - 4,000)

399

400

402

401

403

404

399. Bluebill drake, Jess Heisler, Bordentown, New Jersey. His earlier style with three piece body construction. Original paint with minor to moderate wear; professional repair to a crack through the bill. (800 - 1,200) 400. Black duck, John English, Florence, New Jersey. From the Kembell rig, branded “W.A. Kemball”. Old in use repaint; chip missing from top of tail; lightly hit by shot. (800 - 1,200) 401. Redhead drake, Dan English, Bordentown, New Jersey. Paint has been restored; small chip in one edge of tail. (650 - 950) 402. Hollow carved mallard drake, John McLoughlin, Bordentown, New Jersey. Relief wing carving with extended wingtips. Very good and original. (600 - 900)

405

403. Pintail drake, Tony Bianco, Bordentown, New Jersey. Raised wingtips. Original paint with minor wear; thin chip missing from tip of tail; small dents. (500 - 700) 404. Low head style black duck from the Delaware River. Relief wing carving and fluted tail. Original paint that was varnished a long time ago; significant shrinkage in the varnish; lightly hit by shot. Provenance: Inherited by the consignor in 1969 from the estate of Dr. Warren Bradley Spurge, Woodbury, Connecticut. (300 - 500) 405. Bufflehead drake, Charles Birdsall, Point Pleasant, New Jersey, circa 1950. Hand carved before he started the Wildfowler Factory. Branded “CRB” in underside. Near mint original paint protected by its original coat of varnish, structurally very good. (300 - 400)

227

Shotgun Shell Boxes

406

408

410

407

409

411

406. Excellent and rare shotgun shell box, 2 piece 100 count 12 gauge, Winchester Rival. With image of hunter and dogs. Full of primers. Very good and original. (3,000 - 5,000)

409.

407. Rare shotgun shell box, 2 piece 12 gauge, Robin Hood Ammunition Company, Capital Shells. Buff box with full wrap label. Even wear on edges; several small areas where colors have worn off label; box is in good shape. (1,000 - 1,500)

410. Shotgun shell box, 2 piece 12 gauge, Robin Hood Ammunition Company “clipper”. Smokeless powder. Buff box is structurally good; full wrap label also good. (1,000 - 5,000)

408. Rare and desirable shotgun shell box, 2 piece 12 gauge 100 count, Winchester Star. With image of dog and grouse. Bottom box has some staining and tears; top box shows small areas of stains; small creases; otherwise good. (6,500 - 9,500) 228

Shotgun shell box, 2 piece 16 gauge, Robin Ammunition Company. Buff box in good shape; full wrap label as tears and wear on back label; average wear at edges. (1,000 - 1,500)

411. Shotgun shell box, 2 piece 12 gauge, Robin Hood Ammunition Company. Buff box good structurally; full wrap label shows wear at edges; in good condition. (1,000 - 1,500)

416 412

413

414

415

412. Shotgun shell box, 2 piece 12 gauge, Robin Hood Ammunition Company, “Clipper”. Peerless Powder. Buff box shows some wear; slight folds on one side; possibly replaced bottom half; full wrap label in good condition. (1,000 - 1,500) 413. Shotgun shell box, 2 piece 12 gauge. Redhead with image of goose. Box and label in good condition. (800 - 1,200) 414. Shotgun shell box, 2 piece 12 gauge, Redhead with image of goose. Buff box in good condition; full wrap

label very good, some small areas of damage at edges. (800 - 1,200) 415. Rare shotgun shell box, 2 piece 50 count 8 gauge, Winchester Leader. Buff box with some water damage and separation at seam; paper label has tears with old tape repairs; area missing near the word Winchester at the top. (600 - 800) 416. Colt Firearms poster of man on horse in original Colt Firearms frame. Frame size approximately 41” x 28”. A few fold marks in poster, otherwise good. (5,000 - 8,000) 229

Bronze Sculptures Carl Rungius

1869 - 1959 Berlin, Germany and New York, New York

Carl Rungius painting of Big Horn Sheep

From an early age Carl Rungius had an interest in animals, art, and hunting, three pursuits that would define his life on two continents. Raised and trained in Germany, Rungius often studied the anatomy of dead game, as well as the form and movements of live animals at the Berlin Zoo. After a visit to Maine and the western United States in 1895, Rungius decided that â&#x20AC;&#x153;my heart is in the Westâ&#x20AC;? and immigrated to the United States a year later. He quickly became known for his depictions of big game in their natural surroundings. The detail and accuracy of the animals depicted in Rungiusâ&#x20AC;&#x2122; paintings, as well as his bronzes is a direct result of his time spent in the field and his dedication to his art.

416A Detail

230

416A. Rare limited edition bronze sculpture of a big horn sheep, Carl Rungius. Approximately 16 1/2” tall. Stamped with foundry mark. “Copyright mark/CR/1915.” Excellent and original.

Provenance: Paul Tudor Jones II collection. (125,000 - 175,000)

416A 231

Allen Houser

1914 - 1994 Sante Fe, New Mexico

Born on the family farm near Apache, Oklahoma, Allan Houser became one of the Southwest’s most famous and financially successful 20th century sculptors, known for his abstract Indian subjects. In his book, Masters of American Sculptors, Donald Martin Reynolds referred to Houser, who was Chiricahua Apache, as the “patriarch of American Indian sculptors… Through his prodigious output and a generation of students and followers, Houser has been a formidable force in shaping contemporary Indian sculpture.” In 1993, the Institute of American Indian Arts in Santa Fe, New Mexico, opened a sculpture garden in his honor.

416B Detail

232

416B Detail

416B. “Sacred Rain Arrow II” a bronze sculpture by Allen Houser, Santa Fe, New Mexico. Limited edition number 17/20, cast in 1980. Height 11 3/4” without base. “ALLEN HOUSER /80/17/20” stamped with foundry mark. Excellent and original.

Provenance: Paul Tudor Jones II collection.

(12,500 - 17,500)

416B

233

416C

416D

416C. Bronze casting of a scaled quail on rocks, John Scheeler. Foundry marked “John Scheeler, copyright 5/25.” Approximately 11 1/2” tall. Excellent and original.

416D. Limited edition bronze of a merlin on rocks, John Scheeler. Foundry marked, “John Scheeler, 9/25/copyright mark.” Approximately 12” tall.

234

Provenance: Miller collection.

(3,000 - 5,000)

Provenance: Miller collection.

(3,000 - 5,000)

416E

416F 416E. Whimbrels and Fiddler crab, limited edition 13/25 bronze sculpture by William J. Koelpin. Approximately 15” tall. Excellent and original.

Provenance: Miller collection.

(4,000 - 6,000)

416F. Limited edition bronze sculpture of a road runner, William Schultz. Factory marked “11/25 WM L. Schultz copyright mark.” Approximately 22” long. Very good and original.

Provenance: Miller collection.

(3,000 - 5,000)

235

Elmer Crowell

1864 - 1954 East Harwich, Massachusetts

417 Detail

236

417. Pair of canvasbacks, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside of each. Both have raised primaries and carved secondaries as well as fluted tails and slightly turned heads. Small crack at back of hen’s neck seat has been filled and touched up by Russ Allen; each has a crack in the underside otherwise excellent and original. (35,000 - 45,000)

Elmer Crowell outside his shop, 1927

417

237

418 Print

“American Duck Decoy - Carved by A.E. Crowell.” Copyright by Allen Saalburg, signed by William J. Mackey, Jr. Print is included.

418. Preening black duck, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside twice. Well sculpted, elongated neck, poised above the back. Fluted tail. Subject of painting used for accompanying print. Very good original paint; with good patina and only slight wear; short crack in back that is mostly under the head. Provenance: Formerly in the collection of Steve and Lin Brown, Duxbury, Massachusetts. Literature: “Songless Aviary,” Brain Cullity.

238

(25,000 - 35,000)

418

418 Detail

239

419 Detail

419. Monomoy style brant, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. Tack eyes, applied bill, and painted crossed wingtips. Very good and original. (10,000 - 14,000)

Brant hunting on the head of Pleasant Bay, Cape Cod, c. 1890-1920. This is a rare view of a “sink box.” Collection of Donald Scothorne

240

In 1912, Charles Hardy purchased a piece of land overlooking Pleasant Bay and the Atlantic ocean and, soon after, opened The Chatham Bars Inn. A pier was constructed to connect the hotel to the beach of Monomoy Island, an eight mile long spit of land extending southwest from Chatham, Massachusetts. The Monomoy Branting Club (1862-1926) hunted Monomoy Island where, at low tides, it is not an island at all but simply a sand reef beyond which there are mud flats full of eel grass, the favored food for Atlantic Brant. The club learned they could have excellent brant shooting if they set half buried sink boxes out at low tide on the mud flats and then surrounded the flats with wooden decoys. In 1909, the club suffered a fire which consumed hundreds of their decoys. A few of their surviving decoys were taken to Crowell so he could use them as models. This was Elmerâ&#x20AC;&#x2122;s first large carving commission. It also explains why his brant decoys are a slight departure in style from his other ducks and geese. Research provided by Donna Tonelli who is currently working on a book about Elmer Crowell.

419

241

420. Black duck, Elmer Crowell, East Harwich, Massachusetts. Pre brand. Slightly turned head. Near mint original paint; crack and dents in underside; filled defect in wood in one lower side. (2,750 - 3,250)

420

421.

Pintail drake, Elmer Crowell, East Harwich, Massachusetts. Early pre brand gunning model. Original paint with minor wear; crack in underside; small crack in one side; professionally neck crack repair by Russ Allen. (2,500 - 3,500)

421

422. Redhead drake, Elmer Crowell, East Harwich, Massachusetts. Well sculpted and lifted head. Fluted tail. Paint was restored in Crowell’s style a long time ago; a few small dents and shot marks. (1,200 - 1,500)

422 423. Black duck, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. Lightly hit by shot, otherwise very good and original. (2,750 - 3,250)

423

242

424

424 Detail

424. Canvasback drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside three times. Slightly turned head. Relief carved wingtips and fluted tail. Original paint; very minor wear; several tiny dents at end of bill. (8,000 - 12,000)

243

425 Detail

244

425. Exceptional pair of oversize pintails, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Both have Crowell’s oval brand in the underside. Both have fluted tails and chip carving on bodies under the tail. Characteristics of Crowell’s earlier work. Drake has slightly turned head. Hen has slightly lifted head. Original paint with very minor wear; chip missing from end of drake’s tail that was touched up a long time ago; a few tiny dents.

Provenance: Part of a cache of a dozen Elmer Crowell working decoys found in 1967 in the loft of an old boat shed on an island off the coast of Georgia, these pintail rigmates are the only known to survive. (30,000 - 40,000)

425

245

Canada

426

427

428

429

431

430 426. Snow goose, Andre Broussard, St. Andre de la Calle, Quebec. Original paint that has been aged; small dents; small crack in back. (350 - 550)

429. Redhead drake, Charles Reeves, Long Point, Ontario. Mixture of original paint and old working repaint; lightly hit by shot. (350 - 450)

427. Pair of Canada geese, Jim Gatreau, Losier Settlement, New Brunswick. Original paint with moderate wear; one has crack in neck; small cracks and dents in body; other has multiple cracks in neck and age split in one side. (350 - 450)

430. Swimming black duck, Burleigh Brothers, Toronto, Ontario. Original paint; minor wear; small cracks in breast and underside.

428. Preening scoter, Little Tancook Island, Nova Scotia. Original paint with minor wear; numerous small cracks in body. (350 - 450) 246

Literature: “Traditions in Wood,” Patsy Fleming, p. 122. (400 - 600)

431. Large black duck, Harve Davern, Brighton, Ontario. A few small paint rubs, otherwise very good and original. (600 - 900)

432. Feeding Canada goose, John Ramsay, Summerside, Prince Edward Island. Hollow carved with tack eyes. Old in use repaint on the white areas; the rest is original with minor discoloration and wear; small chip at seam between neck and head.

Provenance: From the hunting rig of John Brooks, Freeland, Prince Edward Island. “JB” brand in the underside.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette. (1,500 - 2,000)

432

433. Canvasback drake, Duncan Ducharme, Manitoba, Canada. Underside is stamped “MCC”, also an old tag on underside reads that the decoy came from Hugh Valiant in 1988. Mixture of original paint with moderate discoloration and old overpaint; small crack in back. (950 - 1,250)

433

434. Merganser drake, Otis Hatt, Chester Basin, Nova Scotia. Original paint; minor wear; cracks through neck base; much of the original feather crest remains. (1,000 - 1,400)

434 435. Large bluebill hen, Robert Paquette, Verdun, Quebec. Slightly turned head. Detailed feather carving. Original paint; minor wear; structurally good. (1,500 - 2,000)

435 247

Edwin Bachman

1872 - 1914 Lunenburg, Nova Scotia

Bachman was one of the earliest documented Nova Scotian decoy carvers. He carved goldeneye and mergansers for his own use and his known output was less than 40 decoys. He was an off shore fisherman and captain of a cargo schooner, the William Cortada working out of Lunenburg, who disappeared with his ship and crew on a trip to the West Indies at the outbreak of World War I in 1914.

436. Very rare merganser drake, Captain Edwin Bachman, Lunenburg, Nova Scotia, circa 1900. Leather tie strap is attached with square nail. Near mint original paint with layering at speculums; very minor wear; very slight roughness at second neck seam; one wax eye is missing.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette. (27,500 - 32,500)

436 Detail

248

436 Detail

436

249

One of the reasons loon decoys are so rare is that the hunter only used one decoy when hunting, not a rig of them. A line would be attached to the decoy and it would be slowly pulled toward the shore in an effort to get young loons to follow it close enough to the hunter to be shot. Another reason loon decoys are so rare is that the meat is considered inedible. However loon and eider meat was sold by the pound at the Tancook Island Market as late as the 1950s. “Well, in the old days after eatin’ fish, cabbage, and potatoes all winter long, a little loon meat didn’t taste so bad.” - Quote, circa 1980, from an old Tancook Island fisherman.

437 Detail

250

437

437. Loon, Tancook Island, Nova Scotia, 1910. Life size hand chopped decoy with unusual laminated neck construction and inserted cork on underside. Very old bill repair; paint is a mix of original and old working repaint; appears to have coat of wax; area at top of head where dowel was placed has missing filler.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, p. 50, loon by the same maker (20,000 - 25,000)

251

Sporting Art Harry Antis

Ann Arbor, Michigan

437A

437B

437A. Acrylic on board of elk in the mountains, Harry Antis. Signed and dated 1980. Image size approximately 24” x 42”. Excellent and original.

437B. Acrylic on board of big horn sheep in the mountains, Harry Antis. Signed. Image size approximately 29” x 42”. Excellent and original.

252

Provenance: Miller collection.

(3,500 - 5,500)

Provenance: Miller collection.

(3,500 - 5,500)

437C

437C. Tempura on paper of flying peregrine falcon, William Zimmerman. Signed. Professionally matted and framed. Image size approximately 25” x 19 1/2”. Excellent and original.

437D

Provenance: Miller collection. (3,500 - 5,500)

437D. “Decoys at Dawn,” a watercolor of hunters setting out decoys by Ray Kerswill. Signed and dated 1967. Professionally matted and framed. Image size approximately 20” x 28”. Excellent and original.

Provenance: Miller collection. (1,500 - 2,500)

253

437E

437E Detail

437E. Acrylic on board of a hunter with a mountain lion in the background, Brendan J. Lynch. This is the original artwork used for the front cover of the book, “The Hunter,” by Hugh Fosburgh, Tower Publications, 1977. Image size approximately 16 1/2” x 8”. Very good and original; book cover is attached to back.

Provenance: Miller collection.

(1,250 - 1,750)

437F. Watercolor of mountain scene by Thomas Aquinas Daly (b.1937). Signed. Professionally matted and framed. Image size approximately 11” x 16 1/2”. Very good and original. (1,500 - 2,500)

437F

254

437G 437G. Watercolor of flying bluebills, Don Rodell. Professionally matted and framed. Image size approximately 16” x 12 1/2”. Excellent and original.

Provenance: Miller collection.

(1,000 - 1,500)

437H

437H. Oil on canvas of Rockport Harbor in Massachusetts, A. Rosenthal. Signed. Image size approximately 19 1/2” x 23 1/2”. Crazing on much of the surface; some inpaintig to flaked areas, mostly near signature. (800 - 1,200)

437I

437I. Acrylic on board of flying teal, Les Kouba. Signed. Professionally matted and framed. Image size 7 1/2” x 10”. Very good and original. (800 - 1,200)

255

Shorebirds

438

438. Black bellied plover, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. In very rare transitional plumage. Small crack partway through bill; bill has also been very slightly blunted; original paint; very minor wear; several tiny shot marks.

438 Detail

256

Literature: “Classic New Jersey Decoys,” Jim Dougherty. (9,500 - 12,500)

439

440

439 Detail

439. Yellowlegs, Harry V. Shourds, Tuckerton, New Jersey. Original paint with minor wear; small cracks in back near tail; slight roughness to end of bill. (6,500 - 9,500)

440 Detail

440. Black bellied plover in winter plumage, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Original paint with moderate discoloration and wear; small surface cracks; very lightly hit by shot. (5,000 - 8,000)

257

441

442

441 Detail

441. Two curlew, Daniel Lake Leeds, Pleasantville, New Jersey Original paint with minor to moderate wear; small cracks. (5,000 - 8,000)

442 Detail

442. Feeding lesser yellowlegs from Cape Cod, last quarter 19th century. Original paint; minor wear; lightly hit by shot.

258

Provenance: Wick collection. Purchased from Bill Mackey, May 1970. Mackey obtained it from King Hemming. (2,000 - 3,000)

443

444

443 Detail

444 Detail

443. Two large sickle billed curlews from Italy. Both have iron bills and are approximately 17” long. Relief wing carving and glass eyes. Original paint with minor discoloration and wear; cracks in bodies; one has been hit by shot.

444. Willett with tack eyes and applied wings, Shinnecock Reservation, East Hampton, New York, 1st quarter 20th century. Similar to the work of Eugene Cuffee. Original paint with very minor shrinkage and wear; structurally good. (2,500 - 3,000)

Provenance: Consigned by Steve Contro, who’s grandfather used these exact decoys to shoot curlews in the marshes around Venice, Italy. (5,000 - 7,000) 259

445

446

447

448

449

445. Running black bellied plover, Cobb Island, Virginia, last quarter 19th century. Raised “V” wingtip carving and carved eyes. Appealing old in use repaint; lightly hit by shot; small cracks and shot marks.

Provenance: Gilford collection.

(2,000 - 3,000)

446. Running curlew, Alma Fitchet, Smith Island, Virginia, last quarter 19th century. Carved eyes. Large “F” carved in underside. Original paint with moderate wear; approximately 1/3 of bill is missing; filler added to wood in one side a long time ago; lightly hit by shot.

Provenance: Sam Dyke collection.

(1,000 - 1,500)

447. Golden plover from Nantucket, last quarter 19th century. Original paint with minor to moderate wear; lightly 260

hit by shot; small rectangular area near stick hole that was painted at a later date; bill may be an old replacement. (1,500 - 2,000) 448. Golden plover from Nantucket, Massachusetts, last quarter 19th century. Full body with sharply chined bottom edges. Original paint on the lighter areas; darker areas have second coat; moderately hit by shot; small chip missing from top of tail.

Provenance: Gilford collection.

449.

Set of three yellowlegs from New Jersey, circa 1900. Full bodies but somewhat flat sided. Original paint with minor to moderate wear; bills are old replacements; one has been hit by shot; another has been lightly hit by shot. (1,250 - 1,750)

(1,250 - 1,750)

450

451

452

453

455

454

450. Lesser yellowlegs from Cape Cod, Massachusetts, last quarter 19th century. Original paint with minor discoloration and wear; bill is an old replacement; lightly hit by shot. (800 - 1,200)

453. Lincoln type yellowlegs, Hingham, Massachusetts, circa 1900. Tack eyes. Original paint with moderate wear mostly on back and one side; crack in back and top of head; small chip missing from top of tail. (800 - 1,200)

451. Feeding greater yellowlegs silhouette, Massachusetts, last quarter 19th century. Shoe button eyes. Excellent original paint; one tiny shot mark.

454. Feeding lesser yellowlegs, attributed to George Harvey, Rumson, New Jersey, last quarter 19th century. Original paint protected by an old coat of varnish; structurally good.

Literature: “New England Decoys,” John and Shirley Delph, rigmate. (800 - 1,200) 452. Yellowlegs from Massachusetts, last quarter 19th century. Three piece body construction with raised wingtips and shoe button eyes. Original paint with moderate wear; tip of bill is missing; tiny chip missing from one side of tail.

Provenance: Gilford collection.

(900 - 1,200)

Provenance: Inherited by the consignor in 1969 from the estate of Dr. Warren Bradley Spurge, Woodbury, Connecticut. (800 - 1,200)

455. Yellowlegs, Joe King, Manahawkin, New Jersey, last quarter 19th century. Worn old paint some of which is original; small dents. (500 - 700)

261

New Jersey Nathan Rowley Horner 1881 - 1942 West Creek, New Jersey

It’s no coincidence that Rowley Horner’s decoys are similar in style to those made by H.V. Shourds. Shourds was in fact a neighbor, and it is said that young Rowley would visit Shourds’ shop on a regular basis. Learning to make decoys in the “Tuckerton style,” Horner would go on to perfect both his carving and painting, which would eventually earn him the reputation of making the finest decoys on the New Jersey coastline. His decoy making career spanned approximately 40 years, but the majority of his decoys were made from the turn of the century until about 1930.

262

456. Rare Canada goose, Rowley Horner, West Creek, New Jersey, 1st quarter 20th century. His early thinner body style. Original paint with minor discoloration and wear; thin crack through neck.

Literature: â&#x20AC;&#x153;Classic New Jersey Decoys,â&#x20AC;? James Doherty. (7,500 - 9,500)

456 Detail

456

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457

458

457 Detail

457. Classic brant, Harry V. Shourds, Tuckerton, New Jersey. Original paint with minor wear; small dents; crack through neck. Provenance: Formerly in collection of Gary Giberson. (6,000 - 9,000) 458. Rigmate pair of goldeneye, Rhodes Truex, Atlantic City, New Jersey. Original paint with minor wear; a few small dents. Literature: “Classic New Jersey Decoys,” James Doherty. (3,500 - 4,500)

264

459.

Bluebill hen, Rowley Horner, West Creek, New Jersey. Original paint with minor discoloration and wear; slight wear to the wood on edge of bill.

Provenance: Formerly in the collection of Jack Conover, Absecon, New Jersey. Conover collection stamp on underside. (3,000 - 4,000)

459 460. Classic brant, Harry V. Shourds, Tuckerton, New Jersey, 1st quarter 20th century. Original paint on light areas; the rest has old in use repaint; small dents. Literature: “Classic New Jersey Decoys,” James Doherty. (3,500 - 4,500)

460 461. Black duck, Harry Shourds, Tuckerton, New Jersey, circa 1890s. Original paint with minor discoloration and wear; some minor flaking has been touched up; several tiny dents.

Literature: “Classic New Jersey Decoys,” James Doherty. (3,000 - 5,000)

461

462. Early hollow carved black duck, Captain Jesse Birdsall, Barnegat, New Jersey, last quarter 19th century. Body halves are joined with two small dowels. Original paint with good detail and minor wear; structurally very good.

Literature: “Classic New Jersey Decoys,” James Doherty, p. 148. (2,500 - 3,000)

462

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Harry V. Shourds

1861 - 1920 Tuckerton, New Jersey

H.V. Shourds, a house painter by trade and a part time guide, earned his livelihood by providing some of the finest decoys made in New Jersey. Considered to be the most prolific carver from the Tuckerton school, Shourds produced Canada geese, brant, ducks, shorebirds, seagulls and even a blue heron. Any collector of Shourds decoys will quickly learn, however, that examples in original paint are considered rare. His decoys were sold to hard hunting baymen that used them to harvest waterfowl in salt water.

463 Detail

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463

463 Detail

463. Finely painted merganser hen, Harry V Shourds, Tuckerton, New Jersey. Round body style with wide head and tack eyes. Good feather paint detail. Original paint with minor wear, mostly on the end of bill; slight wear to tips of crest; small chip missing from one side of tail; defect in wood on underside; some of the wood in the defect has fallen out over time; dent in one lower side.

Literature: “Classic New Jersey Decoys,” James Doherty.

(17,500 - 22,500) 267

464

465

466

467

469

468

464.

Bluebill drake, Stanley Grant, Barnegat, New Jersey, 2nd quarter 20th century. “SG” stamped in weight. Original paint with minor wear; structurally good. (700 - 900)

465. Pintail drake, Jay Parker, Parkertown, New Jersey, circa 1950. Carved crossed wingtips. Signed on the underside. Original paint with minor wear; reglued crack through tail. (300 - 500) 466. Mallard drake, William Corson, Corson’s Inlet, New Jersey, circa 1930s. Paint has been restored in its original style; small cracks and dents. (350 - 450)

268

467.

Canada goose, Otis Seaman, Barnegat Bay, New Jersey, last quarter 19th century. Raised neck seat and subtle wingtip carving. Appealing old in use repaint; weight is missing; small cracks. (500 - 700)

468. Pair of buffleheads, Captain Jesse Birdsall, Barnegat, New Jersey, last quarter 19th century. Paint has been restored in its original style; lightly hit by shot; both have roughness to ends of bills. (650 - 950) 469. Pintail drake, John Updike, Wading River, New Jersey. Original paint with minor wear; a few small dents. (650 - 950)

470.

Canada Goose from New Jersey, circa 1900. Unusual head style with ridge on back and flared out top of head. Original paint with minor wear, mostly on underside; shrinkage on breast paint. (2,500 - 3,500)

470 471. Bluebill drake, Harry M. Shourds, Ocean City, New Jersey. Original paint with minor discoloration and wear; thin crack through neck. (1,750 - 2,250)

471 472. Greenwing teal drake, Lloyd Johnson, Bayhead, New Jersey. Branded and signed, 1962. Slightly turned head. Relief wingtip carving and fluted tail. Very good and original.

Provenance: Inherited by the consignor in 1969 from the estate of Dr. Warren Bradley Spurge, Woodbury, Connecticut. (1,200 - 1,500)

473. Black duck, Rowley Horner, West Creek, New Jersey. His earlier carving style, circa 1910. Worn original paint with moderate wear; feather detail showing; bill appears to have second coat; thin surface crack in one side of head; numerous small dents.

472

Provenance: Used at the Middle Island Club, off of Long Beach Island. Literature: “Classic New Jersey Decoys,” James Doherty. (1,200 - 1,500)

473 269

North Carolina and Virginia Lee Dudley

1860 - 1942 Knott’s Island, North Carolina

The brand “LD” in the underside of this canvasback helps date it to Lee Dudley’s earliest period of decoys. This rig was made for Dudley’s personal use, eventually being sold to a Knotts Island Gun Club in 1913, according to what he told Joel Barber in an interview in the 1930s.

474 Detail

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474. Well sculpted canvasback drake, Lee Dudley, Knott’s Island, North Carolina, last quarter 19th century. “LD” brand in underside. Worn old paint protected by an old coat of varnish; small chips missing from end of tail; small cracks in body; head was broken off and reattached a long time ago; small dents; worn area on one edge of bill.

Provenance: Inherited by the consignor in 1969 from the estate of Dr. Warren Bradley Spurge, Woodbury, Connecticut.

Literature: “Gunnin’ Birds,” Kroghie, Andresen. (40,000 - 60,000)

474 Detail

474

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475. Bluebill drake, William Basnight, Wanchese, North Carolina. Appealing old in use repaint; numerous small cracks in head and neck; separation at body seam. (2,750 - 3,250)

475

476. Black duck by a member of the Doughty Family, Hogg Island, Virginia. Inlet head, carved eyes and raised “V” wingtip carving. Old in use repaint; crack through one side of neck base; shallow chip missing from underside of tail. (2,750 - 3,250)

476

477. Full bodied canvasback drake, Ira Hudson, Chincoteague, Virginia. Fine feather paint detail. Original paint with minor to moderate wear; two cracks in back; lightly hit by shot. (2,000 - 3,000)

477

478.

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Canvasback drake, Doug Jester, Chincoteague, Virginia. Near mint original paint; structurally very good. (1,800 - 2,200)

479

479 Detail

479. Extremely rare Canada goose from Southern Currituck County, North Carolina. In very rare original paint; minor wear on head and lower half, moderate wear on upper half; numerous cracks; age split in underside; lightly hit by shot. Provenance: Leonard Willis collection. (6,000 - 9,000)

273

481

480

483

482

485

484

480. Bufflehead hen and drake, Doug Jester, Chincoteague, Virginia, first quarter 20th century. Hen has original paint with very minimal wear; drake has moderate wear; drake has a crack in the underside.

483. Oversize pintail drake, Charles Clark, Chincoteague, Virginia, 1st quarter 20th century. Raised “V” wingtip carving. Original paint with moderate wear on much of the decoy; some old repaint; several cracks; slight separation at neck seam.

Provenance: Formerly in the collection of William Purnell, Ocean City, Maryland. “P” is branded in the underside of each. (1,500 - 2,500)

481. Rare greenwing teal drake, Miles Hancock, Chincoteague, Virginia. Original paint; minor wear; hairline surface crack at one side of neck.

484. Bufflehead drake from Virginia. Old in use repaint on the white areas; black area appears to be original; moderate wear; small cracks and dents. (800 - 1,200)

Provenance: Formerly in the collection of Roy Bull, Cape Charles, Virginia. Bull collection stamp in underside. (1,500 - 2,500)

482.

Pintail drake, Ira Hudson, Chincoteague, Virginia. Paint has been restored in the Hudson style; minor to moderate wear; a few small dents and shot marks. (1,000 - 1,400)

274

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (1,000 - 1,400)

485. Canvasback hen, similar to the work of Robert Morse, Churches Island, North Carolina. Sharper carving. Original paint with minor to moderate wear; age split in underside; crack through neck. (800 - 1,200)

486

487

488

489

486. Pair of canvas over wire frame Canada geese, Purnell Curles, Churches Island, North Carolina. “P. Curles” is burned in the underside. Old in use repaint; tiny chip missing from one bill, larger chip missing from other. (600 - 900) 487. Pair of canvasbacks, Purnell Curles, Churches Island, North Carolina, circa 1940s. Old in use repaint; thin crack through neck; crack in back of drake; hen has a crack in the underside.

Literature: “Gunnin’ Birds,” Kroghie Andersen, p. 180. (600 - 900)

488. Canvasback hen, Ned Burgess, Churches Island, North Carolina. Appealing old in use repaint; structurally good. (500 - 700) 489.

Three full size carved wooden songbirds, Frank Finney, Cape Charles, Virginia. Signed. Original and good. (1,500 - 2,000)

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Powder Tins

491

490

492

494

493

495

490. Rare gun powder tin, green can with paper label, Peerless Rifle Powder, Giant Powder Company, San Francisco, California. Tin has areas of missing paint; label is in good condition; someone has written “Black” on front label. (1,500 - 2,000) 491. Gun Powder tin, Hazard Powder Company. With image of horseman chased by wolf. Small amount of even wear, but very good and original. (1,000 - 1,500) 492.

Gun powder tin, Hazard Powder Company. With image of hunter in snow shoes and wolf. A few small scratches, otherwise very good and original. (1,000 - 1,500)

493. Gun powder tin, Hazard Powder Company. With image of hunter and antelope. Can is slightly depressed 276

496

on one side; faint areas of rust to one side; otherwise good and original. (1,000 - 1,500) 494. Gun powder tin, Black can with paper label, Valley Mills Gun Powder, California Powder Works. Image of mallard and duck hunters. Professional restoration to approximately 20% of label. (800 - 1,200) 495. Gun powder tin, red can with paper label, Quickshot, the King Powder Company. Very rare label with both bullets and shotgun shells included on label. (800 - 1,200) 496. Gun powder tin. Green can with paper label. Popular Sporting, the King Powder Company. Areas of paint missing to tin; label shows some small stains and wear. (800 - 1,200)

Powder Flasks

497

498

500

502

499

501

503

497. Two gun powder flasks. Approximately 8 1/2” in length. Flask with red stag and dog is two sided. Flask with floral motif is two sided and marked G. &. J. Hawksley, Sheffield. (500 - 800) 498. Two gun powder flasks. Approximately 9” in length. Flask with red stag and hounds is two sided and is marked “Am. FLASK”. Flask with pointer is single sided and marked “James Dixon and Sons Sheffield”. Original and good. (500 - 800) 499. Four pistol gun powder flasks. All are two sided. Oil shell and eagle motifs. All measure approximately 4 1/2”. No visible markings. (600 - 800) 500. Three gun powder flasks. All three have images on one side only. One with two grouse and a setter, one with hunter and two pointers and marked, “Dixon and sons,” and one with a pack horse, dog , and hunter marked “Dixon and Sons”. Lengths vary from 6 1/2” to 8”. (800 - 1,000) 501. Three gun powder flasks. 8” to 8 1/2” in length. Flask

504 with dead hanging rabbit is two sided. Flask with dead hanging rabbit marked, “James Dixon and Sons” on front is single sided. Flask with dead hanging birds and floral motif is double sided and is marked, “G. & J. W. Hawklsey, Sheffield.” (800 - 1,200) 502. Two gun powder flasks that measure approximately 7 1/2” in length. Both are double sided and image of dog and hunter. Original and good. (500 - 600) 503. Copper pistol gun powder flask, Twisted Dolphin. Copper pistol gun powder flask, Twisted Dolphin, 4 3/4”. Brass pistol gun powder flask, Colt with E Pluribus unum on both sides with eagle and nine stars. Twisited Dolphin has shot size dent to one side; otherwise good and original. Colt is good and original. (600 - 900) 504. Copper gun powder flask. Same image on both sides. Overall length 9”. Eagle with shaking hands and US banner. “Batt” and “1854” is stamped at the top. Good and original. (300 - 500) 277

Maryland

505

506

505. Pair of bluewing teal, Robert McGaw, Havre de Grace, Maryland. Detailed scratch feather paint. Original paint with minor discoloration and wear; hen has a fairly large area, mostly on back, where the paint is faded; also small rough spot on one side. (5,500 - 7,500) 506. Rigmate pair of working canvasbacks, Charlie Joiner, Chestertown, Maryland. Signed and dated 1951 by

278

507

Joiner at a later date. Original paint with minor wear; drake has been lightly hit by shot; hairline cracks in undersides. (1,250 - 1,750) 507. Pair of wood ducks, Charlie Joiner, Chestertown, Maryland. Signed and dated 1984. Drake has slightly turned head. Very good and original. (1,200 - 1,500)

507A

507B

507A. Pair of shooting stool model canvasbacks, Ward Brothers, Crisfield, Maryland. Signed and dated 1972. Hen is in rare preening pose. Drake has slightly turned head. Original and good. (3,500 - 5,500)

507B. Pair of goldeneye, Ward Brothers, Crisfield, Maryland. Signed and dated 1968. Both are carved in their 1936 style. Very good and original.

Provenance: Formerly in the Norris Pratt collection. (3,500 - 4,500)

279

507C

507D

507E

508

509

510

507C. Bluebill drake, Ben Dye, Perryville, Maryland, 3rd quarter 19th century. Branded “W.W. Foulks”. Paint has been restored; small cracks and dents. (600 - 900)

508. Canvasback drake, Ben Dye, Havre de Grace, Maryland, last quarter 19th century. Old in use repaint; cracks. (500 - 800)

507D. Bluebill drake, John “Daddy” Holly, Havre de Grace, Maryland, 3rd quarter 19th century. Old in use repaint; small cracks and rough spots. (600 - 900)

509. Canvasback drake, William Holly, Havre de Grace, Maryland, last quarter 19th century. Old in use repaint; small cracks and dents. (500 - 800)

507E. Canvasback drake, John Graham, Charlestown, Maryland, 3rd quarter 19th century. “Holden” brand in underside. Paint has been restored; small cracks and dents. (500 - 800)

510. Canvasback drake, Ben Dye, Perryville, Maryland, 3rd quarter 19th century. Paint has been restored; small cracks and dents. (750 - 1,000)

280

511. Redhead drake wooden wing duck, John “Daddy” Holly, Havre de Grace, Maryland. Head is slightly turned. Subtle feather paint detail. Original paint with flaking and rubs; structurally good. (1,000 - 1,400)

511 512. Canvasback drake, Ben Dye, Perryville, Maryland, 3rd quarter 19th century. “JJ” carved in the underside. Old in use repaint; small dents. (1,000 - 1,400)

512

513. Oversize Canada goose, Lloyd Sterling, Crisfield, Maryland. Approximately 27” long. Appealing old in use repaint; numerous cracks. (1,250 - 1,750)

513 281

515

514

516

517

518

519

520

521

514. Balsa body bluebill drake, Ward Brothers, Crisfield, Maryland. 1948 model with slightly turned head. Paint was restored by the Ward Brothers in the 1970s; small dents. (800 - 1,200) 515. Very rare Canada goose, James Biddle, North East, Maryland. Signed by the maker. Very good and original. (800 - 1,200) 516. Balsa body Canada goose, Ward Brothers, Crisfield, Maryland, circa late 1940s. Repainted at a later date by the Ward Brothers; minor roughness to balsa. (950 - 1,250) 517. Bluebill drake, John Graham, Charlestown, Maryland, 3rd quarter 19th century. Old in use repaint; several cracks. (500 - 800)

282

518. Swan with swinging wooden keel, Jim Pierce, Havre de Grace, Maryland. Original paint; minor wear; small cracks. (800 - 1,200) 519. Canvasback drake, Henry Lockhart, Elk Neck, Maryland, 1st quarter 19th century. Appealing old in use repaint; crack through neck; small dents. (800 - 1,200) 520. Wooden wing duck attributed to Ben Dye, Perryville, Maryland, 3rd quarter 19th century. O’Dell rig brand in underside. Appealing old in use repaint; crack through neck. (600 - 900) 521. Canvasback drake, Wally Algard, Charlestown, Maryland, 1st quarter 20th century. Strong original paint shows minor wear; thin crack in the neck. (300 - 500)

Delbert “Cigar” Daisey Chincoteague, Virginia

521A. Large pintail drake, Cigar Daisey, Chincoteague, Virginia. Branded and signed. Approximately 20 1/2” long. Relief carved primaries and secondaries. Very good and original. (1,250 - 1,750)

521A 521B. Pair of mallards, Cigar Daisey, Chincoteague, Virginia. Branded and signed. Both have carved wingtips and fluted tails. Very good and original. (1,250 - 1,750)

521B 521C. Two decoys, Cigar Daisey, Chincoteague, Virginia. Branded and signed. A ruddy duck and a coot. Both have raised carved primaries and secondaries. Ruddy duck has fluted tail. Very good and original. (1,000 - 1,400)

521C 521D. Rare pair of hooded mergansers, Cigar Daisey, Chincoteague, Virginia Branded and signed. Relief carved primaries and secondaries and fluted tails. Very good and original. (1,750 - 2,250)

521D 283

521E

521F

521G

521H

521I

521E. Two shorebirds, Cigar Daisey, Chincoteague, Virginia. Branded and signed. Willet and yellowlegs. Excellent and original. (1,000 - 1,400) 521F. Pair of mergansers, Cigar Daisey, Chincoteague, Virginia. Branded and signed. Excellent and original. (1,000 - 1,400) 521G. Pair of buffleheads, Cigar Daisey, Chincoteague, Virginia. Branded and signed. Both have slightly turned 284

heads, relief carved primaries and secondaries and fluted tails. Very good and original. (1,000 - 1,400) 521H. Pair of ruddy ducks, Cigar Daisey, Chincoteague, Virginia. Branded and signed. Very good and original. (1,000 - 1,400) 521I. Pair of bluebills, Cigar Daisey, Chincoteague, Virginia. Branded and signed. Very good and original. (1,000 - 1,400)

Hurley Conklin

1913 - 1991 Manahawkin, New Jersey

522

523

524

525

526

527

528

529

530

522. Pair of greenwing teal, Hurley Conklin, Manahawkin, New Jersey. Signed. Drake is in rare preening pose. Original paint with moderate wear on undersides; crack through hen’s bill. (600 - 900)

527. Pair of mergansers, Hurley Conklin, Manahawkin, New Jersey. Both have slightly turned heads and “H. Conklin” brand in underside. Very good and original. (500 - 700)

523. Pair of mallards, Hurley Conklin, Manahawkin, New Jersey. Both are signed. Very good and original. (600 - 900)

528. Merganser hen and drake, Hurley Conklin, Manahawkin, New Jersey. Both have “H. Conklin” brand in underside. Drake has slightly turned head. Hen is in sleeping pose. Drake is very good and original; hen has paint shrinkage at wingtip area and slight paint shrinkage on breast. (400 - 600)

524. Canvasback hen and drake, Hurley Conklin, Manahawkin, New Jersey. “H. Conklin” brand. Both have slightly turned heads. Very good and original. (600 - 900) 525. Rare early hunting model sleeping greenwing teal hen, Hurley Conklin, Manahawkin, New Jersey, circa 1950s. Near mint original paint; very slight roughness to tip of tail. (500 - 700) 526. Pair of old squaw, Hurley Conklin, Manahawkin, New Jersey. Both have “H. Conklin” brand and slightly turned heads. Thin crack through hen’s neck; minor paint alligatoring under drake’s tail and on one side of drake’s head. (500 - 700)

529. Gull with raised wingtips, Hurley Conklin, Manahawkin, New Jersey. Original paint with very slight discoloration and wear; structurally good. (400 - 600) 530. Two decoys, Hurley Conklin, Manahawkin, New Jersey. Redhead and bluebill drakes. Both have “H. Conklin” brand in the undersides. Original paint with minor alligatoring on bluebill and slightly discoloration; structurally very good. (450 - 650)

285

New England

531

532

533

534

535

536

531. Swimming loon used on Back Bay in Portland, Maine. Carved eyes and inlet head. Old in use repaint on most of the decoy, some of the white areas on breast and speculums is original with minor wear; crack in underside; bill has been very slightly blunted. (700 - 900) 532. Eider hen from Friendship, Maine. Attributed by some to George Huey. Inlet head. Original paint with minor wear; lightly hit by shot; small chip missing from tail; crack in underside. (600 - 900) 533. Gull from Chebeague Island, Maine. Applied tail, inlet head, and carved eyes. Original paint with moderate discoloration and minor wear; crack through neck. (500 - 800)

286

534. Bluebird, Gus Wilson, South Portland, Maine. Full size mounted on base with wire legs. Appears to be a very old second coat of paint; damaged area at tail; paint has crazed evenly over most of the surface. (500 - 700) 535. Oversize Monhegan Island style goldeneye drake, Gus Wilson, South Portland, Maine. In swimming pose with inlet head carved eyes and relief wing carving. Old overpaint has been taken off of much of the decoy; leaving a mixture of bare wood, original paint, and overpaint; small cracks and dents. (800 - 1,200) 536. Pintail drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. Old in use repaint; small cracks and dents. (600 - 800)

538

537

539

540

542

543

537. Black duck, Elmer Crowell, East Harwich, Massachusetts. Pre brand with fluted tail. Repainted; small cracks and shot marks. (400 - 600) 538. Hollow carved goldeneye drake from Massachusetts. Body halves are joined by 5 small dowels. Relief wing carving. Worn old paint; small cracks; body seam has separated. (400 - 600) 539. Two goldeneyes, Willie Ross, Cheabeauge Island, Maine. Both have inlet heads. Old repaint; hen has numerous cracks and a tiny chip missing under the bill. (350 - 550) 540. Goldeneye hen, Charles Hart, Gloucester, Massachusetts. Very slightly turned head. Original paint with minor wear; structurally good. (350 - 450)

541

544

541. 1/2 size bluebill drake paperweight, Frank Adams, Martha’s Vineyard, Massachusetts. Traces of Adams’ paper label are on the underside. Slightly turned head. Original paint with moderate fading and wear; a couple of small dents. (350 - 450) 542. Oversize canvas over wooden frame scoter, Clinton Keith, Kingston, Massachusetts, last quarter 19th century. Appealing old in use repaint; small cracks in head. (350 - 550) 543. Early style redhead drake, Keyes Chadwick, Martha’s Vineyard, Massachusetts. Appealing old in use repaint with moderate wear; age split in back; small dents; cracks in underside. (300 - 500) 544. Black duck with tack eyes. Original paint with subtle loop feather painting; crack in back; surface crack in one side of neck. (300 - 400)

287

Shorebirds

545

546

547

548

549

550

551

545. Golden plover from Nantucket, last quarter 19th century. Sharp chines at bottom edge. Branded “GS Southwick.” Bill is a replacement; worn original paint on back, old touchup on breast and front; hit by shot. (500 - 800) 546. Golden plover from Massachusetts, last quarter 19th century. Beatle head style. Original paint with minor to moderate wear; lightly hit by shot.

Provenance: Gilford collection.

(500 - 800)

547. Golden plover from Nantucket, Massachusetts, last quarter 19th century. Sharply chinned at bottom edge. Appealing old in use repaint; bill is an old replacement; vertical crack through head. 288

Provenance: Gilford collection.

(400 - 600)

548. Yellowlegs with tack eyes, Massachusetts, last quarter 19th century. Original paint; minor wear; lightly hit by shot. (400 - 600) 549. Large curlew from New Jersey. Relief wing carving. Appears to be 40 or 50 years old. Hollow carved. Original paint with minor to moderate wear; structurally good. (300 - 500) 550. Unfinished plover from the South Shore of Massachusetts. Shoe button eyes. Retains primer coat with minor wear; small dents and shot marks. (200 - 300) 551. Yellowlegs from South Shore of Massachusetts, circa 1900. Split tail and tack eyes. Original paint with minor to moderate wear mostly on one side; structurally good. (350 - 450)

Related Items

552

555

553

554

556A

556

557

558

552. Orange and grey checkerboard from Quebec, 1st quarter 20th century. Approximately 17” x 23 1/2”. Original paint with minor to moderate wear; crack through center. (350 - 450) 553. Red and white checkerboard from Quebec, 1st half 20th century. Three piece back board. Original paint; some shrinkage on white areas; moderate wear on back. (350 - 450) 554.

Two old shot smelters found in western Pennsylvania. 5 1/2” long. Original and good. (300 - 500)

555. Early hooked rug with bird. Approximately 15” x 26”. Original and good. (300 - 400)

556. “Barnegat Bay Sneak Box,” an approximately 2’ long model with hunter, dog and decoys. In plexiglass case. Model very good; case good. (400 - 600) 556A. Gunpowder tin, Savage Arms Company, Smokeless Rifle Powder. Graphics on three sides and paper label on one; paper label has stained and darkened indicated date of 1903. Original and good. (400 - 600) 557. Set of weather gauges, Abercrombie and Fitch and a barometer. On plaque approximately 18” long. Very good and original. (300 - 500) 558. Grouse hanging game carving on oak backboard. Approximately 17” long. Very good and original. (350 - 450)

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560

559

562A

562

561 564

565

563 559. Hazard powder company blue ribbon hanger Western Party 1899, Grand American handicap. Two sided medal. Very good and original. (2,000 - 3,000) 560. DuPont shooting medal, Western Party 1899, Grand American handicap. Very good and original. (1,200 - 1,500) 561. Group of three gun oil cans. Two Winchester, one Ithaca and one Marlin Gun catalog from 1908. Very good and original. (800 - 1,200) 562. Two watch fobs and one Winchester medal with image of three shotgun shells, indicating a memento from Southern Hardware Association and Convention 1905. One Deadshot from the American Powder Mills and one Winchester Sales Leader Club 1924. Possibly a sales award. One indicates on back that the medal is gold filled. Very good and original; Deadshot retains leather watch holder strap. (800 - 1,000) 562A. Two items. A copy of, “Fred Kimbel Master duck shot” owned and signed by Daniel W. Voorhees, Peoria Illinois, July 1923. Also a filled out scorecard from the Kimbel Kleinz pigeon shooting match February 1888. Book fair; 290

card good

Provenance: From the Voorhees family.

563.

Shotgun shell box, 2 piece 12 gauge, American Standard Loads. Image of redhead ducks flying. Buff box with wrap label. Very good. (700 - 900)

(350 - 550

564. Two shotgun shell boxes; Winchester Nublack black powder shells, and Winchester New Rival black powder shells. Both are full. Nublack has one very small area on front label where paper has been scratched away, otherwise very good and original. New Rival is very good and original (600 - 900) 565.

Gun powder tin, with green with paper label. Eagle Gun Powder, DuPont. Gun powder tin, with green with paper label. Eagle Gun Powder, DuPont with image of duck shooting. One with paper label. Orange Ducking Powder, Laflin & Rand Powder Company, New York, with image of widgeon drake. Can shows red flaking; label is strong. And one Red can with paper label. Image of pointer. Telegraph Sporting Gun Powder, American Powder Mills, Boston. Back label indicates number 5 can. Appears to be some areas of restoration to area where eagle is on the front label on one (900 - 1,200)

566

567

568

569

570

571

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573

574

566. Shotgun shell box, 2 piece 12 gauge, UMC Arrow. Full and sealed. Very small area of discoloration on front label otherwise very good and original. (500 - 800) 567. Shotgun shell box, 2 piece 12 gauge, Peters Quickshot. Buff box with full wrap blue label. Box is full. Areas of seam split to one side; small areas of damage to front label; in the word “Peters” some pieces have been glued back. (500 - 800) 568. Gun powder tin. With paper label. American Rifle Powder, Schaghticoke, from Schaghticoke, New York. Excellent image with group of hunters and dogs shooting birds. (500 - 1,000) 569. Two Shotgun shell boxes. Shotgun shell box, 2 piece 10 gauge, Peters Quick Shot. Buff box and wrap label. And Shotgun shell box, 2 piece 10 gauge, Pointer. Buff box with full wrap label. Quick shot has small areas of staining on side labels and approximately 1/2” x 1/4” area of wrap label missing from side; appears as if someone has drawn an L to replace missing L on label. Pointer has some damage to side label, otherwise very good. (600 - 900) 570. Rare shotgun shell box, 50 count 2 piece 8 gauge, Winchester Leader. Buff box. Good; full wrap label partially missing around seam cut, otherwise good. (600 - 800)

571. Shotgun shell box, 2 piece 12 gauge, UMC Nitro Express. Shotgun shell box, 2 piece 12 gauge, UMC Nitro Express with image of drake mallard on side label. Full box. And one Shotgun shell box, 2 piece 12 gauge, UMC Nitro Club. Blanks. Full and sealed. On UMC, small area of damage to upper right label; staining on bottom. (600 - 1,000) 572. Two full cartridge boxes, both 50 count, .44 caliber Winchester Smokeless, 1987. Both boxes are full and sealed. Orange label box in good condition with small area of damage to one corner; green label box in good condition with a very small amount of inpainting at lower left of front label. (400 - 800) 573. Shotgun shell box, 2 piece 100 count 12 gauge, New Rival, Winchester New Rival. Buff box with full wrap; retains empty shells. (400 - 600) 574. Rare and unusual copper powder flask in the shape of a gun stock. Stamped “FRARY, BENHAMN & Company.” (300 - 500)

End of Session Two

291

Index of Carvers Abbett, Robert K............................................................................ 177 Adams, Frank................................................................................. 541 Akerly Family .............................................................................. 245 Alexander, Phinneas....................................................................... 389 Algard, Wally................................................................................. 521 Anger, Ken.............................................................................. 224,226 Ashford, H.N.................................................................................. 234 Bachman, Captain Edwin............................................................... 436 Baldwin, John................................................................................ 345 Barker, Al.................................................................................... 257C Basnight, William.......................................................................... 475 Bateman, Robert............................................................................ 182 Belote, Captain Richard................................................................. 218 Benson, Frank......................................................................... 190,191 Bergman, Charles........................................................................... 204 Bianco, Tony.................................................................................. 403 Biddle, James................................................................................. 515 Birch, Reggie................................................................................. 216 Birdsall, Charles............................................................................. 405 Birdsall, Jesse.......................................................................... 462,468 Bishop, Richard....................................................................... 259,260 Black, Charles................................................................................ 397 Blackstone, Jess..........................................................................48-51 Blair, Jr., John................................................................................ 394 Bolles, Reginald F................................................................... 265,266 Borrett, Mike.................................................................................. 317 Bowman, William................................................................... 113-115 Boyd, George.....................................................140-143,355,356,368 Bradshaw, Fred.............................................................................. 313 Broussard, Andre............................................................................ 426 Browne, George............................................................................. 181 Buchner, Frank............................................................................... 131 Burgess, Ned.................................................................................. 488 Burleigh Brothers ......................................................................... 430 Burr, Russ............................................................................. 52,53,158 Burr Family .................................................................................. 353 Chadwick, Keyes...................................................... 147,150,156,543 Chambers, Tom................................................... 33,35A,219,221,223 Chrysler, William............................................................................. 32 Clark, Charles................................................................................ 483 Clark, Roland....................................................................... 94,95,106 Clifford, Bill................................................................................... 271 Colt Firearms ............................................................................... 416 Conklin, Hurley.......................................................................522-530 Corliss, Rubin................................................................................ 320 Corson, William............................................................................. 466 Couvillion, Skip............................................................................... 70 Coykendall, Ralph.......................................................................... 154 Crandall, “Hi”................................................................................ 207 Crowell, Elmer................................37-40,42-46195-203,341E,341G, 358-361,365,367,417-425,536,537 Cuffee, Chief Eugene..................................................................... 121 Curles, Purnell......................................................................... 486,487 Daisey, Cigar...................................................................... 521A-521I Dando, A.J........................................................................................ 41 Davern, Harve................................................................................ 431 Dawson, John..................................................................................... 9 Dawson, Walter.............................................................................. 129 Dilley, John.............................................................................123-126

Dohanos, Stevan............................................................................ 194 Doughty Family, .......................................................................... 476 Dowdall, Jonathan.......................................................................... 310 Ducharme, Duncan........................................................................ 433 Dudley, Lee.................................................................................... 474 DuPont ......................................................................................... 565 Dye, Ben......................................................... 507C,508,510,512,520 E.G. Washburne and Company .................................................... 268 Ellison, Richard.............................................................................. 239 Elliston, Robert.............................................................................. 139 English, Dan................................................................................... 401 English, John............................................................................... 8,400 English/Dawson ............................................................................. 10 Evans Decoy Factory ................................................................... 297 Fabens, Captain................................................................................ 66 Finney, Frank.......................................................................... 215,489 Fitchet, Alma.................................................................................. 446 Fitzpatrick, Tom............................................................................. 395 Foote, Jim................................................................................ 304,305 Footer, David................................................................................. 257 Frazier, Luke.................................................................................. 187 Frost, Arthur Burdett................................................................... 93,96 Gatreau, Jim................................................................................... 427 Gelston, Thomas.............................................................. 122,228,229 Gilley, Wendell........................................................................ 332,333 Graham, John........................................................................507E,517 Grant, Stanley................................................................................ 464 Graves, Bert................................................................................... 138 Grossman, N.................................................................................. 192 Hancock, Miles.............................................................................. 481 Hart, Charles.............................63,155,157,307,341A-341D,344,540 Hatt, Otis........................................................................................ 434 Hawthrone, Davison...................................................................... 212 Hazard Powder Company .....................................................491-493 Heisler, Jess.......................................................................... 11,12,399 Herter’s Decoy Factory ......................................................... 292,300 Holly, John “Daddy”............................................................ 507D,511 Holly, William................................................................................ 509 Holmes, Lothrop............................................................................ 153 Horner, Rowley......................................................... 398,456,459,473 Houser, Allen.............................................................................. 416B Hudson, Ira........................................................................... 7,477,482 Huey, George............................................................................ 65,383 Hunt, Lynn Bogue..................................................................... 99,100 Irvine, Lawrence............................................................................ 236 J.W. Reynolds Company .............................................................. 286 Jacobsen, Antonio....................................................................... 257A Jacques, Francis L.......................................................................... 101 Janson, Richard.............................................................................. 205 Jester, Doug............................................................................. 478,480 Johansen, Rick............................................................................... 312 Johnson, Lloyd............................................................................... 472 Joiner, Charlie......................................................................... 506,507 Keith, Clinton................................................................................. 542 Kerr, Robert................................................................................... 338 King, A.J.......................................................................................... 47 King, Joe........................................................................................ 455 Kinkade, Thomas........................................................................... 110 Kinney & Harlow ......................................................................... 269

Kirby, Ken...................................................................................... 315 Koelpin, William..........................................................................416E Kouba, Les..................................................................................... 111 Laing, Albert.................................................................................... 56 Lapham, James................................................................. 303,330,331 Lawson, Oliver.......................................................... 211,213,214,311 Leeds, Daniel Lake........................................................................ 441 Lincoln, Joseph......................................... 146,149,151,152,341F,391 Lockhart, Henry............................................................................. 519 Look, James................................................................................... 144 Maass, David.................................................................................. 183 Madera, Clark......................................................................... 392,393 Marter, Caleb................................................................................... 13 Mason Decoy Factory ...................72-92,249-254,282-284,287-288, 290,291,293-296 Mastin, Jerry............................................................................... 203A McCord, George H......................................................................... 255 McGaw, Robert....................................................................... 325,505 McIntosh, Leo............................................................................. 21,22 McIntyre, Cameron........................................................................ 210 McLoughlin, John................................................................... 396,402 McNair, Mark.......................................................................25-27,217 Nichol, D.W................................................................................... 222 Nichols, Fred.................................................................................. 357 Olsen, Captain Thorbald................................................................ 209 Paquette, Robert............................................................................. 435 Parker, Jay...................................................................................... 465 Peerless Rifle Powder .................................................................. 490 Perdew, Charles......................................................... 128,137,270,272 Peters ............................................................................................ 567 Peterson Factory ........................................................................... 289 Pierce, Jim............................................................................... 326,518 Pleissner, Ogden......................................................................103-105 Pope, Alexander............................................................................. 334 Quickshot ..................................................................................... 495 Quillin, Nate................................................................................... 127 Quinn, William............................................................................14-17 Ramsay, John................................................................................. 432 Reeves, Charles.............................................................................. 429 Reeves, John.................................................................................. 220 Remington, Frederick S................................................................. 102 Reneson, Chet.........................................................................178-180 Ripley, A. Lassell................................................... 97,98,109,186,189 Robin Hood ....................................................................407,409-412 Robsinson, Gerald.......................................................................... 384 Ross, Harry.................................................................................... 264 Ross, Willie................................................................... 371,373A,539 Rosseau, Percival Leonard............................................................. 185 Rowland Wood Company ...........................................................341I Rungius, Carl....................................................................... 108,416A Safford, Charles................................................................................ 59 Sattler, Carl.................................................................................... 134 Savage Arms Company ............................................................. 556A Schalk, Ray...................................................................................... 55 Scheeler, John................................................................... 416C,416D Schmiedlin, Jim............................................................................... 20 Schreck, Michael............................................................................ 193 Schultz, William...........................................................................416F Seaman, Otis.................................................................................. 467

Seymour, Harry.............................................................................. 235 Shadach, William J......................................................................... 107 Sharp, John.............................................................................. 328,329 Shifferell, Lou................................................................................ 316 Shourds, Harry M. ......................................................................... 471 Shourds, Harry V.........................................438-440,457,460,461,463 Shourds III, Harry V....................................................................... 324 Sloane, Eric.................................................................................... 176 Smith, H. Granville........................................................................ 112 Smith, Harry................................................................................... 258 Southard, William.......................................................................... 117 Sterling, Lloyd............................................................................... 513 Sterling, Noah.................................................................................... 6 Stevens, Harvey...................................................................... 237,238 Stevens Brothers ................................................................ 238A,246 Stone, J.H....................................................................................... 116 Strong, Helen Lay............................................................................ 54 Strunk, George....................................................................... 23,28,29 Swisher & Soules ......................................................................... 299 Tenholme, W.C............................................................................ 257B Thomas, F.W.................................................................................. 256 Tracey, J.M..................................................................................... 184 Truex, Rhodes................................................................................ 458 Trulock & Harris ....................................................................... 341H Twisted Dolphin............................................................................. 503 Tyner, William................................................................................ 263 UMC ..................................................................................... 566,571 Updike, John.................................................................................. 469 Valley Mills Gun Powder ............................................................. 494 Verity, Obediah.......................................................................230-233 Voorhees, Charles................................................................... 273,274 Ward Brothers .................160-174,335-337,339-341,348-351,507A, 507B,514,516 Warin, George.................................................................................. 35 Weiler, Milt.................................................................................... 188 Wells, John R.............................................................................. 30,34 Wheeler, Chauncey........................................................................ 240 Wheeler, Shang............................................................... 61,257D,327 Whipple, Mark.............................................................................. 67A Whipple Family ........................................................................ 69,71 White, Bob....................................................................................... 24 Wilcoxen, Richard......................................................................... 135 Wildfowler Factory .......................................... 280,298,301,318,319 Wilson, Gus........................... 346-347,375-380,386-388,390,534,535 Winchester ................................................ 406,408,415,570,572,573 Wooster, Joseph....................................................................... 302,342 Wozny, Eddie....................................................................... 18,19,343 Wyeth, Andrew.............................................................................. 175 Zalesky, Larry................................................................................ 206

Shelburne Museum’s Decoy Collection Returning to Public View in 2017

Shelburne Museum’s collection of 1,200 waterfowl decoys is one of the finest, most comprehensive collections on public view in the country, featuring a Who’s Who of American carvers. A. Elmer Crowell, Captain Charles Osgood, Shang Wheeler, the Ward Brothers, Bill Bowman, and Albert Laing are among the many famous carvers. The decoys come from New England, Long Island, Chesapeake Bay, Illinois, Quebec, and other regions. The core of the collection was formed with the 1952 acquisition of more than 400 superior examples from Joel Barber, a New York City architect, artist, and carver who in his seminal book Wild Fowl Decoys (1934) was the first to identify the importance of decoys as a uniquely American art form.

In 2017 this extraordinary collection will be reinstalled into the restored Dorset House, an 1832 Greek Revival-style building at the Museum. Fundraising for this extensive project is underway with appeals to waterfowl decoy partisans throughout the country. If interested in learning about or supporting this eﬀort, please contact David Huntington at dhuntington@shelburnemuseum.org or 802.985.3346 x 3390.

Located in Vermont’s scenic Lake Champlain Valley, Shelburne Museum is a museum of art, design, and Americana noted for its diverse and remarkable collections. Over 100,000 works are exhibited in a setting of 38 exhibition buildings on its 45-acre campus. Founded in 1947 by Electra Havemeyer Webb, the Museum features important collections of Impressionist paintings and America art, quilts and textiles, decorative arts, furniture, and a dazzling array of 17th-to 20th-century artifacts. Please consider making Shelburne Museum your destination this year!

6000 SHELBURNE ROAD, SHELBURNE, VT • SHELBURNEMUSEUM.ORG

We are pleased to announce that Robert J. Koenke has accepted the position of Guyette & Deeter, Inc.’s Sporting and Wildlife Art Expert. We are confident that he will be an excellent fit within our organization. Mr. Koenke has been a member of the Board of Directors of the Art Advisory Board of the Waterfowl Festival in Easton, Maryland since 1985 and served on the Board of Directors of the Southeastern Wildlife Expo in Charleston, South Carolina. He has also consulted on numerous wildlife art shows across the United States. He was a member of the Art Advisory Board for the Arts in the Park program in Jackson Hole, Wyoming and judged the competition twice. He was appointed in the National Art Advisory Board for Ducks Unlimited in 1989, and he has served on the Board of Advisors for the James Ford Bell Museum of Natural History in Minneapolis since 1989 and was instrumental in the museum’s Wildlife Art in America Exhibition in 1994. He was named chairman of the Art Advisory Board in 1995 and still serves on the museum’s Advisory Board. In 1990, Mr. Koenke received the Wildlife Art industry “Person of the Year” award at the Pacific Rim Wildlife Art Show in Tacoma, Washington. This award, the first of its kind, was presented to Koenke for “major contribution to the wildlife art industry.” He was also recognized for “Outstanding Service and leadership by the California Artists Association in 2002. The Fallbrooks Museum awarded Mr. Koenke their “Lifetime Achievement Award for the Arts” in 2003. His contribution and major impact on the Waterfowl Festival was recognized at its silver anniversary festival in 1995 when Mr. Koenke was named to the Waterfowl Festival Hall of Fame. In 1997, Mr. Koenke was honored as a recipient of the Frazier Hancock Award for excellence in a private ceremony in Ohio. In 2005, Mr. Koenke moved to Maryland and started a new business, Robert J. Koenke & Associates, specializing in art and marketing consultation, fine art appraisals, teaching, and publishing. He received his Fine Arts in Appraisal degree from Pratt Institute in New York in 2007 and is a candidate member of the American Society of Appraisers. He holds a BA degree from Hamline University in St. Paul, Minnesota and currently resides and has offices on the eastern shore of Maryland. Mr. Koenke has been appraising fine art for over 30 years. His specialty is animal, sporting, and wildlife art with a subspecialty in early European and American art. He has completed appraisals for private collections, museums, exhibitions, attorneys in five states and fine art dealers.

JDJ

M u s e u m o f A m e r i ca n B i rd A rt at Mass Audubon

Massachusetts Masterpieces: The Decoy as Art by Gigi Hopkins

THE NEW BOOK / AVAILABLE JULY 2016 Featuring the exceptional Massachusetts decoys gathered by curator Gigi Hopkins for the unprecedented 2013 exhibition at the Museum of American Bird Art, and including new historical research and never-before-published photographs. Books may be purchased directly from the Museum of American Bird Art at Mass Audubon. Contact Amy Montague, director: amontague@massaudubon.org, 781-821-8853.

963 Washington St

Canton, MA 02021 massaudubon.org/maba 781-821-8853 amontague@massaudubon.org p

2016 Clayton Decoy/Wildlife Art & Sporting Collectibles Show July 15th & 16th (Friday and Saturday) TIDCA Display: Frank Coombs and the Alex Bay Longnecks

Broadbills by Frank Coombs, Alexandria Bay, NY

TIDCA Vintage Decoy Contest - Friday, July 15th:

Top Left: Three black ducks by 3 different makers Top Right: Broadbill from Lake Ontario or the St. Lawrence River Bottom Left: Puddle duck other than black duck from Lake Ontario or the St. Lawrence River

Decoy and Antique Auction - Friday, July 15th: ( www.chappysplace.com or www.auctionzip.com )

Contact: www.timuseum.org

Midwest Decoy Collectors Association a non-profit organization whose purpose is to collect and preserve the history of the decoy as original American folk art The Midwest Decoy Collectors Association is the largest organization of its kind and the sponsor, since its beginning in 1966, of the annual North American Vintage Decoy and Sporting Collectibles Show held each year in St. Charles, IL during the last full week in April. To learn more call the MDCA’s president Rick Sandstrom at 319-431-3861. To join

Discover • Preserve • Celebrate

now go to midwestdecoy.org, or fill out

the “must attend” event

newsletters & directory

Each Spring collectors travel from all over North America to the largest gathering of decoy and sporting collectibles enthusiasts anywhere to participate in what has become the “must attend” event for anyone with interest in this uniquely American folk art genre. Members enjoy free admission to the show.

Members receive periodic newsletters containing news and advice on a number of topics important to new and seasoned collectors alike (such as decoys as an investment, acceptable restorations, tips for collectors, and more).

the finest collections Within our members’ homes reside the finest collections of decoys and other sporting collectibles known today and they are always willing to share with other members.

and more... Membership also offers the ability to network with and learn from the most experienced and knowledgeable vintage and contemporary decoy collecting community – including top authors, dealers, magazine publishers, restorers, museum curators, and contemporary carvers.

and send in the membership application form provided below.

Members also receive a directory that includes member contact information and collecting focus, making it easy to network with collectors with like interests.

MIDW EST DECO Y COLLE CTORS ASSOC IATION

OFFICERS

Rick Sandstrom Jim Wierzba Bill Dodge Steve Handevidt

President Vice-Presid ent Treasurer

Secretary Midwest Decoy Collectors Association NEWSLETTER BOARD

2014 will feature New Jersey decoys, including this Shourds black duck

OF Bill Claussen DIRECTORS Roger Ludwig Tom O’Key Rick Sandstrom Jeff Seregny Joe Tonelli Jim Wierzba

Gene Davis Herb Desch Bill Dodge Curt Froyen Alan Haid Steve Handevidt

Winter 2013

PRESID

ENT’S CORN

Holiday Greetings from Rick and Liz

Fall is a ER very busy We have time for our associatio to review collect last n.

year’s the Many of PURPOSE resort plans outstanding dues, activity, you promotion have asked finish for next The purpose about our all the database year’s event, the plans and of the Midwest to find Collectors how we update informatio those distribute Decoy Association n, produce continued new members. are going 8 or 9 press hobby is to foster ads and of decoy our outreach and areas Last year releases, placemen the new collectors, collecting we create the to our ad by adding items, etc., t plan, by attracting strategy work new to attract by seeking preserving and we are moving etc. In addition, on 2015 561 new out and old decoys, were able event. paid attendees this year informatio gathering We and web forward with we n about a system to our refresh now reachedadded Facebook methods old carvers update to for our of and their cause and build better support th WGN radio to over 41,000 (which has an annual historical records, burden ease the show for and to support our previous and initial internetcontacts), administra carvers decoy collectorsholding all the activity. for the tive ads to exchange Adventure package that and We are included of informatio adding The Midwest Outdoors Sports Outdoors to our show next year n. , , and content Association Decoy Collectors Weekly, Auction Action Midwest the additions. I know that News, Collectors a nonprofit, you About 6 years ago we started a separate focus isarea at organizatio Antique Chronicle Journal, will highlight First, the vintagewill enjoy educationa , Outdoor Kane the show for Contemporary carverlaws members.n,Itincorporat has l the best display course of the State ed under Notebook County decoys. of Decoy New Second, quickly grown into a major part of the show. Thanks the and of Illinois. Magazine membersh Fishing Cameron Jersey volunteere It invites , Hunting of ip to all Collectible to Phil Jones and Pat Gregory foran their enthusiastic McIntyre d persons & GS&D interest s Magazine his decoys to bring a sampling has who have auction of orders support for this effort. Many attendees and the kind in decoys leave any catalogs. of both by sending his work and paintings collecting and to share with the carvers that they meet at the show.sporting collectible our materials You can all has evolved. press contacts how help tremendo to your s. DUES us response We experienc and local attention helping display For 2014, Cameron McIntyre has graciously to Jim Schmiedlied a us get local on our Dues a few years Jan1 that are $25.00 passion. ago and volunteered to assemble a sampling n’s We we will $70.00of both hisa year, or expect have a Dues! Cameron’ have not three similar decoys and paintings to shareJanuary how hisfor work has ignored years, payable response feedback s 1.This continue exhibit. This about the the member on evolved over time. We knowguest you will enjoyentitles this will help to the amount the focus, week’s free admission members us for the length and growth wonderful opportunity. Make sure to plan the time and a newsletter talented to the April activities. of time available and support s andwe have provided member/c to learn from this special exhibit. In 2015 Several show, an will listing all annual been asked different for the room directory the solid arvers that members. element leaders feature Marty Hanson. to engage contempo label indicates The mailing to winning in helping have rary are adding our organizati change. address what year’s been paid. us find on. Third, all of us The answer These special activities are in addition to carving/ a dues have Please broaden a vintage fish to we will require mail your checks decoy display the knowledg us to engageadjust and give payable painting demonstrations and displays by more than starting a new addition to the to some to thisare to M.D.C.A. dues with This yearofwe more collectors e and awareness wonderfu following allow two dozen member carvers who participate show that feature vintage decoys. Many Membersh address: in the to the l folk fishing addwill and grow. art. Finally, a hospitality Rick Sandstrom contemporary carver’s corner at the show. volunteers are already excited focus to share theirwetreasures to show will finances ip is growing our member to Friday evening again, our are solid 112 Goldleaf • (319) 364-8556 and knowledge. first display will bring a help the This of fresh and a significant Court networkin appreciati Marion, on and wide sample the activity and we Happy items are becoming newer of regions togstart opportuni Iowa 52302 amount Cameron McIntyre members. Collecting ties available. expect that it will take a The path similar to theforvintage show Roothead Brandt the support ! Thank 2014 MegaCen is planned WEBSITE you for for this duckof decoy display. Intothe future we will focus offer wonderfu your content ter on Folk Art. a broader www.midw l American different regionsand andisstart seminars. range positioned to grow estdecoy.o attendanc to continue rg Rick e. We are working the logistics to highlight some fish 2 Rick Sandstrom carving activities during the show to broaden our education and create an opportunity to meet these talented members. Help us spread the word about this important addition to our 2014 event.

Details Coming Together For Our 49 Annual Show

Contemporary Carver’s Corner

Vintage Fishing Decoys

Winter 2013

Discover • Preserve • Celebrate

Midwest

Decoy

Collectors

Associatio

n Newsletter

To join now go to midwestdecoy.org, or complete and mail in this application.

Make check payable to: Midwest Decoy

MEMBERSHIP APPLICATION

Mail check to: Curt Froyen 1957 120th Avenue Knoxville, IA 50138

Name: _______________________________________________________________ Mailing Address: _______________________________________________________ _____________________________________________________________________ Home Phone: _________________ Business Phone:__________________________ Mobile Phone: ________________ Email: __________________________________ Spouse’s Name: _______________ Collecting Interest(s): ______________________ _____________________________________________________________________

$25 Membership Fee (1 year) $70 Membership Fee (3 years)

CONDITIONS OF SALE ‑- PLEASE READ 1.

GUARANTEE ‑ We have made a consistent effort in correctly cataloging and describing the property to be sold. The decoys and paintings have guaranteed condition reports. Should the need arise, the auctioneer reserves the right to make verbal corrections and provide additional information from the block, at the time of the sale. Absentee bids will not be executed on items that are found to be other than described in the catalog. Since opinions can differ, particularly in the matter of condition, the auctioneer will be sole judge in the matter of refunds. 2. DURATION OF GUARANTEE ‑ Request for refund for items purchased IN PERSON at the auction must be made within 3 days of the sale. If you are an absentee or phone bidder it is your responsibility to examine the lot immediately upon receipt. On items purchased absentee, the guarantee will end 3 days from the date of delivery. Therefore, all guarantees on items purchased will become null and void 7 calendar days from the date of shipment. IT IS VERY IMPORTANT TO NOTE THAT IF YOU PAY LATE, YOU WILL NOT BE ELIGIBLE FOR THE GUARANTEE. Payment must be postmarked no later than 30 days after the auction. 3. PROTESTED BIDS ‑ In the case of a disputed bid, the auctioneer is the sole determinant as to who the successful bidder is, and at his discretion, may reoffer and resell the article in dispute. If a dispute arises after the sale, the auctioneer’s sales records shall be conclusive as to who the purchaser was, and the purchase price. 4. BIDDING - Bidding usually starts below the low estimate and advances in increments of approximately 10% of the opening bid subject to the auctioneer’s discretion. The auctioneer reserves the right, at his sole discretion, to refuse any bids that he deems unreasonable. The minimum bid increment guideline is as follows: $500 to $1000 - $25 $10,000 to $20,000 - $500 $100,000 and above - $2,000 $1000 to $10,000 - $100 $20,000 to $100,000 - $1,000 5. ABSENTEE BIDS ‑ Phone or mail bids, at the discretion of the Auctioneer, will be accepted with a 20% deposit. In such case, the bookkeeper will execute such bids competitively. Absentee bids are executed by the bookkeeper on behalf of the bidder in accordance with the bid increment policy shown above. Please review the rules governing both absentee and phone bids in the back of the catalog. 6. TERMS ‑ All items are to be paid for in U.S. funds at the day of the auction. No items will be released until they are paid for. Those who have not established an account with us and wish to pay by check, must do so prior to the beginning of the auction, by presenting a current letter of reference from their bank, or by providing references, that are suitable to the Auctioneer. The Auctioneer reserves the right to hold merchandise purchased by personal check, until the check has cleared the bank. Phone and absentee bidders ‑ You will be notified one week after the auction of your bids/results. PAYMENT IS DUE UPON RECEIPT. A late charge will be accessed on all balances not paid, at the rate of 12% A.P.R. commencing 30 days after the auction. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. Guyette & Deeter will not carry insurance on items that are not paid for within 35 days of the auction. Also, the auctioneer may retain and/or recover the deposit specified as liquidated damages. In addition, the property can be resold at public or private sale without further notice. Any deficiency resulting from such resale shall be paid to the auctioneer by the defaulting buyer, together with all charges, fees, and expenses incurred by such resale, or the enforcement of the obligation hereunder. Buyer agrees to pay all charges and expenses incurred by reason of any breach of the Terms and Conditions of Sale, including without limitation, reasonable attorney fees. 7. PAYMENT FOR PURCHASES MAY BE MADE WITH VISA , MASTERCARD, CASH, CHECK, OR WIRE TRANSFER. 8. BUYERS PREMIUM - The buyer’s premium, assessed on each selling lot, is 15% of the hammer price up to and including $1,000,000, plus 10% on any amount in excess of $1,000,000. For payments made using Visa or MasterCard, the buyer’s premium is 18% up to and including $1,000,000, plus 13% on any amount in excess of $1,000,000. 9. TAX ‑ THERE IS NO SALES TAX IN NEW HAMPSHIRE. 10. ACCEPTANCE OF CONDITIONS ‑ Bidding on any articles in this catalog indicates your acceptance of all the above items. 11. BIDDING AGENT RESPONSIBILITY ‑ If you are registering for someone or if you execute a bid for someone else under your number, you are responsible for the settlement of that account. You are also responsible for examining the decoy(s) for your client regarding the guarantee. 12. WITHDRAWAL ‑ We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. 13. TITLE ‑ Title passes upon the fall of the auctioneer’s hammer. It will then be the responsibility of the buyer to make full payment prior to removing the goods from the premises. Removal is at both the buyer’s risk and expense, and must be made at the conclusion of the sale, unless other arrangements are made with the Guyette & Deeter staff. Any lots we might make arrangements for moving or storing are solely at the risk of the owner, and any damage or loss occurring after the fall of the hammer becomes that of the buyer. 14. LEGAL DISPUTE ‑ Any legal disputes arising from this auction shall be settled in the court system of the State of Maine. UNIFORM COMMERCIAL CODE - The Maine Uniform Commercial Code, Title II, Section 2328 applies to this auction. 15. All calls are sold “As Is”. THE OFFICE WILL NOT BE OPEN UNTIL AUGUST 2 AFTER THE AUCTION.

ABSENTEE AND PHONE BIDS 1. Absentee bids are a service provided to our customers free of charge. Every effort is made to execute all absentee bids, however, in the event of an error of omission, or failure to properly execute absentee bids, the Auctioneer shall not be held liable. 2. All absentee bids must be accompanied by a 20% deposit, which will be refunded immediately after the auction if your bid is unsuccessful. If your bid is successful, the deposit will be applied to the purchase price and the balance due upon presentation of your bill. All absentee bidders are notified by mail, whether successful or unsuccessful. 3. Visa and Mastercard numbers can be given in place of a check deposit, if your bid is submitted by phone. Your card number will not be used to make payments for purchases, it is only used as collateral. Your card number will only be used to make payment for purchases if you default on payment. 4. To execute an absentee bid, fill out the enclosed form, listing catalog number, description and your top bid price (not including the 15% buyer’s premium). Send this together with your deposit as soon as possible. If your bids are sent seven days or less prior to the auction, you should call our office three days prior to the auction, to confirm that we have received your bids. If they have not been received at that point in time, we will take your bid over the phone. We cannot guarantee that bids received after the auction has started will be executed. 5. If two or more bids are received on the same item from different people, the bidding will open at the next logical raise above the second highest bid. If two absentee bids are received with the exact same amount, the first one received will take precedence. 6. All bids must be in even dollar amounts. Bids in fractions of dollars will be considered the next lower even dollar amount. 7. Bid increments: The bid increment policy, which also applies to both absentee and phone bidders, is listed under “CONDITIONS OF SALE” (item #4), in the front of the catalog. 8. Open bids, bids with no set top amount, or orders to just simply buy the lot, cannot be accepted. You must have a definite top limit before we can execute your bid. Alternatives to this are as follows: a. To bid over the telephone. This can be done by simply sending a 20% deposit for what you wish to bid on the object. This will bind whatever bid amount you wish to bid over the telephone. (NOTE: There are only 6 phone lines into the auction room and phone bids will be handled on a first come, first serve basis.) b. Some bidders concerned that a lot might just go for one bid above their top limit, leave a top bid plus one bid. This works as follows: the top bid submitted might be $1,000, but not wishing to lose the lot for simply $25 more, the party might bid $1,000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1,000 +1 ($1,025) (NOTE: One possible problem that occasionally arises with absentee bids is when someone in the audience bids exactly the amount, which you specify is your limit. In such a case, we would not go one extra bid unless your bid sheet indicates “plus one” bid.). 9. If you are a successful bidder, a bill will be sent one week after the auction. Purchasers should indicate their desired method of shipment, if such is necessary. There is a charge for shipping, labor, materials, and insurance. Shipping is done on a first come, first serve basis, and can take up to 4 weeks. Please note that a certified check, Visa, Mastercard, or any other form of guaranteed funds will expedite shipping. 10. For expensive paintings and delicate carvings, we need a written statement from the purchaser, assuming the responsibility of pursuing any claims, in the event of damage incurred during shipping. Valuable lots need to be sent 2 day air UPS due to values. Under no circumstances will we be liable for damage to glass or frames, or fragile decoratives, regardless of cause. 11. TERMS — Phone and absentee bidders — You will be notified one week after the auction of your results. Payment is due upon receipt. Interest will be charged on all balances not paid within 30 days after the bill is sent at the rate of 12% APR. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. If an account is 75 days overdue, the items may be returned to the consignor and overdue buyer will pay the buyers premium and commission from the sale, if they wish to participate in future Guyette and Deeter auctions. 12. Bidding on any article(s) indicates your acceptance of these terms above. 13. If you would like any additional information on any of the lots, please contact: Gary Guyette at (410) 745-0485 or Jon Deeter at (440) 610-1768. nd

If you have any questions concerning absentee bids, please call us.

OFFICE: OFFICE:

ABSENTEE AND PHONE BID FORM

POBox Box1170 1170 PO St. Michaels, MD 21663 St. Michaels, MD 21663 410-745-0485 410-745-0485 Fax410-745-0487 410-745-0487 Fax decoys@guyetteandschmidt.com decoys@guyetteanddeeter.com

OFFICE USE ONLY TIME DATE OF BID AUCTION DATE MANAGER ABSENTEE OR PHONE BID

NAME ADDRESS CITY

STATE

ZIP

TELEPHONE DEPOSIT $

(Check Amount or Visa or MasterCard # & Exp.)

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Signature A PREMIUM OF 15% WILL BE APPLIED TO ALL ITEMS SOLD, TO BE PAID BY THE BUYER OFFICE USE

IN CATALOG # ORDER

DESCRIPTION

A SECOND PAGE IS PROVIDED ON BACK SHOULD YOU REQUIRE ADDITIONAL SPACE TOTAL BIDS $

x 20%

EQUALS DEPOSIT ENCLOSED $

BID AMOUNT

Page 2

NAME OFFICE USE

PHONE IN CATALOG # ORDER

AUCTION DATE DESCRIPTION

BID AMOUNT

175

160

G u y e t t e & De e te r, Inc .

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